Crime Fiction Research Articles

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James Hogg's The Private Memoirs and Confessions of a Justified Sinner(1824) is often mentioned as an ambiguous work that deals with religious mania and split personality. Also, his story becomes more like open puzzles in crime fiction through gothic and metafictional techniques. Beneath his complicated contents and forms, however, we need to find Hogg's political and cultural intentions. From a long time ago, Scottish mysticism has been suppressed by the government and authentic religion. His intentional use of antinomianism is a pretext to address the independent and undaunted spirit of Scottish people whose faith is close to fatalism. The reinterpretations of his work by contemporary novelists reveal the author's original intentions well.

The 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 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 terms of the preferred marketing strategies pursued by publishers and editors and the correspondence between them. This study focuses on the patterns of handling source-culture embeddedness, typical of this genre, in translation. It examines how diverse agents (publishers, editors and translators) 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 sourceculture reality. As crime fiction novels are a highly popular translated genre in Croatia, they make up a substantial portion of the production of the publishing sector. For the purposes of this study, a number of crime fiction novels by several frequently translated authors have been selected (P.D. James, Ruth Rendell, and Michael Connelly), published by Croatian publishers with diverse profiles, ranging from well-established companies to those more recently set up. The data analysed includes selected textual segments, the peritext of such editions, and interviews with the agents involved (translators and editors).

Is a Crime Novel in Translation Capable of Teaching Us History? A Consideration of 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.

Female Investigators:

While the crime genre may have seemed as purely masculine for the greater part of its history, feminist critics looking for the roots of female crime writing have found a rich history of both the woman crime writer as well as the woman detective. Since the 1980s there has been not only a pronounced resurgence of interest in crime fiction, but also a boom of female detectives created by female writers. Focusing on works by Robert Galbraith, Denise Mina, Linda Barnes, Dana Stabenow and S. J. Rozan, this article explores some of the ways the traditionally masculine private eye subgenre can be appropriated to accommodate a female protagonist. Comparing a variety of protagonists and narrative strategies, it further argues that, perhaps paradoxically, the originally dominantly masculine hardboiled PI tradition seems well accommodating to female (even feminist) appropriations.

The Mysteries of the Post-Communist Vampire: Detective Features in the Novel Nepotul lui Dracula by Alexandru Mușina

"The association of the vampire with Eastern Europe has evolved in crime fictions which transform this fantastic character from a supernatural being to a means to comment on politics, many of them focusing on the imagological opposition between Eastern Europe and the Western world, a treatment that began with Stoker’s Dracula. Our paper analyses the transformation of this imagological vampiric stereotype, by investigating the deconstructivist novel Nepotul lui Dracula (Dracula’s Nephew) (2012) by the Romanian writer Alexandru Mușina."

