Description : This volume explores the development of crime fiction as a genre in French literary culture from the mid-nineteenth century to the present day, paying particular attention to the distinctive features of this French-language tradition. Grounded in the study of novels by Francophone writers, such as Georges Simenon and Léo Malet, French Crime Fiction examines both period and movement-specific work, engaging each in broader debates about the larger contributions of crime fiction to contemporary French and European culture, making this an accessible volume for both the scholar and the interested reader.
Description : Rewriting Wrongs: French Crime Fiction and the Palimpsest furthers scholarly research into French crime fiction and, within that broad context, examines the nature, functions and specificity of the palimpsest. Originally a palaeographic phenomenon, the palimpsest has evolved into a figurative notion used to define any cultural artefact which has been reused but still bears traces of its earlier form. In her 2007 study The Palimpsest, Sarah Dillon refers to “the persistent fascination with palimpsests in the popular imagination, embodying as they do the mystery of the secret, the miracle of resurrection and the thrill of detective discovery”. In the context of crime fiction, the palimpsest is a particularly fertile metaphor. Because the practice of rewriting is so central to popular fiction as a whole, crime fiction is replete with hypertextual transformations. The palimpsest also has tremendous extra-diegetic resonance, in that crime fiction frequently involves the rewriting of criminal or historical events and scandals. This collection of essays therefore exemplifies and interrogates the various manifestations and implications of the palimpsest in French crime fiction.
Description : In the first major study of representations of World War II in French crime fiction, Margaret-Anne Hutton draws on a corpus of over a hundred and fifty texts spanning more than sixty years. Included are well-known writers (male and female) such as Aubert, Simenon, Boileau-Narcejak, Vargas, Daeninckx, and Jonquet, as well as a broad range of lesser-known authors. Hutton's introduction situates her study within the larger framework of literary representations of World War II, setting the stage for her discussions of genre; the problem of defining crimes and criminals in the context of the war; the epistemological issues that arise in the relationship between World War II historiography and the crime novel; and the temporal textures linking past crimes to the present. Filling a gap in the fields of crime fiction and fictional representations of the War, Hutton's book calls into question the way both crime fiction and the French theatre of World War II have been conceptualized and codified.
Description : Economics is the social science that studies the production, distribution, and consumption of goods and services. This book provides over 2,000 Exam Prep questions and answers to accompany the text French Crime Fiction and the Second World ... Items include highly probable exam items: Budget, Welfare, World Bank, State bank, Export, Intermediate good, Capital good, Technological change, Welfare, Mao Zedong, Advertising, Asset turnover, NASDAQ, Saving, Productive efficiency, Money market, and more.
Description : This study explores France's preoccupation with memories of the Second World War through an examination of popular culture and one of its more enduring forms: crime fiction. It examines what such popular narratives have to tell us about past and present perceptions of the war years in France and how they relate to post-war debates over memory, culture and national identity. Starting with narratives of the Resistance in the late 1940s and concluding with contemporary crime fiction for younger readers, Gorrara examines popular memories of the Second World War in dialogue with the changing social, cultural and political contexts of remembrance in post-war France. From memories of the persecution of Jews and French collaboration to the legacies of the concentration camps and the figure of the survivor-witness, all the crime novels discussed grapple with the challenges of what it means to live in the shadow of such a past for generations past, present and future.
Description : This book, which was inspired by a conference on plural conjugations of Frenchness ("La France au pluriel") held in 2007 at the Universities of Technology, Sydney and Newcastle, focuses on the concept of national belonging as it pertains to detective fiction, with particular emphasis on French and Australian detective fictions and the encounter and crossing over between them. The objective is not only to use the concepts of 'French' and 'Australian' detective fiction productively, via the analysis of French and Australian detective-fiction novels, but also to challenge and undermine the very notion of national detective fictions, which are so often assumed to be transparently meaningful. The contributors to this volume focus variously on the following areas: comparative analysis of the genesis of French and Australian detective fiction; translation of Australian (and other) novels into French; translation as a genre; Frenchness as a stereotype, its role in individual novels and its spectre in all detective fiction; and readings of individual French and Australian detective novels. Overall, this book aims to challenge assumptions about French detective fiction, its influence on other national fictions and its explicit and implicit presence in all detective fiction.
