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This book primarily focuses on the concept of forgetting, with
particular emphasis on how we can trace the forgotten in
contemporary life writing and memory texts. It consists of two main
parts: the first concentrates on life writing in particular and
what the author calls "scenes of forgetting"; the second examines
both fiction and autobiographies that deal with questions of
collective memory/forgetting. The book's principal aim is to map
methods and strategies writers employ when writing the forgotten -
it argues that forgetting is a constant companion in any memory
text and plays a decisive role in the memory work performed in the
texts. The main theoretical objective is to examine carefully the
connection between collective memory and personal memory, by
drawing from two disciplines at once: memory studies and theories
on life writing. By considering both areas of research, the
conclusions of this study are able to feed into both theoretical
perspectives.
What is often termed ‘Nordic Noir’ has dominated detective
fiction, film and television internationally for over two decades.
But what are the parameters of this genre, both historically and
geographically? What is noirish and what is northern about Nordic
noir? The foreword and coda in this volume, by two
internationally-bestselling writers of crime fiction in the north,
Yrsa Sigurðardóttir and Gunnar Staalesen, speak to the social
contract undertaken by writers of noir, while the interview with
the renowned crime writer Val McDermid adds nuance to our
understanding of what it is to write noir in the North. Divided
into four sections – Gender and Sexuality, Space and Place,
Politics and Crime, and Genre and Genealogy – Noir in the North
challenges the traditional critical histories of noir by
investigating how it functions transnationally beyond the
geographical borders of Scandinavia. The essays in this book deepen
our critical understanding of noir more generally by demonstrating,
for example, Nordic noir’s connection to fin-de-siècle
literatures and to mid-century interior design, and by
investigating the function of the state in crime fiction.
This book primarily focuses on the concept of forgetting, with
particular emphasis on how we can trace the forgotten in
contemporary life writing and memory texts. It consists of two main
parts: the first concentrates on life writing in particular and
what the author calls "scenes of forgetting"; the second examines
both fiction and autobiographies that deal with questions of
collective memory/forgetting. The book's principal aim is to map
methods and strategies writers employ when writing the forgotten -
it argues that forgetting is a constant companion in any memory
text and plays a decisive role in the memory work performed in the
texts. The main theoretical objective is to examine carefully the
connection between collective memory and personal memory, by
drawing from two disciplines at once: memory studies and theories
on life writing. By considering both areas of research, the
conclusions of this study are able to feed into both theoretical
perspectives.
What is often termed ‘Nordic Noir’ has dominated detective
fiction, film and television internationally for over two decades.
But what are the parameters of this genre, both historically and
geographically? What is noirish and what is northern about Nordic
noir? The foreword and coda in this volume, by two
internationally-bestselling writers of crime fiction in the north,
Yrsa Sigurðardóttir and Gunnar Staalesen, speak to the social
contract undertaken by writers of noir, while the interview with
the renowned crime writer Val McDermid adds nuance to our
understanding of what it is to write noir in the North. Divided
into four sections – Gender and Sexuality, Space and Place,
Politics and Crime, and Genre and Genealogy – Noir in the North
challenges the traditional critical histories of noir by
investigating how it functions transnationally beyond the
geographical borders of Scandinavia. The essays in this book deepen
our critical understanding of noir more generally by demonstrating,
for example, Nordic noir’s connection to fin-de-siècle
literatures and to mid-century interior design, and by
investigating the function of the state in crime fiction.
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