This book is a broad and deep inquiry into how contingency fees distort our civil justice system, influence our political system and endanger democratic governance. Contingency fees are the way personal injury lawyers finance access to the courts for those wrongfully injured. Although the public senses that lawyers manipulate the justice system to serve their own ends, few are aware of the high costs that come with contingency fees. This book sets out to change that, providing a window into the seamy underworld of contingency fees that the bar and the courts not only tolerate but even protect and nurture. Contrary to a broad academic consensus, the book argues that the financial incentives for lawyers to litigate are so inordinately high that they perversely impact our civil justice system and impose other unconscionable costs. It thus presents the intellectual architecture that underpins all tort reform efforts.
This book is a broad and deep inquiry into how contingency fees distort our civil justice system, influence our political system and endanger democratic governance. Contingency fees are the way personal injury lawyers finance access to the courts for those wrongfully injured. Although the public senses that lawyers manipulate the justice system to serve their own ends, few are aware of the high costs that come with contingency fees. This book sets out to change that, providing a window into the seamy underworld of contingency fees that the bar and the courts not only tolerate but even protect and nurture. Contrary to a broad academic consensus, the book argues that the financial incentives for lawyers to litigate are so inordinately high that they perversely impact our civil justice system and impose other unconscionable costs. It thus presents the intellectual architecture that underpins all tort reform efforts.
Police and corrections personnel must always be mindful of the possibility that those in their custody may attempt suicide or commit an act of self-mutilation. Persons housed in prisons, jails, and police lockups tend to be at a higher risk for such destructive behavior than members of the general population. Reasons for this can be found by examining the mental health, substance abuse, and physical/sexual abuse histories of inmates in addition to deficits in their coping skills and the stress and uncertainty generated by incarceration. This book explores several topics pertaining to suicide and deliberate self-harm in the corrections setting, including who tends to commit these acts; where, when, and how these incidents occur; screening mechanisms; the role of environmental stimuli in facilitating or preventing acts of self harm; interpersonal relations among inmates and between inmates and staff; and the role of the courts in setting and ruling on suicide prevention policies. The authors discuss the role of prevention techniques that offer a balance between strict opportunity-reduction and softer motivation-reduction strategies. The book also includes suggestions for diversion programs that can keep mentally ill inmates out of prisons and jails and transition planning programs to better prepare outgoing inmates for their re-entry into the community.
Woody Allen, Mel Brooks, Sidney Lumet, and Paul Mazursky, all sons of East European Jews, remain among the most prominent contemporary American film directors. In this revised, updated second edition of American Jewish Filmmakers, David Desser and Lester D. Friedman demonstrate how the Jewish experience gives rise to an intimately linked series of issues in the films of these and other significant Jewish directors. The effects of the Holocaust linger, both in gripping dramatic form (Mazursky's Enemies, a Love Story) and in black comedy (Brooks's The Producers). In his trilogy consisting of Serpico, Prince of the City, and Q&A, Lumet focuses on the failure of society's institutions to deliver social justice. Woody Allen portrays urban life and family relationships (Manhattan and Hannah and Her Sisters), sometimes with a nostalgic twist (Radio Days). This edition concludes with a newly written discussion of the careers of other prominent Jewish filmmakers such as Steven Spielberg, Barry Levinson, Brian Singer, and Darren Aronofsky.
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