To see the full programme and book of abstracts, please visit the conference website
Today in Bucharest is the opening of the Mysteries of Bucharest Festival (Misterele Bucureștiului, June 7 to 9, 2019). This Festival, which is part of the 2019 Romania – France season (Sezonului România – Franța 2019), is organised for the first time this year. It is a partnership between the National Museum of Romanian Literature, the Quais du Polar Festival (Lyons), the French Institute of Romania and the Theater of Romanian Playwrights. Its title pays homage to Ioan M. Bujoreanu’s pioneering (and sole) novel Mistere din Bucureşti, published in two volumes (1862 and 1864), which is generally considered as the first crime fiction novel written in Romanian. Bujoreanu himself was paying homage to the seminal Mysteries of Paris, by Eugène Sue (Les Mystères de Paris), which had appeared as a 90 installments serial in Le Journal des Débats, between June 1842 and October 1843.
Eugène Sue’s success abroad offered a blueprint for the circulation of crime novels (lato sensu) in Europe from the middle of the 19th century. Sue’s Model circulated in fact twice. It was indeed disseminated both through numerous translations of his novel, Les Mystères de Paris, which proliferated throughout Europe, and through the imitation and adaptation of the narrative frame of Urban Mysteries to other European Capital Cities. Los Misteríos de Madrid (Juan Martínez Villergas,1844), The Mysteries of London (G. W. H. Reynolds, 1844-1848), Les Mystères de Bruxelles (Édouard Suau de Varennes, 1844-1846), Die Geheimnisse von Berlin (N.N., 1844) followed in quick succession, setting a European trend (I Misteri di Roma Contemporanea (B. Del Vecchio, 1851-53); Os Mistérios de Lisboa (Camilo Castelo Branco, 1854), which would also disseminate elsewhere. The phenomenon exported to America too, of course, with notably The Mysteries and Miseries of New York (Ned Buntline, 1848)
The Mysteries of Bucharest festival highlights the interconnection between European Popular Cultures. It shows how Crime Fiction speak to Europeans of different languages, cultures, religions and origins. It thus contributes to a better knowledge of cultural Europeanisation and to a renewal of cultural narratives of Europe, beyond national borders, as promoted by the Horizon 2020 Call ” Understanding Europe – Promoting the European public and cultural space” (H2020-SC6-CULT-COOP-2016-2017). It will also give an opportunity to showcase research carried out in the H 2020 funded DETECt project – Detecting Transcultural Identity in European Popular Crime Narratives – which links Today’s crime fiction culture with European cultural heritage.
The full programme of the festival is here
 For more details and examples (in French) see : Les Mystères urbains, directed by Filippos Katsanos, Marie-Ève Thérenty & Helle Waahlberg: http://www.medias19.org/index.php?id=630 and Matthieu Letourneux, “Les ” mystères urbains ”, expression d’une modernité énigmatique.” Alla ricerca delle radici popolari della cultura europea, Looking for the Roots of European Popular Culture, Dec 2009, Bologne, Italie. ffhal-00645212 https://hal.archives-ouvertes.fr/hal-00645212/document
“Unified in Diversity?”
The Promotion and Reception of Europeanness in Contemporary Crime Fiction
Call for abstracts
We invite case studies in literary fiction, film and television series. For example, we are looking for analyses of cross-media phenomena such as Inspector Montalbano, the Millenium trilogy, or Babylon Berlin, which originated from literary works and became transnationally successful television series. Such cases would be especially interesting since the market logic for audiences in literary and screen reception is still markedly different. We are also particularly interested in case studies about television series such as The Team, Crossing Lines, or Eurocops, whose presumed Europeanness is already embedded in their production process.
Northern Irish crime writers Anthony Quinn and Brian McGilloway will converse with crime fiction scholar and writer Andrew Pepper about the theme: “Border? What Border?: Irish crime fiction and Brexit”. The centrality of Northern Ireland in the ongoing negotiations will be an opportunity to test the ability of crime fiction to become a vehicle for representing and understanding the dramatic challenges currently faced by the European Union.
Thursday, March 21, 6:00 pm,
Peter Froggatt Centre, Queen’s University, Belfast,
Lecture Theater 02/011
All Welcome !
Call for papers
Producers, distributors and audiences of European crime narratives
30 September to October 2 2019
Queen’s University Belfast – School of Arts, English and Languages
The Research Fellow will be an active member of the European-funded project “DETECt: Detecting Transcultural Identity in European Popular Crime Narratives”, by assisting in the development of research proposals and the planning and delivery of the research activity within a specified area so that the overall research objectives of the project/school are met.
The successful candidate will form part of a cross-disciplinary research team working with staff in Film, English, French and Geography.
The post relates primarily to the Work Packages “Creative Industries” and “Creative Audiences”, one of eight sections of the project, specifically focusing on the study of the production, distribution and consumption practices of European crime narratives in the fields of the film and television industries. Continue reading
The International Crime Fiction Research Group is delighted to share the good news about the European funding secured for our project “DETECt -Detecting Transcultural Identity in European Popular Crime Narrative-“, as part of the Horizon 2020 – Societal Challenge 6: “Understanding Europe: Promoting the European Public and Cultural Space” framework. The project is led by the University of Bologna and involves 18 institutions from 11 European Countries. DETECt addresses the formation of European cultural identity as continuing process of transformation fostered by the mobility of people, products and representations across the continent. Because of the extraordinary mobility of its products, popular culture plays a decisive role in circulating representations that constitute a shared cultural asset for large sectors of the European society. The project examines examples of crime fiction, film and TV dramas from 1989 to present, to learn how mobility strategies such as co-production, serialization, translation, adaptation, distribution, and more, have influenced the transnational dissemination of European popular culture. It also investigates how the treatment of specific ‘mobile signifiers’ – including representations of gender, ethnic and class identities – affect the ability of European narratives to migrate outside their place of origin, and be appropriated elsewhere in different and variegated ways. Researching the contemporary history of the crime genre in Europe, DETECt aims to identify the practices of production, distribution and consumption that are best suited to facilitate the emergence of engaging representations of Europe’s enormously rich, plural and cross-cultural identity. The knowledge acquired through a detailed research programme will be used in cultural, learning and public engagement initiatives designed to prompt the elaboration of new transnational formats for the European creative industries. These activities will profit from a set of experimental research and learning resources and innovative collaborative tools, aggregated and organized on DETECt Web portal which will be introduced here. A range of activities will be addressed to the general public and announced here. In particular, the development of a Web mobile app tools will allow users to contribute to the creation of a collaborative atlas of European crime narratives. Watch this space for updates.
Please visit The DETECt website