Note from the Editor

Note from the Editor John P. DiMoia, Editor-in-chief With this edition serving as the first of the journal to appear with me as editor, I want to thank Prof. Sem Vermeersch of SNU for his extensive help as I have encountered, and continue to have, many questions throughout the process. Previously an Associate Editor at the journal, and teaching at the Department of Korean History at SNU since 2018, I had little idea of how much additional work goes on "behind the scenes" into transforming a diverse collection of submissions and book reviews into a journal, yielding if not a single overarching theme, then certainly a set of related concerns and questions. Along with Prof. Vermeersch, I also want to thank Kyujanggak, and its entire staff, for undertaking the bulk of the work involved, for which I am extremely grateful. This volume includes four research articles, accompanied by two book reviews, continuing the journal's approach of engaging with the most recent scholarship possible in the field of Korean Studies, with that category meant as broadly construed, and one very much in progress. The first research article, by Ilsoo Cho, examines the "limits of Sinocentrism," looking specifically at the legacy of nativist discourse in Joseon, here meaning language tied to, and constitutive of forms of Korean identity over the long term. Tracking the transition to the Ming in the fourteenth century, Cho argues that Joseon Korea's positioning within the imperial system did not necessarily mean a complete submission, as evidenced by these earlier and persisting forms of language. The implications of this line of argument not only hold significance for the period, and Joseon's relations with its foreign partners, but also presumably for observations to be made about Sino-Korean relations in other contexts, spanning diverse periods and state formations. Lee Min Young contributes the second article, concerning the March First Movement and its function in Korean memory, especially as it appeared in the literature and frequent debates surrounding the period of liberation following August 1945. In referring to this act as "failed," Lee recognizes the challenge of controlling memory in terms of shaping the incoming state's mandate and the [End Page v] corresponding plurality of possible uses for the colonial past. Rather than reading the event strictly as a failure, this conclusion opens the possibility for a dialogue concerning the Korea to follow after August 1945. The third research article, contributed by Jinyoung Park, examines the formation and dissemination of crime fiction, more specifically, the detective novel, within the East Asian context, here referring to China and Korea. In both cases analyzed, Park notes the presence of female detectives as protagonists and considers the possibilities for a gendered reading of the genre and its reception within an audience. If the detective novel in English, and perhaps more globally, is often considered the mid-nineteenth-century work of Poe, this understanding is often framed in terms of the prevalence of a certain view of rationality. Along with this comes urban crime, migration, and nativist fears of changing demographics within certain spaces (e.g., London, Paris). While noting these tropes of origin, Park considers the case anew for East Asia, building on a recent trend in which Korean literature receives greater attention. The final article, taking up the authorship of sijo songs, comes from Jaemin Park and tracks the lengthy and complicated process of unpacking the layering of meaning contained within these works. In Park's argument, the songs have a later point of origin than some of their attributions, meaning that there has been a historical process of transforming and winnowing the meaning over time. In making this case, Park works through specific passages and tropes, arguing for acts of consolidation and dissemination taking place in mid- to late Joseon. For the two book reviews, Yoonjung Seo considers Maya Stiller's Carving Status at Kŭmgangsan, in which the significance of various inscriptions and markings in northern Korea invites inquiry not only to the sites in question, but also potentially addresses the growing body of scholarship on various forms of writing practice in Joseon. In turn, Sungoh Yoon looks at David Robinson's Korea and...

Lu à l’ouest, le crime de l’est a du lest

"Based on a corpus of Eastern and Western crime novels dealing with crime in the former Eastern Bloc countries, three issues are examined: the globalization of the crime fiction market through French translation and a few of its deterritorializing consequences for writers and readers; the a priori pragmatic- semantic configurations informing the act of reading (culture of fiction, culture of the author and culture of the reader); the symbolic displacement of the disappeared Iron Curtain towards two types of thematic border: one by excess (the perpetuated over-border) and the other by default (the checkpoint and the confines)."

Hardboiled Hysterics: Shell Shock and Tough Guys inThe Maltese Falcon, 1929/1941

Hardboiled Hysterics: Shell Shock and Tough Guys in<i>The Maltese Falcon</i>, 1929/1941

Intersecting Inequalities in Romanian Crime Series Shadows (HBO). Expressions of Identity between Authenticity, Stereotypes and “Eastploitation”

"The representations of gender, ethnicity and class play a particularly significant part in structuring the way in which East European crime fiction makes sense of its cultural identity. Issues of social inequality and discrimination are addressed by the European institutions through the promotion of inter- and multi-cultural values that are meant to foster awareness about social stereotypes and prejudices and promote the artistic expression of more balanced representations (i.e. the EIGE policies). Yet sometimes the gap between the inclusive aims pursued by the European policies and the realities represented in crime films, TV dramas and novels is more than noticeable. This article aims to discuss this fluctuation between disparity, stereotypization, realism and exploitation in the HBO production Shadows (Umbre, 2014-2019)."

« Accepter et pardonner, c’est se réconcilier avec soi-même ». L’Histoire tchèque du XXe siècle vue par le roman policier

"The article explains the development and specific features of the detective genre in the Czech Republic (and its predecessor Czechoslovakia) from the beginning of the 20th century. It observes that these features are just as valid in the last 30 years. The main focus is on crime fiction literature and, in particular, TV crime series that have become especially popular since 2015, both of which have been inspired by true organised crime cases between 1990-2010."

