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Titlebook: Domestic Noir; The New Face of 21st Laura Joyce,Henry Sutton Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Gender.Marriage

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發(fā)表于 2025-3-21 18:54:56 | 只看該作者 |倒序?yàn)g覽 |閱讀模式
書(shū)目名稱Domestic Noir
副標(biāo)題The New Face of 21st
編輯Laura Joyce,Henry Sutton
視頻videohttp://file.papertrans.cn/283/282545/282545.mp4
概述Offers the first comprehensive overview of one the most commercially successful crime fiction subgenres of the 21st century.Includes a foreword from Julia Crouch, the originator of the term ‘domestic
叢書(shū)名稱Crime Files
圖書(shū)封面Titlebook: Domestic Noir; The New Face of 21st Laura Joyce,Henry Sutton Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Gender.Marriage
描述This book represents the first serious consideration of the ‘domestic noir‘ phenomenon and, by extension, the psychological thriller. The only such landmark collection since Lee Horsley‘s .The Noir Thriller., it extends the argument for serious, academic study of crime fiction, particularly in relation to gender, domestic violence, social and political awareness, psychological acuity, and structural and narratological inventiveness. As well as this, it shifts the debate around the sub-genre firmly up to date and brings together a range of global voices to dissect and situate the notion of ‘domestic noir‘. This book is essential reading for students, scholars, and fans of the psychological thriller..
出版日期Book 2018
關(guān)鍵詞Gender; Marriage; Realism; Transgression; Home; Popular fiction
版次1
doihttps://doi.org/10.1007/978-3-319-69338-5
isbn_softcover978-3-030-09884-1
isbn_ebook978-3-319-69338-5Series ISSN 2947-8340 Series E-ISSN 2947-8359
issn_series 2947-8340
copyrightThe Editor(s) (if applicable) and The Author(s) 2018
The information of publication is updating

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發(fā)表于 2025-3-21 21:05:47 | 只看該作者
The Literary Antecedents of Domestic Noirvels of anxiety within and through her novels, not just in the minds of her, often hapless, protagonists but also in those of her readers. However, I will be arguing here that she also deserves recognition as an antecedent of the recent ‘domestic noir’ subgenre. While Highsmith’s protagonists are pr
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發(fā)表于 2025-3-22 06:02:43 | 只看該作者
Gone Genre: How the Academy Came Running and Discovered Nothing Was As It Seemedxt (or employment of metafictional strategies)? While this question is implicitly posed in many of the studies mentioned in this essay, it has rarely been the explicit starting point for an analysis. Asking the question from this way round yields some different lines of enquiry. In other words, how
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發(fā)表于 2025-3-22 13:24:31 | 只看該作者
“How Much Do You Want to Pay for This Beauty?”: Domestic Noir and the Active Turn in Feminist Crime o fight back, to make choices, to survive a crime or even to be a criminal agent. Focusing on Gillian Flynn’s . and Paul Hawkins’ ., this chapter examines the gendering of the body in crime fiction and how female characters are portrayed as increasingly active participants in the plots of popular no
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The Subversion of the Male Tradition in Crime Fiction: Liane Moriarty’s ,ourses in crime fiction. Focusing on the three female main characters, the chapter examines the portrayal of specific female and feminist issues in contemporary society: Domestic violence, motherhood, and sexual assault. As well as considering how the main characters resolve these issues, both as in
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