Relevant bibliographies by topics / Crime Fiction Genre

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Crime Fiction Genre'

Author: Grafiati
Published: 11 December 2022
Last updated: 26 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Crime Fiction Genre.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Crime Fiction Genre"

1

Veselica-Majhut, Snježana. "Trudności związane z przekładem elementów kulturospecyficznych w literaturze kryminalnej: przykład Chorwacji." Przekładaniec, no. 40 (2020): 130–56. http://dx.doi.org/10.4467/16891864pc.20.007.13170.

Full text
Abstract:
Challenges of translating cultural embeddedness in crime fiction: a picture from Croatia The aim of the present study is to examine the specific features of translating crime fiction genre in Croatia in the 2000s. Frederic Jameson (qtd. in Rolls, Vuaille-Barcan & West-Sooby 2016) foregrounded the notion of crime fiction’s role as the new Realism due to the importance it places on historical and geographical specificity, and the social fabric of our daily lives. In line with this, an assumption could be made that the overvaluation of place in crime fiction may present a particular challenge in translation, not only in terms of translation strategies chosen by translators, but also in terms of preferable marketing strategies pursued by publishers and editors and the correspondence between them. The focus of this study is on the patterns of handling source-culture embeddedness, typical of this genre, in translation. The study examines how diverse agents (editors, translators and language revisers) involved in the production of translations of this genre interact and how their interaction influences the decisions on handling the genre’s embeddedness in a particular, source-culture, reality. As crime fiction novels are a highly popular translated genre in Croatia, crime fiction novels make a substantial portion of the production of the publishing sector. For the purposes of this study we have selected a number of crime fiction novels by several frequently translated authors (P. D. James, Ruth Rendell, Michael Connelly) that have been published by Croatian publishers of diverse profiles, ranging from well-established publishers with long presence on the market to start-ups with a relatively short market life. The data analyzed include interviews with the agents involved (translators, editors and language revisers), peritext of these editions and analysis of selected textual segments.
APA, Harvard, Vancouver, ISO, and other styles
2

Hollister, Lucas. "Virginie Despentes’ queer crime fiction." French Cultural Studies 32, no. 4 (June 7, 2021): 417–27. http://dx.doi.org/10.1177/09571558211012987.

Full text
Abstract:
Virginie Despentes has become one of France’s most commercially successful and celebrated novelists. However, while the French press has often labelled Despentes’ novels as crime fiction (‘polars’), there has been little in-depth scholarly discussion of how her work engages and transforms the conventions of the genre. Studies of Despentes’ queer/feminist themes and rhetoric would benefit from a more sustained attention to her ambivalent appropriations of the masculinist tropes of brutal crime fiction, and studies of French crime fiction would benefit from considering Despentes as key figure in the development of French queer/feminist crime fiction. Examining novels ranging from Baise-moi to Apocalypse bébé, this article argues for the interest in reading them as crime fiction, and notably as works that underline the risks that accompany efforts to rewire masculinist genres from within and orient them towards feminist and queer concerns.
APA, Harvard, Vancouver, ISO, and other styles
3

Stadnik, Małgorzata. "Caryce kryminału. Kryminał kobiecy w Rosji." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 4 (September 22, 2018): 181–88. http://dx.doi.org/10.14746/kw.2014.4.15.

Full text
Abstract:
The article is an attempt to illustrate the female writers influence on the evolution of the crime fiction genre in Russia. It outlines a brief history of the genre, its complexity and the evolution of the main character. The article focuses on the works of the most famous Russian female writers in terms of their contributions to the crime fiction genre. The author also brings attention to the intercultural dialogue which as a result of Chmilewska's direct influence can be found in the novels by the tsarinas of crime fiction.
APA, Harvard, Vancouver, ISO, and other styles
4

Eichel, Roxana. "Genre Transgression in Contemporary Romanian Crime Fiction." Acta Universitatis Sapientiae, Philologica 11, no. 1 (November 1, 2019): 21–34. http://dx.doi.org/10.2478/ausp-2019-0002.

