For 150 years the French public and literati have enjoyed a love affair with crime fiction. This book investigates the nature of this relationship and how through periods of dramatic social and political change in France it has flourished. It challenges the conventional view of a popular genre feeding a niche market, depicting crime fiction instead as a field of creative endeavour, which has gradually matured into one of considerable literary fertility. By inviting us to share secrets and crack codes, creating suspense and (at times) not shirking from presenting horrific events in graphic language, the crime story brings into play the intellect and emotions of its readership. This book explores both this intrinsic literary value of the crime novel and its extrinsic witness to historical events and cultural trends, arguing that these apparently distinct aspects are in fact dynamic, interrelated parts of the same whole. This blend of cultural history with literary analysis allows for the discussion of themes such as politics, memory, the urban environment and youth cultures, mixed with case studies of major French crime writers, including Gaston Leroux, Georges Simenon, Jean-Patrick Manchette, Daniel Pennac and Fred Vargas.

The tourism and leisure industries are big business. Opportunities for leisure and tourism have escalated as disposable income, technology, travel and education have become increasingly available in recent times. However, this trend has been juxtaposed with an increase in crime, particularly since the early the 1950s. Acquisitive crimes have been facilitated with the development of more portable and valuable commodities; some activities, such as drink driving and disorder, have now been socially defined as crimes and are more readily identified through new technology such as the increasing use of CCTV. The Problem of Pleasure covers them all. The purpose of this book is to inform and enlighten a range of readers, whose interests may be academic or commercial on possible crime events and modus operandi of criminals. The book has a global perspective, bringing together leading academics from the UK, the US, South Africa, Australia and New Zealand who examine several aspects of leisure that are vulnerable to crime, from illegal hunting to street racing, as well as the impact of crime upon tourists and the tourism industry. This book will be a key text for students of tourism and leisure as well as criminology and sociology; people working in the tourism and recreation industry; policy makers and the police.

Based on a reading of contemporary philosophical arguments, this book accounts for how punishment has provided audiences with pleasure in different historical contexts. Watching tragedies, contemplating hell, attending executions, or imagining prisons have generated pleasure, according to contemporary observers, in ancient Greece, in medieval Catholic Europe, in the early-modern absolutist states, and in the post-1968 Western world. The pleasure was often judged morally problematic, and raised questions about which desires were satisfied, and what the enjoyment was like. This book offers a research synthesis that ties together existing work on the pleasure of punishment. It considers how the shared joys of punishment gradually disappeared from the public view at a precise historic conjuncture, and explores whether arguments about the carnivalesque character of cruelty can provide support for the continued existence of penal pleasure. Towards the end of this book, the reader will discover, if willing to go along and follow desire to places which are full of pain and suffering, that deeply entwined with the desire for punishment, there is also the desire for social justice. An accessible and compelling read, this book will appeal to students and scholars of criminology, sociology, philosophy and all those interested in the pleasures of punishment.

In this startling look at evil behavior, a UCLA sociologist tries to get inside the criminal psyche to understand what it means or feels, signifies, sounds, tastes, or looks like to do any particular crime.

"Genuinely fascinating reading."—The New York Times Book Review "Diverting and patently authoritative."—The New Yorker "Grand and fascinating … a history, a compendium and a critical study all in one, and all first rate."—Rex Stout "A landmark … a brilliant study written with charm and authority."—Ellery Queen "This book is of permanent value. It should be on the shelf of every reader of detective stories."—Erle Stanley Gardner Author Howard Haycraft, an expert in detective fiction, traces the genre's development from the 1840s through the 1940s. Along the way, he charts the innovations of Edgar Allan Poe, Wilkie Collins, and Arthur Conan Doyle, as well as the modern influence of George Simenon, Josephine Tey, and others. Additional topics include a survey of the critical literature, a detective story quiz, and a Who's Who in Detection.

