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"Detective and mystery stories, English"
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The Cambridge Companion to Crime Fiction
The Cambridge Companion to Crime Fiction covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the detective fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in eighteenth-century literature, French and Victorian fiction, women and black detectives, crime on film and TV, police fiction and postmodernist uses of the detective form. The collection, by an international team of established specialists, offers students invaluable reference material including a chronology and guides to further reading. The volume aims to ensure that its readers will be grounded in the history of crime fiction and its critical reception.
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Toward the golden age : the stories that turned crime to gold
\"Fifteen short stories, dating from 1910 to 1925, spotlight the work of writers whose skill and ingenuity led to the Golden Age of crime fiction. Selections include G. K. Chesterton's \"The Blue Cross,\" \"The Ninescore Mystery\" by Baroness Orczy, Mary Roberts Rinehart's \"The Papered Door,\" and captivating tales by lesser-known authors\"-- Provided by publisher.
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The crime fiction handbook
The Crime Fiction Handbook presents a comprehensive introduction to the origins, development, and cultural significance of the crime fiction genre, focusing mainly on American British, and Scandinavian texts.
* Provides an accessible and well-written introduction to the genre of crime fiction
* Moves with ease between a general overview of the genre and useful theoretical approaches
* Includes a close analysis of the key texts in the crime fiction tradition
* Identifies what makes crime fiction of such cultural importance and illuminates the social and political anxieties at its heart.
* Shows the similarities and differences between British, American, and Scandinavian crime fiction traditions
eBook
More rivals of Sherlock Holmes : stories from the golden age of gaslight crime
One story each, featuring key detectives of the Gaslight era, including Mr. Booth, Max Carrados, Miss Florence Cusack, John Dollar- the Crime Doctor, Dick Donovan, Horace Dorrington, Martin Hewitt, Judith Lee, Lady Molly of Scotland Yard, Madelyn Mack, Addington Peace, Mark Poignand and Kala Persad, John Pym, Christopher Quarles, John Thorndyke.
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A Counter-History of Crime Fiction
This book takes a look at the evolution of crime fiction. Considering 'criminography' as a system of inter-related sub-genres, it explores the connections between modes of literature such as revenge tragedies, the gothic and anarchist fiction, while taking into account the influence of pseudo-sciences such as mesmerism and criminal anthropology.
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The witness for the prosecution and other stories
Eleven stories deal with a murder trial, a premonition of death, a ghostly possession, a mysterious cry for help, a poisoning, and a wealthy aunt's will.
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Language, Ideology and Identity in Serial Killer Narratives
In this book, Gregoriou explores the portrayal of the serial killer identity and its related ideology across a range of contemporary crime narratives, including detective fiction, the true crime genre and media journalism. How exactly is the serial killer consciousness portrayed, how is the killing linguistically justified, and how distinguishing is the language revolving around criminal ideology and identity across these narrative genres? By employing linguistic and content-related methods of analysis, her study aims to work toward the development of a stylistic framework on the representation of serial killer ideology across factual (i.e. media texts), factional (i.e. true crime books) and fictional (i.e. novels) murder narratives. ‘Schema’ is a term commonly used to refer to organised bundles of knowledge in our brains, which are activated once we come across situations we have previously experienced, a ‘group schema’ being one such inventory shared by many. By analysing serial murder narratives across various genres, Gregoriou uncovers a widely shared ‘group schema’ for these murderers, and questions the extent to which real criminal minds are in fact linguistically fictionalised. Gregoriou’s study of the mental functioning and representation of criminal personas can help illuminate our schematic understanding of actual criminal minds.
Christiana Gregoriou is a lecturer in English Stylistics at the University of Leeds. She has an interest in the linguistic make-up of literary texts, and crime narratives in particular. She's published on the criminal mind style, a book on English Literary Stylistics and a monograph on Deviance in Contemporary Crime Fiction .
1. Crime Scenes 2. Killer Headlines 3. True Crime! 4. Buying Crime 5. The Verdict
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The Thriller and Northern Ireland since 1969
For the past 30 years, the so-called 'Troubles' thriller has been the dominant fictional mode for representing Northern Ireland, leading to the charge that the crudity of this popular genre appropriately reflects the social degradation of the North. Aaron Kelly challenges both these judgments, showing that the historical questions raised by setting a thriller in Northern Ireland disrupt the conventions of the crime novel and allow for a new understanding of both the genre and the country. Two essays on crime fiction by Walter Benjamin and Berthold Brecht appear here for the first time in English translation. By demonstrating the relevance of these theorists as well as other key European thinkers such as Antonio Gramsci, Louis Althusser, and Slavoj Zizek to his interdisciplinary study of Irish culture and the crime novel, Kelly refutes the idea that Northern Ireland is a stagnate anomaly that has been bypassed by European history and remained impervious to cultural transformation. On the contrary, Kelly's examination of authors such as Jack Higgins, Tom Clancy, Gerald Seymour, Colin Bateman, and Eoin McNamee shows that profound historical change and complexity have characterized both Northern Ireland and the thriller form.
Contents: Introduction: 'You didn't need a reason to kill people, not here': narrative, the north, and historical agency; 'The green unpleasant land': the political unconscious of the British 'Troubles' thriller; 'And what do you call it?': the thriller and the problematics of home in Northern Irish writing; 'New languages would have to be invented': representations of Belfast and urban space; 'A man could get lost': constructions of gender; 'It's not for the likes of us to philosophize': the pleasure and politics of thrills, or, towards a political aesthetics; Appendices; Bibliography; Index.
Aaron Kelly is a Lecturer in Modern and Contemporary Literature in English at the University of Edinburgh, UK.
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