Academic literature on the topic 'Non-fiction crime (?)'
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Journal articles on the topic "Non-fiction crime (?)"
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Román San Miguel, Aránzazu, Rodrigo Elías Zambrano, and Marc Paredes Molina. "Realidad y ficción en el discurso informativo. Crímenes como inspiración para proyectos audiovisuales en España." Ámbitos. Revista Internacional de Comunicación, no. 51 (2021): 62–78. http://dx.doi.org/10.12795/ambitos.2021.i51.06.
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ASince its appearance, television has been nourished by the crime show to increase the audience. Currently, documentaries and fiction and non-fiction series inspired by real events have turned viewers into judge and part of those events. In Spain, the crime committed with girls from Alcàsser was a before and after in the use of this type of entertainment. From then on, numerous producers realized the value that real stories had on television and began to shape the genre on television.This work makes visible the audiovisual products to which crimes committed in Spain have taken place and are analysed to see if they use sensational elements. In addition, the different formats that can be adopted are revealed: documentary, reportage, docu-series, docudrama ...
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Sooryah, N., and Dr K. R. Soundarya. "Erraticism in the Cannibal – A Study of the Work of Thomas Harris." International Journal of Early Childhood Special Education 12, no. 2 (2020): 18–23. http://dx.doi.org/10.9756/int-jecse/v12i2.201052.
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Literature is the key to human life that resurrects and gives space for introspection, retrospection and various remembrances which are hued by overjoy, pain and trauma. Nowadays crime literature became one of the most popular genres in this era which centers mostly on murder and violence. It started from Edgar Allen Poe’s most famous fictional character Auguste Dupin, whose first appearance was on The Murders in the Rue Mogue, considered to be the first crime fiction, followed by Dr. John Watson, Sherlock Holmes and the like. The genre crime fiction has contributed innumerable number of works in both fiction and non-fiction. Thomas Harris’s Hannibal Rising is one such fiction which tells about the life of a serial killer who is a psychiatrist as well as a cannibal. It is a series of novels about the famous character Hannibal Lecter. Cannibalism and Psychiatry are two extremes which rarely meet. This novel is intertwined with a mix of violence, emotions and childhood trauma. Trauma studies nowadays became a key aspect in literature. In this specific work of Thomas Harris, he describes how the centralized character is affected with psychological trauma, in particular, Acute and Separation trauma. Trauma theory became popularized in 1980s and played major role in Atwood’s novels. This study tries to explain how childhood shapes a person and how behaviorism plays a vital element in one’s life and it also tries to analyze the psychological issues, trauma and defense mechanism through the central character of the novel.
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Goldberg, Nancy Solan. "From Barbusse to Lemaitre: The Evolution of Experience." Anglica. An International Journal of English Studies, no. 27/3 (September 17, 2018): 163–81. http://dx.doi.org/10.7311/0860-5734.27.3.08.
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Direct witness and thoughtful meditation are core values of content and form in the canon of French Great War fiction and were established from the earliest narratives in 1914. Moral authority and ownership of the truth were both the privilege of soldier-writers like Barbusse and Dorgelès, who also sought insightful meaning in their direct experience. Their works remain “in collective memory” and continue to be published, read, and analysed (Grabes). With the passage of time, the gaps in insights and memory of direct witness were fi lled by fi ction in the works of canonical post-memory writers (Rigney). The rediscovery and reappraisal of disparate elements of the war by historians and non-canonical genre writers restored value to some of these objects, such as executions and the reintegration of veterans into society, that had “fall[en] out of frames of attention” (Assmann). Crime fiction novels set during the Great War, by virtue of their non-canonical status as genre fiction, were not restrained by acknowledged and often depreciatory imperatives of form and content. Unencumbered by these canonical constraints, the works of crime fi ction writers tell a “counter-history,” thus transferring a proscribed and obfuscated subject to the public sphere (Assmann).
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Crenzel, Emilio. "The ghostly presence of the disappeared in Argentina." Memory Studies 13, no. 3 (2020): 253–66. http://dx.doi.org/10.1177/1750698020914011.
