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This book is the first monograph in English that comprehensively
examines the ways in which Italian historical crime novels, TV
series, and films have become a means to intervene in the social
and political changes of the country. This study explores the ways
in which fictional representations of the past mirror
contemporaneous anxieties within Italian society in the work of
writers such as Leonardo Sciascia, Andrea Camilleri, Carlo
Lucarelli, Francesco Guccini, Loriano Macchiavelli, Marcello Fois,
Maurizio De Giovanni, and Giancarlo De Cataldo; film directors such
as Elio Petri, Pietro Germi, Michele Placido, and Damiano Damiani;
and TV series such as the "Commissario De Luca" series, the
"Commissario Nardone" series, and "Romanzo criminale-The series."
Providing the most wide-ranging examination of this sub-genre in
Italy, Barbara Pezzotti places works set in the Risorgimento, WWII,
and the Years of Lead in the larger social and political context of
contemporary Italy.
Serial Crime Fiction is the first book to focus explicitly on the
complexities of crime fiction seriality. Covering definitions and
development of the serial form, implications of the setting, and
marketing of the series, it studies authors such as Doyle, Sayers,
Paretsky, Ellroy, Marklund, Camilleri, Borges, across print, film
and television.
This book is the first monograph in English that comprehensively
examines the ways in which Italian historical crime novels, TV
series, and films have become a means to intervene in the social
and political changes of the country. This study explores the ways
in which fictional representations of the past mirror
contemporaneous anxieties within Italian society in the work of
writers such as Leonardo Sciascia, Andrea Camilleri, Carlo
Lucarelli, Francesco Guccini, Loriano Macchiavelli, Marcello Fois,
Maurizio De Giovanni, and Giancarlo De Cataldo; film directors such
as Elio Petri, Pietro Germi, Michele Placido, and Damiano Damiani;
and TV series such as the "Commissario De Luca" series, the
"Commissario Nardone" series, and "Romanzo criminale-The series."
Providing the most wide-ranging examination of this sub-genre in
Italy, Barbara Pezzotti places works set in the Risorgimento, WWII,
and the Years of Lead in the larger social and political context of
contemporary Italy.
'The foreigner' is a familiar character in popular crime fiction,
from the foreign detective whose outsider status provides a unique
perspective on a familiar or exotic location to the xenophobic
portrayal of the criminal 'other'. Exploring popular crime fiction
from across the world, The Foreign in International Crime Writing
examines these popular works as 'transcultural contact zones' in
which writers can tackle such issues as national identity,
immigration, globalization and diaspora communities. Offering
readings of 20th and 21st century crime writing from Norway, the
UK, India, China, Europe and Australasia, the essays in this book
open up new directions for scholarship on crime writing and
transnational literatures.
'The foreigner' is a familiar character in popular crime fiction,
from the foreign detective whose outsider status provides a unique
perspective on a familiar or exotic location to the xenophobic
portrayal of the criminal 'other'. Exploring popular crime fiction
from across the world, The Foreign in International Crime Fiction
examines these popular works as 'transcultural contact zones' in
which writers can tackle such issues as national identity,
immigration, globalization and diaspora communities. Offering
readings of 20th and 21st-century crime writing from Norway, the
UK, India, China, Europe and Australasia, the essays in this book
open up new directions for scholarship on crime writing and
transnational literatures.
By taking as its point of departure the privileged relationship
between the crime novel and its setting, this book is the most
wide-ranging examination of the way in which Italian detective
fiction in the last twenty years has become a means to articulate
the changes in the social landscape of the country. Nowadays there
is a general acknowledgment of the importance of place in Italian
crime novels. However, apart from a limited scholarship on single
cities, the genre has never been systematically studied in a way
that so comprehensively spans Italian national boundaries. The
originality of this volume also lies in the fact that the author
have not limited her investigation to a series of cities, but
rather she has considered the different forms of (social) landscape
in which Italian crime novels are set. Through the analysis of the
way in which cities, the "urban sprawl," and islands are
represented in the serial novels of eleven of the most important
contemporary crime writers in Italy of the 1990s, Pezzotti
articulates the different ways in which individual authors
appropriate the structures and tropes of the genre to reflect the
social transformations and dysfunctions of contemporary Italy. In
so doing, this volume also makes a case for the genre as an
instrument of social critique and analysis of a still elusive
Italian national identity, thus bringing further evidence in
support of the thesis that in Italy detective fiction has come to
play the role of the new "social novel."
By taking as its point of departure the privileged relationship
between the crime novel and its setting, this book is the most
wide-ranging examination of the way in which Italian detective
fiction in the last twenty years has become a means to articulate
the changes in the social landscape of the country. Nowadays there
is a general acknowledgment of the importance of place in Italian
crime novels. However, apart from a limited scholarship on single
cities, the genre has never been systematically studied in a way
that so comprehensively spans Italian national boundaries. The
originality of this volume also lies in the fact that the author
have not limited her investigation to a series of cities, but
rather she has considered the different forms of (social) landscape
in which Italian crime novels are set. Through the analysis of the
way in which cities, the "urban sprawl," and islands are
represented in the serial novels of eleven of the most important
contemporary crime writers in Italy of the 1990s, Pezzotti
articulates the different ways in which individual authors
appropriate the structures and tropes of the genre to reflect the
social transformations and dysfunctions of contemporary Italy. In
so doing, this volume also makes a case for the genre as an
instrument of social critique and analysis of a still elusive
Italian national identity, thus bringing further evidence in
support of the thesis that in Italy detective fiction has come to
play the role of the new "social novel."
This is the first book to focus explicitly on the semiotics of food
in crime fiction. Tackling the subject from a multicultural and
interdisciplinary perspective, it includes approaches from cultural
studies, food studies, media studies and crime fiction studies.
Thus the present collection investigates how the representation of
food's convivial aspects and of eating rituals can also point to
complex discourses about cultural belonging, regional, and national
and supranational identities. The chapters cover a range of issues,
such as the provision of intra-, per- or paratextual recipes, the
aesthetics and ethics of food, and its place in true crime writing
as well as in crime fiction proper. They also survey eating
disorders and eating habits as a mark of "otherness," the use of
food as an indicator of personal and national identity, or as an
indicator of syncretism and hybridity. The collection offers
readings, across a range of media, of twentieth- and
twenty-first-century crime fiction from Australia, Cuba, Denmark,
France, Germany, Italy, Mexico, Sweden, the UK, and the US. Authors
studied include Anthony Bourdain, Arthur Upfield, Sara Paretsky,
Andrea Camilleri, Fred Vargas, Ruth Rendell, Stieg Larsson,
Leonardo Padura, Georges Simenon, Paco Ignacio Talbo II, and Donna
Leon. Television productions analyzed here include the Inspector
Montalbano series (1999-ongoing), the Danish-Swedish Bron/Broen
(2011[The Bridge]), and its remakes The Tunnel (2013, France/UK)
and The Bridge (2013, USA).
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