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Journal articles on the topic 'Fiction, crime'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Ganguly, Sayanti. "Crime Fiction." Journal of Popular Culture 39, no. 5 (2006): 903–5. http://dx.doi.org/10.1111/j.1540-5931.2006.00315.x.

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2

Davis, Caitlin. "“Realistic Villains”." Digital Literature Review 10, no. 1 (2023): 96–106. http://dx.doi.org/10.33043/dlr.10.1.96-106.

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Crime films–one of the most beloved forms of crime fiction—have a close relationship with society due to their themes and subject matter. Because of this relationship, crime films are able to use their genre-specific elements to include social commentary within their storylines. Using their victims, suspects, and resolutions of the crimes, modern crime fiction pieces such as Rian Johnson’s 2019 film Knives Out and Halina Reijn’s 2022 film Bodies Bodies Bodies both implement larger conversations within their stories. In Knives Out, the audience follows the mystery behind the sudden death of the

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3

Olofinsao, Minister Abiodun. "The Genre and Trends of Crime Fiction in Nigeria." Scholars International Journal of Law, Crime and Justice 7, no. 03 (2024): 97–105. http://dx.doi.org/10.36348/sijlcj.2024.v07i03.001.

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The field of crime fiction in Nigeria remains under-explored in scholarly discourse. This lacuna is particularly notable given the absence of comprehensive academic works dedicated to this genre. Crime fiction, which delineates narratives surrounding criminals, their crimes, detection and investigation processes, and underlying motivations, has been a prolific subject in Nigerian creative literature. Despite the substantial body of Nigerian literary works delving into themes of crime, punishment, and motivation, it is intriguing that the genre has not garnered significant critical analysis. Th

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4

Lanslots, Inge. "'Crime fiction' all'italiana." Incontri. Rivista europea di studi italiani 28, no. 1 (2013): 132. http://dx.doi.org/10.18352/incontri.9162.

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5

Kinkley, Jeffrey C. "Chinese crime fiction." Society 30, no. 4 (1993): 51–62. http://dx.doi.org/10.1007/bf02695237.

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6

Hurcombe, M. "French Crime Fiction." French Studies 64, no. 2 (2010): 238–39. http://dx.doi.org/10.1093/fs/knp266.

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7

Johnsen, Rosemary Erickson. "Scandinavian Crime Fiction." Scandinavian Studies 84, no. 4 (2012): 521–25. http://dx.doi.org/10.2307/41955698.

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8

Sandberg, Eric. "Contemporary Crime Fiction, Cultural Prestige, and the Literary Field." Crime Fiction Studies 1, no. 1 (2020): 5–22. http://dx.doi.org/10.3366/cfs.2020.0004.

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Crime fiction laboured for many years under a persistent foundational anxiety over its cultural status. However, the cultural landscape has changed considerably in recent years, and many critics have identified a transformation in crime fiction's positioning as central to this transformation. This essay examines this claim by first looking at several ways in which crime fiction works well with a number of recent attempts to described key tendencies in contemporary literary production including its global view, its interest in the past, and its interstitial nature. It then locates crime fiction

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9

Stewart, Victoria. "True Crime and Contemporary Crime Fiction." Crime Fiction Studies 3, no. 2 (2022): 159–74. http://dx.doi.org/10.3366/cfs.2022.0072.

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The incorporation of thematic and formal references to true-crime texts in recent British and Irish crime novels shows fiction authors acknowledging that they share an audience with true-crime podcasts, documentaries and books. At the same time, these authors assert the particular contribution that fiction makes to the raising of awareness of both real-world crime and its representations. Examples considered include novels by Ruth Rendell, Denise Mina and Catherine Ryan Howard.

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10

Griffin, Grahame. "‘It was a Serious Kitchen Knife’: Witnessing and Reporting Horror Crime." Media International Australia 97, no. 1 (2000): 123–36. http://dx.doi.org/10.1177/1329878x0009700114.