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This article analyzes the ghostly presence of the figure of the disappeared in Argentina in the period spanning from the military dictatorship—when the crime of forced disappearance was perpetrated systematically and on a massive scale—to the present. By examining a variety of written and oral sources (memoirs, print media, interviews, radio shows, photographs, documentaries, and literary works of fiction and non-fiction), the article historicizes that presence and explains it through the crime’s liminal nature, and the different meanings that the spectral figure acquires depending on the actors who perceive it and the changing political contexts. The article reveals how the ghostly presence of the disappeared challenges the tools used internationally in the field of transnational justice to deal with experiences of extreme violence and the specific policies for processing the crime of forced disappearance and representing the disappeared in Argentina.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.
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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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West, Joel. "The Sign of the Joker." Brill Research Perspectives in Popular Culture 2, no. 1 (2020): vi—82. http://dx.doi.org/10.1163/25894439-12340003.
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Abstract The Joker both fascinates and repels us. From his origin in Detective Comics in 1940, the Joker has committed obscene crimes, some of the worst the Batman universe has ever known. Conversely fans have made him the topic of erotic and pornographic “fan fiction.” Speculation about the Joker abounds; some fans have even claimed that the Joker is “queer coded.” This work explores various popular claims about the Joker, and delves into the history of comic books and of other popular media from a semiotic viewpoint to understand “The Clown Prince of Crime” in the contexts in which he existed to understand his evolution. From his roots as a “typical hoodlum,” The Joker even starred in his own eponymous comic book series and he was recently featured in a non-canonical movie. This work examines what it is about the Joker which fascinates us.
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Skibińska, Elżbieta. "Czy tłumaczona powieść kryminalna może uczyć historii? O przekładach Śmierci w Breslau i Głowy Minotaura Marka Krajewskiego." Przekładaniec, no. 40 (2020): 70–87. http://dx.doi.org/10.4467/16891864pc.20.004.13167.
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Is a Translated Crime Novel Likely to Teach History? About the Translations of Śmierć w Breslau [Death in Breslau] and Głowa Minotaura [The Minotaur’s Head] by Marek Krajewski Crime novel is considered one of the most important innovations of the twentieth century in the field of fiction. Together with cinema, television and “elite” literature which often take over some of its features (themes and plots), it plays a significant role in creating the representation of reality proposed to the readers. The investigation described in the novels is set in a context which refers to the real world, in its social, political or historical aspects. The realistic dimension of the crime story makes it a kind of “social document”, which attracts the attention of researchers, including non-literary scholars. Reading crime novels allows them to acquire strictly literary information, but also some knowledge about communities, which leads them to an interpretation of relationships between literature and society. In this paper, the translated crime novel is seen as a special means of enriching the reader’s knowledge of the source culture. The realistic character of the work, which is supposed to fulfil a primarily ludic function, implies a certain tension in the work of the translator, who is led to ask himself: “shall I entertain or shall I entertain and teach”? If realism becomes a constitutive feature of crime fiction, if, as stated by Maryse Petit and Gilles Menegaldo, “under the pretext of attracting a crime novel client, the intention is to give him a history lesson or to make him think about a certain state of society”, the translator may be bound to include in the translation some elements that supplement the “encyclopaedic” knowledge of the target reader. The analysis is based on two novels by Marek Krajewski – his first novel, Death in Breslau (1999), set in the inter-war period, featuring the German policeman Eberhard Mock, and The Minotaur’s Head, published a decade later, which action takes Mock to Lwów in the time when it was a Polish city and makes him befriend a Polish commissioner, Popielski. A comparison of some of their translations (eight for the first book, three for the second) shows differences in the treatment of the historical component of the novels, both in the treatment of selected text elements, as a result of the translator’s project, and in the peritexts, which, however, usually do not depend on the translator, but on the publisher.
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Burke, Lucy. "Hostile environments? Down’s syndrome and genetic screening in contemporary culture." Medical Humanities 47, no. 2 (2021): 193–200. http://dx.doi.org/10.1136/medhum-2020-012066.
