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

CHASM

The Violent Mother in Fact and Fictiong their representations of mothers as perpetrators of crimes with the intelligence on gender(ed) violence that comes from studies in criminology and cultural criminology. Di Ciolla and Pasolini assess the extent to which literature and criminology can work synergetically towards a better understanding of women and crime.

slow-wave-sleep

Carmen’s Final Problem: Contesting Crime Fiction and Gender Roles in Marcela Serrano’s ,sterious disappearance in order to stop writing the same detective tales and to escape her bourgeois, unfulfilling married life. Private investigator Rosa Alvallay ultimately decides not to unveil the writer’s fate in an act of female solidarity.

逢迎春日

https://doi.org/10.1007/978-3-322-97864-6knowing are certain crime writers? Rita Felski discusses the concept of ‘interpretation-as-narrative’, stating that it is ‘the means by which a critical sensibility spins out storylines that connect understanding to explaining. What are the guiding affinities between suspicion and storytelling?’

LITHE

https://doi.org/10.1007/978-3-322-97864-6plications of this cultural fascination with particular kinds of victimhood. The aim of this chapter is to evaluate Flynn’s success (or lack thereof) in exploring the obsession with female victimhood as a type of symbolic subjugation, which may be interpreted as simultaneously reassuring and restrictive.

脫離

Von Ziffernsystemen und Palindromene, has called ‘…the vexed relationship between vital female agency and the limits placed on female desire.’ After years of arse-kicking feminist detectives and plucky teenage action heroes, it seems that female characters are finally allowed to be morally complex.

Solace

寬敞

有罪

FIG

埋伏

Gone Genre: How the Academy Came Running and Discovered Nothing Was As It Seemedknowing are certain crime writers? Rita Felski discusses the concept of ‘interpretation-as-narrative’, stating that it is ‘the means by which a critical sensibility spins out storylines that connect understanding to explaining. What are the guiding affinities between suspicion and storytelling?’