CFP

Networks and Connections in the Crime Genre

International Crime Genre Research Group 7th biennial conference:

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Networks and Connections in the Crime Genre

Friday 26 – Saturday 27 May, 2017

National University of Ireland, Galway Continue reading

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New Approaches to Studying Crime Narratives

 

Tampere
One-day Symposium: “New Approaches to Studying Crime Narratives”
 
October 14, 2016
University of Tampere, Finland
 
First Call for Papers
 
We invite proposals for paper presentations on new approaches to studying crime narratives. We want to encourage participants to introduce and discuss new methodological and theoretical perspectives on how to study literary, televisual and filmic crime narratives, and also to consider recent developments in the field of crime writing itself. The symposium understands crime narratives in a wide sense, as ranging from detective fiction, spy stories, and thrillers to true crime. The symposium also welcomes proposals focusing on crime narratives from various language areas and cultural spheres. We would like to welcome proposals which address the following topics (however, the list is by no means exhaustive):

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Domestic Noir

 

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CALL FOR CHAPTERS
‘From the Domestic to the Dominant: The New Face of Crime Fiction’
Edited Collection

Gone Girl (Gillian Flynn), The Silent Wife (ASA Harrison), The Girl on the Train (Paula Hawkins), are just three recent novels that have captured the commercial imagination and conceivably shifted the critical perception of what a contemporary crime thriller is and should be doing in the second decade of the 21st Century. The terrain is domestic, the narrative perspective and criminal perpetrator firmly female. However, the political is of course ever present in relation to gender and society. The crime thriller has always been a peculiarly modern form. Its transition to an urgent, necessary and contemporary form of literary expression is arguable, and lies at the core of the discussion within this collection.

Julia Crouch (Cuckoo, The Long Fall, Tarnished and Every Vow You Break) recognised as the originator of the term ‘Domestic Noir’ stated that it ‘takes place primarily in homes and workplaces, concerns itself largely (but not exclusively) with the female experience.’

Domestic Noir is often concerned with crimes of an extremely intimate nature. Renee Knight’s Disclaimer and Claire Kendal’s The Book of You, both deal with unusually invasive forms of stalking. Christobel Kent’s The Crooked House and Erin Kelly’s The Poison Tree both detail the horror of long-buried secrets surfacing. Many of the novels deal explicitly with what Rebecca Whitney (The Liar’s Chair) describes as ‘toxic marriage and its fallout’, such as Emma Chapman’s How to be a Good Wife, and Lucie Whitehouse’s Before we Met. There are also versions of the marriage thriller that present economically or sexually independent women transgressing, such as Louise Doughty’s Apple Tree Yard and Jill Alexander Essbaum’s Hausfrau. Continue reading

American, British and Canadian Studies Special Issue: Contemporary Crime Fiction

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CALL FOR SUBMISSIONS:  AMERICAN, BRITISH AND CANADIAN STUDIES SPECIAL ISSUE:  CONTEMPORARY CRIME FICTION

(Information provided by Dr Charlotte Beyer)

American, British and Canadian Studies, the Journal of the Academic Anglophone Society of Romania, invites submissions for a special 2017 issue on Contemporary Crime Fiction, guest edited by Dr Charlotte Beyer. Continue reading

Call for Contributions: Crime Fiction and Food

 
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CFP sent by Jean Anderson, Carolina Miranda, and Barbara Pezzotti
Following our recent projects The Foreign in International Crime Fiction: Transcultural Representations (Continuum/Bloomsbury, 2012; see information available at www.continuumbooks.com/books/detail.aspx?BookId=167802&SubjectId=997&Subject2Id=927) and Serial Crime Fiction: Dying for More (forthcoming 2015, Palgrave McMillan; see http://www.palgrave.com/page/detail/serial-crime-fiction-jean-anderson/?K=9781137483683), we invite interested scholars and specialists to contribute to a planned volume on crime fiction and food.  We envisage including studies of print, television, and film series and are keen to consider a wide range of authors, countries and time periods. The category ‘crime fiction’ is here understood in the broad sense i.e. detective, spy, mystery and thriller.

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