Full text
Abstract:
Abstract Crime fiction is currently evolving towards a literary genre which encompasses the intertwining of several textual practices, rhetorical modes, cultural identities, and topoi. Multiculturalism and the relation to alterity are gradually conquering the realm of detective fiction, thus rendering the crime enigma or suspense only secondary in comparison to other intellectual “enjeux” of the text. Transgressing the national horizon, contemporary detective fiction in Romanian literature can be thus considered as “world literature” (Nilsson–Damrosch–D’haen 2017) not only because it does not engage representations of Romanian spaces alone but also due to its translatability, its transnational range of cultural values and practices. This article aims to discuss several categories of examples for this fresh diversity that Romanian crime fiction has encountered. Novels written recently by authors such as Petru Berteanu, Caius Dobrescu, Mihaela Apetrei, Alex Leo Şerban, or Eugen Ovidiu Chirovici employ variations such as either alternative narrators or cosmopolitan characters, or contribute to anthologies, writing directly in English in order to gain access to a more complex audience. The paper sets out to analyse the literary or rhetorical devices at work in these transgressional phenomena as well as their effects on contemporary Romanian crime narratives and their possible correlations to transnational phenomena.1
APA, Harvard, Vancouver, ISO, and other styles
5

Hill, Lorna. "Bloody Women: How Female Authors Have Transformed the Scottish Contemporary Crime Fiction Genre." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 52–71. http://dx.doi.org/10.1515/abcsj-2017-0004.

Full text
Abstract:
Abstract This study will explore the role of female authors in contemporary Scottish crime fiction. Over the past thirty years, women writers have overhauled the traditionally male dominated genre of crime fiction by writing about strong female characters who drive the plot and solve the crimes. Authors including Val McDermid, Denise Mina and Lin Anderson are just a few of the women who have challenged the expectation of gender and genre. By setting their novels in contemporary society they reflect a range of social and political issues through the lens of a female protagonist. By closely examining the female characters, both journalists, in Val McDermid’s Lindsay Gordon series and Denise Mina’s Paddy Meehan series, I wish to explore the issue of gender through these writers’ perspectives. This essay documents the influence of these writers on my own practice-based research which involves writing a crime novel set in a post referendum Scotland. I examine a progressive and contemporary Scottish society, where women hold many senior positions in public life, and investigate whether this has an effect on the outcome of crimes. Through this narrative, my main character will focus on the current and largely hidden crimes of human trafficking and domestic abuse. By doing this I examine the ways in which the modern crime novel has evolved to cross genre boundaries. In addition to focusing on a crime, the victims and witnesses, today’s crime novels are tackling social issues to reflect society’s changing attitudes and values.
APA, Harvard, Vancouver, ISO, and other styles
6

Peters, Fiona. "True Crime Narratives." Crime Fiction Studies 1, no. 1 (March 2020): 23–40. http://dx.doi.org/10.3366/cfs.2020.0005.

Full text
Abstract:
This article investigates the contemporary fascination with true crime narratives, an subject which is fast becoming a central area of interest in crime fiction studies. As the overarching genre of crime fiction itself becomes the most read literature genre, not to mention its growing popularity in other popular cultural mediums – TV, film, documentary, podcast, blogs, etc., true crime – which has always been a popular sub-genre – is arguably moving centre stage aligned to our recent obsession with the real life figure of the serial killer. The usual discussions of both individual and collective obsession and fascination with such topics, is generally limited to arguments within conscious parameters of ethical choice, This paper will explore an alterative reading that introduces the Lacanian psychoanalytic concepts of the sinthome and jouissance, and argues that any reading of these topics cannot be contained within conceptions of rationality and ethical choice.
APA, Harvard, Vancouver, ISO, and other styles
7

Wilson, Rita. "Local Colour: Investigating Social Transformations in Transcultural Crime Fiction." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 125–40. http://dx.doi.org/10.33137/q.i..v37i1.28282.