Inspector Gowda’s Divided City: Space, Inequality, and Crime in Anita Nair’s Bangalore Novels

Abstract Bengaluru/Bangalore, the capital city of the Indian state of Karnataka, has played a vital role in the advancement of communication and technology across the globe. Following the progressivist logic of neoliberal urbanism, the city evolved from the quiet, placid ‘Pensioners’ Paradise’ into the bustling ‘Silicon Valley of India’ at an accelerated pace. Bangalore’s sudden growth into a global cyberpolis has motivated its recent entry into the realm of crime fiction in English. The current paper draws on this connection and proposes to offer a spatial critique of the crime novels in Anita Nair’s Inspector Gowda series, Cut like Wound (2012) and Chain of Custody (2016), set in Bangalore. To map the transitions in the spatial structures and social relations of this rapidly changing city, it uses interdisciplinary approaches of geocriticism and the postmodern social theories of space. Also, by analysing the representations of residential segregation in Nair’s novels, the paper intends to foreground how social inequalities, gentrification, and ghettoization have contributed to the raging scenario of crime and violence in Bangalore.

Développer la compétence interculturelle en classe de français langue étrangère à travers le roman noir Derrière les panneaux il y a des hommes de Joseph Incardona

Current research on interculturality in foreign language teaching focuses on the development of the intercultural personality of the learner based on his social representations. In this context, the introduction of crime fiction in French foreign language teaching makes it possible to take the complexity of the human personality more efficiently into account when developing the intercultural competence of the learner. Based on a thematic analysis of the novel Derrière les panneaux il y a des hommes (Behind the Panels There Are Men) by Joseph Incardona, which aims at highlighting the references to French culture in the text, and from a linear analysis centered on the characters and their complex personalities, the article proposes to apply the cultural and intercultural approaches of language didactics to literature. In this way, in order to develop cultural competence, the learners first learn to identify the cultural clues referring to French society in the text. Then, they learn to adopt a positive attitude of openness towards others through the characters of the novel to develop their intercultural competence.

Popular fiction and white extremism: Neo‐Nazi ideology and medievalist crime fiction

Dystopian near-future fantasies of violent white revolution and genocide—most infamously, William L. Pierce's The Turner Diaries (1978)—are the most well-known and studied fictions by white extremists. They are, however, not the only genre through which the extreme far-right engage with popular culture. In this article, we explore how popular historical fictions can accomodate white extremist presence and propagandising. We analyse generic conventions in the medieval murder mystery The Black Flame (2001) by self-identified neo-Nazi Harold A. Covington (1953–2018), showing that the book shares trends and tropes with contemporary medievalisms, including in historical crime fiction and other popular genres and media. By focussing on these conventions, we seek common places in the popular that can, paradoxically, create space for the fringe extreme.

‘If I had any luck, he’d be a corpse’: Harriet Vane and the Psychogeographic Nature of Detection

This article examines the role of women within the culture and society of the interwar period, or, precisely, the 1930s. Through examining the crime fiction of Dorothy L Sayers and focusing specifically on Have His Carcase the figure of the female detective is shown to be inherently psychogeographic. The article, then, analyses the way in which Harriet Vane functions as a psychogeographer through her methods of detection. It goes on to argue that it is the way in which Harriet’s detection methods operate that allows the text to critique the cultural, social and physical place of women in society and culture of the 1930s. With a close examination of walking within the cultural context of the holiday space, the spaces which women inhabit during the 1930s are shown to be influential and significant in the process of successful detection.

