The criminal law on serious traffic offenses presents legislators with numerous controversial issues. One such issue is when severe consequences are matched with low moral culpability. How should the law deal with a driver who kills someone because she failed to see the person when looking? Another controversial issue concerns highly culpable behavior that remains without serious consequences. How should the law cope with a driver who nearly kills someone when overtaking recklessly? The traffic context generates many hard cases that call the outermost boundaries of general doctrinal concepts like intent, negligence, or causation into question. This book contains an international collection of essays on criminal liability for serious traffic offenses. With a focus on England/Wales, the Netherlands, France, Germany, and Spain, the book reveals that there are enormous differences in both drafting and interpretation of serious traffic offenses. Additionally, it elaborates on the role of culpability and harm in sentencing, traffic-psychological insights relevant to accident causation, and the concept of conditional intent in relation to extremely dangerous traffic behavior. (Series: Governance & Recht - Vol. 11) [Subject: Criminal Law, Traffic Law, Comparative Law]

In a political moment when social panics over literature are at their peak, Dangerous Fictions is a mind-expanding treatise on the nature of fictional stories as cultural battlegrounds for power. Fictional stories have long held an uncanny power over hearts and minds, especially those of young people. In Dangerous Fictions, Lyta Gold traces arguments both historical and contemporary that have labeled fiction as dark, immoral, frightening, or poisonous. Within each she asks: How “dangerous” is fiction, really? And what about it provokes waves of moral panic and even censorship? Gold argues that any panic about art is largely a disguised panic about power. There have been versions of these same fights over fiction for centuries. By exposing fiction as a social danger and a battleground of immediate public concern, we can see what each side really wants—the right to shape the future of a world deeply in flux and a distraction from more pressing material concerns about money, access, and the hard work of politics. From novels about people driven insane by reading novels to “copaganda” TV shows that influence how viewers regard the police, Gold uses her signature wit, research, and fearless commentary to point readers toward a more substantial question: Fiction may be dangerous to us, but aren’t we also dangerous to it?