Full text
Abstract:
Over the last twenty years, Italian “migration literature” has made significant contributions to the redefinition of the country’s literary and cultural scene. While the initial phase can best be conceptualized as a generic “micro-system” encompassing canonical genres such as (auto)biography and the Bildungsroman, more recently, narratives of migration have diversified radically, exhibiting a high degree of linguistic and genre experimentation. The defining feature of some of the more successful recent novelists lies in their active engagement with critical social and political issues that concern contemporary Italian society through the vehicle of the crime fiction genre. A case in point is provided by Algerian-born Amara Lakhous, whose four recent novels Scontro di civiltà per un ascensore a Piazza Vittorio (2006), Divorzio all’islamica a viale Marconi (2010), Contesa per un maialino italianissimo a San Salvario (2013) and La zingarata della verginella di Via Ormea (2014) all use strategies of genre hybridization (polyphonic migration narratives blended with giallo and noir structures) to problematize notions of citizenship and cultural identity. This article argues that borrowing the conventions of the giallo/noir enables Lakhous both to provide new insights into shifting constructions of “Italianness”/citizenship in a period characterized by the transition from national to transcultural communities and to accentuate the continuity of the dialogical relationship between the crime fiction genre and contemporary social reality.
APA, Harvard, Vancouver, ISO, and other styles
8

Ritter, Erich H., and Brian Docherty. "American Crime Fiction: Studies in the Genre." South Central Review 8, no. 1 (1991): 93. http://dx.doi.org/10.2307/3189311.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Orr, David MR. "Dementia and detectives: Alzheimer’s disease in crime fiction." Dementia 19, no. 3 (May 28, 2018): 560–73. http://dx.doi.org/10.1177/1471301218778398.

Full text
Abstract:
Fictional representations of dementia have burgeoned in recent years, and scholars have amply explored their double-edged capacity to promote tragic perspectives or normalising images of ‘living well’ with the condition. Yet to date, there has been only sparse consideration of the treatment afforded dementia within the genre of crime fiction. Focusing on two novels, Emma Healey’s Elizabeth is Missing and Alice LaPlante’s Turn of Mind, this article considers what it means in relation to the ethics of representation that these authors choose to cast as their amateur detective narrators women who have dementia. Analysing how their narrative portrayals frame the experience of living with dementia, it becomes apparent that features of the crime genre inflect the meanings conveyed. While aspects of the novels may reinforce problem-based discourses around dementia, in other respects they may spur meaningful reflection about it among the large readership of this genre.
APA, Harvard, Vancouver, ISO, and other styles
10

Meeks, Spencer. "Neuro-Crime Fiction: Detecting Cognitive Difference." Crime Fiction Studies 1, no. 1 (March 2020): 79–95. http://dx.doi.org/10.3366/cfs.2020.0008.

Full text
Abstract:
This paper seeks to understand how crime fiction connects with the neuroscientific turn occurring in society and culture today. It argues the genre has inherent ties to the science, technology, and biopolitical imperatives underpinning the neuroscientific turn, and is thus uniquely suited to exploring and challenging the ethical considerations arising from it. The paper highlights the symbiotic relationship between crime fiction and neuroscientific models, in which the particularities of the genre are employed by science while science influences the forms of crime fiction. Looking particularly at recent crime novels focussing on types of dementia, it explores how they affect expected generic endings to mount an ideological critique of a strictly medical and material model of identity formation. It does this through a re-working of today's hegemonic model of brain health, dominated by discourses of ‘neuroplasticity,’ looking in particular at how crime fiction can help us to think differently about cognitive differences and diseases.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Crime Fiction Genre"

1

Shead, Jackie. "Margaret Atwood’s transformative use of the crime fiction genre." Thesis, University of Bristol, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.573748.

