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Places constitutional law in its legal, historical and political context using contemporary examples.
This book extends the cultural turn in legal and criminological studies by interrogating our responses to the image. It provides a space to think through problems of ethics, social authority and the legal imagination.
'The most powerful woman in British beauty' Daily Mail 'This woman is the best advert for the advice she gives to all of us' Ruth Langsford If there is one thing my experience in the beauty industry has taught me, it's that a beauty regime should be as individual as you are. Having no cosmetic work myself allows me to truly understand what results are achievable for people at home. Trusted and award-winning beauty expert Alison Young has worked in the industry for over 35 years. She has pretty much tried every beauty product on the market so you don't have to, and she knows what works and what doesn't. Her no-nonsense approach cuts through the hard sell and tells it how it is. Whether you wa...
A crucial question in the analysis of legal practices concerns the processes of identification with, in and as law – a question of how and by what route law achieves its ends. While it is conventional to interpret the practices of law through the institutional sources of the legal tradition, The Scene of Violence considers how law and legal practices figure in the cultural field; and, specifically, in film.
What is street art? Who is the street artist? Why is street art a crime? Since the late 1990s, a distinctive cultural practice has emerged in many cities: street art, involving the placement of uncommissioned artworks in public places. Sometimes regarded as a variant of graffiti, sometimes called a new art movement, its practitioners engage in illicit activities while at the same time the resulting artworks can command high prices at auction and have become collectable aesthetic commodities. Such paradoxical responses show that street art challenges conventional understandings of culture, law, crime and art. Street Art, Public City: Law, Crime and the Urban Imagination engages with those par...
The Human Rights Act 1998 is criticised for providing a weak protection of human rights. The principle of parliamentary legislative supremacy prevents entrenchment, meaning that courts cannot overturn legislation passed after the Act that contradicts Convention rights. This book investigates this assumption, arguing that the principle of parliamentary legislative supremacy is sufficiently flexible to enable a stronger protection of human rights, which can replicate the effect of entrenchment. Nevertheless, it is argued that the current protection should not be strengthened. If correctly interpreted, the Human Rights Act can facilitate democratic dialogue that enables courts to perform their proper correcting function to protect rights from abuse, whilst enabling the legislature to authoritatively determine contestable issues surrounding the extent to which human rights should be protected alongside other rights, interests and goals of a particular society. This understanding of the Human Rights Act also provides a different justification for the preservation of Dicey's conception of parliamentary sovereignty in the UK Constitution.
Focusing on the protection of rights in the UK, this book establishes a framework for interactions to better protect rights, facilitate deliberation, engage citizens, and provide for checks and balances. It further evaluates how well these values are achieved in the UK constitution now, and in light of a British Bill of Rights and Brexit.
This book offers an original and challenging reading of the crimino-legal complex' - criminology, criminal justice, criminal law, the media and everyday experiences - in the light of cultural studies and feminist theory. Through an exploration of the crisis engendered by the failure of the crimino-legal complex to solve the problems of crime and criminality, Alison Young exposes the cultural dimension of its institutions and practices. She analyzes the far-reaching effects of the cultural value given to crime, showing it to be rooted in a powerful nexus of the body, language, the community and everyday life. Imagining Crime examines a number of key events and issues which have signalled shif...
Street art and graffiti are a familiar sight in all our cities. Giant murals commemorate historical events or proclaim the culture of a neighborhood, while tagged walls can function simultaneously as a claim to territory and a backdrop for an urban fashion shoot. Street Art World examines these divergent forms and functions of street art. This strikingly illustrated book explores every aspect of street art, from those who spray it into being to those who revel in it on Instagram, from its place under highway overpasses to one on the austere walls of high art museums. What exactly is street art? Is it the same as graffiti, or do they have different histories, meanings, and practitioners? Who ...
"Looshkin is the maddest cat in the world! You may think that your cat is mad, but they've got nothing on Looshkin. Leave him for just a moment and you'll find that your house has flooded, a steam train has smashed into your living room and a portal to another dimension has opened in your loft. And everything is covered in bees. And there are sirens. Looshkin, what have you done?!"--Publisher description.