Crime Fiction Novels

Johnson’s thriller has rape,  theft, and murder of a bank guard during a holdup. Bill does it, on orders of one of his brothers after the guard kills one of the gang.  He ends on death row. There, he comes to a realization missing in 20th century pulp noir. A "failure story" (Orson Wells' statement of inevitable fate destroying the protag) gives way to a spiritual kind of peace. I discuss the way 21st century country noir veers in a new direction from its 20th century roots.

In 2008 Tobias Jones published the nonfiction exposé The Dark Heart of Italy. Jones was a fan of the country and went to live there hoping to find a pastoral idyll. Instead, he found a nation that disturbed him profoundly so he chronicled Italy’s paranoia over domestic terrorism and unbridled corruption, its rampant crime and seemingly impotent justice system, its seedy underworld and the hidden, and not so hidden, collusion between politics, business, organized crime, and the church. The book made for uncomfortable reading. Mixed in with the grand history, inimitable sense of style, and the fantastic cuisine was a world of murder, violence, and really bad television. Jones’s Italy was certainly not la dolce vita. - See more at: http://thelifesentence.net/book/dissecting-italys-dark-heart-tobias-jones-101/#sthash.2Iqy1PlI.dpuf

Although there is an influential strand of modern theory of fiction that distinguishes “fictivity” from "fictionality", it continues to be a common sense belief, even among literary critics, that obvious falsehood of what is represented makes a text fictional or at least contributes to its fictionality. Taking the starting point of the tension between this belief and Truman Capote's controversial genre concept of 'nonfiction novel', which is frequently instantiated as crime novels, this paper addresses the questions of how many facts fiction can 'bear' and whether, in principle, there is incompatibility between certain narrative techniques (e.g. internal focalization) on the one hand and the status of a text as factual on the other. Through investigating a classical example of the 'nonfiction novel' (Capote's “In Cold Blood”), a modern precursor (Alfred Döblin's “Die beiden Freundinnen und ihr Giftmord”) and a related contemporary work (Ferdinand von Schirach's “Verbrechen”) with regard to the authors' intentions, signposts of factuality/fictionality and their reception, this paper points out the potential and the risks involved when literature appropriates real legal cases.

Athens 1953. Financier Kostas Floràs is accused of the murder of painter Nassos Karnezis, found dead in his apartment in the exclusive area of Kolonaki. Floràs’s son from his first marriage, Dimitris, convinced of his father’s innocence, together with two friends, a journalist and the other a former member of parliament, try to discover who the real murderer is. In the beginning they suspect Mirtò, the daughter of an admiral that Karnezis had handed over to the Germans during the Nazi occupation and who was subsequently killed. However Dimitris and Mirtò, who proves to be innocent, fall in love while the darker side of Karnezis, involved in a smuggling ring is revealed. Juliette, Karnezis’s lover is found murdered. Dimitris and Mirtò likewise face death but are saved as a result of the intervention of Inspector Giorgos Bekas.

About the Author:
Yannis Maris
Provided one goes along with the author, the modern reader will discover several interesting aspects in the works of Yannis Marìs. First, is the inventiveness of his stories which has led one of his most credible imitators, Petros Màrkaris, to point out, “Jannis Marìs belongs to the European avanguardia in terms of detective stories. He was one of the first to understand the potentiality of the crime story to also deal with social aspects […] The only other writer who is a contemporary of Marìs who has written socio-political novels set within a detective story is Leonardo Sciascia”. To read Marìs is, in other words, to read a relatively unknown yet significant author who, had he written in a more prevalent language, (accoring to the claims of Màrkaris) could have become a cult author beyond Greece, and who made a significant contribution to the detective genre in its ‘Mediterranean’ version.

It's a crime novel, a murder mystery set in Hangzhou. I don't want to give too much away, but there's a serial killer on the loose, who leaves a jump rope, a cigarette and a note saying " Come and get me " by each victim. Things get complicated when Luo Wen (Head of Forensics) comes across a young woman stabbing a local thug in self-defense. The thug dies, and for some unknown reason, Luo promises to help her cover up the crime. When the police are struggling to come up with answers, they call in Professor Yan Liang, a criminologist renowned for solving cases like a mathematical equation.

The Palgrave Encyclopedia of Urban Literary Studies. Ed. Jeremy Tambling. Cham: Palgrave, 2020. 5pp. Web.

Print citation:
“Finances and Focalization in Flynn’s Gone Girl.” The Palgrave Encyclopedia of Urban Literary Studies. Ed. Jeremy Tambling. Cham: Palgrave, 2022. 656-60. Print.