Full text
Abstract:
This thesis examines Atwood's transformation of the crime genre, more particularly the whodunit and the spy thriller, in some of her longer fiction. Her protagonists are considered as detective figures needing to decipher experiences made mysterious to them by acceptance of hegemonic scripts. Discussion explores their discoveries that they are not only victims of the crime fabulae they unravel, but accessories, their complicity arising from an acculturation to ideologies of power, particularly those of patriarchy, class and colonialism. A gendered inflection of the crime narrative is also evident in one of the texts under discussion, Alias Grace, which depicts an unsuccessful male investigator. Using the concept of abduction - the interpretation of signs according to inherited mental frameworks - this thesis demonstrates that the protagonists' understanding of their conditions requires profound changes in their mental mapping of their worlds. While the body and the environment are shown to provide pressing evidence of crime, analysis demonstrates that mysteries are only unlocked by adjustments in the protagonists' mindsets. Careful tracking of those adjustments also makes clear that Atwood treats the romance narrative as a barrier to understanding. This thesis considers detection as an activity required by Atwood's readers as well as her characters. The penultimate chapter, on the metafictive detective story, therefore examines those authorial techniques that engage readers as investigators needing to deconstruct false stories generated by blinkered focalizers. Underpinning the entire thesis, but especially addressed in its closing chapters, is the belief that Atwood' s metafictive strategies are not symptoms of a postmodem depthlessness. Instead, pursuing Atwood's assertion that popular forms of literature embody mythologies which she terms the 'dreams of society', transformation of the crime genre is discussed as part of the author's wider project: interrogation of ways of seeing in order to encourage a sounder apprehension of ourselves and our worlds.
APA, Harvard, Vancouver, ISO, and other styles
2

Stewart, Faye. "Queer investigations genre, geography, and sexuality in German-language lesbian crime fiction /." [Bloomington, Ind.] : Indiana University, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3290757.

Full text
Abstract:
Thesis (Ph.D.)--Indiana University, Dept. of Germanic Studies, 2007.
Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4721. Adviser: Claudia Breger. Title from dissertation home page (viewed May 22, 2008).
APA, Harvard, Vancouver, ISO, and other styles
3

Meyer, Neele [Verfasser], and Bernhard [Akademischer Betreuer] Teuber. "Glocalizing genre fiction in the global South : Indian and Latin American post-millennial crime fiction / Neele Meyer ; Betreuer: Bernhard Teuber." München : Universitätsbibliothek der Ludwig-Maximilians-Universität, 2017. http://d-nb.info/1198111828/34.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Christie, Thomas A. "Notional identities : ideology, genre and national identity in popular Scottish fiction, 1975-2006." Thesis, University of Stirling, 2012. http://hdl.handle.net/1893/7149.

Full text
Abstract:
One of the most striking features of contemporary Scottish fiction has been its shift from the predominantly realist novels of the 1960s and 1970s to an engagement with very different modes of writing, from the mixture of realism and visionary future satire in Alasdair Gray’s Lanark (1981) to the Rabelaisian absurdity and excess of Irvine Welsh’s Filth (1998). This development has received considerable critical attention, energising debates concerning how such writing relates to or challenges familiar tropes of identity and national culture. At the same time, however, there has been a very striking and commercially successful rise in the production of popular genre literature in Scotland, in categories which have included speculative fiction and crime fiction. Although Scottish literary fiction of recent decades has been studied in great depth, Scottish popular genre literature has received considerably less critical scrutiny in comparison. Therefore, the aim of my research is to examine popular Scottish writing of the stated period in order to reflect upon whether a significant relationship can be discerned between genre fiction and the mainstream of Scottish literary fiction, and to consider the characteristics of such a connection between these different modes of writing. To achieve this objective, the dissertation will investigate whether the features of any such shared literary concerns are inclined to vary between the mainstream of literary fiction in Scotland and two different, distinct forms of popular genre writing. My research will take up the challenge of engaging with the popular genres of speculative fiction and crime fiction during the years 1975 to 2006. I intend to discuss the extent to which the national political and cultural climate of the period under discussion informed the narrative form and social commentary of such works, and to investigate the manner in which, and the extent to which, a specific and identifiably Scottish response to these ideological matters can be identified in popular prose fiction during this period. This will be done by discussing and comparing eight novels in total; four for each chosen popular genre. From the field of speculative fiction, I will examine texts by the authors Iain M. Banks, Ken MacLeod, Margaret Elphinstone and Matthew Fitt. The discussion will then turn to crime fiction, with an analysis of novels by Ian Rankin, Christopher Brookmyre, Denise Mina and Louise Welsh. As well as evaluating the work of each author and its relevance to other texts in the field, consideration will be given to the significance of each novel under discussion to wider considerations of ideology, genre and national identity which were ongoing both at the time of their publication and in subsequent years. The dissertation’s conclusion will then consider the nature of the relationship between the popular genres which have been examined and the mainstream of Scottish literary fiction within the period indicated above.
APA, Harvard, Vancouver, ISO, and other styles
5