Latin in Modern Fiction: Who Says it’s a Dead Language? by Henryk Hoffmann

Reviewed by: Latin in Modern Fiction: Who Says it’s a Dead Language? by Henryk Hoffmann Kristian L. Lorenzo Latin in Modern Fiction: Who Says it’s a Dead Language? By Henryk Hoffmann. Wilmington, DE: Vernon Press, 2021. Pp. 306. Hardback, $61.00. ISBN: 978-1-62273-949-3. Henryk Hoffmann’s Latin in Modern Fiction: Who Says it’s a Dead Language? is not a book on literature but a reference book on the Latin language as presented in samples of modern fiction. In producing such a work, Hoffmann has both capitalized on his many years of teaching Latin in the US and played to his literary wheelhouse, since thus far he is the author of six other such works all of which, unlike the volume under review, focus on various aspects of the movie industry. In his conclusion Hoffman states that “The goal of this publication was to prove the prevalence of the Latin language in modern fiction by presenting pertinent references encountered in fiction books written in the twentieth or twenty-first centuries and set in the nineteenth, twentieth, and twenty-first centuries” (255). By the terms “prevalence” and “pertinent” Hoffman means that the sheer number of his references, their presence in multiple genres and literary forms produced over so many years help to prove that Latin is not a dead language due to its ubiquity, popularity and hence importance. Hoffmann gathered these references over twenty-five years of reading (1995–2020) ca. 1200 works—approximately 220 of which contained Latin references—either chosen at random or for use in his other projects, and thus Hoffmann’s own literary taste is the key limiting factor. Those people familiar with James Joyce’s use of Latin references to embellish his prose can rest easy. This project does not duplicate the comprehensive coverage provided by R. J. Schork’s book, Latin and Roman Culture in Joyce (1997). In addition, Hoffmann considers it a modest supplement/addendum “offering numerous examples and further evidence in support of” the “amazing” conclusions Professor E. Christian Kopff sets forth in his book, The Devil Knows Latin: Why America needs the Classical Tradition (1999) (xviii-xix). The effect(s) of this last point will, of course, depend on how each individual familiar with Kopff’s book views the ideas expressed therein. As this reviewer has not yet read The Devil Knows Latin, I can say nothing further on this topic. After a list of figures and a preface Hoffmann presents his most pertinent references in forty-five entries subdivided by genre into three main parts: Latin in Mainstream Literature; Latin in Crime and Detective Fiction; and Latin in Frontier and [End Page 124] Western Fiction. Each entry is a whole unto itself but linked by helpful cross-references to other entries where necessary. Each one also contains erudite explanations and interpretations of the relevant Latin quotations. An appendix listing fiction books by other authors with minor/few Latin references and then a conclusions section follows the main parts. Acknowledgements, a bibliography and an index of only the Latin references quoted in the book itself close out this volume. It should be noted that there are neither footnotes nor endnotes and, as Hoffmann states in his acknowledgements, he made ample use of Wikipedia and IMDb to find and/or verify information regarding the authors of the books included in the entries. The three genre-driven main parts are where Hoffmann most clearly articulates his evidence. Part I, Latin in Mainstream Literature, contains twenty-one entries beginning with Samuel Hopkins Adams (1871–1958), ending with Dermot McEvoy (1950–) and including such well-known authors as F. Scott Fitzgerald (1896–1940), John Steinbeck (1902–1968) and Umberto Eco (1932–2016). Part II, Latin in Crime and Detective Fiction, contains twenty entries starting with Raymond Chandler (1888–1959), stopping with Dennis Lehane (1965–) and including other important authors such as Brett Halliday (1904–1977), Tom Kakonis (1930–2018) and Elizabeth George (1949-). And Part III, Latin in Frontier and Western Fiction, is comprised of only four entries: Emerson Hough (1857–1920), Paul Horgan (1903–1995), Will Henry/Clay Fisher (1912–1991) and Larry McMurtry (1936-). This...

About the Authors

Other| October 01 2022 About the Authors Music and the Moving Image (2022) 15 (3): 60. https://doi.org/10.5406/19407610.15.3.04 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation About the Authors. Music and the Moving Image 1 October 2022; 15 (3): 60. doi: https://doi.org/10.5406/19407610.15.3.04 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressMusic and the Moving Image Search Advanced Search heidi hart is an art and humanities fellow at SixtyEight Art Institute in Copenhagen. She holds an MFA from Sarah Lawrence College and a PhD in German Studies from Duke University (2016). She completed a postdoc at Utah State University and is a regular guest instructor at Linnaeus University in Sweden. She has received an ACLS-Mellon fellowship and several grants for environmental curriculum development. Heidi's publications include the monographs Hanns Eisler's Art Songs: Arguing with Beauty (Camden House, 2018) and Music and the Environment in Dystopian Narrative: Sounding the Disaster (Palgrave Studies in Music and Literature, 2018). Her curatorial book Climate Thanatology is forthcoming in 2022 (Really Simple Syndication Press).kaapo huttunen is currently a PhD student at the University of Turku, the Faculty of Humanities. He conducts research on the role of music and sound design in the aesthetics of Nordic noir, the crime fiction style from the... You do not currently have access to this content.

ANALYZING THE CRIMINALIZATION OF RACE IN THE AMERICAN CULTURE THROUGH THE LENS OF DETECTIVE AND CRIME FICTION

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 criminal identity to certain racial groups, to promulgate racial differences, thereby leading to a discourse on racialized crimes. This change in the social and political realm of the American society was promptly reflected in the works of detective and crime fiction. As such, this paper aims to analyze the criminalization of race in the American culture in the twentieth century, alongside the significance of detective and crime fiction in portraying the same.

What ever happened to thebelles infidèles?

AbstractOver the past thirty years, crime fiction, children’s literature, comics and, to a lesser extent, romance novels have received growing attention from translation scholars. Drawing on an analysis of this translation studies literature and interviews conducted with translators working in different publishing sectors, this paper revisits the hypothesis ofClem Robyns (1990), who proposed that non-canonical literary translations are thebelles infidèlesof the twentieth century. In a spirit reflecting the evolution of the discipline, the author examines not only the textual norms, but also the translators’ viewpoint and their role in the publishing process. The questions at the heart of this reflection are the following: to what extent doesadaptation – to use a less value-laden term thanbelle infidèle – (still) constitute the translation norm of non-canonical literatures? How do the actors participating in the translation of these literatures and their involvement in the publishing process differ from those governing the translation of institutional literature? Finally, what can the study of these literatures teach us about translation and some of the key notions and oppositions in contemporary translation theories?

“The Dark Path Back”: Investigating Holocaust Memory in Sara Paretsky’s Novel Total Recall

Abstract Women writers challenge the popular and critical entrenchment of male-authored literary detective fiction. A close reading of Sara Paretsky’s 2001 novel Total Recall demonstrates that the ongoing quest for social justice by her woman detective, V. I. Warshawski, is addressed through assertive women’s voices that have also transformed critical approaches to women’s crime fiction. In Paretsky’s novels, V.I. finds herself in a double bind reserved for women in both social and literary terms: having to prove her stability and effectiveness as a professional detective and as a reliable first-person narrator. Total Recall ’s investigations of contemporary corporate crime trace their origins to American slavery and the Holocaust: the novel transforms the generic mean streets of crime fiction into a transnational crimescape with a two-way trajectory between contemporary Chicago and Central Europe’s sites of mass murder. But instead of plotting a conclusion that declares triumph over such evil, the novel joins forces with historical accounts to investigate the staying power of legitimized oppression and the memory of its victims. Reading the Holocaust narratives embedded in Total Recall reveals a story of inhumanity so far reaching that it transforms Paretsky’s local Chicago crimescape into a global epic.

Conflicting histories and histories of conflict

This article focuses on French author Didier Daeninckx’s 1986 crime novel Le Bourreau et son double [‘The Hangman and His Double’]. Daeninckx’s novel challenged official narratives that minimized the use of torture during the Algerian War and highlighted the brutalization of conscripted soldiers, the conflict’s hidden victims. Firstly, this article investigates Daeninckx’s use of what Max Silverman (2013) terms palimpsestic memory to highlight the interconnections between France’s process of decolonization throughout the 1960s, and 1980s France, which saw a rise in urban poverty and racism and a severe decline in left-leaning politics. Secondly, palimpsestic memory is closely associated with intertextuality and this article examines Daeninckx’s allusions to Georges Perec’s W ou le souvenir d’enfance (1975) [W, or the Memory of Childhood (1988)], which shares a similar structure and the themes of haunting and repressed memories with Le Bourreau et son double. Finally, the article emphasizes the value of popular culture, such as crime fiction, in the remembrance of hidden conflicts.