Con questo saggio ho deciso di prendere in esame tre figure di detective, molto diversi fra di loro, ma che
presentano allo stesso tempo alcune somiglianze. La mia intenzione è quella di dimostrare come i personaggi più di
successo abbiano influenzato altri personaggi successivi, e come gli autori di romanzi e racconti gialli siano
perfettamente a conoscenza degli autori che li hanno preceduti, e delle caratteristiche dei personaggi da loro creati. In
alcuni casi le somiglianze sono sottili, in altri più evidenti: ma tutti e tre i personaggi che ho deciso di analizzare
(Sherlock Holmes, Guglielmo da Baskerville e Philip Marlowe) presentano alcune cose in comune, e sono ese

Vogliamo qui ringraziare la Fondazione Banca del Monte di Lombardia per il contributo che ha reso possibile la stampa del presente volume. Desideriamo inoltre esprimere la nostra gratitudine al Collegio Ghislieri di Pavia per avere ospitato la giornata di studio nella quale sono stati presentati i saggi qui raccolti. Un sentito ringraziamento va anche all'artista Ines Dunemann per aver realizzato i tre disegni di soggetto pompeiano che ornano il libro. 4 INDICE Premessa di Elisa Romano Amore e morte a Pompei. L'immaginario collettivo e la formazione di un mito Marxiano Melotti «Destare a nuova vita la città dei morti». Gli ultimi giorni di Pompei di Edward Bulwer (1834) John Meddemmen Arria Marcella e il Gothic Novel pompeiano Luciana Jacobelli Fra archeologia e poesia nazionalistica, l'anomalia del "caso Pompei" Lorenzo Braccesi Archeologie dell'estetismo Giorgio Zanetti Gli ultimi giorni di Pompei in un dimenticato poema di Luigi Conforti Renzo Cremante Arturo Martini e Pompei: tra mito del quotidiano e indagine sul corpo Paolo Campiglio Il delitto e lo scavo Maurizio Harari Gialli storici ambientati a Pompei Stefano Rocchi Fiction e verosimiglianza storica: il punto di vista di un'autrice di genere Danila Comastri Montanari Figure Indice dei nomi, a cura di Francesca M. Falchi 5 9 33 53 67 75 113 135 147 163 175 183 196 8

Alors que la série San-Antonio  peut apparaître  comme une sorte d'épopée sexuelle d'arrière-garde,  tout à la gloire de représentations et de valeurs masculines aussi datées que peu problématisées et jamais remises en question, cet article montre ce que révèle une  lecture plus précise de la série dans sa longue durée.  Les aventures de San-Antonio racontent une masculinité en pleine crise où s'exhibent, dans les multipes représentations d'obsessions, de phobies et de pathologies du désir  des "troubles dans le genre" mis en scène de manière souvent très explicite.

This study is focused on the relationship between the poetics of the detective novel and the essays written by father N.Steinhardt, the well renown writer of The Happiness Diary, in the wake of his passionate experience of reading many detective stories and and novels being a fan, since his childhood till his old age. We are trying to encompass other views of several theorists of whodunnit as anglo-saxons coined a new term for this field of para-litterature, quoting the Interbellum essays written by Mircea Eliade or Camil Petrescu, praising or underestimating them, depending on the own prefferences and idiosyncrasies of the two Romanian major prose writers. This essay is also concerned with a brief typology of the detective stories novels, depicted in Father N.Steinhardt's essays and is also introducing a small gallery of detectives invented by classical authors as Arthur Conan Doyle.

The Talented Mr. Ripley is a novel that primarily focuses on the psychosis of denial. Tom, the protagonist, swings between two dominant attitudes of post-war feelings: the simultaneous urge for alienation and engagement and use of performance as a tool to maintain that denial in the face of reality. In the novel, his mind is dominated by these two contradictory urges and thus experiences a split in his personality, which is the main cause of his pleasure. From a Freudian perspective, this mode of instability in personality is due to the subject oscillating between two incongruous, yet equally dominant urges that are illustrated by Freud’s theories of the life and the death instinct as explained in Civilization and Its Discontents. My argument proceeds in two stages. First, I claim that in The Talented Mr. Ripley Tom’s actions are results of his compelling desire to free himself from reality, constructing an illusionary world while surrendered by the demands of a decentered post-war society. Second, I conclude that the duality between alienation and engagement results in Tom’s escape from the boundaries of identity. Consequently his alienation from society eventually causes alienation from ‘the self’ and his engagement with another determines his engagement with ‘the other’, and results in his self-satisfaction.