Ess, Courtneigh. "n Interseksionele lees van Bettina Wyngaard se misdaadtrilogie (An intersectional reading of Bettina Wyngaard’s crime-fiction trilogy)." Thesis, University of the Western Cape, 2021. http://hdl.handle.net/11394/8183.

Full text
Abstract:
Magister Artium - MA
Bettina Wyngaard se misdaadfiksie-trilogie, bestaande uit die romans Vuilspel (2013), Slaafs (2016) en Jagter (2019) het ’n vernuwende uitwerking in die Afrikaanse literatuur gehad. Dit kan hoofsaaklik teruggevoer word na die skrywer se gebruik van ’n (swart) lesbiese protagonis. Wyngaard is ook die eerste swart Afrikaanse vroue-outeur wat haar tot hierdie genre gewend het. Haar misdaadtrilogie toon ’n sentrale bemoeienis met die vroulike subjek se ondergeskikte posisie as deurgaans onderdruk weens verskeie identiteitsaspekte (waaronder ras, gender, klas, seksualiteit, kultuur en nasionaliteit tel). Die simbiotiese verhouding tussen identiteit en mag is dus ’n prominente tematiek in die trilogie. Hierdie bemiddeling tussen identiteit en mag toon raakpunte met die interseksionaliteitsteorie soos voorgestel deur Kimberlé Crenshaw (1989). Sy voer aan dat subjekte onderdruk word deur die tussenspel van identiteitsmerkers en sisteme van onderdrukking wat inherent is daaraan. In hierdie verhandeling word die representasie van die vroulike subjek in Wyngaard se misdaadtrilogie uit ’n interseksionele invalshoek in oënskou geneem. Vanweë die gebruik van literatuur as subjek van analise in hierdie verhandeling, word swart feministiese denkskole oor die letterkunde ingereken as ontledingsinstrumente om Wyngaard se trilogie binne die ruim trajek van swart feministiese fiksie te posisioneer. Terselfdertyd word Wyngaard se subjektiwiteit as swart vroue-outeur krities bekyk omdat sy deur middel van haar tekste verantwoordelik is vir beeldskepping en voorstellings van vroulike subjekte. Aangesien Wyngaard se fiksie dikwels identiteitsaspekte ondervang wat verband hou met haar eie subjektiewe identiteit, sal die wyse bekyk word waarop selfdefiniëring en selfaktualisering in haar trilogie tot stand gebring word.Soos reeds genoem, het Wyngaard grense in die Afrikaanse letterkunde versit deur haar tot misdaadfiksie as genre te wend. As deel van populêre fiksie, staan misdaadfiksie tradisioneel bekend as ’n behoudende genre met ’n resepmatige onderbou wat, só beskou, nie gebruik word om progressiewe argumente in te voer nie. Hierdie aspek van die genre staan dus oënskynlik in kontras met die feministiese aard van Wyngaard se misdaadfiksie-trilogie. In hierdie verhandeling word gevolglik ook die funksionaliteit van genre en die impak daarvan op die beeldskepping van die vroulike subjek bekyk. Maniere waarop Wyngaard gevestigde genrekonvensies oorskry in ’n poging om feministiese benaderings te berde te bring, word in die besonder bestudeer.
South Africa
APA, Harvard, Vancouver, ISO, and other styles
6

