Crime fiction has been one of the most popular genres since the 19th century, but has roots in works as varied as Sophocles, Herodotus, and Shakespeare. In this Very Short Introduction Richard Bradford explores the history of the genre, by considering the various definitions of 'crime fiction' and looking at how it has developed over time. Discussing the popularity of crime fiction worldwide and its various styles; the role that gender plays within the genre; spy fiction, and legal dramas and thrillers; he explores how the crime novel was shaped by the work of British and American authors in the 18th and 19th centuries. Highlighting the works of notorious authors such as Edgar Allan Poe, Conan Doyle, Agatha Christie, and Raymond Chandler — to name but a few — he considers the role of the crime novel in modern popular culture and asks whether we can, and whether we should, consider crime fiction serious 'literature'. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.
Provides a lively introduction to what is both a wide-ranging and hugely popular literary genre. Accessible and clear, this comprehensive overview is the essential guide for all those studying crime fiction.
The volume aims to ensure that its readers will be grounded in the history of crime fiction and its critical reception.
This book provides a comprehensive overview of all the different kinds of crime fiction, with examples from successful contemporary writers in each of the different genres, and clear explanations and...
... by Joseph Bristow Historicism by Paul Hamilton Stylistics by Richard Bradford Humanism by Tony Davies Subjectivity by Donald E. Hall Ideology by David Hawkes CRIME FICTION John Scaggs ROUTLEDGE Routledge Taylor & Francis Group.
Author and priest, Giles Fraser, recently pointed out that the atheist detective, currently flourishing in film, fiction and television, is not a particularly original reinvention of the investigator.5 Following a similar logic to ...
... Mark Hennessy, and Caoimhe ní Bhraonáin in Irish Studies, and my School of English colleagues Terence Brown, Clare Clarke, Philip Coleman, Paul Delaney, Aileen Douglas, Nicholas Grene, Darryl Jones, Jarlath Killeen, Deirdre Madden, ...
This collection of articles studies the development of crime fiction in Denmark, Finland, Iceland, Norway and Sweden since the 1960s, offering the first English-language study of this widely read and influential form.
Giuliana Pieri in italy, crime fiction had a relatively late and slow start. The so-called gialli, which take their name from the distinctive yellow cover of the crime series by the Milanese publishing house Mondadori in the 1930s, ...
Further, crime is the deviant action of the marginalised individual that defines the normative centre of society, and fictions of crime bring clearly into view the structures of power in society and the ideologies that promulgate and ...
Thus, rather than a question of “emotional affect” or “political action” (Gibbs 20), crime trauma fiction offers both emotional affect through representations of traumatic experience and social commentary that creates political ...