The Lawyer in Dickens takes a closer look at the construction of his types of lawyers. While Dickens’s critique of the legal system and its representatives is almost proverbial, a closer look at his lawyers uncovers a complex and ambiguous construction that questions their status as Victorian gentlemen. These characters offer a complex psychology that often surpasses their minor or stereotypical role within various Dickens novels, for they act not only as alter egos for different protagonists, but also exhibit behaviour that reveals their abusive attitude towards women. This book argues that Uriah Heep lays the groundwork for Dickens’s conception of the lawyer in his later works. The close analysis identifies a strong anxiety about the uncertain social status of professionals in the law, but also unfolds a deeply troubled attitude towards women. The novels express admiration for the lawyer’s professional power, yet the individual characters are simultaneously exposed as ungentlemanly. This discussion shows that the lawyer in Dickens is a difficult creature not only because of his professional ambition and social transgression, but also because of his intrusion into the domestic space and into the lives of others, especially women.
Based on an address to the Glasgow Dickens Society, this essay praises the author's detailed knowledge of the law and legal community. Indeed, "he made no such mistakes as many authors--even though of high standing--sometimes make. He laid down no bad law...." (78). More important, Fyfe advances the novel argument that his writings "exposed some cruel features of the legal system of his day" and influenced public opinion to demand their reform.
Law and ethics are two vital aspects of social work – all social workers need to practise according to the law and their codes of ethics and conduct. However, the relationship between the law and social work values and ethics is not without its tensions and this book takes a problem-based approach to explore the dilemmas and challenges that can arise. The first part of the book sets out frameworks for thinking about the law and ethics, and how they relate to social work. It also introduces some of the big philosophical and sociological questions about the purposes of law and of ethics and how they relate to society more generally. In the second part, the book explores a series of areas where profound dilemmas arise – such as end-of-life decisions, respecting peoples’ choices but ensuring their safety and that of others, responsibility and blame, making allowance for different cultural traditions and breaking confidentiality. In each of the problem-based chapters, this accessible text: outlines the relevant law discusses court judgments in leading cases considers the implications of different ethical frameworks pulls out key ethical questions and challenges for social work. Social Work, Law and Ethics highlights what the law says and what it offers, what ethical principles are at stake, and what these imply for social work policy and practice. In this way, it uses real-life scenarios to analyse the dynamic interactions of social work, law and ethics. It is essential reading for all social work students.
This book explores the relationship between Dickens’s novels and the financial system. Elements of Dickens’s work form a critique of financial capitalism. This critique is rooted in the difference between use-value and exchange-value, and in the difference between productive circulations and mere accumulation. In a money-based society, exchange-value and accumulation dominate to the point where they infect even the most important and sacred relationships between parts of society and individuals. This study explores Dickens’s critique from two very different points of view. The first is philosophical, from Aristotle’s distinction between "chrematistic" accumulation and "economic" use on money through Marx’s focus on the teleology of capitalism as death. The second view is that of nineteenth-century financial journalism, of "City" writers like David Morier Evans and M. L. Meason,, who, while functioning as "cheerleaders" for financial capitalism, also reflected some of the very real "dis-ease" associated with capital formation and accumulation. The core concepts of this critique are constant in the novels, but the critique broadens and becomes more pessimistic over time. The ill effects of living in a money-based society are presented more as the consequences of individual evil in earlier novels, while in the later books they are depicted as systemic and pervasive. Texts discussed include Nicholas Nickleby, A Christmas Carol, Little Dorrit and Our Mutual Friend.
In this delightful and humorous book Neely takes a look at the satire and irony in Dickens' work as shown in his derisive characterization of solicitors, barristers, judges and clerks. Lovers of Dickens and anyone acquainted with the law will find this to be an entertaining read.
The Lawyer in Dickens takes a closer look at the construction of his types of lawyers. While Dickens’s critique of the legal system and its representatives is almost proverbial, a closer look at his lawyers uncovers a complex and ambiguous construction that questions their status as Victorian gentlemen. These characters offer a complex psychology that often surpasses their minor or stereotypical role within various Dickens novels, for they act not only as alter egos for different protagonists, but also exhibit behaviour that reveals their abusive attitude towards women. This book argues that Uriah Heep lays the groundwork for Dickens’s conception of the lawyer in his later works. The close analysis identifies a strong anxiety about the uncertain social status of professionals in the law, but also unfolds a deeply troubled attitude towards women. The novels express admiration for the lawyer’s professional power, yet the individual characters are simultaneously exposed as ungentlemanly. This discussion shows that the lawyer in Dickens is a difficult creature not only because of his professional ambition and social transgression, but also because of his intrusion into the domestic space and into the lives of others, especially women.
