Kirjahaku

The primary aim of Studying Crime in Fiction: An Introduction is to introduce the emerging cross-disciplinary area of study that combines the fields of crime fiction studies and criminology. The study of crime fiction as a genre has a long history within literary studies, and is becoming increasingly prominent in twenty-first-century scholarship. Less attention, however, has been paid to the ways in which elements of criminology, or the systematic study of crime and criminal behaviour from a wide range of perspectives, have influenced the production and reception of crime narratives. Similarly, not enough attention has been paid to the ways in which crime fiction as a genre can inform and enliven the study of criminology. Written largely for undergraduate and graduate students, but also for scholars of crime fiction and criminology interested in thinking across disciplinary boundaries, Studying Crime in Fiction: An Introduction provides full coverage of the backgrounds of the related fields of crime fiction studies and criminology, and explores the many ways they are reciprocally illuminating.The four main chapters in Section 1 (Orient You) familiarize readers with the history and contours of the broad fields within which Studying Crime in Fiction: An Introduction operates. It introduces the history of crime and criminology, as well the history of crime fiction and the academic field dedicated to its study. In its final chapter it looks at the ways these areas of study can be conceptually interrelated. Section 2 of the book (Equip You) is dedicated to examining aspects of criminological theory in relation to various forms of crime fiction. It highlights a range of the most relevant theories, paradigms, and problematics of criminology that appear in, shed light on, or can be effectively illuminated through reference to crime fiction. Its five chapters deal with the definition of crime; explanations for crime and criminal behaviour; investigations into crime; the experience of crime; and, finally, punishments for crime. All of these areas are examined alongside examples of crime fiction drawn from across the genre’s history. Section 3 (Enable You) presents six case studies. Each of these reads a work of crime fiction alongside one or more criminological approaches. Each case study is supplemented with a set of questions addressing issues central to the study of crime in fiction.

The primary aim of Studying Crime in Fiction: An Introduction is to introduce the emerging cross-disciplinary area of study that combines the fields of crime fiction studies and criminology. The study of crime fiction as a genre has a long history within literary studies, and is becoming increasingly prominent in twenty-first-century scholarship. Less attention, however, has been paid to the ways in which elements of criminology, or the systematic study of crime and criminal behaviour from a wide range of perspectives, have influenced the production and reception of crime narratives. Similarly, not enough attention has been paid to the ways in which crime fiction as a genre can inform and enliven the study of criminology. Written largely for undergraduate and graduate students, but also for scholars of crime fiction and criminology interested in thinking across disciplinary boundaries, Studying Crime in Fiction: An Introduction provides full coverage of the backgrounds of the related fields of crime fiction studies and criminology, and explores the many ways they are reciprocally illuminating.The four main chapters in Section 1 (Orient You) familiarize readers with the history and contours of the broad fields within which Studying Crime in Fiction: An Introduction operates. It introduces the history of crime and criminology, as well the history of crime fiction and the academic field dedicated to its study. In its final chapter it looks at the ways these areas of study can be conceptually interrelated. Section 2 of the book (Equip You) is dedicated to examining aspects of criminological theory in relation to various forms of crime fiction. It highlights a range of the most relevant theories, paradigms, and problematics of criminology that appear in, shed light on, or can be effectively illuminated through reference to crime fiction. Its five chapters deal with the definition of crime; explanations for crime and criminal behaviour; investigations into crime; the experience of crime; and, finally, punishments for crime. All of these areas are examined alongside examples of crime fiction drawn from across the genre’s history. Section 3 (Enable You) presents six case studies. Each of these reads a work of crime fiction alongside one or more criminological approaches. Each case study is supplemented with a set of questions addressing issues central to the study of crime in fiction.

Explore the real-life settings and inspirations behind the Golden Age mysteries of Dorothy L Sayers This beautifully crafted fold-out guide is the perfect companion for devotees of Lord Peter Wimsey and Harriet Vane, mapping the landscape of one of detective fiction's most celebrated creators. Follow in the footsteps of both Sayers herself and her iconic characters across London streets, Oxford colleges, sleepy English villages, and into Scotland and Wales. From the Piccadilly flat that inspired Lord Peter's luxurious bachelor residence to the advertising agency where Sayers crafted campaigns for Guinness while conceiving "Murder Must Advertise," each location reveals another layer of connection between the author's life and her fictional world. Discover: * London Landmarks: The Naval and Military Club that became the Bellona Club, Miss Climpson's Pimlico residence, and Harriet Vane's trial at the Old Bailey * Oxford Connections: Stroll through Shrewsbury College (modelled on Sayers' alma mater Somerville) where Harriet investigates in "Gaudy Night," and visit Christ Church where the Duke of Denver studied * Country Investigations: Explore Fenchurch St. Paul with its famous bell tower, the Yorkshire moors of "Clouds of Witness," and the artistic community of Kirkcudbright featured in "Five Red Herrings" Each entry includes historical context, literary connections, and precise details of its significance in Sayers' life or fiction. Illustrated with charming maps and artistic renderings, this guide transforms literary tourism into detective work itself, uncovering the authentic settings that defined the Golden Age of British mystery. Whether planning actual visits or enjoying armchair travel, this guide offers both casual fans and dedicated Sayers scholars a deeper appreciation of how place shaped the character of one of Britain's most enduring literary figures and her beloved creations. Includes: Annotated map, illustrated postcard, and comprehensive index of locations across 46 sites.

Dorothy L. Sayers was one of the "Queens of Crime." Alongside writers like Agatha Christie, she perfected the whodunnit, but also used the genre to explore social, ethical, and emotional matters. Her characters, particularly Lord Peter Wimsey and his investigative partner Harriet Vane, struggle with the complexities of life and love in a rapidly changing world while solving some of the most intricate and complex mysteries ever offered to the reading public. Sayers was also an important theoretician of detective fiction, a religious dramatist, a public intellectual, and one of the 20th century's most important translators of Dante. While focusing on her mystery fiction, this companion offers a full view of all aspects of Sayers's career. It is an ideal introduction for readers new to Sayers's diverse and rewarding body of work, and an invaluable companion for her many fans.

This book explores a wide range of twentieth and twenty-first century international fiction that engages with the Holocaust and its historical legacy. It examines the use of tropes of crime and detection in the representation of historical atrocity in both explicit crime fiction and in literary fiction that relies on some of crime fiction’s signature techniques. Crime Fiction and the Holocaust asks why patterns of detection have become a favoured method of fictional engagement with the Holocaust, considers the ethical and textual problematics of fictional encounters with real-world suffering, and delineates crime fiction’s formal and thematic contributions to the broader project of Holocaust fiction.