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News reports of major crime can be linked to popular fiction genres. This linkage extends to the role of the crime witness and to the reporter as witness of crime and its aftermaths. It is argued that audience identification with witnesses and witnessing creates a ‘breathing space’ for reconsideration and reassessment of the crime. To illustrate how this might work in the reporting of horror and atrocity crimes, some newspaper ‘horror’ stories, and their relationship with horror fiction conventions, are discussed along with the television ‘eyewitness' reporting of international atrocity storie

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11

Kuchhal, Muskan. "ANALYZING THE CRIMINALIZATION OF RACE IN THE AMERICAN CULTURE THROUGH THE LENS OF DETECTIVE AND CRIME FICTION." International Journal of Advanced Research 10, no. 09 (2022): 275–79. http://dx.doi.org/10.21474/ijar01/15349.

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In contemporary times, detective and crime fiction has become more of a platform for social, and political commentary and raising awareness, than merely serving as a mode of entertainment. However, this was not a change that occurred overnight, but rather a result of a series of changes that disrupted the social balance over a period. InAmerican culture, this trend began in the mid-twentieth century when crime fiction was concerned not alone with the display of individuals and crime but moreover the process of criminalization. In the US, this related to the process of ascribing an inherently c

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12

Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.

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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an

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13

Parent, Georges-André. "Le réel fiction : les émissions « info-crime »." V. Ceux qui rapportent, no. 30 (October 16, 2015): 171–80. http://dx.doi.org/10.7202/1033676ar.

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Sous prétexte d’action communautaire et de partenariat avec la police, les médias télévisés propagent l’image d’une criminalité qui fait peur en dramatisant les crimes les plus spectaculaires et en encourageant les méthodes répressives traditionnelles de lutte contre le crime. Paradoxalement, alors que l’idée de police communautaire vise le développement de moyens de réduire le sentiment de peur et d’insécurité dans la société, les programmes télévisés de type Crime Stoppers, qui font l’objet de cet article, misent sur une collaboration communautaire pour dépister les auteurs de crimes, amplif

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14

Martin, Theodore. "War-on-Crime Fiction." PMLA/Publications of the Modern Language Association of America 136, no. 2 (2021): 213–28. http://dx.doi.org/10.1632/s003081292100002x.

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AbstractThis essay tells the story of how the War on Crime helped remake American crime fiction in the 1960s and 1970s. Amid starkly racialized public anxieties about rising crime rates and urban uprisings, Lyndon B. Johnson officially launched the War on Crime in 1965. The cultural logic of Johnson's crime war infiltrated various kinds of crime writing in the ensuing decade. Tracking the crime war's influence on the police procedurals of Joseph Wambaugh; the Black radical novels of Sam Greenlee, John A. Williams, and John Edgar Wideman; and the vigilante fiction of Donald Goines and Brian Gar

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15

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.

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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

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16

Crockett Thomas, Phil. "WRITING SOCIOLOGICAL CRIME FICTION." Art/Research International: A Transdisciplinary Journal 6, no. 1 (2021): 218–50. http://dx.doi.org/10.18432/ari29549.

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In this article I share and discuss a poetic work of experimental sociological crime fiction titled “You Will Have Your Day in Court” (in Crockett Thomas, 2020c). In it I reimagine the “true crime” story of “King Con” Paul Bint, who for a period in 2009 successfully impersonated Keir Starmer, the then Director of Public Prosecutions. I first introduce my collaborative approach to writing sociological crime fiction, connections to poststructuralist philosophy and conceptualisation of research as a process of translation. After sharing the piece, I discuss thematic aspects of the work, such as t

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17

Johnsen, Rosemary. "Twentieth-Century Crime Fiction." Journal of Popular Culture 40, no. 5 (2007): 889–90. http://dx.doi.org/10.1111/j.1540-5931.2007.00464.x.

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18

Garcia-Romeu, José. "Crime, Histoire et fiction." Cahiers d'études romanes, no. 15 (December 1, 2006): 81–96. http://dx.doi.org/10.4000/etudesromanes.1171.

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19

Chakraborty, Rituparna. "Crime fiction: An introduction." International Journal of Humanities and Arts 6, no. 1 (2024): 76–77. http://dx.doi.org/10.33545/26647699.2024.v6.i1b.68.

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20

Wilhelms, Lina. "“Esa zona indeterminada donde se cruzan la ficción y la verdad": Ficciones, realidades y la lectura como agentes críticos en El camino de Ida de Ricardo Piglia." Philologica Canariensia, no. 30 (2024) (June 22, 2024): 569–87. http://dx.doi.org/10.20420/phil.can.2024.691.

