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Showing 1 - 4 of 4 items
By Hélène Sévigny. 1990
" L'homme n'a rien vu venir de la fin de son règne, trop heureux de profiter des joies du moment.…
Qu'eut-il pu vouloir de mieux... ". Hélène Sévigny nous offre enfin la version masculine de son best-seller : L'autre femme. Avec son cynisme habituel et son réalisme implacable, elle nous présente un portrait si ressemblant de la nature humaine qu'elle nous amène dans un monde ou seules la vérité et l'audace prennent place. 1990.By William P. MacNeil. 2012
Novel Judgements is a book about nineteenth century Anglo-American law and literature. But by redefining law as legal theory, Novel…
judgements departs from ‘socio-legal’ studies of law and literature, often dated in their focus on past lawyering and court processes. This texts ‘theoretical turn’ renders the period’s ‘law-and-literature’ relevant to today’s readers because the nineteenth century novel, when "read jurisprudentially", abounds in representations of law’s controlling concepts, many of which are still with us today. Rights, justice, law’s morality; each are encoded novelistically in stock devices such as the country house, friendship, love, courtship and marriage. In so rendering the public (law) as private (domesticity), these novels expose for legal and literary scholars alike the ways in which law comes to mediate all relationships—individual and collective, personal and political—during the nineteenth century, a period as much under the Rule of Law as the reign of Capital. So these novels pass judgement—a novel judgement—on the extent to which the nineteenth century’s idea of law is collusive with that era’s Capital, thereby opening up the possibility of a new legal theoretical position: that of a critique of the law and a law of critique.By Michael Connelly. 2019
SOME CRIMES LIGHT A FIRE THAT NEVER GOES OUT... 'One of the most eagerly awaited books of the year.' The…
i newspaper, Best Crime Books for 2019'There's something for everyone in this jam-packed plot' New York Times* * * * *A JUDGE MURDERED IN A CITY PARKMickey Haller, the Lincoln Lawyer, defends the man accused.A HOMELESS PERSON BURNED ALIVEDetective Renée Ballard catches the case on the LAPD's notorious graveyard shift.AN UNSOLVED HOMICIDE FROM A LIFETIME AGOHarry Bosch is left a missing case file by his mentor who passed away. He was the man who taught Bosch that everybody counts, or nobody counts. Why did he keep the case all these years? To find the truth - or bury it?IN L.A. CRIME NEVER SLEEPSBut in Ballard, Bosch and Haller: the fire always burns. Will it light the way - or leave their lives in ashes?* * * * *CRIME DOESN'T COME BETTER THAN CONNELLY.'One of the world's greatest crime writers' Daily Mail'The pre-eminent detective novelist of his generation' Ian Rankin'Crime thriller writing of the highest order' Guardian'A superb natural storyteller' Lee Child'A master' Stephen King'A genius' Independent on Sunday'A terrific writer with pace, style and humanity to spare' The Times'America's greatest living crime writer' Daily Express'One of the great storytellers of crime fiction' Sunday Telegraph'Justly regarded as one of the world's finest crime writers' Mail On Sunday'No one writes a better modern thriller than Connelly' Evening StandardBy William P. MacNeil. 2012
Novel Judgements is a book about nineteenth century Anglo-American law and literature. But by redefining law as legal theory, Novel…
judgements departs from ‘socio-legal’ studies of law and literature, often dated in their focus on past lawyering and court processes. This texts ‘theoretical turn’ renders the period’s ‘law-and-literature’ relevant to today’s readers because the nineteenth century novel, when "read jurisprudentially", abounds in representations of law’s controlling concepts, many of which are still with us today. Rights, justice, law’s morality; each are encoded novelistically in stock devices such as the country house, friendship, love, courtship and marriage. In so rendering the public (law) as private (domesticity), these novels expose for legal and literary scholars alike the ways in which law comes to mediate all relationships—individual and collective, personal and political—during the nineteenth century, a period as much under the Rule of Law as the reign of Capital. So these novels pass judgement—a novel judgement—on the extent to which the nineteenth century’s idea of law is collusive with that era’s Capital, thereby opening up the possibility of a new legal theoretical position: that of a critique of the law and a law of critique.