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MODL3610
Module Reading List

Adventures of the Imagination: Crime and the Fantastic Across Continents, 2021/22, Semester 1, 2
David Platten
D.P.Platten@leeds.ac.uk
Tutor information is taken from the Module Catalogue

Semester 1

[Topic 1: Euro Noir. Television Crime Drama and the Female Detective, Weeks 2-4]

Clert, Alexandra (2005-2019). Spiral [Engrenages]. Series 1. TELEVISION SERIES.  

Rosenfeldt, Hans (2011-2018). The Bridge [Bron/Broen]. Series 1. TELEVISION SERIES.  

 

[Topic 2: Disasters in the Andes, Weeks 5-6,8]

Vargas Llosa, Mario (1996). Death in the Andes. London: Faber and Faber. NOVEL.    

Ugás, Marité (2011). The Kid Who Lies. FILM    

Amaworo Wilson, JJ (2016). Damnificados. Oakland, CA: PM Press. NOVEL  

 

[Topic 3: Eco-anxiety in China, Weeks 9-11]

Chen Qiufan (2020). Waste Tide. London: Head of Zeus. NOVEL.  

Jia Zhangke (2013). A Touch of Sin. FILM.   Available on Box of Broadcasts (BoB)

 

Semester 2

[Topic 4: The Mediterranean Noir, Weeks 15-17]

Izzo, Jean-Claude (2018/1995).Total Chaos. London: Europa. NOVEL.  

Camilleri, Andrea. (2003). The Snack Thief. London: Penguin. NOVEL.    

 

[Topic 5: Feminist Crime Fiction, Weeks 18-20]

Zahavi, Helen (1991/2012). Dirty Weekend. London: Macmillan. NOVEL.    

Mankell, Henning (2000/2012).The Fifth Woman. London: Vintage. NOVEL.  

 

 [Topic 6: Utopian and dystopian thought, Weeks 21-23]

Fassbinder, Rainer Werner (1973/2010). World on a Wire. TELEVISION SERIES.  

Eschbach, Andreas (1995/2020). The Hair Carpet Weavers. London: Penguin Classics. NOVEL.    

 

Secondary Sources

 General/Theory

Allan, J. et al, eds., (2020). The Routledge Companion to Crime Fiction. London: Routledge.

Anderson, J, ed., (2015). Serial Crime Fiction: Dying for More. Basingstoke: Palgrave.

Armitt, L. (1996). Theorising the Fantastic. London/New York: Arnold.

Bould, M, et al, eds., (2009). The Routledge Companion to Science Fiction. London: Routledge.

Brooke-Rose, C. (1981). A Rhetoric of the Unreal: Studies in Narrative and Structure, Especially of the Fantastic. Cambridge: Cambridge University Press.

Cawelti, J. (1976). Adventure, Mystery and Romance: Formula Stories as Art and Popular Culture. Chicago: University of Chicago Press.

Frisby, D. (1992). Between the Spheres: Siegfried Kracauer and the Detective Novel, Theory, Culture and Society, 9.2, 1-22.

Gregoriou, C. et al, eds., (2018). Retold, Resold, Transformed: Crime Fiction in the Global Era. Oxford: Mimesis International.

Hall, K, ed., (2016). Crime Fiction in German. Cardiff: University of Wales Press.

Horsley, L. (2005). Twentieth-century Crime Fiction. Oxford: Oxford University Press.

Jameson, Fredric (2005). Archaeologies of the Future: The Desire Called Utopia and Other Science Fictions. London: Verso

Knight, S. (2010). Crime Fiction Since 1800: Detection, Death, Diversity. Basingstoke: Palgrave.

Kutch, L, Herzog T., eds., (2014). Tatort Germany. The Curious Case of German-Language Crime Fiction. Rochester, Camden House. https://boydellandbrewer.com/tatort-germany.html  

Lim, BC. (2009). Translating Time: Cinema, the Fantastic and Temporal Critique. Durham, N-C/London: Duke University Press.

Messent, P. (2013). The Crime Fiction Handbook. Oxford: Wiley-Blackwell.

Platten, D. (2011). The Pleasures of Crime: Readings in French Crime Fiction. Amsterdam: Rodopi.

Rabkin, E. (1977). The Fantastic in Literature. Princeton: Princeton University Press.

Sandner, D. (2004). Fantastic Literature: A Critical Reader. Westport, CT: Praeger.