Integrating the Nordic noir in the modern Greek culture: the case of Vagelis Giannisis
From the beginning of the 21th century a worldwide renewal of interest for both the creative/ cultural industries and the audiences towards crime fiction has been observed. This turn of interest affects the European countries and their cultural interrelations. Greece closely follows this revival through a variety of medias (publications, cinema, TV, social networks), at all levels of the production, circulation and consumption process.
An interesting case of this phenomenon is the literary work of Vagelis Giannisis (b. 1988). His first novel, entitled "Hatred", was published in 2014, introducing the police inspector Anders Economides. Until nowadays, Giannisis has published four more novels, starring Economides.
The main feature of Giannisis’ work is the integration of the Nordic noir trend into a modern Greek context. Therefore, we will briefly but spherically analyze the transcultural characteristics of this literary series from the point of you of:
• Production: Giannisis writes his novels in Swedish and Greek, so we will study the authorial intentions and strate- gies, based in open interviews with the writer and also his Greek and maybe Swedish publishers.
• Representation: Inspector Anders Economides is a Greek born and living in Sweden, thus the representation through the stylistic and structural characteristics of the Nordic noir is carried out as an interaction mainly of the dark sides of Swedish political and social life with elements of Greek culture and mentality. We will examine the discours of the novels, focussing on the narratives’ sites of memory (lieux de mémoire ).
• Reception: Giannisis’ novels are quite successful in the Greek readership, which interactively discusses his work on social media. Our survey will be based, not only on the empirical data of the activity of the creative readers on social media, but also on their communication with the writer, which probably affects diversely his work.

Las últimas narrativas policiacas españolas escritas por mujeres, tales como El guardián invisible (Redondo, 2013) y Ojos de hielo (Solé, 2013), se caracterizan por la fuerte presencia e incluso capital importancia de la subjetividad investigadora en la resolución del crimen. En este rtículo
se plantea, de un lado, el hecho de que esta subjetividad de la detective se configura a partir de su oposición al carácter cientificista de la realidad actual en la investigación policiaca —basada en el cotejo de muestras de ADN y dominada por la figura de los perfiladores— y se analiza, de otro, esta oposición como radical contradicción que da lugar a una narrativa policiaca “otra” en la que, frente a la tradición del género negro clásico, se privilegia la vida sobre la muerte.

This article explores evaluations of impoliteness and over-politeness in crime novel dialogues, in reference to the Pragmatics of Politeness and the Discursive Model (Watts, 2003, 2005, 2010; Locher and Watts, 2005). Metapragmatic comments, in which dialogue participants evaluate the ongoing communicative behaviour, offer important insights into the values and social norms that make up interaction. Literary dialogues, as opposed to naturally occurring conversations, have the advantage of offering numerous metapragmatic comments. This study examines police investigator dialogues that contain metapragmatic comments of impoliteness and over-politeness, concentrating on two maverick figures, Ian Rankin’s Edinburgh-based John Rebus and Andrea Camilleri’s Sicilian Salvo Montalbano, both of whose fractiousness in regards to procedural rules extends to social norms as well. The first part of the analysis looks at impoliteness, confirming the image of the maverick for whom impoliteness is fairly stereotypical . The determining factor is police rank: I find frequent institutional, that is, legitimized, and unchallenged impoliteness by the higher in rank. Secondly, I look at instances of over-politeness. The inspector, who readily uses insincere politeness in order to manipulate a suspect or a witness, is sceptical when evaluating politeness in others. By not commenting on impoliteness and through extensive negative evaluations of politeness, the narrator creates a protagonist who has become disenchanted with politeness and uses impoliteness as if it were normal, appropriate behaviour. Keywords: politeness; impoliteness; over-politeness; rudeness; metapragmatic comment; dialogue; insincerity; appropriateness; inappropriateness

Atene 1953. Il finanziere Kostas Floràs viene accusato dell’assassinio del pittore Nassos Karnezis, ritrovato morto in un appartamento dell’esclusivo quartiere di Kolonaki. Il figlio di primo letto di Floràs, Dimitris, certo dell’innocenza del padre, assieme a due amici, uno giornalista e l’altro ex-deputato al parlamento, cercano di scoprire il vero assassino. All’inizio ad attirare i sospetti è Mirtò, figlia di un ammiraglio di marina che Karnezis aveva consegnato e fatto uccidere dai tedeschi durante l’occupazione nazista. Tuttavia tra Dimitris e Mirtò, che si rivela innocente, scocca la scintilla dell’amore mentre viene alla luce il lato oscuro di Karnezis, implicato in un traffico di contrabbando. In seguito anche Juliette, amante di Karnezis, viene trovata uccisa. La morte minaccia ormai anche Dimitris e Mirtò, che si salveranno soltanto grazie all’intervento del commissario Jorgos Bekas.

