In the fourth edition of Essential Criminology, authors Mark M. Lanier, Stuart Henry, and Desire .M. Anastasia build upon this best-selling critical review of criminology, which has become essential reading for students of criminology in the 21st century. Designed as an alternative to overly comprehensive, lengthy, and expensive introductory texts, Essential Criminology is, as its title implies, a concise overview of the field. The book guides students through the various definitions of crime and the different ways crime is measured. It then covers the major theories of crime, from individual-level, classical, and rational choice to biological, psychological, social learning, social control, and interactionist perspectives. In this latest edition, the authors explore the kind of criminology that is needed for the globally interdependent twenty-first century. With cutting-edge updates, illustrative real-world examples, and new study tools for students, this text is a necessity for both undergraduate and graduate courses in criminology.
Initially designed to accompany Mark Lanier and Stuart Henry’s best-selling Essential Criminology textbook, this new reader is an up-to-date companion text perfect for all students of introductory criminology and criminological theory courses. The Essential Criminology Reader contains 30 original articles on current developments in criminological theory. Commissioned specifically for The Reader, these short essays were written by leading scholars in the field. Each chapter complements one of 13 different theoretical perspectives covered in Lanier and Henry’s Essential Criminology text and contains between two and three articles from leading theorists on each perspective. Each chapter of The Reader features: a brief summary of the main ideas of the theory the ways the author’s theory has been misinterpreted/distorted criticisms by others of the theory and how the author has responded a summary of the balance of the empirical findings the latest developments in their theoretical position policy implications/practice of their theory
In the fourth edition of Essential Criminology, authors Mark M. Lanier, Stuart Henry, and Desire .M. Anastasia build upon this best-selling critical review of criminology, which has become essential reading for students of criminology in the 21st century. Designed as an alternative to overly comprehensive, lengthy, and expensive introductory texts, Essential Criminology is, as its title implies, a concise overview of the field. The book guides students through the various definitions of crime and the different ways crime is measured. It then covers the major theories of crime, from individual-level, classical, and rational choice to biological, psychological, social learning, social control, and interactionist perspectives. In this latest edition, the authors explore the kind of criminology that is needed for the globally interdependent twenty-first century. With cutting-edge updates, illustrative real-world examples, and new study tools for students, this text is a necessity for both undergraduate and graduate courses in criminology.
For decades, scholars have disagreed about what kinds of behavior count as crime. Is it simply a violation of the criminal law? Is it behavior that causes serious harm? Is the seriousness affected by how many people are harmed and does it make a difference who those people are? Are crimes less criminal if the victims are black, lower class, or foreigners? When corporations victimize workers is that a crime? What about when governments violate basic human rights of their citizens, and who then polices governments? In What Is Crime? the first book-length treatment of the topic, contributors debate the content of crime from diverse perspectives: consensus/moral, cultural/relative, conflict/power, anarchist/critical, feminist, racial/ethnic, postmodernist, and integrational. Henry and Lanier synthesize these perspectives and explore what each means for crime control policy.
A highly readable, beautifully illustrated study of the homes built by elite colonial Philadelphians as retreats—which balanced English models with developing local taste. Colonial Americans, if they could afford it, liked to emulate the fashions of London and the style and manners of English country society while at the same time thinking of themselves as distinctly American. The houses they built reflected this ongoing cultural tension. By the mid-eighteenth century, Americans had developed their own version of the bourgeois English countryseat, a class of estate equally distinct in social function and form from townhouses, rural plantations, and farms. The metropolis of Philadelphia was surrounded by a particularly extraordinary collection of country houses and landscapes. Taken together, these estates make up one of the most significant groups of homes in colonial America. In this masterly volume, Mark Reinberger, a senior architectural historian, and Elizabeth McLean, an accomplished scholar of landscape history, examine the country houses that the urban gentry built on the outskirts of Philadelphia in response to both local and international economic forces, social imperatives, and fashion. What do these structures and their gardens say about the taste of the people who conceived and executed them? How did their evolving forms demonstrate the persistence of European templates while embodying the spirit of American adaptation? The Philadelphia Country House explores the myriad ways in which these estates—which were located in the country but responded to the ideas and manners of the city—straddled the cultural divide between urban and rural. Moving from general trends and building principles to architectural interiors and landscape design, Reinberger and McLean take readers on an intimate tour of the fine, fashionable elements found in upstairs parlors and formal gardens. They also reveal the intricate working world of servants, cellars, and kitchen gardens. Highlighting an important aspect of American historic architecture, this handsome volume is illustrated with nearly 150 photographs, more than 60 line drawings, and two color galleries.
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