Dickens's Forensic Realism: Truth, Bodies, Evidence by Andrew Mangham is one of the first studies to bring the medical humanities to bear on the work of Dickens. Turning to the field of forensic medicine (or medical jurisprudence), Mangham uncovers legal and medical contexts for Dickens's ideas that result in new readings of novels, short stories, and journalism by this major Victorian author. Dickens's Forensic Realism argues that the rich and unstable nature of truth and representation in Dickens owes much to the ideas and strategies of a forensic Victorian age, obsessed with questioning the relationship between clues and truths, evidences and answers. As Mangham shows, forensic medicine grew out of a perceived need to understand things with accuracy, leaning in part on the range of objectivities that inspired the inorganic sciences. At the same time, it had the burden of assisting the law in convicting the guilty and in exonerating the innocent. Practitioners of forensic medicine were uniquely mindful of unwanted variables such as human error and the vagaries of interpretation. In readings of Oliver Twist, Our Mutual Friend, Bleak House, The Pickwick Papers, Great Expectations, and Dickens's early journalism, Mangham demonstrates that these questions about signification, perception, and reality are central to the stylistic complexities and playful tone often associated with Dickens. Moreover, the medico-legal context of Dickens's fiction illuminates the richness and profundity, style and impact of Dicken's narratives.
Who says legal writing is a dull subject? This collection of lively, offbeat short pieces explores legal style like no book you''ve read before. But be warned: you just might learn something while you''re smiling. Through a colorful cast of characters, learn how legal writers can use plain language and careful syntax to produce clearer, stronger, and more persuasive documents. Will legalese devotee Ebenezer Scribe change his ways after receiving visits from four clarity-minded ghosts? Will Colonel Ketchup''s passive-voice phrasing obscure whodunit? Will Editor Man defeat his most formidable foe yet: a dense block of statutory text containing, among other things, a 142-word sentence? And much more . . . But this book isn''t all fun and games. It weaves in real-world examples and commentary from judges and writing experts, giving fresh insight into how readers--especially judges--view the rote style choices that many legal writers never question. You''ll also find helpful tips and before-and-after comparisons. In short, whether a legal professional, a law student, or a writing fan of any kind, a reader will learn concrete lessons--backed by authority--on the best practices for legal writing. And although this book isn''t intended to replace a traditional textbook, teachers can use these vignettes and essays to reinforce classroom lessons and make challenging concepts more accessible to students. "This is a clever little book. It is a perfect bedtime read; each chapter is just the right length to improve your writing by a single increment between retiring to bed and sleep''s arrival. But it won''t put you to sleep, as most books with ''style'' in the title tend to do. With its whimsical tone, it engages, amuses, and sneakily instructs. And it seems to have been written with the maxim in mind that one of my professors imparted to me when he learned I would be teaching law: ''You can only teach three things in an hour. And three are enough.'' Each chapter focuses on a particular rule or technique of good writing, clearly explaining how to incorporate it into one''s compositional arsenal." -- Frederick Baker Jr., Michigan Bar Journal "I just finished reading Sketches on Legal Style by Mark Cooney, and I loved it. Lots of practical advice in a readable, engaging book. I recommend it." -- Wayne Schiess, Legalwriting.net Blog "[Cooney''s] new book, Sketches on Legal Style, is fun, easy reading. It''s a collection of essays on legal writing, each delivered in a unique, humorous style. Two examples: ''A Legal-Writing Carol'' in the style of Charles Dickens''s A Christmas Carol; ''The Pleading,'' a poetic lament in the style of Edgar Allan Poe''s The Raven. Speaking of Dickens, this little book would be a great stocking stuffer for the law student or legal-writing geek in your life (including yourself!)." -- the (new) legal writer blog "Prof. Cooney''s mantra-like theme is that clarity equals persuasion. He also readily demonstrates the converse; that inflated writing is distracting and easily put down. This lesson in precision should strike a chord with litigators of all flavors. ...What makes Prof. Cooney''s book notable is his use of story to teach these points. As trial lawyers, we know that stories are compelling. Stories are absorbed and remembered. Stories are powerful. And Prof. Cooney is a master of the craft." -- Chad Engelhardt, Michigan State Bar''s Negligence Law Section E-News "[T]hese short, funny pieces aren''t just for academics--they are for all lovers of good writing who just wanna have fun. ...In just 100 pages, Mark Cooney brings to life the world of words and clear sentences. He uses real-world examples (with footnotes!), coupled with witty stories and essays. Sketches on Legal Style makes the case for plain language, and if the medicine goes down with a laugh, so much the better." -- Clarity (Journal of the international association promoting plain legal language) "A Legal-Writing Carol," the book''s first chapter, is a "sure-to-be-classic legal-writing take on Dickens'' holiday favorite." -- Legal Writing Prof Blog