A patto di stare al gioco dell’autore, il lettore contemporaneo troverà non pochi motivi di interesse nelle opere di Jannis Marìs. Primo fra tutti l’originalità delle sue storie, che ha indotto uno dei suoi più validi epigoni, Petros Màrkaris, a sottolineare: “Jannis Marìs appartiene all’avanguardia europea degli autori polizieschi. Egli è stato uno dei primi a rendersi conto delle potenzialità del romanzo poliziesco come romanzo sociale […] L’unico altro scrittore contemporaneo di Marìs che abbia scritto romanzi socio-politici a sfondo poliziesco è stato Leonardo Sciascia”. Leggere Marìs, in altre parole, vuol dire leggere un autore finora sconosciuto ma importante, che se avesse scritto in una lingua più diffusa (è ancora Màrkaris ad affermarlo) sarebbe forse diventato un autore di culto anche fuori dei confini greci, e che ha offerto un contributo importantissimo al genere poliziesco nella sua versione mediterranea.

Jannis Marìs (al secolo Jannis Tsirimokos) nacque nell’isola di Skòpelos nel gennaio del 1916. Trascorse l’infanzia a Lamìa, nella Grecia centrale, e studiò Giurisprudenza a Salonicco. Durante l’occupazione nazi-fascista della Grecia partecipò alla guerra di liberazione e in seguito, a conflitto terminato, si dedicò alla stesura di recensioni cinematografiche sulla stampa periodica. In veste di giornalista fu autore di reportage sulla repressione anticomunista durante la sanguinosa guerra civile greca (conclusasi nel 1949), a causa dei quali fu condannato a una pena detentiva da scontare nelle carceri di Vurla, alla periferia del Pireo. Fu scarcerato nel 1950 su pressione dell’Internazionale socialista e grazie al sostegno del politico greco Alèxandros Svolos, e nel 1953 esordì come autore di storie poliziesche a puntate sulla rivista “Ikojènia”. La prima storia, dal titolo Delitto a Kolonaki, fu pubblicata a puntate con il nome di Jannis Tsirimokos e come opera autonoma nel 1955. Si trattò del primo di una lunga serie di successi, a cui seguirono circa settanta storie poliziesche (cinquanta delle quali pubblicate in seguito come opere autonome), venti sceneggiature cinematografiche e due opere teatrali. Tsirimokos fu attivo anche come autore di romanzi storici e sentimentali, e di versioni condensate di grandi opere della letteratura universale. Negli anni Settanta tornò al giornalismo militante come inviato all’estero (in Grecia sono celebri i suoi reportage dai Paesi socialisti) e si dedicò alla stesura di un romanzo-verità sulla resistenza partigiana in Grecia, che non riuscì a completare a causa della morte, sopraggiunta nel novembre del 1979.

D'ordinaire, la filiation Manchette-Echenoz est traitée par les liens intertextuels que l'on trouve dans les romans du second. C'est également la perspective de départ choisie dans cet article, puis la question se réoriente de façon à montrer que l'intertexte manchettien chez Echenoz obéit à une esthétique du détail. Celle-ci étant liée historiquement au genre du polar dans lequel, à des degrés divers, les deux auteurs se sont illustrés, la filiation se développe dans le cadre de cette généricité commune. On en tirera le constat suivant : l'écriture du détail est liée à la structure historique du roman policier, et sa pertinence est concomitante au défaut de cette structure. De la même manière, l'expression d'un nécessaire engagement politique ne peut apparaître que dans le défaut de structure idéologique des années post-89.

Alter ist gleichermaßen Teil und Ergebnis des Alterns. In den aktuellen gesellschaftlichen und politischen Diskussionen herrscht jedoch ein statisches Verständnis von Alter als einer abgrenzbaren Lebensphase vor. In diesem Band richten deshalb Vertreterinnen und Vertreter aus Philosophie, Literatur-und Geschichtswissenschaften, Soziologie, Ethnologie, Psychologie und Kunstgeschichte ihren Fokus auf den prozessualen Charakter des Alterns: Wie wird Altern diskursiv verhandelt? Wie werden Alterungsprozesse in Kunst und Literatur inszeniert und reflektiert und welchen geschichtlichen Wandlungen unterliegen Vorstellungen des Alterns? Und nicht zuletzt: Wie gehen alternde Menschen mit diesem Prozess um? Die Herausgeberinnen und Herausgeber sind Mitglieder des Graduiertenkollegs »Alter(n) als kulturelle Konzeption und Praxis« der Heinrich-Heine-Universität Düsseldorf. Weitere Informationen und Bestellung unter: www.transcript-verlag.de/978-3-8376-2941-5 Fragt man nach den gesellschaftlichen Sinnbereichen, in denen zeitliche Verläufe des Alterns konstruiert werden, so liegt es unter anderem nahe, an Mode zu denken -manifestiert sich doch in diesem Bereich Zeitlichkeit bereits dadurch, dass Moden vorübergehen. 1 Moden können dann in verschiedener Weise zu Gradmessern für persönliches Altern werden: Unter anderem kommt zur Geltung, dass neue Moden häufig mit Jugend in Zusammenhang gebracht werden, entsprechend der oft geschehenden Gleichsetzung von Jugend und Neuerung (vgl. dazu Oesterle 1997: 9). Wer diese gewohnte Setzung vollzieht, kann Altern als ein Fernrücken von der aktuellsten Mode auffassen. Mode erweist sich damit als ein Faktor bei der Konstruktion von Alternsprozessen: Es mag als verjüngend gelten, mit der Mode zu gehen, und als alt machend, bei einer Mode stehen zu bleiben, während sie passé wird. Abgesehen von dieser Zeitlichkeit, gibt es einen weiteren Zusammenhang, in dem das persönliche Altern an Mode abgelesen wird: Mode prägt Vorstellungen davon aus, was als ›altersgemäß‹ gilt: Die Mode für Kleinkinder unterliegt anderen Normen als die Mode für Teenager und so weiter bis hin zur Mode für Seniorinnen und Senioren. E. Ann Kaplan erklärt: »[...] an older woman wearing youthful clothes would seem to defy being age-appropriate and perhaps result (if not in ridicule) in at 1 | Mode kann diese Zeitlichkeit wiederum thematisieren und reflektieren (vgl. etwa Vinken 2013: 220-222).

