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WHY PUBLISH: - It develops, in "beginning-orientation", a wholly
original approach to analysing and understanding detective fiction.
- Due to the popularity of Agatha Christie's fiction, this book
would have a broad appeal, particularly in the UK, Europe, US and
Australasia. There might be scope for a French translation, given
the author's focus on Pierre Bayard's scholarship. - Not only does
this book challenge Agatha Christie's plots, but also dissects
previous re-readings of them (Banyard's) to formulate new
interpretations.
This book explores the intersection of a number of academic areas
of study that are all, individually, of growing importance:
translation studies, crime fiction and world literature. The
scholars included here are leaders in one or more of these areas.
The frame of this volume is imagological; its focus is on the ways
in which national allegories are constructed and deconstructed,
encompassing descriptions of national characteristics as they play
out at the level of the local or the individual as well as broader,
political analyses. Its corpus, crime fiction, is shown to be a
privileged site for writing the national narrative, and often in
ways that are more complex and dynamic than is suggested by the
genre's much-cited role as vehicle for a new realism. Finally,
these two areas are problematised through the lens of translation,
which is a crucial player in both the development of crime fiction
and the formation, rather than simply the interlingual transfer, of
national allegory. In this volume national allegories, and the
crime novels in which they emerge, are shown to be eminently
versatile, foundationally plural texts that promote critical
rewriting as opposed to sites for fixing meaning. This book was
originally published as a special issue of The Translator.
A longstanding misconception surrounding the term French noir
suggests that the post-war French thriller and film noir were a
development of, or response to, a pre-existing American tradition.
This book challenges this misconception, examining the complexity
of this trans-Atlantic exchange and refocusing debate to include a
Franco-French lineage.
Criminal Moves: Modes of Mobility in Crime Fiction offers a major
intervention into contemporary theoretical debates about crime
fiction. It seeks to overturn the following preconceptions: that
the genre does not warrant critical analysis, that genre norms and
conventions matter more than textual individuality, and that
comparative perspectives are secondary to the study of the
British-American canon. Criminal Moves challenges the distinction
between literary and popular fiction and proposes that crime
fiction be seen as constantly violating its own boundaries. Centred
on three axes of mobility, the essays ask how can we imagine a
mobile reading practice that realizes the genre's full textual
complexity, without being limited by the authoritative
self-interpretations provided by crime narratives; how we can
overcome restrictive notions of 'genre', 'formula' or 'popular';
and how we can establish transnational perspectives that challenge
the centrality of the British-American tradition and recognize that
the global history of crime fiction is characterized, not by the
existence of parallel national traditions, but rather by processes
of appropriation and transculturation. Criminal Moves presents a
comprehensive reinterpretation of the history of the genre that
also has profound ramifications for how we read individual crime
fiction texts.
This book explores the intersection of a number of academic areas
of study that are all, individually, of growing importance:
translation studies, crime fiction and world literature. The
scholars included here are leaders in one or more of these areas.
The frame of this volume is imagological; its focus is on the ways
in which national allegories are constructed and deconstructed,
encompassing descriptions of national characteristics as they play
out at the level of the local or the individual as well as broader,
political analyses. Its corpus, crime fiction, is shown to be a
privileged site for writing the national narrative, and often in
ways that are more complex and dynamic than is suggested by the
genre's much-cited role as vehicle for a new realism. Finally,
these two areas are problematised through the lens of translation,
which is a crucial player in both the development of crime fiction
and the formation, rather than simply the interlingual transfer, of
national allegory. In this volume national allegories, and the
crime novels in which they emerge, are shown to be eminently
versatile, foundationally plural texts that promote critical
rewriting as opposed to sites for fixing meaning. This book was
originally published as a special issue of The Translator.
This new book explores aspects of Paris from the time of Baudelaire
within the context of nostalgia and modernity. It seeks to see
Paris, through written texts and movies, from the outside, and as
both concrete reality and a collection of myths associated with it.
This collection of essays contains original research on the
intersections of several disciplinary approaches to Paris and
modernity. It is designed to make these complex concepts speak to
an academic audience, but also to an undergraduate readership. It
will therefore create intersections and problematize what are
otherwise considered the remit of single disciplines. The book
springs from two interdisciplinary courses on Paris and modernity -
Paris at Dawn, which looks at modernity in the nineteenth and early
twentieth centuries, and Paris at Midnight, which looks at
left-bank culture following the Second World War - coordinated by
Associate Professor Alistair Rolls (French studies) and Professor
Marguerite Johnson (classics and classical reception) at the
University of Newcastle, Australia. While it is driven by original
research, notably by examining the intersections of any number of
disciplinary lenses and positions on Paris and modernity, it is
also designed to make these complex concepts understandable for a
wider readership, including undergraduates. It will therefore
create intersections and problematize what are otherwise considered
the remit of single disciplines (with their monoliths and
taxonomies); at the same time, it will also provide clarity and,
importantly, make logical links between, for example, the past and
present, myth and reality, poetry and history, and various schools
and movements, including psychology, poetics, poststructuralism and
critical theory, classical reception, feminism and existentialism.
