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With its bleak urban environments, psychologically compelling
heroes and socially engaged plots, Scandinavian crime writing has
captured the imaginations of a global audience in the 21st century.
Exploring the genre's key themes, international impact and
socio-political contexts, Scandinavian Crime Fiction guides readers
through such key texts as Sjoewall and Wahloeoe's Novel of a Crime,
Gunnar Staalesen's Varg Veum series, Peter Hoeg's Miss Smilla's
Feeling for Snow, Henning Mankell's Wallander books, Stieg
Larsson's Millennium trilogy and TV series such as The Killing.
With its focus on the function of crime fiction in both reflecting
and shaping the late-modern Scandinavian welfare societies, this
book is essential for readers, viewers and fans of contemporary
crime writing.
With its bleak urban environments, psychologically compelling
heroes and socially engaged plots, Scandinavian crime writing has
captured the imaginations of a global audience in the 21st century.
Exploring the genre's key themes, international impact and
socio-political contexts, Scandinavian Crime Fiction guides readers
through such key texts as Sjoewall and Wahloeoe's Novel of a Crime,
Gunnar Staalesen's Varg Veum series, Peter Hoeg's Miss Smilla's
Feeling for Snow, Henning Mankell's Wallander books, Stieg
Larsson's Millennium trilogy and TV series such as The Killing.
With its focus on the function of crime fiction in both reflecting
and shaping the late-modern Scandinavian welfare societies, this
book is essential for readers, viewers and fans of contemporary
crime writing.
This book constitutes the most detailed and wide-ranging
comparative study to date of how European literatures written in
less well known languages try, through translation, to reach the
wider world. Through case studies of over thirteen different
national contexts as diverse as Bosnian, Catalan, Czech, Dutch,
Maltese, Polish, Portuguese, Swedish and Serbian, it explores
patterns and contrasts in approaches to supply-driven translation,
cultural diplomacy, institutional support and international
gate-keeping, while examining the particular fates of poetry,
women's writing and genre fiction, and the opportunities arising
from trans-medial circulation, self-translation and translingualism
and a more radical critique of power balances in the translation
and publishing industries. Its comparative approach challenges both
the narratives of uniqueness that arise from discrete national
approaches and the narrative of tragic marginalization that
prevails in world literary approaches. Instead, it uses an
interdisciplinary mix of literary, historical, sociological,
gender- and translation-studies approaches to illuminate the often
pioneering, innovative thinking and strategies that mark these
literatures as they take on the inequalities of globalization.
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