A Companion to Crime FictionCharles J. Rzepka, Lee Horsley A Companion to Crime Fiction presents the definitive guide to this popular genre from its origins in the eighteenth century to the present day
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From inside the book
Results 1-5 of 85
Page 5
... hero – or more often, heroine. Focusing on this period's dominant figure, Merja Makinen gives us a parodic and playful Agatha Christie, sensitive to cultural change and social instability, who challenges rather than endorses the racial ...
... hero – or more often, heroine. Focusing on this period's dominant figure, Merja Makinen gives us a parodic and playful Agatha Christie, sensitive to cultural change and social instability, who challenges rather than endorses the racial ...
Page 6
... hero, Philip Marlowe. Over many years, as Leroy Panek shows us, Chandler perfected the bizarre but apt one-liners that, through their unexpected metaphoric juxtapositions, knitted together the disparate elements of the entropic universe ...
... hero, Philip Marlowe. Over many years, as Leroy Panek shows us, Chandler perfected the bizarre but apt one-liners that, through their unexpected metaphoric juxtapositions, knitted together the disparate elements of the entropic universe ...
Page 19
... hero of Paul Clifford (1830) is a highwayman and Eugene Aram (1832) is a fictionalized account of an eighteenth-century true crime narrative. Written in the context of political and penal reform, Paul Clifford follows the classic ...
... hero of Paul Clifford (1830) is a highwayman and Eugene Aram (1832) is a fictionalized account of an eighteenth-century true crime narrative. Written in the context of political and penal reform, Paul Clifford follows the classic ...
Page 20
... hero-criminals in Newgate fiction either were or were proved to be of a higher class (Eugene Aram, Paul Clifford, Oliver Twist), or had natural nobility (Rookwood and Jack Sheppard), and in this context the ordinary police officer ...
... hero-criminals in Newgate fiction either were or were proved to be of a higher class (Eugene Aram, Paul Clifford, Oliver Twist), or had natural nobility (Rookwood and Jack Sheppard), and in this context the ordinary police officer ...
Page 32
... hero for the post World War I traumatized landscape” (see chapter 8 in this volume). The trauma ofa war-torn landscape is a great distance from the secluded confines of an English country house, and the formal closure of the narrative ...
... hero for the post World War I traumatized landscape” (see chapter 8 in this volume). The trauma ofa war-torn landscape is a great distance from the secluded confines of an English country house, and the formal closure of the narrative ...
Contents
1 | |
11 | |
Part II Genre of a Thousand Faces | 91 |
Part III Artists at Work | 357 |
Film | 539 |
References | 574 |
Index | 599 |
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Common terms and phrases
adventure African-American American appeared become Borges Cain Caleb century Chandler 1995a chapter characters Christie’s classic comic contemporary crime and detective crime fiction crime film crime literature crime narratives crime novels crime writing criminal critics cultural Dashiell Hammett death detective fiction detective story detective’s Doyle Doyle’s Dupin example female detective figure film film noir forensic gangster genre golden age Gothic Hammett hard-boiled detective hero Highsmith Himes Himes’s Hitchcock Hollywood investigation James killed Lee Horsley Leonard literary male Marlowe masculinity Miss Marple moral murder mystery narrator Newgate Calendar Newgate novel noir Paretsky play plot Poe’s Poirot police procedural political popular postcolonial private eye protagonist published Raymond Chandler readers reading role Sayers scene Scorsese’s sensation serial killer Sherlock Holmes sleuth social society solve spy fiction subgenre tion tradition true crime victim violence Warshawski Wimsey woman women Woo’s writers