Thesis (M.P.A.)--University of Hong Kong, 2002. / Includes bibliographical references.

Thesis (M.P.A.)--University of Hong Kong, 2002. / Includes bibliographical references. Also available in print.

Thesis (Ph. D.)--York University, 1999. Graduate Programme in Sociology. / Typescript. Includes bibliographical references (leaves 200-208). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://wwwlib.umi.com/cr/yorku/fullcit?pNQ43419.

This research seeks to understand the process of detective training and its contribution to the practice of crime investigation. A traditional focus upon the outcomes of the investigative process has proven contentious as it fails to provide evidence on which to base adequate assessment of the quality of detective work. Thus in the research I explore ways in which detective work is learned and the contribution that detective training makes to effective investigative practice by examining the process of crime investigation and the concept of effectiveness in this context. The research seeks to describe the reality of crime investigation as it is practised by detectives and explores the question of what counts as ‘good quality’ detective work. Based on a critical review of the literature on the investigative quality of detective work, the thesis concludes that the effective detective has a breadth of skills (investigative, interpersonal and management skills) knowledge (legal, practical and generic knowledge) and personal qualities (intelligence, determination, patience and integrity). Quality in investigation can be conceptualised as going beyond short term crime control objectives and to consider more long term objectives such as crime prevention, victim satisfaction and effective case management. The research is based on extensive interviews with, and observation of, detectives in training and out ‘in the field’. It also includes interviews with trainers and analysis of relevant documents. The research material collected includes approximately 880 hours of observation and data from a total of 56 interviews. The data were collected over a period of fourteen months and involved elements of ethnography as I joined with detective trainees as they were being trained and then shadowed a small sample of detectives as they carried out investigations in the post training phase. The dissertation provides an insight into detective training and makes a significant contribution to knowledge by revealing something of the meaning of investigative experience and the role of training in the development of trainee detectives. The research findings suggest that the structure of training and the process of measuring competence in the workplace do not currently maximise the learning potential of trainee detectives. Frequently, good detective work is not recognised because it has not achieved a specified goal or objective, whilst the practice of detectives exists in a vacuum of experience with little opportunity for objective reflection and/or professional guidance. Furthermore, the trainees within this sample had an average of 3.5 years investigative experience and this contributed to their perception that much of the content of the formal detective training course had already been learned through experience. In my conclusions I point to weaknesses in the training process and how they might be addressed, including ways of improving the co-ordination of training approaches to ensure consistency and efficiency, ways of improving the relevance and effective delivery of the training content, and the need to introduce work-based assessments to ensure practical competence in the workplace.

Thesis (Ph. D.)--Michigan State University. Dept. of Psychology, 2008. / Title from PDF t.p. (viewed on July 8, 2009) Includes bibliographical references (p. 143-148). Also issued in print.

This research examines the concept of public relations in the English police; what it is, how it has changed and the problems police forces now face with regard to communications. The last two decades has seen a transformation within police public relations as it has become increasingly standardised, corporatized, professionalised and more open, playing a key part in the police transparency agenda. Police officers have been replaced by civilian experts as the departments have grown in size which has led to changes in the structure, strategy and ideology as these departments have adapted to the new challenges posed by social media, severely restricted budgets, apparent loss of public confidence and public cynicism. Since 2009 England’s police forces have become increasingly active online. There is very little research, however, into how and why social media is being used by the police, how it fits into the broader communication strategies, and how this is changing traditional police public relations. During this study a national comparison of police forces was undertaken to investigate these issues. What emerged was a picture of dynamic tension between change and continuity within police communications around identity, ideology, form and function. Once an understaffed, ancillary function, affiliated to but not part of ‘real police work’, most police public relations departments are now considered an “operationally essential” part of modern policing in their force. Social media has enabled police forces to communicate directly to and with large segments of the populous for the first time. This research has also identified strong evidence of the emergence of a new model, that of ‘direct and digital’ within police communications. This new approach appears to be moving police communications from primarily a reactive service to a proactive dialogical one that is increasingly looking to engage with audiences directly online rather than through conventional methods.

Este trabalho analisa a obra do chileno Roberto Bolaño (1953-2003) sob a ótica da coragem, vislumbrada como traço marcante dos personagens bolanianos e entendida pelo autor como requisito da literatura de qualidade, que supõe a proximidade da arte com uma espécie de abismo. Num primeiro momento, perguntamo-nos sobre quais seriam os perigos que, de acordo com Bolaño, rondariam a literatura e que exigiriam do escritor uma atuação corajosa. Para isso, valemo-nos de romances como Amuleto e Estrella distante, do conto El Ojo Silva e das intervenções críticas de Bolaño. Posteriormente, nos centramos na obra Los detectives salvajes, que retoma procedimentos narrativos e cânones - como as vanguardas e as neovanguardas - considerados corajosos por sua inovação formal, pela crítica às instituições e pela formulação de uma estética que se entrelaça com uma ética. Nesse mesmo processo, verificamos que o autor diagnostica a perda de espaço desses procedimentos corajosos no cenário literário contemporâneo, pautado pelo abandono das utopias e pelas exigências do mercado literário. Vemos que a obra caminha para a elaboração de uma ética possível nesse novo contexto, e que será marcada pela recusa da estabilidade, que se traduz em deslocamento geográfico e linguístico. / This paper analyzes the work of chilean writer Roberto Bolaño (1953-2003) from the perspective of courage, envisioned as a remarkable feature of his characters and considered by the author as a requirement for a writing with quality, which supposes the proximity between art and a kind of abyss. At first, we wonder about what would be the dangers that, according to Bolaño, surround literature and require a courageous performance. Novels such as Amuleto and Estrella distante, the tale El Ojo Silva and the critical interventions of Bolaño, can be used as examples of that kind of performance. Subsequently, we focus on the work Los detectives salvajes, which incorporates narrative procedures and canons - such as the vanguards and neovanguards - considered courageous due to their formal innovation, the criticism of institutions and the formulation of an aesthetic that is interlaced with a kind of ethic. In that case, we find out that the author had diagnosed the loss of space for these courageous procedures in contemporary literature scene, marked by the abandon of utopias and the demands of the literature market. We can also observe that his work is heading towards the elaboration of a possible ethics in this new context, which will be stamped by the refusal of stability, translated into geographical and linguistic displacement.

Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica mención Literatura. / Informe de Seminario para optar al grado de Licenciado en Lengua y Literatura Hispánica. / El objeto de este informe es, en un primer acercamiento, dar cuenta de cómo ciertas prácticas escriturales, generadas en América del norte primero y en América Latina de los años setenta después, contaminan y cuestionan el proyecto moderno sustentado primeramente en la razón y fundamentalmente en la utopía. En el caso de América Latina revisaré, concretamente, la novela Los detectives salvajes de Roberto Bolaño, postulando que ésta obra establece la escritura a partir de una táctica que abisma lo policial, subvirtiendo y deslizando las categorías que, canónicamente, (con) forman el relato del crimen, sea en su versión clásica inglesa (novela de enigma) o en la versión estadounidense (novela negra).

Este artículo analiza el capítulo II “Los detectives salvajes (1976-1996)”, el cual presenta a cincuenta y cuatro personajes que dan su testimonio sobre los poetas Arturo Belano y Ulises Lima. La ausencia de estos poetas permite que se presenten en la memoria de cada uno de estos sujetos testimoniantes. De esta manera, la narración construye un lugar de memoria para ser habitado por Belano y Lima, que implica una violenta interrupción que se constituye como un rechazo al modelo tradicional de novela, resituando sus ejes fundamentales: el protagonista y el narrador. Así, este capítulo puede ser interpretado como un centro que niega la idea de centro al proponerse como el acontecer mismo de aquello que permanece en  fuga. / The present article will address chapter II “The savage detectives (1976- 1996)”, which introduces fifty-four characters that give testimony regarding poets Arturo Belano and Ulises Lima. The absence of these poets is what allows for them to be present in each one of the testifying subjects’ memory. The narration, then, constructs a place of memory for Belano and Lima to inhabit, generating in this way a violent interruption that constitutes a rejection of the traditional novel format since it relocates its fundamental elements, namely, the protagonist and the narrator. This chapter can, therefore, be interpreted as a center that denies the concept of center by presenting itself as the very occurrence of that which remainson the run.

Este trabalho analisa a obra do chileno Roberto Bolaño (1953-2003) sob a ótica da coragem, vislumbrada como traço marcante dos personagens bolanianos e entendida pelo autor como requisito da literatura de qualidade, que supõe a proximidade da arte com uma espécie de abismo. Num primeiro momento, perguntamo-nos sobre quais seriam os perigos que, de acordo com Bolaño, rondariam a literatura e que exigiriam do escritor uma atuação corajosa. Para isso, valemo-nos de romances como Amuleto e Estrella distante, do conto El Ojo Silva e das intervenções críticas de Bolaño. Posteriormente, nos centramos na obra Los detectives salvajes, que retoma procedimentos narrativos e cânones - como as vanguardas e as neovanguardas - considerados corajosos por sua inovação formal, pela crítica às instituições e pela formulação de uma estética que se entrelaça com uma ética. Nesse mesmo processo, verificamos que o autor diagnostica a perda de espaço desses procedimentos corajosos no cenário literário contemporâneo, pautado pelo abandono das utopias e pelas exigências do mercado literário. Vemos que a obra caminha para a elaboração de uma ética possível nesse novo contexto, e que será marcada pela recusa da estabilidade, que se traduz em deslocamento geográfico e linguístico. / This paper analyzes the work of chilean writer Roberto Bolaño (1953-2003) from the perspective of courage, envisioned as a remarkable feature of his characters and considered by the author as a requirement for a writing with quality, which supposes the proximity between art and a kind of abyss. At first, we wonder about what would be the dangers that, according to Bolaño, surround literature and require a courageous performance. Novels such as Amuleto and Estrella distante, the tale El Ojo Silva and the critical interventions of Bolaño, can be used as examples of that kind of performance. Subsequently, we focus on the work Los detectives salvajes, which incorporates narrative procedures and canons - such as the vanguards and neovanguards - considered courageous due to their formal innovation, the criticism of institutions and the formulation of an aesthetic that is interlaced with a kind of ethic. In that case, we find out that the author had diagnosed the loss of space for these courageous procedures in contemporary literature scene, marked by the abandon of utopias and the demands of the literature market. We can also observe that his work is heading towards the elaboration of a possible ethics in this new context, which will be stamped by the refusal of stability, translated into geographical and linguistic displacement.