Kydd, Christopher. "A mongrel tradition : contemporary Scottish crime fiction and its transatlantic contexts." Thesis, University of Dundee, 2013. https://discovery.dundee.ac.uk/en/studentTheses/965af68c-99ba-4b38-a20b-a23e052646cf.

Full text
Abstract:
This thesis discusses contemporary Scottish crime fiction in light of its transatlantic contexts. It argues that, despite participating in a globalized popular genre, examples of Scottish crime fiction nevertheless meaningfully intervene in notions of Scottishness. The first chapter examines Scottish appropriations of the hard-boiled mode in the work of William McIlvanney, Ian Rankin, and Irvine Welsh, using their representation of traditional masculinity as an index for wider concerns about community, class, and violence. The second chapter examines examples of Scottish crime fiction that exploit the baroque aesthetics of gothic and noir fiction as a means of dealing with the same socio-political contexts. It argues that the work of Iain Banks and Louise Welsh draws upon a tradition of distinctively Scottish gothic in order to articulate concerns about the re-incursion of barbarism within contemporary civilized societies. The third chapter examines the parodic, carnivalesque aspects of contemporary Scottish crime fiction in the work of Christopher Brookmyre and Allan Guthrie. It argues that the structure of parody replicates the structure of genre, meaning that the parodic examples dramatize the textual processes at work in more central examples of Scottish crime fiction. The fourth chapter focuses on examples of Scottish crime fiction that participate in the culturally English golden-age and soft-boiled traditions. Unpacking the darker, more ambivalent aspects of these apparently cosy and genteel traditions, this final chapter argues that the novels of M. C. Beaton and Kate Atkinson obliquely refract the particularly Scottish concerns about modernity that the more central examples more openly express.
APA, Harvard, Vancouver, ISO, and other styles
7

Mahmoud, Mafaz. "“Get a Problem, Solve a Problem”: Vulnerability, Precarity and Vigilantism in Lee Child’s Jack Reacher Novels." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23253.

Full text
Abstract:
This paper analyzes how vulnerability is represented in the Jack Reacher series, by drawing onwork by Bryan Turner and Judith Butler. The purpose of the research is to investigate the reasonReacher’s acts of vigilantism are needed. I look at examples of vulnerability and precarity foundin the books Killing Floor and Die Trying, and argue that state neglect is the cause of economicand social vulnerability in the towns Margrave and Yorke, leading to precarity expressed ascriminal money and community subjugation controlling the towns. I conclude that the solutionpresented, through vigilantism, is reassuring but insufficient, but that the series, in representing acomplex display of vulnerability and acknowledging the insufficiency of the solution, stressesthe difficulty of presenting a simple solution to the multifaceted nature of the issue ofvulnerability.
APA, Harvard, Vancouver, ISO, and other styles
8

Przewloka, Christopher. "Southern Land, Hardened Heart: the possibility of Australian Neon Noir." Thesis, Queensland University of Technology, 2016. https://eprints.qut.edu.au/101077/1/Christopher_Przewloka_Thesis.pdf.