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This essay explores the complex entanglement of new reproductive technologies, genetics, health economics, rights-based discourses and ethical considerations of the value of human life with particular reference to representations of Down’s syndrome and the identification of trisomy 21. Prompted by the debates that have occurred in the wake of the adoption of non-invasive prenatal testing (NIPT), the essay considers the representation of Down’s syndrome and prenatal testing in bioethical discourse, feminist writings on reproductive autonomy and disability studies and in a work of popular fiction, Yrsa Sigurdardóttir’s Someone To Look Over Me (2013), a novel set in Iceland during the post-2008 financial crisis. It argues that the conjunction of neo-utilitarian and neoliberal and biomedical models produce a hostile environment in which the concrete particularities of disabled people’s lives and experiences are placed under erasure for a ‘genetic fiction’ that imagines the life of the ‘not yet born’ infant with Down’s syndrome as depleted, diminished and burdensome. With close reference to the depiction of Down’s syndrome and learning disability in the novel, my reading explores the ways in which the generic conventions of crime fiction intersect with ideas about economics, politics and learning disability, to mediate an exploration of human value and social justice that troubles dominant deficit-led constructions of disability.
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Leyda, Julia, and Sara Brinch. "Anthropocene slow TV: Temporalities of extinction in Svalbard." Journal of Scandinavian Cinema 10, no. 3 (2020): 297–309. http://dx.doi.org/10.1386/jsca_00033_1.
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In Norway, slow television, an internationally popular format that approaches Nordic noir in export value, has been primarily concerned with entertaining viewers by showing Norwegians (and interested outsiders) their own country. The January 2020 NRK release of its slow TV programme Svalbard minutt for minutt (Svalbard Minute by Minute) focuses on this Arctic region, juxtaposing striking images of its native fauna with the remarkably well-preserved ecological crime scenes of its Anthropocene pasts. Svalbard Minute by Minute constitutes a daring mash-up of nation-branding nature programme and extractivist history documentary, via both non-fiction modes of place and process views, in which the two strains reinforce one another to pose difficult questions about the future for viewing audiences.
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Novakova, Iva. "Phraseological motifs for Distinguishing Between Literary Genres. A Case Study on the Motifs of Verbal and Non-Verbal Communication." Kalbotyra 74 (September 15, 2021): 160–81. http://dx.doi.org/10.15388/kalbotyra.2021.74.9.
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The present paper is based on the assumption that the language of the novel is characterized by a statistically relevant overrepresentation of certain linguistic units (e.g. lexemes, key words, collocations and colligations, Siepmann 2015). First steps towards checking the validity of this hypothesis had been undertaken in pioneering works in the 1990s/2000s (e.g. Stubbs & Barth 2003). These studies were however limited by the small size of their (exclusively English) corpora. The present study explores the role of some patterns (phraseological motifs) in distinguishing French literary subgenres. It also proposes a case study of some motifs related to the verbal (dire avec sourire ‘to say with a smile’) and non-verbal communication (adresser un sourire ‘to send a smile’). Unlike traditional corpus-stylistic analyses, which frequently focus on the style of a single author, our corpus-driven approach identifies lexico-syntactic constructions in literary genres which are automatically extracted from the corpora.The main purpose is to show the relevance of the notion of phraseological motif (Legallois 2012; Longrée & Mellet 2013; Novakova & Siepmann 2020) for the distinction of literary subgenres. Linking form and meaning, these ‘multidimensional units’ fulfil pragmatic as well as discursive functions.The data has been extracted from large French corpora of the PhraseoRom research project https://phraseorom.univ-grenoble-alpes.fr. They are accessible on http://phraseotext.univ-grenoble-alpes.fr/phraseobase/index.html and contain 1000 novels (published from the 1950s to the present), partitioned into six sub-corpora: general literature (GEN), crime fiction (CRIM), romances (ROM), historical novels (HIST), science fiction (SF) and fantasy (FY).The results of our study reveal some unexpected differences between the literary subgenres: e.g. the motif dire d’une voix ‘to say in a voice’ in HIST compared to GEN. In FY, expressions of verbal communication are related to shouting and screaming. Expressions related to the non-verbal communication (prendre dans ses bras ‘to take in one’s arms’) are specific to ROM, where body language is overrepresented. In SF, there is a very limited number of these types of expressions. More generally, the motifs provide the link between the micro level (phraseological recurrences) and the macro level (the fictional script).
Dissertations / Theses on the topic "Non-fiction crime (?)"
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Collinge-Loysel, Clarence. "Bien se souvenir : représentation de la violence politique et de la mort dans La Constellation du Lynx, de Louis Hamelin, suivi de La vingt-troisième nuit, roman." Thèse, 2017. http://hdl.handle.net/1866/21258.
Full textBooks on the topic "Non-fiction crime (?)"