Zjawisko dotyczące lokowania akcji filmów fabularnych czy seriali telewizyjnych w danym
mieście zostało już wielokrotnie przeanalizowane w literaturze odnoszącej się do marketingu
terytorialnego. Brakuje jednak publikacji analizujących wątek w kontekście współczesnych
powieści, szczególnie popularnych ostatnimi czasy, zarówno wśród autorów,
jak i czytelników, powieści kryminalnych. Niniejszy artykuł stara się uzupełnić tą lukę.
Jego celem jest analiza współczesnych powieści kryminalnych, pod kątem osadzenia ich
fabuły w polskich miastach, oraz ukazanie wpływu jaki wywierają one na wzbogacenie oferty
kulturalnej i organizację turystyki literackiej. Mimo że żaden z samorządów lokalnych nie
zdecydował się jeszcze na przeprowadzenie spójnej kampanii wizerunkowej miasta,
w oparciu o stworzony na zamówienie kryminał, można sądzić, że byłoby to narzędzie
efektywne, realnie przyczyniające się do budowania atrakcyjnego wizerunku miasta
i zwiększenia ruchu turystycznego

La colección Caminho de Bolso, concebida y dirigida por Guimarães Belmiro para la Editorial Caminho, se hizo pronto una de las más singulares en el panorama editorial portugués. Desde el inicio intercaló libros policiales (números pares) y de ficción científica (números impares), diferenciándolos por el color de portada y contraportada, negro para los primeros y azul para los segundos. En formato de libro de bolsillo (como refiere el propio título) hasta el n.º 164, presentó una selección rigurosa y generalmente actualizada, aspecto gráfico cuidado, precio asequible y cadencia regular. En ella se publicaron casi dos centenares de títulos en 18 años. En el inicio tuvo tiradas por encima de los 15 000 ejemplares, pero en los años 1990 descendió a los 4000 ejemplares por título.

The female victim is not a rare element in crime novels. And Anne Perry’s Midnight at Marble Arch is not an exception; actually, there are two female rape victims. This paper proposes analysing how this story can be read in the context of the #MeToo movement against assault and sexual harassment. To do so, the article will review two aspects: the construction of the victims, and the representations of the investigators.

In der literaturwissenschaftlichen Forschung der letzten Jahre nimmt die Verquickung des biographischen mit dem fiktionalen Diskurs eine viel thematisierte Stellung ein – wohl nicht zuletzt, weil sie vermeintliche Gewissheiten infrage stellt: etwa die strikte Grenzziehung von fiktionalem und faktualem Erzählen, von Norm und Abweichung, von Finden und Erfinden. Gerade an dieser Schwelle ist der poetologische Ausgangspunkt der kroatischen, seit Mitte der 80er Jahre in Wien und Berlin lebenden Autorin Irena Vrkljan anzusiedeln.