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This article analyses Ricardo Piglia's last novel, El camino de Ida (2013), which is influenced by the emphatic concept of fiction and the epistemological potential of literature, postulated by its author. The article discusses how the author aims to develop through his crime fiction a capacity for critical reading allowing us to recognise and read the state and economic fictions that, according to Piglia, fill reality. It will be shown how Piglia deliberately plays with fictional and factual elements at various levels of the complex narrative to provoke a critical and even suspicious attitude

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21

Stougaard-Nielsen, Jakob. "Wallander's Dark Geopolitics." Nordicom Review 41, s1 (2020): 29–42. http://dx.doi.org/10.2478/nor-2020-0014.

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AbstractA current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopoli

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22

Husam Jaber, Maysaa. "The “Unclaimed Experience”: Trauma and Crime Fiction." Arab World English Journal 1, no. 1 (2022): 114–25. http://dx.doi.org/10.24093/awej/kust.9.

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This paper examines the intersections between trauma and literature and crime fiction, more specifically. By looking at the representations of trauma in crime fiction, it is argued here that trauma in crime novels involves a multilayered and complex discourse that generates its own narrative, one that relies on techniques like fragmentation, repetition, puzzle-solving, deliberate vagueness, and obscurity. It is also proposed that the use of trauma as a lens to examine crime narratives is both valuable and problematic, as it brings forth the conflict and the tension in the trauma discourse rega

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23

Podlevskikh Carlström, Malin. "In Prosperous Sweden…" Mikael: Kääntämisen ja tulkkauksen tutkimuksen aikakauslehti 17, no. 1 (2024): 105–21. http://dx.doi.org/10.61200/mikael.137301.

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Based on a corpus of 203 reviews published in Russian newspapers and periodicals between 2000 and 2021, this article investigates the image of Sweden in the Russian reception of Swedish crime novels. The analysis aims to answer the following research questions: 1) How are Sweden and Swedes described in Russian reviews of Swedish crime fiction in 2000–2021? 2) Is there any indication of the novel reviewed having influenced the critic’s perception of Sweden? Swedish crime fiction is a popular genre in Russia, and constitutes as much as 63% of all translated Swedish prose fiction published in Rus

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24

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

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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

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25

Ellis, Joseph M. "Swedish Crime Fiction and Study Abroad: Literature, Politics and the Foreigner." Frontiers: The Interdisciplinary Journal of Study Abroad 30, no. 2 (2018): 106–16. http://dx.doi.org/10.36366/frontiers.v30i2.415.

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This paper highlights how to use Swedish crime fiction in the classroom to teach politics, especially issues related to immigration and the role of being “foreign”. Furthermore, the paper explores how Swedish crime fiction can be incorporated into a study abroad course, examining one such study abroad – known as W’International – on our campus. I argue that Swedish crime fiction novels make for a perfect venue to explore an array of political problems and challenges, and a palatable way for students unfamiliar with Sweden or crime fiction to relate to real-world issues.

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26

Dobrescu, Caius. "Identity, Otherness, Crime: Detective Fiction and Interethnic Hazards." Acta Universitatis Sapientiae, Philologica 5, no. 1 (2013): 43–58. http://dx.doi.org/10.2478/ausp-2014-0004.

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Abstract The topic of Otherness has been investigated from the point of view of popular culture and popular fiction studies, especially on the basis of the multiracial social environments of the United States. The challenges of addressing real or potential conflicts in areas characterised by an ethnic puzzle are to some extent similar, but at the same time differ substantively from the political, legal, and fictional world of “race.” This paper investigates these differences in the ways of overcoming ethnic stereotyping on the basis of examples taken from post-World War II crime fiction of Sou

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27

Ashtalkoska-Baloska, Tatijana, and Aleksandra Srbinovska-Doncevski. "Criminal law protection of economic crime Reality or fiction?" International Journal for Innovation Education and Research 5, no. 5 (2017): 63–70. http://dx.doi.org/10.31686/ijier.vol5.iss5.673.