Sawicki, M. (2011). Filming the Fantastic: A Guide to Visual Effects Cinematography. Oxford: Focal.

Shippey, T. (2016). Hard Reading: Learning from Science Fiction. Liverpool: Liverpool University Press.

Symons, J. (1985). Bloody Murder: From the Detective Novel to the Crime Novel: A History. Harmondsworth: Viking.

Telotte, J-P., (2017). Animating the Science Fiction Imagination. New York/Oxford: Oxford University Press.

Todorov, T. (1975). The Fantastic: A Structural Approach to a Literary Genre. Ithaca/New York: Cornell University Press.

Todorov, Tzvetan, ‘Typology of the Detective Novel’, in The Poetics of Prose (Ithaca, New York: Cornell University Press, 1977)

 

[Topic 1: Euro Noir. Television Drama and the Female Detective, Weeks 2-4]

Bondebjerg, I. et al, eds., (2017). Transnational European Television Drama: Production, Genres and Audiences. London: Palgrave.

Buonanno, M., ed. (2017). Television Antiheroines: Women Behaving Badly in Crime and Prison Drama. Bristol: Intellect.

Creeber, G. (2015). Killing Us Softly: Investigating the Aesthetics, Philosophy and Influence of Nordic Noir Television. The Journal of Popular Television, 3.1, 21-35.

Dobrescu, C. (2019). The Limit as Centre. Some Considerations on the Political Imagination of the In-Between, Starting from the Central Symbol of the Crime Series Bron/Broen – The BridgePhilologica, 11.1, 7-20.

Dunleavy, T. (2009). Television Drama: Form, Agency, Innovation. Basingstoke: Palgrave Macmillan.

Effron, M., ed., (2011). The Millenial Detective: Essays on Trends in Crime Fiction, Film and Television, 1990-2010. Jefferson, N-C: McFarland.

Glover, D., McCracken, S., eds. (2012). The Cambridge Companion to Popular Fiction. Cambridge: Cambridge University Press.

Griggs, Y. (2018). Reconfiguring the Nordic Noir Brand: Nordic Noir TV Crime Drama as Remake. In D. Cutchins et al eds., The Routledge Companion to Adaptation. London: Routledge, 278-86.

Heller-Nicholas, Alexandra, Rape-Revenge Films: A Critical Study (London: McFarland, 2011).

Hill, A., (2019). Media Experiences: Engaging with Drama and Reality Television. London: Routledge.

McCabe, J., (2012). Exporting French Crime: the Engrenages / Spiral Dossier. Critical Studies in Television, 7.2, 101-118.

   _____    (2015). Disconnected Heroines, Icy Intelligence. In L. Mulvey, A. Backman Rogers eds. Feminisms. Amsterdam: Amsterdam University Press.

McHugh, K. (2018). The Female Detective, Neurodiversity, and Felt Knowledge in Engrenages and Bron/BroenTelevision and New Media, 19.6, 535-552.

Read, Jacinda, The New Avengers: Feminism, Femininity of the Rape-Revenge Cycle (Manchester: Manchester University Press, 2000).

Rugg, L. (2017). Displacing Crimes Against Nature: Scandinavian Ecocrime Fiction. Scandinavian Studies, 89.4, 597-616.

Sandten, C., Süss, G., Graichen, M, eds. (2013). Detective Fiction and Popular Visual Culture. Trier: Wissenschaftlicher Verlag Trier.

Sideri, E. (2017). Bridging Worlds: Producing and Imagining the Transnational through TV Narratives. Journal of Science and Technology of the Arts, 9.2, 27-35.

Stougaard-Nielsen, J. (2018). Locating Nordic Noir: From Beck to The Bridge. Social and Cultural Geography, 19-7.

Turnbull, Sue, The TV Crime Drama (Edinburgh: Edinburgh University Press, 2014).

Waade, A-M. (2017). Melancholy in Nordic Noir: Characters, Landscape, Light and Music. Critical Studies in Television, 12.4, 380-94.

Williams, Raymond, and Silverstone, Roger, Television: Technology and Cultural Form (London: Routledge, 2003 (1974)).

