International Crime Fictions – serie

This book is one of the first English-language studies to chart the development of crime fiction in French from the mid-nineteenth century to the present day. It analyses the distinctive features of a French-language tradition and introduces readers to a rich and varied body of work. Each chapter examines a specific period, movement or group of writers, as well as engaging with wider debates on the place of crime fiction within contemporary French and European culture. From early twentieth-century pioneers, such as Gaston Leroux and Maurice Leblanc, to the phenomenal success of Georges Simenon, from May 68 to the gender politics of crime fiction and postmodern reinventions, this collection approaches crime fiction in an interdisciplinary manner, alive to the innovative and often critically informed perspective it provides on French society and culture. The book also includes short extracts in English translation and an extensive bibliography of critical material for further reading. Such resources are aimed at encouraging the reader to gain a greater appreciation and understanding of this potent and formidable narrative of modern times.

Crime writers from the Nordic countries (Denmark, Finland, Iceland, Norway, and Sweden) have become some of the most widely read authors of the 1990s and 2000s. Yet books by such authors as Henning Mankell, Liza Marklund, Karin Fossum, and Anne Holt have also tantalized readers, because many of them do not know the cultures of the Nordic countries. As the first study in English of Nordic crime fiction, "Scandinavian Crime Fiction" spells out the context into which Nordic crime fiction fits through thirteen articles on the history, aesthetics, and film and television adaptation of Nordic crime fiction.

This collection of articles studies the development of crime fiction in Denmark, Finland, Iceland, Norway and Sweden since the 1960s, offering the first English-language study of this widely read and influential form. Since the first Martin-Beck novel of Maj Sjowall and Per Wahloo appeared in 1965, the socially-critical crime novel has figured prominently in Scandinavian culture, and found hundreds of millions of readers outside Scandinavia. But is there truly a Scandinavian crime novel tradition? Scandinavian Crime Fiction identifies distinct features and changes in the Scandinavian crime tradition through analysis of some of its most well-known writers: Henning Mankell, Stieg Larsson, Anne Holt, Liza Marklund, Leena Lehtolainen, and Arnaldur Indrioason, among others. Focusing on Scandinavian crime fiction's snowballing prominence since the 1990s, articles zoom in on the transformation of the genre's social criticism, study the significance of cultural and geographical place in the tradition, and analyze the cultural politics of crime fiction, including struggles over gender equity, sexuality, ethnicity, history, and the fate of the welfare state. Scandinavian Crime Fiction maps out the contribution of Scandinavian crime writers to contemporary European culture and society, making the volume valuable to scholars and the interested public.

Iberian Crime Fiction is the first volume in English to provide an extensive overview of crime fiction in Spain and Portugal. While the origins of peninsular crime fiction are traced in Nancy Vosburg's introductory chapter to the volume, the essays focus on specific topics that provide readers with a sense of the development of the genre in the second half of the 20th-century and current trends in the 21st-century. Patty Hart, whose The Spanish Sleuth introduced English-speaking readers to early crime fiction in Spain, provides a summary account of the development of the crime novel from the 1950s through the 1980s, highlighting the major authors and works that set the stage for the boom that followed the establishment of the novela negra tradition in the 1970s. This tradition, spearheaded by Manuel Vazquez Montalban, is the subject of a separate essay by Maria Balibrea that analyzes the socio-political conditions that gave rise to the novela negra. NancyVosburg studies the emergence of a feminine/feminist crime novel in the 1980s and 1990s and the subversion of masculine codes associated with crime fiction, while Stewart King analyzes crime fiction from the Catalan, Basque, and Galician autonomous regions of Spain, focusing on the political realities that resulted in a different use of the genre as a vehicle of regional nationalism. David Knutson traces contemporary trends in Spanish crime fiction, beginning in the 1990s and up to the present. Paul Castro's essay documents the emergence of crime fiction in Portugal and the major works/authors through to the present.

Iberian Crime Fiction is the first volume in English to provide an extensive overview of crime fiction in Spain and Portugal. While the origins of peninsular crime fiction are traced in Nancy Vosburg's introductory chapter to the volume, the essays focus on specific topics that provide readers with a sense of the development of the genre in the second half of the 20th-century and current trends in the 21st-century. Patty Hart, whose The Spanish Sleuth introduced English-speaking readers to early crime fiction in Spain, provides a summary account of the development of the crime novel from the 1950s through the 1980s, highlighting the major authors and works that set the stage for the boom that followed the establishment of the novela negra tradition in the 1970s. This tradition, spearheaded by Manuel Vazquez Montalban, is the subject of a separate essay by Maria Balibrea that analyzes the socio-political conditions that gave rise to the novela negra. NancyVosburg studies the emergence of a feminine/feminist crime novel in the 1980s and 1990s and the subversion of masculine codes associated with crime fiction, while Stewart King analyzes crime fiction from the Catalan, Basque, and Galician autonomous regions of Spain, focusing on the political realities that resulted in a different use of the genre as a vehicle of regional nationalism. David Knutson traces contemporary trends in Spanish crime fiction, beginning in the 1990s and up to the present. Paul Castro's essay documents the emergence of crime fiction in Portugal and the major works/authors through to the present.

The present volume is the first study in the English language to focus specifically on Italian crime fiction, weaving together a historical perspective and a thematic approach, with a particular focus on the representation of space, especially city space, gender, and the tradition of impegno, the social and political engagement which characterised the Italian cultural and literary scene in the postwar period. The 8 chapters in this volume explore the distinctive features of the Italian tradition from the 1930s to the present, by focusing on a wide range of detective and crime novels by selected Italian writers, some of whom have an established international reputation, such as C. E. Gadda, L. Sciascia and U. Eco, whilst others may be relatively unknown, such as the new generation of crime writers of the Bologna school and Italian women crime writers. Each chapter examines a specific period, movement or group of writers, as well as engaging with broader debates over the contribution crime fiction makes more generally to contemporary Italian and European culture. The editor and contributors of this volume argue strongly in favour of reinstating crime fiction within the canon of Italian modern literature by presenting this once marginalised literary genre as a body of works which, when viewed without the artificial distinction between high and popular literature, shows a remarkable insight into Italy's postwar history, tracking its societal and political troubles and changes as well as often also engaging with metaphorical and philosophical notions of right or wrong, evil, redemption, and the search of the self.

The present volume is the first study in the English language to focus specifically on Italian crime fiction, weaving together a historical perspective and a thematic approach, with a particular focus on the representation of space, especially city space, gender, and the tradition of impegno, the social and political engagement which characterised the Italian cultural and literary scene in the postwar period. The 8 chapters in this volume explore the distinctive features of the Italian tradition from the 1930s to the present, by focusing on a wide range of detective and crime novels by selected Italian writers, some of whom have an established international reputation, such as C. E. Gadda, L. Sciascia and U. Eco, whilst others may be relatively unknown, such as the new generation of crime writers of the Bologna school and Italian women crime writers. Each chapter examines a specific period, movement or group of writers, as well as engaging with broader debates over the contribution crime fiction makes more generally to contemporary Italian and European culture. The editor and contributors of this volume argue strongly in favour of reinstating crime fiction within the canon of Italian modern literature by presenting this once marginalised literary genre as a body of works which, when viewed without the artificial distinction between high and popular literature, shows a remarkable insight into Italy's postwar history, tracking its societal and political troubles and changes as well as often also engaging with metaphorical and philosophical notions of right or wrong, evil, redemption, and the search of the self.

Italian Crime Fiction is the first study in the English language to focus specifically on Italian detective and noir fiction from the 1930s to the present. The eight chapters include studies on some of the founding fathers of the Italian tradition, and mainstream writers. The volume has a particular focus on the new generation of crime writers.

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.

Crime Fiction in the City: Capital Crimes expands upon previous studies of the urban space and crime by reflecting on the treatment of the capital city, a repository of authority, national identity and culture, within crime fiction. This wide-ranging collection looks at capital cities across Europe, from the more traditional centres of power - Paris, Rome and London - to Europe's most northern capital, Stockholm, and also considers the newly devolved capitals, Dublin, Edinburgh and Cardiff. The texts under consideration span the nineteenth-century city mysteries to contemporary populist crime fiction. The collection opens with a reflective essay by Ian Rankin and aims to inaugurate a dialogue between Anglophone and European crime writing; to explore the marginalised works of Irish and Welsh writers alongside established European crime writers and to interrogate the relationship between fact and fiction, creativity and criticism, within the crime genre.

This collection of articles studies the development of crime fiction in Denmark, Finland, Iceland, Norway and Sweden since the 1960s, offering the first English-language study of this widely read and influential form. Since the first Martin-Beck novel of Maj Sjöwall and Per Wahlöö appeared in 1965, the socially-critical crime novel has figured prominently in Scandinavian culture, and found hundreds of millions of readers outside Scandinavia. But is there truly a Scandinavian crime novel tradition? Scandinavian Crime Fiction identifies distinct features and changes in the Scandinavian crime tradition through analysis of some of its most well-known writers: Henning Mankell, Stieg Larsson, Anne Holt, Liza Marklund, Leena Lehtolainen, and Arnaldur Indriðason, among others. Focusing on Scandinavian crime fiction’s snowballing prominence since the 1990s, articles zoom in on the transformation of the genre’s social criticism, study the significance of cultural and geographical place in the tradition, and analyze the cultural politics of crime fiction, including struggles over gender equity, sexuality, ethnicity, history, and the fate of the welfare state. Scandinavian Crime Fiction maps out the contribution of Scandinavian crime writers to contemporary European culture and society, making the volume valuable to scholars and the interested public.

Iberian Crime Fiction is the first volume in English to provide an extensive overview of crime fiction in Spain and Portugal. While the origins of peninsular crime fiction are traced in Nancy Vosburg's introductory chapter to the volume, the essays focus on specific topics that provide readers with a sense of the development of the genre in the second half of the 20th-century and current trends in the 21st-century. Patty Hart, whose The Spanish Sleuth introduced English-speaking readers to early crime fiction in Spain, provides a summary account of the development of the crime novel from the 1950s through the 1980s, highlighting the major authors and works that set the stage for the boom that followed the establishment of the novela negra tradition in the 1970s. This tradition, spearheaded by Manuel Vazquez Montalban, is the subject of a separate essay by Maria Balibrea that analyzes the socio-political conditions that gave rise to the novela negra. NancyVosburg studies the emergence of a feminine/feminist crime novel in the 1980s and 1990s and the subversion of masculine codes associated with crime fiction, while Stewart King analyzes crime fiction from the Catalan, Basque, and Galician autonomous regions of Spain, focusing on the political realities that resulted in a different use of the genre as a vehicle of regional nationalism. David Knutson traces contemporary trends in Spanish crime fiction, beginning in the 1990s and up to the present. Paul Castro's essay documents the emergence of crime fiction in Portugal and the major works/authors through to the present.

Iberian Crime Fiction is the first volume in English to provide an extensive overview of crime fiction in Spain and Portugal. While the origins of peninsular crime fiction are traced in Nancy Vosburg's introductory chapter to the volume, the essays focus on specific topics that provide readers with a sense of the development of the genre in the second half of the 20th-century and current trends in the 21st-century. Patty Hart, whose The Spanish Sleuth introduced English-speaking readers to early crime fiction in Spain, provides a summary account of the development of the crime novel from the 1950s through the 1980s, highlighting the major authors and works that set the stage for the boom that followed the establishment of the novela negra tradition in the 1970s. This tradition, spearheaded by Manuel Vazquez Montalban, is the subject of a separate essay by Maria Balibrea that analyzes the socio-political conditions that gave rise to the novela negra. NancyVosburg studies the emergence of a feminine/feminist crime novel in the 1980s and 1990s and the subversion of masculine codes associated with crime fiction, while Stewart King analyzes crime fiction from the Catalan, Basque, and Galician autonomous regions of Spain, focusing on the political realities that resulted in a different use of the genre as a vehicle of regional nationalism. David Knutson traces contemporary trends in Spanish crime fiction, beginning in the 1990s and up to the present. Paul Castro's essay documents the emergence of crime fiction in Portugal and the major works/authors through to the present.

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online resources in English and German.ContentsMap of German-speaking areas in EuropeCrime Fiction in German Chronology1. Crime Fiction in German: Key Concepts, Developments and Trends, Katharina Hall:Der Krimi; The pioneers (1828–1933); Crime fiction under National Socialism (1933–45); Post-war crime narratives (1945–59) and East German crime fiction (1949–70); The West German Soziokrimi (1960–) and further East German crime fiction (1971–89); Turkish-German crime fiction and the Frauenkrimi (1980–); Historical crime fiction, regional crime fiction and the rise of the Afrika-Krimi (1989–); Crime fiction of the new millennium and the lacuna of Jewish-German crime fiction (available Open Access at Swansea University)2. The Emergence of Crime Fiction in German: An Early Maturity, Mary Tannert3. Austrian Crime Fiction: Experimentation, Critical Memory and Humour, Marieke Krajenbrink4. Swiss Crime Fiction: Loosli, Glauser, Dürrenmatt and Beyond, Martin Rosenstock5. Der Afrika-Krimi: German Crime Fiction in Africa, Julia Augart6. Der Frauenkrimi: Women's Crime Writing in German, Faye Stewart7. Historical Crime Fiction in German: The Turbulent Twentieth Century, Katharina Hall8. Der Fernsehkrimi: A Short History of Television Crime Drama in German, Katharina HallAnnotated Bibliography of Resources on German-language Crime Fiction, Katharina Hall‘Katharina Hall’s knowledge of and enthusiasm for crime fiction in translation is prodigious, but (crucially) it is matched by her nonpareil analytic skills. This combination, when focused on her particular speciality of genre fiction from Germany, makes her the perfect editor for and contributor to Crime Fiction in German: Der Krimi. The book becomes at a stroke the definitive modern guide to the subject – scholarly, lively and accessible.’Barry Forshaw, author of Euro Noir and Nordic Noir

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online resources in English and German.ContentsMap of German-speaking areas in EuropeCrime Fiction in German Chronology1. Crime Fiction in German: Key Concepts, Developments and Trends, Katharina Hall:Der Krimi; The pioneers (1828–1933); Crime fiction under National Socialism (1933–45); Post-war crime narratives (1945–59) and East German crime fiction (1949–70); The West German Soziokrimi (1960–) and further East German crime fiction (1971–89); Turkish-German crime fiction and the Frauenkrimi (1980–); Historical crime fiction, regional crime fiction and the rise of the Afrika-Krimi (1989–); Crime fiction of the new millennium and the lacuna of Jewish-German crime fiction (available Open Access at Swansea University)2. The Emergence of Crime Fiction in German: An Early Maturity, Mary Tannert3. Austrian Crime Fiction: Experimentation, Critical Memory and Humour, Marieke Krajenbrink4. Swiss Crime Fiction: Loosli, Glauser, Dürrenmatt and Beyond, Martin Rosenstock5. Der Afrika-Krimi: German Crime Fiction in Africa, Julia Augart6. Der Frauenkrimi: Women's Crime Writing in German, Faye Stewart7. Historical Crime Fiction in German: The Turbulent Twentieth Century, Katharina Hall8. Der Fernsehkrimi: A Short History of Television Crime Drama in German, Katharina HallAnnotated Bibliography of Resources on German-language Crime Fiction, Katharina Hall‘Katharina Hall’s knowledge of and enthusiasm for crime fiction in translation is prodigious, but (crucially) it is matched by her nonpareil analytic skills. This combination, when focused on her particular speciality of genre fiction from Germany, makes her the perfect editor for and contributor to Crime Fiction in German: Der Krimi. The book becomes at a stroke the definitive modern guide to the subject – scholarly, lively and accessible.’Barry Forshaw, author of Euro Noir and Nordic Noir

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Other key areas, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi (TV crime drama) are also explored, highlighting the genre’s distinctive features in German-language contexts.The volume includes a map of German-speaking Europe, a chronology of crime publishing milestones, extracts from primary texts, and an annotated bibliography of print and online resources in English and German.ContentsMap of German-speaking areas in EuropeCrime Fiction in German Chronology1. Crime Fiction in German: Key Concepts, Developments and Trends, Katharina Hall:Der Krimi; The pioneers (1828–1933); Crime fiction under National Socialism (1933–45); Post-war crime narratives (1945–59) and East German crime fiction (1949–70); The West German Soziokrimi (1960–) and further East German crime fiction (1971–89); Turkish-German crime fiction and the Frauenkrimi (1980–); Historical crime fiction, regional crime fiction and the rise of the Afrika-Krimi (1989–); Crime fiction of the new millennium and the lacuna of Jewish-German crime fiction (available Open Access at Swansea University)2. The Emergence of Crime Fiction in German: An Early Maturity, Mary Tannert3. Austrian Crime Fiction: Experimentation, Critical Memory and Humour, Marieke Krajenbrink4. Swiss Crime Fiction: Loosli, Glauser, Dürrenmatt and Beyond, Martin Rosenstock5. Der Afrika-Krimi: German Crime Fiction in Africa, Julia Augart6. Der Frauenkrimi: Women's Crime Writing in German, Faye Stewart7. Historical Crime Fiction in German: The Turbulent Twentieth Century, Katharina Hall8. Der Fernsehkrimi: A Short History of Television Crime Drama in German, Katharina HallAnnotated Bibliography of Resources on German-language Crime Fiction, Katharina Hall‘Katharina Hall’s knowledge of and enthusiasm for crime fiction in translation is prodigious, but (crucially) it is matched by her nonpareil analytic skills. This combination, when focused on her particular speciality of genre fiction from Germany, makes her the perfect editor for and contributor to Crime Fiction in German: Der Krimi. The book becomes at a stroke the definitive modern guide to the subject – scholarly, lively and accessible.’Barry Forshaw, author of Euro Noir and Nordic Noir

Crime Fiction in German is the first volume in English to offer a comprehensive overview of German-language crime fiction from its origins in the early nineteenth century to its vibrant growth in the new millennium. As well as introducing readers to crime fiction from Germany, Austria, Switzerland and the former East Germany, the volume expands the notion of a German crime-writing tradition by investigating Nazi crime fiction, Jewish-German crime fiction, Turkish-German crime fiction and the Afrika-Krimi. Significant trends, including the West German social crime novel, women’s crime writing, regional crime fiction, historical crime fiction and the Fernsehkrimi television crime drama are also explored, highlighting the genre’s distinctive features in German-language contexts.This volume includes a map of German-speaking Europe, a chronology of key crime publishing milestones, primary texts and trends, as well as an annotated bibliography of print and online resources in English and German.