Description : For 150 years the French public and literati have enjoyed a love affair with crime fiction. This book investigates the nature of this relationship and how through periods of dramatic social and political change in France it has flourished. It challenges the conventional view of a popular genre feeding a niche market, depicting crime fiction instead as a field of creative endeavour, which has gradually matured into one of considerable literary fertility. By inviting us to share secrets and crack codes, creating suspense and (at times) not shirking from presenting horrific events in graphic language, the crime story brings into play the intellect and emotions of its readership. This book explores both this intrinsic literary value of the crime novel and its extrinsic witness to historical events and cultural trends, arguing that these apparently distinct aspects are in fact dynamic, interrelated parts of the same whole. This blend of cultural history with literary analysis allows for the discussion of themes such as politics, memory, the urban environment and youth cultures, mixed with case studies of major French crime writers, including Gaston Leroux, Georges Simenon, Jean-Patrick Manchette, Daniel Pennac and Fred Vargas.
Description : Taking Edgar Allan Poe's 1841 "The Murders in the Rue Morgue" as an inaugural frame, Andrea Goulet traces shifting representations of violence, space, and nation in French crime fiction from serial novels of the 1860s to cyberpunk fictions today. She argues that the history of spatial sciences—geology, paleontology, cartography—helps elucidate the genre's fundamental tensions: between brutal murder and pure reason; historical past and reconstructive present; national identity and global networks. As the sciences underlying her analysis make extensive use of strata and grids, Goulet employs vertical and horizontal axes to orient and inform her close readings of crime novels. Vertically, crimes that take place underground subvert above-ground modernization, and national traumas of the past haunt present criminal spaces. Horizontally, abstract crime scene maps grapple with the sociological realities of crime, while postmodern networks of international data trafficking extend colonial anxieties of the French nation. Crime gangs in the catacombs of 1860s Paris. Dirt-digging detectives in coastal caves at the fin-de-siècle. Schizoid cartographers in global cyberspace. Crime fiction's sites of investigation have always exposed central rifts in France's national identity while signaling broader, enduring unease with violent disruptions to social order. Reading murder novels of the last 150 years in the context of shifting sciences, Legacies of the Rue Morgue provides a new spatial history of modern crime fiction.
Description : The notion of crime crosses generic, disciplinary and cultural frontiers. In an era of identity fraud, eco-crime and global terrorism, this collection moves towards a reconsideration of crime in the French and Francophone literary and cultural imagination. How have our conceptions of 'criminal' behaviour developed? How has the French genre of crime fiction, encompassing, but not limited to, the "polar," the "roman policier" and "film noir," evolved and reinvented itself? The volume adopts a number of theoretical approaches, which range from sociological and criminological discourse to literary criticism and postcolonial theory (by Chamoiseau, Durkheim, Deleuze, Foucault, Glissant, Krafft-Ebing and Todorov). In a wide-ranging series of innovative and challenging readings, it examines ideas which include the evolving concept of crime in literature from Voltaire and censorship through to scientific constructions of criminality in the nineteenth century and in the postcolonial era, both within and outside metropolitan France. The volume also explores 'textual crimes' in contemporary Martinican women's writing, crime as a genre in Andre Helena, Serge Arcouet and Jean Meckert, Sebastien Japrisot and Dominique Manotti, and visual responses to crime by artist Jacques Monory and filmmaker Didier Bivel."
Description : This Companion covers British and American crime fiction from the eighteenth century to the end of the twentieth. As well as discussing the 'detective' fiction of writers like Arthur Conan Doyle, Agatha Christie and Raymond Chandler, it considers other kinds of fiction where crime plays a substantial part, such as the thriller and spy fiction. It also includes chapters on the treatment of crime in the eighteenth-century literature, French and Victorian fiction, women and black detectives, crime on film and TV, police fiction and postmodernist uses of the detective form.