By articulating a general theory of crime and related behavior, the authors present a new and comprehensive statement of what the criminological enterprise should be about. They argue that prevalent academic criminology—whether sociological, psychological, biological, or economic—has been unable to provide believable explanations of criminal behavior. The long-discarded classical tradition in criminology was based on choice and free will, and saw crime as the natural consequence of unrestrained human tendencies to seek pleasure and to avoid pain. It concerned itself with the nature of crime and paid little attention to the criminal. The scientific, or disciplinary, tradition is based on causation and determinism, and has dominated twentieth-century criminology. It concerns itself with the nature of the criminal and pays little attention to the crime itself. Though the two traditions are considered incompatible, this book brings classical and modern criminology together by requiring that their conceptions be consistent with each other and with the results of research. The authors explore the essential nature of crime, finding that scientific and popular conceptions of crime are misleading, and they assess the truth of disciplinary claims about crime, concluding that such claims are contrary to the nature of crime and, interestingly enough, to the data produced by the disciplines themselves. They then put forward their own theory of crime, which asserts that the essential element of criminality is the absence of self-control. Persons with high self-control consider the long-term consequences of their behavior; those with low self-control do not. Such control is learned, usually early in life, and once learned, is highly resistant to change. In the remainder of the book, the authors apply their theory to the persistent problems of criminology. Why are men, adolescents, and minorities more likely than their counterparts to commit criminal acts? What is the role of the school in the causation of delinquincy? To what extent could crime be reduced by providing meaningful work? Why do some societies have much lower crime rates than others? Does white-collar crime require its own theory? Is there such a thing as organized crime? In all cases, the theory forces fundamental reconsideration of the conventional wisdom of academians and crimina justic practitioners. The authors conclude by exploring the implications of the theory for the future study and control of crime.

Corpses mark surrealism's path through the twentieth century, providing material evidence of the violence in modern life. Though the shifting group of poets, artists, and critics who made up the surrealist movement were witness to total war, revolutionary violence, and mass killing, it was the tawdry reality of everyday crime that fascinated them. Jonathan P. Eburne shows us how this focus reveals the relationship between aesthetics and politics in the thought and artwork of the surrealists and establishes their movement as a useful platform for addressing the contemporary problem of violence, both individual and political. In a book strikingly illustrated with surrealist artworks and their sometimes gruesome source material, Eburne addresses key individual works by both better-known surrealist writers and artists (including André Breton, Louis Aragon, Aimé Césaire, Jacques Lacan, Georges Bataille, Max Ernst, and Salvador Dalí) and lesser-known figures (such as René Crevel, Simone Breton, Leonora Carrington, Benjamin Péret, and Jules Monnerot). For Eburne "the art of crime" denotes an array of cultural production including sensationalist journalism, detective mysteries, police blotters, crime scene photos, and documents of medical and legal opinion as well as the roman noir, in particular the first crime novel of the American Chester Himes. The surrealists collected and scrutinized such materials, using them as the inspiration for the outpouring of political tracts, pamphlets, and artworks through which they sought to expose the forms of violence perpetrated in the name of the state, its courts, and respectable bourgeois values. Concluding with the surrealists' quarrel with the existentialists and their bitter condemnation of France's anticolonial wars, Surrealism and the Art of Crime establishes surrealism as a vital element in the intellectual, political, and artistic history of the twentieth century.

This book attempts to make sense of the current increase in violence, cruelty, hate and humiliation, arguing that an overly organised economic world has provoked desire for extreme forms of popular and personal pleasure.

From a look at classics like Psycho and Double Indemnity to recent films like Traffic and Thelma & Louise, Nicole Rafter and Michelle Brown show that criminological theory is produced not only in the academy, through scholarly research, but also in popular culture, through film. Criminology Goes to the Movies connects with ways in which students are already thinking criminologically through engagements with popular culture, encouraging them to use the everyday world as a vehicle for theorizing and understanding both crime and perceptions of criminality. The first work to bring a systematic and sophisticated criminological perspective to bear on crime films, Rafter and Brown's book provides a fresh way of looking at cinema, using the concepts and analytical tools of criminology to uncover previously unnoticed meanings in film, ultimately making the study of criminological theory more engaging and effective for students while simultaneously demonstrating how theories of crime circulate in our mass-mediated worlds. The result is an illuminating new way of seeing movies and a delightful way of learning about criminology.

An independent journalist documents the true stories of torture and psychological abuse endured by 14 Armenian soldiers and civilians who became POWs in Azerbaijan during the Forty-Four Day War in 2020 over the autonomous Republic of Artsakh.