This book examines how the cultural and ethical power of literature allowed writers and readers to reflect on the practice of capital punishment in the UK, Ireland and the US between 1890 and 1950. It explores how connections between ‘high’ and ‘popular’ culture seem particularly inextricable where the death penalty is at stake, analysing a range of forms including major works of canonical literature, detective fiction, plays, polemics, criminological and psychoanalytic tracts and letters and memoirs. The book addresses conceptual understandings of the modern death penalty, including themes such as confession, the gothic, life-writing and the human-animal binary. It also discusses the role of conflict in shaping the representation of capital punishment, including chapters on the Easter Rising, on World War I, on colonial and quasi-colonial conflict and on World War II. Ebury’s overall approach aims to improve our understanding of the centrality of the death penalty and the role it played in major twentieth century literary movements and historical events.

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From the advent of cinema, Hollywood's acquaintance with the unbridled truth has been passing, at best. Nonfiction has always been standard fodder for filmmakers, but rare is the screenwriter who ever met a story that couldn't use a touch of embellishment. As early as the silent film era, lawsuits were filed against movie studios for their fictitious depictions of purportedly real events. The moviemakers claim artistic license; as Picasso said, "Art is a lie that tells the truth." When the lie and the truth become inextricably mixed, the effect on the lives of the people involved can be dramatic, even devastating. The first lawsuit claiming a libelous onscreen portrayal of a real person was filed in 1916, and the debate about filmmakers' responsibilities when depicting real people and events has raged ever since. This examination of fact-based films and the law begins with a history of the legal issues surrounding the fictionalization of real events and people. The court case over The Perfect Storm--a film that spawned lawsuits from the families of the people depicted in the film--is then explored in depth. The next chapter analyzes fact versus fiction in 13 courtroom dramas, movies for which court documents provide clear historical records. A chapter devoted to actors so identified with a character that they sought legal acknowledgment of exclusive rights to that fictional persona follows. Notes, a bibliography and an index accompany the text.

Combines classic statements of the theory of political rhetoric with a rich array of actual political speeches ancient and modern.

Includes entries for maps and atlases.