Warszawa z wczesnych lat 50. w powieściach kryminalnych Kisielewskiego i Tyrmanda Z rozważań etycznych, prowadzonych na kartach Dziennika 1954 Leopolda Tyrmanda i Dzienników Stefana Kisielewskiego, wynika, jaki był stosunek obu autorów do powojennej literatury oraz jej czołowych twórców. W miarę konsekwentnie obydwaj zarzucali ówczesnym pisarzom eskapizm, zakłamanie, a może nade wszystko ucieczkę od problemów współczesności (utożsamianych z komunizmem); ucieczkę prowadzącą w historyzm albo fantastykę naukową. Ilustracją tych poglądów były opinie o Jarosławie Iwaszkiewiczu, Adolfie Rudnickim czy Stanisławie Lemie. Ostatecznie, wspomniani diaryści doskonale zdawali sobie sprawę z istnienia zapory nie do ominięcia na drodze do opisania bieżącej rzeczywistości. Dlatego ,,nie ma literatury o współczesnej Polsce, bo cenzura nie daje pisać" 1-puentował Kisielewski jedną z notatek. W kontrze warto dodać za badaczem tej problematyki, Kajetanem Mojsakiem, że nie tyle poszczególne ingerencje cenzorskie, co s a m o i s t n i e n i e c e n z u r y skutkowało tym, że ,,pewne rodzaje twórczości-przede wszystkim zaangażowana, współczesna literatura realistyczna […] nie mogły się rozwinąć, inne zaś-jak np. paraboliczna proza groteskowa-rozwijały się «dzięki» cenzurze" 2. Zapatrywania Tyrmanda i Kisielewskiego na współczesną im literaturę skłaniają zarazem do wnikliwszego przyjrzenia się ich własnej twórczości beletrystycznej. Skupię się na trzech powieściach kryminalnych:

Mykonos in the mid-fifties… On the cosmopolitan Aegean island, destination of the international jet-set, secrets and lies that date back to World War II cast their shadows over the classic holiday scenario. The rich shipowner Taxiarchis, his trusted friend Charalambus, Lilian, Taxiarchis’ young and spoiled niece, the restless Daninos who searches for the truth about his father, the shy but resolute Eleni, the provocative Magda Antonescu and the shadowy Italian Marquis, Montebello Calvini give life to a fascinating plot that will keep the reader in suspense from the first page.

About the Author:
“Maris is the patriarch of Greek crime fiction. If his extraordinary stories did not have the luck they deserved, it was because of historical circumstances. Maris wrote at the wrong time and in the wrong place, in a country that considered crime novel series a B genre. Yet no other writer of the time was able to describe with equal vigour Athenian high society after the war and the undergrowth of informers who became rich during the occupation and civil strife. If he had written, say, in French, now he would be famous around the world.”

(Petros Markaris, in an interview with Lambrini Kozeli, in the weekly «To Vima», April 6, 2011)

Qu’est-ce que c’est la culture pop ? Pourquoi parler du passage d’une région de l’Europe d’une culture populaire à une culture de masse ? Tout d’abord même s’il n’y a aucune définition claire du terme, les phrases suivantes peuvent être lues comme une tentative de définition. La culture populaire est un phénomène mondial associée à des attributs tels que la liberté ou la subversion.
L’article actuel fait partie d’une recherche en cours sur la transition des sociétés de l’Europe de Sud-Est : celle-ci se traduit par l’institutionnalisation de la culture folklorique ou populaire de la fin du XIXe siècle aux années 1940 pour la formation d’une culture nationale. Dans les pays balkaniques la notion de la culture de masse correspond à la transformation des sociétés examinées après la guerre et notamment après les années 1950 et 1960.
Après l’examen d’une petite partie de documents qui concernent la région balkanique on peut souligner une série de réflexions qui méritèrent une analyse plus élargie: a. La région étudiée ne représente pas les caractéristiques de l’Occident ni avant ni après les années 1940. Sociétés rurales, avec une augmentation progressive de la population urbaine, les pays balkaniques ont présenté une culture populaire urbaine dans les années 1920-1940 avec beaucoup de caractéristiques similaires. C’est une première piste de recherche pour l’avenir, notamment une comparaison des cas grec, turc, bulgare et serbo-croate. b. Le passage de la culture populaire à la culture de masse dans les années 1950-1960 n’est pas la même pour les pays du bloc soviétique et les pays du bloc occidental. L’évolution de l’industrie culturelle en Grèce et en Turquie nous offre une deuxième piste de recherche. c. Une comparaison de la notion de culture de masse dans les pays communistes de la région et la redéfinition du terme « culture de masse » dans le contexte de la vie socialiste est surement une autre piste. d. Une comparaison finale de la naissance de la culture de masse dans la région pourrait peut-être aider naissance à une série de réflexions pour le contenu complexe du terme ; une recherche plus élargie historico-sociale du sujet qui incorporera les deux parties de l’Europe divisée pendant un demi-siècle serait également souhaitable.

Even as Detective Dhruva was enamored of Kavya, whom he rescues from her kidnapper, Radha, an alleged murderess on the run, gatecrashes into his life.

But when Kavya too joins him after her man was poisoned there ensues the tussle of a love triangle, which gets unraveled in a poignant end, but not before a series of murders.

So, then who could have poisoned Ranjit the realtor, Shakeel the Inspector, Pravar the criminal and Natya his accomplice?

Well the needle of suspicion tilted towards Pravar that was till he perished with his mate, but then who was the one?
 