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1960-, Geiger John, ed. Frozen in time: The fate of the Franklin expedition. Greystone Books, 1998.
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1960-, Geiger John, ed. Frozen in time: The fate of the Franklin expedition. Greystone Books, Douglas & McIntyre Pub. Group, 2004.
Find full textBook chapters on the topic "Non-fiction crime (?)"
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McGregor, Rafe. "Introduction: Narrative, Criminology, and Fiction." In A Criminology Of Narrative Fiction. Policy Press, 2021. http://dx.doi.org/10.1332/policypress/9781529208054.003.0001.
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The purpose of this chapter is to introduce narrative representation, criminology, and the concept of fiction. The chapter begins with a delineation of criminology as an academic discipline and crime as a contested concept. Narrative vs. non-narrative distinguishes narrative representation from the various forms of non-narrative representation and identifies two types of narrative representation: minimal narratives and exemplary narratives. Fiction vs. non-fiction begins by differentiating ‘fiction’ from ‘narrative’ and then draws attention to the problems with differentiating fiction from non-fiction in terms of either the imagination, invention, or falsity. The chapter defines fiction in terms of a practice, which unites a particular kind of creative utterance to a particular kind of receptive stance. The chapter concludes with an extended abstract of the book.
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Clark, David. "Mean streets, new lives: the representations of non-Irish immigrants in recent Irish crime fiction." In Literary visions of multicultural Ireland. Manchester University Press, 2014. http://dx.doi.org/10.7228/manchester/9780719089282.003.0018.
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Baxter, Katherine Isobel. "‘Written in the Interest of the People’: Representing the Law in Cyprian Ekwensi and Market Literature." In Imagined States. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474420839.003.0006.
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Chapter Five examines how the law is represented and deployed in Cyprian Ekwensi’s Jagua Nana and People of the City and in a selection of Nigerian market fiction. The law and its transgression permeated a range of publications in the years immediately preceding and after independence. Fiction and non-fiction alike repeatedly engaged with questions of crime and punishment, and even invoked legal paradigms to explore sexual and emotional relationships. This chapter demonstrates how market literature sought to generate through its own imagined communities discussion about and regulation of the apparent lawlessness of modern urban life. In attending to the larger presence of the law in both high- and lowbrow literature of the period, this chapter shows how the law was shaped in the popular imagination at independence.
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Parolin, Gianluca. "Enquêteurs (non) familiers :." In Le récit criminel arabe / Arabic Crime Fiction. Harrassowitz Verlag, 2021. http://dx.doi.org/10.2307/j.ctv1h9djpf.14.
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Gevers, Christopher. "The ‘Africa Blue Books’ at Versailles." In The New Histories of International Criminal Law. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198829638.003.0009.
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This chapter tells the story of the silencing of crimes committed against Africans from international criminal law’s founding moment at Versailles in 1919. While British ‘Atrocity Blue Books’ were central to the call for criminal prosecutions of Germans after the war, the two Blue Books concerning crimes committed against Africans were inexplicably excluded from the report of the Commission on the Responsibility for the Authors of the War. This chapter explores the conditions of their erasure—both at Versailles and in the subsequent histories of the First World War and international criminal law—and considers what might happen if they were included within the fields’ dominant historical narrative. In both respects C.S. Forrester’s 1935 novel The African Queen and its myriad afterlives, in fiction, non-fiction, and film, prove a productive analogue as these texts intersect in interesting ways, both in content and form.
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Alexander, Amanda. "Narrative Contingency and International Humanitarian Law." In Contingency in International Law. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192898036.003.0021.
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This chapter will argue that international humanitarian law (IHL) is embedded in narratives that shape its history and meaning. Some international lawyers have argued that these narrative possibilities are necessarily constrained by a Western perspective that limits the potential of the law. Indeed, theories of narrative history consider that the possibilities of any narrative history are limited by prevailing tropes and can only relate a humanist story of ‘man’s’ encounter with the legal order. Nevertheless, alternative aesthetic and theoretical frameworks are beginning to emerge that could facilitate new ways of understanding IHL. Remembrance of Earth’s Past, a science fiction trilogy by Chinese writer Cixin Liu, provides an opportunity to explore a strikingly different vision of law, crimes against humanity, and the very notion of humanity. It suggests how narratives that draw on non-Western, non-anthropocentric ethics might underpin a distinct type of law.