Titlebook: Masquerade, Crime and Fiction; Criminal Deceptions Linden Peach Book 2006 Palgrave Macmillan, a division of Macmillan Publishers Limited 20

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me time adaptability and renewal. We discuss the various dimensions of burden-sharing as a concept and present terms such as cost-sharing, risk-sharing and burden-shifting that are all closely linked to it. By defining the key concepts, we aim to shed light on the complex nature of burden-sharing an

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Mocking Modernity,tue of their criminality as, for example, serial killers, rapists, vandals, thieves or pickpockets. This has implications for the way in which we might think about a society, a nation or a particular locale as a ‘totality’. It hardly needs pointing out that any study of criminality within a social o

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INCUR

The Cadaver as Criminalised Text,nner, criminal investigation is the correlative of modernity, in many respects legitimating the basic principles upon which modernity is based. The crime scene is the creation of a criminal investigation process based, from the mid-nineteenth century onwards, on scientific scrutiny, analysis and cla

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novelty

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,Masquerade, Criminality and Desire in Toni Morrison’s ,an and European literary traditions. Like Sara Paretsky, she is indebted to Virginia Woolf, only more so. She completed a Masters thesis on Woolf and William Faulkner and her writings betray the influence of many of the characteristic of Woolf’s non-realistic fiction.

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Writing the Serial and Callous Killer into (Post) Modernity,ve, there are others that link the writer and the serial criminal. Both are often the subjects of an obsession that totally dominates and determines their lives. Writing, like serial criminality, is posited upon an unending sequence of rehearsal and ‘improvement’.