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Starting from the definition of economic crime as a totality of illegal acts committed by an individual or a group of individuals to obtain a financial or professional advantage, criminal law protection of this type of crime is becoming more popular both from a theoretical and practical point of view, primarily due to its constituent elements (system of incrimination, subject of economic offense and forms of responsibility, sanctions), and secondary by identifying opportunities for its conception and realization. Therefore, this paper, analyzes situation both in terms of determining the causes

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28

Kimyongür, Angela. "The Pleasures of Crime. Reading Modern Crime Fiction." Modern & Contemporary France 21, no. 2 (2013): 256–57. http://dx.doi.org/10.1080/09639489.2012.753428.

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29

Skotarczak, Dorota. "Financial Crime in Crime Fiction in Socialist Poland." Studia Historiae Oeconomicae 34, no. 1 (2016): 33–44. http://dx.doi.org/10.1515/sho-2016-0003.

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Abstract Financial crime was one of the recurring themes in crime stories written in the period of socialist Poland. The writer who first undertook this subject was Leopold Tyrmand in his book “The Man with the White Eyes” (1955). The publication of this book is considered one of the symptoms of the cultural “thaw” and the end of real socialism. Tyrmand shows crime which develops when the state, cooperative and private businesses meet, but also the corruption and powerlessness of Citizen’s Militia. During Władysław Gomułka’s administration (1956–1970), this problem often recurred e.g. in the b

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30

Balsoy, Gülhan. "Crime, Gender, Sexuality: Female Villains in Late Ottoman Crime Fiction." International Journal of Middle East Studies 54, no. 1 (2022): 141–48. http://dx.doi.org/10.1017/s0020743822000058.

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In 1914, a Turkish novella depicting a young woman pressing a dagger to the throat of a bearded old man on its cover, with the title Bloody Fairy (Kanlı Peri), appeared for sale on bookshelves in the capital of the Ottoman Empire (Fig. 1). This relatively small book of fifty-four pages, with its price as low as 50 paras, was available to almost anybody who wanted to purchase and read it. Bloody Fairy was the first of a popular series of ten murder mysteries, National Collection of Murders (Milli Cinayat Koleksiyonu), written by Süleyman Sudi and Vassaf Kadri. On the back cover of the first boo

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31

Jastrzębska, Adriana Sara. "Criminal Capacity, Fictional Capacity - Tensions Between History and Fiction in Centroamerican Crime Fiction." Mitologías hoy 6 (December 1, 2012): 18. http://dx.doi.org/10.5565/rev/mitologias.69.

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32

Fister, Barbara. "Copycat Crimes: Crime Fiction and the Marketplace of Anxieties." Clues: A Journal of Detection 23, no. 3 (2005): 43–56. http://dx.doi.org/10.3200/clus.23.3.43-56.

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33

Conner, Staci Poston. "Chemical Crimes: Science and Poison in Victorian Crime Fiction." Victorians Institute Journal 47, no. 1 (2020): 244–48. http://dx.doi.org/10.5325/victinstj.47.2019-20.0244.

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34

Knežević, Jelena, and Aleksandra Nikčević-Batrićević. "In Search of Lizzie Borden: Between Fact and Fiction." Transylvanian Review 32, no. 3 (2024): 109–39. http://dx.doi.org/10.33993/tr.2023.3.06.

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The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these nar ratives portray Lizzie Borden in various ways—from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by socio cultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction lite

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35

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

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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 exam

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36

Gonzalez, Angelo. "Mysteriously Murderous Manors of Crime Fiction." Digital Literature Review 10, no. 1 (2023): 75–84. http://dx.doi.org/10.33043/dlr.10.1.75-84.

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Crime fiction has many common tropes often associated with its setting, including large houses with wealthy families, isolated homes in vast expanses of forest, and technological deserts, in which everyday things like cell phones are all but useless. These characteristics assist with the plot, and oftentimes are key contributors to the facts of the case. The manor in the 2019 film Knives Out, directed by Rian Johnson, displays these tropes outrightly, as it is in a large expanse of woods, and the family living in the house is built upon a family legacy of vast amounts of wealth. In many cases

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37

Maltz, Hernán. "Literatura policial y policía: reflexiones a partir de dos intervenciones críticas (José Pablo Feinmann y Carlos Gamerro)." Catedral Tomada. Revista de crítica literaria latinoamericana 9, no. 17 (2022): 197–225. http://dx.doi.org/10.5195/ct/2021.465.