All contributors are academics working in the School of Humanities
and Social Science, who have contributed to the development and
delivery of these twinned courses. Remembering Paris investigates
Paris as an urban and poetic site of remembrance. For Charles
Baudelaire, the streets of Paris conjured visions of the past even
as he contemplated the present. This book investigates this and
other cases of double vision, tracing back from Baudelaire into
antiquity, but also following Baudelaire forwards as his poetry is
translated, received and referenced in texts and films in the
twentieth century and beyond. Primary readership will be academics,
educators, scholars and students - both undergraduate and
postgraduate. The chapter structure and the relatively classic
choice of authors and filmmakers is well suited to course use. Many
universities are now turning to interdisciplinary courses, which
combine historical, cultural, literary and artistic approaches to
thematic studies. This book, therefore, will also be of interest to
academics teaching courses on French language, literature and
culture; literary studies; film studies; cultural studies; women
studies, gender studies; LGBTQ+ studies; even human geography.
Criminal Moves: Modes of Mobility in Crime Fiction offers a major
intervention into contemporary theoretical debates about crime
fiction. It seeks to overturn the following preconceptions: that
the genre does not warrant critical analysis, that genre norms and
conventions matter more than textual individuality, and that
comparative perspectives are secondary to the study of the
British-American canon. Criminal Moves challenges the distinction
between literary and popular fiction and proposes that crime
fiction be seen as constantly violating its own boundaries. Centred
on three axes of mobility, the essays ask how can we imagine a
mobile reading practice that realizes the genre's full textual
complexity, without being limited by the authoritative
self-interpretations provided by crime narratives; how we can
overcome restrictive notions of 'genre', 'formula' or 'popular';
and how we can establish transnational perspectives that challenge
the centrality of the British-American tradition and recognize that
the global history of crime fiction is characterized, not by the
existence of parallel national traditions, but rather by processes
of appropriation and transculturation. Criminal Moves presents a
comprehensive reinterpretation of the history of the genre that
also has profound ramifications for how we read individual crime
fiction texts.
Accessible yet comprehensive, this first systematic account of
crime fiction across the globe offers a deep and thoroughly nuanced
understanding of the genre's transnational history. Offering a
lucid account of the major theoretical issues and comparative
perspectives that constitute world crime fiction, this book
introduces readers to the international crime fiction publishing
industry, the translation and circulation of crime fiction,
international crime fiction collections, the role of women in world
crime fiction, and regional forms of crime fiction. It also
illuminates the past and present of crime fiction in various
supranational regions across the world, including East and South
Asia, the Arab World, Sub-Saharan Africa, Europe and Scandinavia,
as well as three spheres defined by a shared language, namely the
Francophone, Lusophone, and Hispanic worlds. Thoroughly-researched
and broad in scope, this book is as valuable for general readers as
for undergraduate and postgraduate students of popular fiction and
world literature.
Accessible yet comprehensive, this first systematic account of
crime fiction across the globe offers a deep and thoroughly nuanced
understanding of the genre's transnational history. Offering a
lucid account of the major theoretical issues and comparative
perspectives that constitute world crime fiction, this book
introduces readers to the international crime fiction publishing
industry, the translation and circulation of crime fiction,
international crime fiction collections, the role of women in world
crime fiction, and regional forms of crime fiction. It also
illuminates the past and present of crime fiction in various
supranational regions across the world, including East and South
Asia, the Arab World, Sub-Saharan Africa, Europe and Scandinavia,
as well as three spheres defined by a shared language, namely the
Francophone, Lusophone, and Hispanic worlds. Thoroughly-researched
and broad in scope, this book is as valuable for general readers as
for undergraduate and postgraduate students of popular fiction and
world literature.
In late October 2017, the profoundly sad news of Ross Chambers's
passing reached Australia. Friends and colleagues scattered around
the globe mourned the loss of a person of great 'humanity and
humility', one of the most brilliant minds of his generation. This
book is a tribute to Chambers's life and work and to his legacy
among scholars in the global French studies, comparative literature
and cultural studies communities. It is also rooted in the
Australian context he left behind but never really left, a context
he indelibly marked and where he still lives on. Loiterature,
perhaps Chambers's most famous book, prescribes slow and careful
reading practices but also quick-witted analysis. This collection
draws together tributes, essays and critical responses to his
wide-ranging work from Romanticism to the present, all
demonstrating, through practice, the generative value of
'loitering'. While melancholy and nostalgia are inescapable themes
in this collection, loitering is also about imminent departures.
And his work encourages us to explore that unexpected turn,
possibly leading us in unforeseeable directions. This book suggests
a few ways in which he will travel with us into the future.
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