Could it be Radha under the scanner for her role in the death of her husband Madhu and his mistress Mala, Pravar's sister? Or was it Ranjit's spouse Kavya, who owing to Stockholm Syndrome, takes to Pravar her kidnapper.

As these deaths by poisoning puzzle Dhruva, Radha avers that Kavya had the motive and the means to kill her spouse, her paramour and his wife besides the cop.

However, reckoning that when the ill-motives of the natural suspects to commit a murder are an open secret, someone with a hidden agenda might be tempted to use that as a camouflage for his subterfuge, Dhruva begins to look around for the culprit.

The Agenda of Revenge in this book -
Dedicated to those women, whose loving glances, have made my life’s journey a joyous sojourn -
1. Prey on the Prowl
2. Shakeel’s Fixation
3. Ranjit’s Predicament 
4. Rags to Riches
5. Dhruva’s Dilemma 
6. The Gatecrasher
7. Operation Checkmate
8. Foul on Pravar 
9. Stockholm Syndrome
10. An Aborted Affair
11. Psyche of Revenge
12. Victim of Trust
13. Backyard of Life
14. Cuckoo’s Nest
15. ‘Untried’ Crime
16. Kavya’s Quagmire
17. Murders to Mislead
18. The Other Woman 
19. Shakeel’s Demise
20. A Perfect Murder
21. Deaths in Spandan
22. Arraigned in Remand
23. Depressing Discovery
24. The Red Herring
25. Wages of Abuse
26. Decoding the Crime
27. A Poignant End

Current black TV series can be included in a more global configuration by bearing in mind their relationships with the literary genre of black novel and black cinema. A methodology of “language games”, borrowed from the second Wittgenstein, is used to carry out translations between the “language game” of the novel, the fiction film and the TV series, in a
dialogue with the category of “knowledge games” coming from philosophy and sociology. A radical social criticism in connection to an existential and a moral cross-examination is carried out in every “language game” through analogies, but bearing in mind their specificities. Having examined successively a novel (Gone, Baby Gone, Dennis Lehane), a film (In the Valley of Elah, Paul Haggis) and a series (The Killing, American version, Veena Sud), certain displacements produced in these translations were detected. A critique of the conspiracy narrative plot and of the displacements of a perfectionist ethics arises from the analysis of these three works. The researches carried out have an exploratory and programmatic nature.

This article critically examines the use of noir, neo-noir, and global noir conventions in Mike Nicol’s “revenge trilogy” of crime novels, Payback (2008), Killer Country (2010), and Black Heart (2011). Nicol invents a black femme fatale who acts as an evil concentrate of all that is perceived to be corrupt under postapartheid conditions. The article asks the question: why locate such a pronounced sense of political “evil” in a black female character? Might the white postapartheid writer, in this way, be seeking a sacrificial object for the perceived ills of the current milieu, in much the way classic noir projected its anxieties about the displacement of (white) male agency onto “bad” women after the Second World War?

This article provides an overview of the production history and the trademark qualities of the West-German Edgar Wallace film series before examining their significance as transnational adaptations. The Wallace films sought ways of dealing with German preoccupations in the disguise of a form of Englishness that was simultaneously deadly serious and ironically over the top. In order to locate the transcultural component in the Edgar Wallace series, the article discusses in more detail an example from the series’ transitional period of 1963/64, when the films were beginning to gradually liberate themselves from the shackles of their source material and to flirt with other genres and contemporary cinematic fashions, looking very much ahead to the Italian giallo cycle. The film in question, 'Zimmer 13' (‘Room 13’, 1964 ), has thus far received no critical attention whatsoever, even though (or rather, because) it is one of the most atypical films of the series. I argue that it is in ‘Room 13’ where the series’ most distinguished transcultural space is to be found: a room where time is truly out of joint and where the overall transitional quality of the Wallace films becomes obvious, as the film bears testimony to international influences (like Alfred Hitchcock's psycho thrillers) and looks ahead to cinematic trends that would become omnipresent throughout the following decade.

Resum en catalán
Milà: Lloc d'una escriptura, radiografia d'un país. L'univers urbà de Giorgio Scerbanenco a la novel·la Ils nous trahiront tous La novel·la negra és una gran consumidora d'espai urbà. La ciutat, amb les seves perifèries constitueix el seu territori favorit. La seva imatge, majorment decadent i corruptora genera l'acció centrada en la trobada dels universos policíac i criminal. D'aquesta imatge emana una atmosfera particular: lúgubre, nocturna, tensa i violenta. Giorgio Scerbanenco planteja totes aquestes qüestions a la seva novel·la Ils nous trahiront tous. Ils nous trahiront tous és la segona part, després de Vénus privée de les aventures de Duca Lamberti, considerat com un dels personatges més atípics de la literatura policíaca. El autor italià esbossa aquí el retrat de Milà, ciutat del miracle econòmic italià durant els anys 60; però també capital del crim i de la corrupció. Paraules Clau Novel·la negra, espai urbà, Milà, Giorgio Scerbanenco, crim, corrupció.

Résumé en français
Milan : lieu d'une écriture, radiographie d'un pays. L'univers urbain de Giorgio Scerbanenco dans le roman Ils nous trahiront tous Le roman noir est un grand consommateur d'espace urbain. La ville, avec ses périphéries, constitue son territoire privilégié. Son image, souvent décadente, est générée par une action centrée sur la rencontre des univers policier et criminel.

Resumo O objetivo deste trabalho é entender como o escritor João de Minas se apropria das histórias sobre os subterrâneos paulistanos que circulavam na cidade na primeira metade do século para escrever um romance policial. Apontamos inicialmente algumas versões dessa história e a atuação de João de Minas no gênero policial em revistas ilustradas, para analisarmos mais atentamente a narrativa, o enredo e os temas do romance Nos misteriosos subterrâneos de São Paulo. Valendo-se da lenda urbana, o escritor estru-tura um romance policial que mina alguns preceitos clássicos do gênero ao apontar as mazelas do povo e dilemas políticos dos anos 1930 em São Paulo.

In modern Icelandic society the Old Icelandic literature is an important
national topos, and using it as the material for crime stories is a well-chosen
form for making this „great literary heritage“ closer to the reader. The origin
of Icelandic crime stories has nothing in common with the Old Icelandic
prose, but these genres have some „intersection points“.
This paper deals with three crime novels: „The Uncertain Time of Death“
(Dauðans óvissi tími, 2004) by Thráinn Bertelsson and the two novels by
Thórunn Erlu-Valdimarsdóttir: “Cold Is the Other´s Blood” (Kalt er annars
blóð, 2007) and “The Lion Has May Ears” (Mörg eru ljóns eyru, 2010).
„The Uncertain Time of Death“ uses the „Fóstrbræðra Saga“ (The
Saga of the Sworn Brothers). The plot of the novel is based on the „viking“
concept; but what was considered valour in the Saga age, is regarded as a
deviant behavour nowadays. The position of the saga heros in the modern
166 О.А. Маркелова
soiety is miserable, and the main concepts of the viking age (e.g. feud) are
subjected to criticism.
In the novel “Cold Is the Other´s Blood” many persons correspond to
the persons of “Njal´s Saga”, but the plot of the saga is not wholly re-created
in the novel, there are only revealed the main events. The style of the novel
is quite the opposite to the saga style. There are episodes in the novel which
demonstrate, that the sagas still are important for modern Icelanders, while
some other national symbols may already cease to „work“.
“The Lion Has May Ears” reproduces the plot and the main persons of
the „Laxdæla Saga“ and has some non-saga plot lines along with it. The fate of
Guðrún Ósvifsdóttir receives an unexpected addition in the novel. (Normally,
in modern Icelandic prose the fortune of persons of the saga origin does not
change).
For the authors of the crime novels there is more important not to
follow the ancient texts thoroughly, but to create a reminder of those texts,
to manifestate their connection to the Old Icelandic literature. The symbol,
important for the particular national culture, is made „alive“ and gets „closer“
to the reader without losing ist symbolic nature.

Die Gattungspoetologie bildet einen klassischen Schwerpunkt der Allgemeinen Literaturwissenschaft. Auch die literarische Rezension stellt einen traditionellen literaturwissenschaftlichen Forschungsschwerpunkt dar, vornehmlich jedoch bezogen auf die Rezeption literarischer Werke. Sie einiger Zeit treffen diese Instanzen – Gattungspoetologie und Literaturkritik – immer häufiger aufeinander und es kann eine zunehmende Einflussnahme der professionellen wie auch der „Laien“-Literaturkritik auf die Gattungspoetologie festgestellt werden: Ausschnitte – klassisch in Form von Zeitungs-/Zeitschriftenartikeln oder aber als Beiträge auf Webseiten, Blogs und in Online-Enzyklopädien – scheinen geradezu prädestiniert dazu, Genrekonfigurationen, insbesondere zeitgenössischer Unterhaltungsliteratur, anzustoßen, zu verändern oder gar zu sprengen.
Der Beitrag legt die Aufmerksamkeit auf den Regionalkriminalroman und die Chick lit, zwei zeitgenössische literarische Phänomene, bei deren Entstehung und Definition Ausschnitte über eine zentrale Funktion verfügten und teilweise immer noch verfügen. „Ausschnitte“ im Sinne von kursorisch bzw. selbst „ausschnitthaft“ verfahrenden Kommentaren in Print- sowie Online-Publikationen, die eine bestimmte, wiederum „ausschnitthafte“ Kenntnis des „ganzen“ Genres vermitteln, zu dem sie sich äußern.