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I propose a close reading on two critical interventions about crime fiction in Argentina: “Estado policial y novela negra argentina” (1991) by José Pablo Feinmann and “Para una reformulación del género policial argentino” (2006) by Carlos Gamerro. Beyond the time difference between the two, I observe aspects in common. Both texts elaborate a corpus of writers and fictions; propose an interpretative guide between the literary and the political-social series; maintain a specific interest in the relationship between crime fiction and police; and elaborate figures of enunciators who serve both as

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38

Major, Laura. "Fictional Crimes/Historical Crimes: Genre and Character in Philip Kerr’s Berlin Noir Trilogy." Genealogy 3, no. 4 (2019): 60. http://dx.doi.org/10.3390/genealogy3040060.

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This paper will explore Philip Kerr’s Berlin Noir trilogy, composed of March Violets (1989), The Pale Criminal (1990), and A German Requiem (1991), discussing the overlap and blurring of generic boundaries in these novels and the ability of this form to reckon with the Holocaust. These detective stories are not directly about the Holocaust, and although the crimes investigated by the mordant Bernie Gunther are fictional, they are interweaved with the greater crimes committed daily by the Nazi Party. The novels are brutally realistic, violent, bleak, and harsh, in a narrative style highly appro

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39

King, Stewart. "Crime Fiction as World Literature." Clues: A Journal of Detection 32, no. 2 (2014): 8–19. http://dx.doi.org/10.3172/clu.32.2.8.

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40

Hansen. "Postsecularism in Scandinavian Crime Fiction." Scandinavian Studies 86, no. 1 (2014): 1. http://dx.doi.org/10.5406/scanstud.86.1.0001.

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41

Peterson, Shirley. "Brian Cliff, Irish Crime Fiction." Irish University Review 49, no. 2 (2019): 391–93. http://dx.doi.org/10.3366/iur.2019.0414.

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42

Hermes, Joke, and Cindy Stello. "Cultural citizenship and crime fiction." European Journal of Cultural Studies 3, no. 2 (2000): 215–32. http://dx.doi.org/10.1177/136754940000300204.

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43

DeKoven, Marianne. "Longshot: Crime fiction as Postmodernism." Lit: Literature Interpretation Theory 4, no. 3 (1993): 185–94. http://dx.doi.org/10.1080/10436929308580108.

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44

Klusoňová, Markéta. "Is Hamlet Scandinavian Crime Fiction?" Wroclaw Review of Law, Administration & Economics 5, no. 1 (2015): 104–18. http://dx.doi.org/10.1515/wrlae-2015-0026.

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45

Seago, Karen. "Translating violence in crime fiction." Perspectives 26, no. 6 (2017): 916–29. http://dx.doi.org/10.1080/0907676x.2017.1407347.

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46

Browne, Ray B. "Jake Page's Indian Crime Fiction." Journal of American Culture 26, no. 3 (2003): 291–312. http://dx.doi.org/10.1111/1542-734x.00093.

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47

Isaac, Fred. "Cambridge Companion to Crime Fiction." Journal of Popular Culture 38, no. 4 (2005): 777–78. http://dx.doi.org/10.1111/j.0022-3840.2005.140_9.x.

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48

Hansen, Kim Toft. "Postsecularism in Scandinavian Crime Fiction." Scandinavian Studies 86, no. 1 (2014): 1–28. http://dx.doi.org/10.1353/scd.2014.0005.

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49

Rahim, Masuma. "Crime novels: Facts and fiction." Forensic Update 1, no. 116 (2014): 21. http://dx.doi.org/10.53841/bpsfu.2014.1.116.21.

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50

Veselica-Majhut, Snježana. "The Challenges of Translating Cultural Embeddedness in Crime Fiction: A Picture from Croatia." Przekładaniec, Special issue 1/2022 (December 30, 2022): 93–116. http://dx.doi.org/10.4467/16891864epc.22.005.16519.

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The aim of the present study is to examine the specific features of translations of crime fiction in Croatia in the 2000s. Frederic Jameson (quoted in Rolls, Vuaille-Barcan, West-Sooby 2016) foregrounds the notion of crime fiction’s role as the new Realism due to the importance it places on historical and geographical specificity, together with the social fabric of our daily lives. As such, it is possible that an excessive emphasis on place in crime fiction may present a particular challenge in translation, not only in terms of the translation strategies chosen by translators, but also in term

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