An Ethic of Innocence examines representations of women in American and British fin-de-siècle and modern literature who seem "not to know" things. These naïve fools, Pollyannaish dupes, obedient traditionalists, or regressive anti-feminists have been dismissed by critics as conservative, backward, and out of sync with, even threatening to, modern feminist goals. Grounded in the late nineteenth century's changing political and generic representations of women, this book provides a novel interpretative framework for reconsidering the epistemic claims of these women. Kristen L. Renzi analyzes characters from works by Henry James, Frank Norris, Ann Petry, Rebecca West, Edith Wharton, Virginia Woolf, and others, to argue that these feminine figures who choose not to know actually represent and model crucial pragmatic strategies by which modern and contemporary subjects navigate, survive, and even oppose gender oppression.

The Book of Coming Forth by Day: The Ethics of the Declarations of Innocence

While we acknowledge that all expressions of liberation theology are not identical, we must protest very strongly against the false divisions that some make: between black theology in South Africa and black theology in the United States, between black theology and African theology, and between black theology and Latin American liberation theology. But moving away from the illusioned universality of western theology to the contextuality of liberation theology is a risky business; one that cannot be done innocently. In the search for theological and human authenticity in its own situation, black theology does not stand alone. It is but one expression of this search going on within many different contexts. Until now, the Christian church had chosen to move through history with a bland kind of innocence, hiding the painful truths of oppression behind a facade of myths and real or imagined anxieties. This is no longer possible. The oppressed who believe in God, the Father of Jesus Christ, no longer want to believe in the myths created to subjugate them. It is no longer possible to innocently accept history "as it happens," silently hoping that God would take the responsibility for human failure. The theology of liberation spells out this realization. For the Christian church it constitutes, in no uncertain terms, farewell to innocence.

Human beings have lived by very different conceptions of the good life. In this book, Stuart Hampshire argues that no individual and no modern society can avoid conflicts between incompatible moral interests. Philosophers have tried in the past to find some underlying moral idea of justice which could resolve these conflicts and would be valid for any society. Hampshire claims that there can be no such thing. States can be held together, and war between them avoided, only by respect for the political process itself, and it is in these terms that justice must be defined. The book closely examines the critical relationship between morality and justice, paying particular attention to Hume's moral subjectivism (which Hampshire disputes) and proposing a reply to Machiavelli's claim that the realities of politics inevitably oblige leaders to choose between unavoidable evils. Most academic and moral philosophy, Hampshire argues, has been a fairy tale, representing ideals of private innocence rather than the realities of public experience. Conflicts between incompatible moral interests are as unavoidable in social and international arenas as they are in the lives of individuals. Philosophers, politicians, and theologians have all looked for an underlying moral consensus that will be valid for any just society. But the diversity of the human species and important differences in how various cultures define the good life militate against the formation of any such consensus. Ultimately, conflicts can be mediated only by respect for procedural justice. Hampshire believes that themes of moral philosophy come from the writer's own experience, and he has given a brief but compelling account of his own life to help the reader understand the sources of his philosophy. Combining intellectual rigor with imaginative power, in Innocence and Experience Stuart Hampshire vividly illuminates the tensions between justice and other sources of value in society and in the life of the individual.

Taming the Presumption of Innocence provides a comprehensive account of the presumption of innocence in criminal law and procedure. It maintains that the presumption is a vital component of the proof structure of criminal trials.

Winner, Outstanding Book Award, Association for Theatre in Higher Education Winner, Grace Abbott Best Book Award, Society for the History of Children and Youth Winner, Book Award, Children's Literature Association Winner, Lois P. Rudnick Book Prize, New England American Studies Association Winner, IRSCL Award, International Research Society for Children's Literature Runner-Up, John Hope Franklin Publication Prize, American Studies Association Honorable Mention, Book Award, Society for the Study of American Women Writers Part of the American Literatures Initiative Series In Racial Innocence, Robin Bernstein argues that the concept of "childhood innocence" has been central to U.S. racial formation since the mid-nineteenth century. Children--white ones imbued with innocence, black ones excluded from it, and others of color erased by it--figured pivotally in sharply divergent racial agendas from slavery and abolition to antiblack violence and the early civil rights movement. Bernstein takes up a rich archive including books, toys, theatrical props, and domestic knickknacks which she analyzes as "scriptive things" that invite or prompt historically-located practices while allowing for resistance and social improvisation. Integrating performance studies with literary and visual analysis, Bernstein offers singular readings of theatrical productions from blackface minstrelsy to Uncle Tom's Cabin to The Wonderful Wizard of Oz literary works by Joel Chandler Harris, Harriet Wilson, and Frances Hodgson Burnett; material culture including Topsy pincushions, Uncle Tom and Little Eva handkerchiefs, and Raggedy Ann dolls; and visual texts ranging from fine portraiture to advertisements for lard substitute. Throughout, Bernstein shows how "innocence" gradually became the exclusive province of white children--until the Civil Rights Movement succeeded not only in legally desegregating public spaces, but in culturally desegregating the concept of childhood itself. Check out the author's blog for the book here.