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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 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).
'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.
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