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 : 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 : 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.
Description : Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 20. Chapters: Andre Helena, Arnould Galopin, Arthur Bernede, Boileau-Narcejac, Charles Exbrayat, Christine Adamo, Claude Aveline, Didier Daeninckx, Dominique Ponchardier, Emile Gaboriau, Franz-Olivier Giesbert, Frederic Dard, Fred Vargas, Gaston Leroux, Georges Lagrange, Gustave Le Rouge, Guy des Cars, Jean-Claude Izzo, Jean-Francois Parot, Jean-Patrick Manchette, Jean-Pierre Garen, Leo Malet, Marcel Allain, Maurice Leblanc, Pauline Delpech, Paul Feval, pere, Paul Halter, Pierre Alexis Ponson du Terrail, Pierre Souvestre, Roger Borniche, Sebastien Japrisot, Thierry Jonquet. Excerpt: Sebastien Japrisot (4 July 1931 - 4 March 2003) was a French author, screenwriter and film director, born in Marseille. His pseudonym was an anagram of Jean-Baptiste Rossi, his real name. Japrisot has been nicknamed "the Graham Greene of France." Famous in the Francophony, he is little known in the English-speaking world, though a number of his novels have been translated into English and have been made into films. Sebastien Japrisot made his mark as an author at seventeen, when his novel Les Mal Partis was published in France and America. He followed this with outstanding translations of J. D. Salinger's novels. He pursued a successful career in advertising and publicity. In 1962, he had an intriguing idea for a crime novel. As he did not feel at ease about his entry into this new field, he used an anagram of his own name as his pseudonym. However, the reception to The 10.30 from Marseille left no one in doubt that a great crime writer had made his debut. The book was quickly made into a film by Costa-Gavras starring Yves Montand, Simone Signoret, Catherine Allegret, Jacques Perrin, etc. His second mystery was Trap for Cinderella. This won the Grand Prix de Litterature Policiere for 1963. The film starred Dany Carrel, and Madeleine Robinson. He followed this with The Lady in the Car with Glasses and a Gun, which won him a second major French award - Le Prix d'Honneur 1966. In England it won the Crime Writer's Association Silver Dagger for the best Thriller published in the United Kingdom in 1968 by a foreign writer. He was also scriptwriter and film director. One Deadly Summer was made into a film starring Isabelle Adjani. A Very Long Engagement was an international bestseller and won the Prix Interallie. Paul Henri Corentin Feval, pere (30 September 1816 - 8 March 1887) was a French novelist and dramatist. He was the author of popular swashbuckler novels such as Le Loup Blanc (1843) and the perennial best-seller Le Bossu (1857). He also penned the seminal vampire
Description : The essays in this collection are based on papers given at a conference on detective fiction in European culture, held at the University of Exeter in September 1997. The range of topics covered is designed to show not only the presence and variety of narratives of detection across different European countries and their different media (although there is a predictable emphasis on the novel). It also illustrates the fertility of the genre, its openness to a spectrum of readings with different emphases, formal as well as thematic. Approaches to detective fiction have often tended to confine them-selves to 'symptomatic' interpretation, where details of the fictional world represented are used to diagnose a specific set of social preoccupations and priorities operative at the time of writing. Such approaches can yield valuable insights. Nonetheless there is a risk of limiting the value of the genre as a whole solely to its role as a mirror held up to society. In this perspective, issues of structure and style are sidelined, or, if addressed, are praised to the extent that they approach invisibility — concision, spareness, realism are the qualities singled out for praise. The genre also gives much scope for formal innovation — and indeed has often attracted already established 'mainstream' writers and filmmakers for just this reason.The eclectic diversity of the detective narratives considered in this volume reveal the malleability of the traditional constraints of the genre. The essays bear rich testimony to the value of considering the interplay of thematic and structural issues, even in the most apparently unselfconscious and popular (or populist) forms of narrative. The patterns of reassurance, the triumph of intellect and the ordered, rational world 'of old' are now challenged by the need to foreground the problems, ambiguities and uncertainties of the self and of society. The plurality of meanings and the antithetical imperatives explored in these detective narratives confirm that the most recent forms of the genre are not mere palimpsests of their 'golden age' precursors. The subversion of traditional expectations and the implementation of diverse stylistic devices take the genre beyond mere homage and pastiche. The role of the reader/spectator and critic in conferring meaning is a crucial one.
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 : 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 : "Tells the story of the developing genre of crime fiction, from its 18th century origins in Britain to its contemporary international scope. Ranging from drawing-room murder mysteries to spy fiction, legal dramas, and thrillers, Bradford explores the conventions of the genre, and considers how crime writers have worked to escape the limitations it places on them."--Front flap.
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.