Full text
Abstract:
This creative-based project discussed the potential of neon noir writing in Australia—a hardened style of crime fiction that investigates the dark underbelly of society. The craft-based research outlined how such fiction could be localised to examine our distinct history, culture, and politics. The associated creative work, a neon noir novel set in regional Queensland during the height of governmental corruption, was created in direct response to the discoveries of this research.
APA, Harvard, Vancouver, ISO, and other styles
9

Piper, Paige M. "Deathly Landscapes: The Changing Topography of Contemporary French Policier in Visual and Narrative Media." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469133497.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Leavitt, Joshua. "By the Book: American Novels about the Police, 1880-1905." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1598175125397595.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Crime Fiction Genre"

1

Les couleurs du noir: Biographie d'un genre. Paris: Chêne, 1989.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Allan, Poe Edgar. A Classic Crime Collection. London: Simon and Schuster, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Death of a prodigal. London: Collins Crime, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Solana, Carlos. Relatos cortos de terror. Madrid, Spain: M. E., 1997.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Allan, Poe Edgar. El corazón delator. Buenos Aires: Guadal, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

1954-, Darrach Lisa A., ed. The Tell-tale heart. Buffalo, N.Y: Discis Knowledge Research, 1992.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Allan, Poe Edgar. The Tell-Tale Heart. Mankato, MN: Creative Education, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Allan, Poe Edgar. Le système du Dr Goudron et du Pr Plume: Et autres histoires extraordinaires. Paris: Librio, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Charters, Ann. The Story and Its Writer: An Introduction to Short Fiction. Boston: Bedford/St. Martin's, 2015.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Brown, Charles Brockden. Wieland, and, Memoirs of Carwin the biloquist. New York: Barnes & Noble, 2008.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Crime Fiction Genre"

1

Gulddal, Jesper, and Stewart King. "Genre." In The Routledge Companion to Crime Fiction, 13–21. Abingdon, Oxon; New York, NY: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429453342-3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Woolf, Mike. "Exploding the Genre: The Crime Fiction of Jerome Charyn." In American Crime Fiction, 131–43. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Jaber, Maysaa. "Sherlock Holmes in Hollywood: Film Series, Genre and Masculinities." In Serial Crime Fiction, 167–76. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137483690_16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Seed, David. "Crime and the Spy Genre." In A Companion to Crime Fiction, 233–44. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444317916.ch18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Pepper, Andrew. "The “Hard-boiled” Genre." In A Companion to Crime Fiction, 140–51. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444317916.ch10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Robinson, Caroline. "Hard-Boiled Screwball: Genre and Gender in the Crime Fiction of Janet Evanovich." In Cross-Cultural Connections in Crime Fictions, 59–75. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137016768_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Varughese, E. Dawson. "Genre Fiction of New India: Post-millennial Configurations of Crick Lit, Chick Lit and Crime Writing." In South-Asian Fiction in English, 163–79. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40354-4_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Varughese, E. Dawson. "Erratum to: Genre Fiction of New India: Post-millennial Configurations of Crick Lit, Chick Lit and Crime Writing." In South-Asian Fiction in English, E1. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-40354-4_15.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Venkataraman, Vijaya. "Rewriting Genre/Gender? Crime Fiction by Women Authors from India and Latin America." In Transcultural Negotiations of Gender, 83–92. New Delhi: Springer India, 2015. http://dx.doi.org/10.1007/978-81-322-2437-2_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Cuder-Domínguez, Pilar. "Crime Fiction’s Disobedient Gaze: Refugees’ Vulnerability in Ausma Zehanat Khan’s A Dangerous Crossing (2018)." In Cultural Representations of Gender Vulnerability and Resistance, 91–109. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-95508-3_6.

Full text
Abstract:
AbstractThis chapter explores Ausma Zehanat Khan’s fourth police procedural, A Dangerous Crossing (2018), as an example of human rights fiction that casts a “disobedient gaze” on the current global refugee situation. Using the conventions of the crime genre, the novel manages to provide a detailed analysis of the gender vulnerability of Syrian refugees stranded in Greek camps and mobilises a transformative kind of empathy by drawing alternative affective economies that help readers expand the limit of our imagination. The chapter argues that Khan’s refugee advocacy rests on envisioning the human within those who are depicted as nonhuman in media and political descriptions of forced migration in the context of increased border securitisation.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Crime Fiction Genre' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography