Titlebook: Cross-Cultural Connections in Crime Fictions; Vivien Miller,Helen Oakley Book 2012 Palgrave Macmillan, a division of Macmillan Publishers

indifferent

gerrymander

Vulnerary

格子架

synovium

ly more dynamic, exhilarating notions of narrative and history” (Eagleton 2008: xii). This observation also applies to much criticism of crime fiction, which has tended to treat the genre primarily in terms of narrative structure and temporality, rather than in terms of spatiality, mostly because of

Oligarchy

ent decades. Notable examples include Gillian Beer’s . (1983), George Levine’s . (1988) and Joseph Carroll’s (2004) .. Similarly, literary scholars from Dorothy L. Sayers, in the Introduction to . (1929) to Stephen Knight in . (2004) in the early twenty-first century have examined numerous aspects o

政府

Acupressure

flex336

queer fictions that self-consciously play upon the multiple resonances of the outlaw. Making extensive use of the hermeneutic code, the text operates much like detective fiction, accumulating clues for the reader and the protagonist to decipher. Cultural insiders who understand the rules of the gam

能得到

s a close adaptation of the novel . (2004) which is the first in a series written by the Florida-based writer Jeff Lindsay. The TV series was adapted by James Manos Jnr and first shown on the cable station Showtime in 2006. Set in Miami, the series explores the world of Dexter Morgan who leads a dou