 

 

[Topic 2: Disasters in the Andes, Weeks 5-6,8]

Anderson, M. (2011). Disaster Writing: The Cultural Politics of Catastrophe in Latin America. London: University of Virginia Press. [Introduction available on Minerva]

Cohn, D. (2011). 'The Political Novels: The Real Life of Alejandro Mayta and Death in the Andes', The Cambridge Companion to Mario Vargas LlosaCambridge: Cambrige University Press, 88-101

Fassin, D., Vásquez, P. (2005). Humanitarian Exception as the Rule: The Political Theology of the 1999 “Tragedia” in Venezuela, American Ethnologist, 32:3, 389-405.

Fisher, M. (2016). The Weird and the Eerie. London: Repeater Books.

Franco, J. (2006). Alien to Modernity: The Rationalization of Discrimination, Journal of Latin American Cultural Studies, 15:2, 171-181.

Jarman, R. (2017). Bolivarian Landslides? Ecological Disasters, Political Upheavals and (Trans)National Futures in Contemporary Venezuelan Culture, EcoZon@, 8.1, 22-41.

 ____     Epilogue, Representing the Barrios: Culture, Politics, and Urban Poverty in Twentieth-Century Caracas [available on Minerva]

Kokotovic, Misha (2000). Vargas Llosa in the Andes: The Racial Discourse of Neoliberalism', Confluencia15:2, pp156-167

Nixon, R. (2011). Slow Violence and the Environmentalism of the Poor. London: Harvard University Press. [Introduction available on Minerva]

Oloff, K., (2012). ‘Greening’ the Zombie: Caribbean Gothic, World-Ecology, and Socio-Ecological Degradation. Green Letters: Studies in Ecocriticism, 16, 31-45.

____, (2016). The ‘Monstrous Head’ and the ‘Mouth of Hell’: The Gothic Ecologies of the ‘Mexican Miracle’. In M. Anderson and Z. Bora, eds., Ecological Crisis and Cultural Representation in Latin America, London: Lexington, 79-98.

Sontag, S. (1965). The Imagination of Disaster, Commentary, 42-48. https://americanfuturesiup.files.wordpress.com/2013/01/sontag-the-imagination-of-disaster.pdf [accessed 01/03/2018]

Starn, O. (1995). Maoism in the Andes: The Communist Party of Peru-Shining Path and the Refusal of History. Journal of Latin American Studies, 27.2, 399-421. 

 

[Topic 3: Eco-anxiety in China, Weeks 9-11]

Blair, D. (2017). New Golden Age. Rapid Rise of China’s Science Fiction Reflects the Dynamism of its Culture and Economy. China Daily, Global edition (Dec) 22: 5–7.

Braidotti, R. (2013). The Posthuman. Cambridge: Polity Press.

Campany, R. (1996). Strange Writing: Anomaly Accounts in Early Medieval China. State University of New York Press.

Clarke, B, Rossini, M., eds. (2016). The Cambridge Companion to Literature and the Posthuman. Cambridge: Cambridge University Press.

Cohen, J-J. (1996). Monster Culture (Seven Theses). In J-J Cohen, ed., Monster Theory. Minneapolis, London: University of Minnesota Press.

Dai, J., Chen, J. (1997). Imagined Nostalgia. Boundary 2, 24.3, 143-161.

Gibson, W. (1995). Neuromancer. London: Harper Collins.

Griner, A. (2017). Looks are Deceiving in Chinese Town that was E-Waste Dumping Site. Reveal.

Han Song (2013). Chinese Science Fiction: A Response to Modernization. Science Fiction Studies, 40. 1, 15- 21.

Healey, C. (2017). Estranging Realism in Chinese Science Fiction: Hybridity and Environmentalism in Chen Qiufan's ‘The Waste Tide’. Modern Chinese Literature and Culture, 29.2, 1-33.

Kull, A. (2002). Speaking Cyborg: Technoculture and Technonature. Zygon, 37, 2, 279-288.

Li Hua. (2018). The Environment, Humankind, and Slow Violence in Chinese Science Fiction. Communication and the Public, 3.4, 270–282.

Liu, Ken, ed. (2016). Invisible Planets: Thirteen Visions of the Future. London: Head of Zeus.

Ma, A. (2013). A Touch of Sin: Histories of Violence. Reverse Shot. http://reverseshot.org/reviews/entry/1658/touch_sin

Myhre, K. (2012). Monsters Lift the Veil: Animal Hybrids and Processes of Transformation. In A. Mittman, P. Dendle, eds., The Ashgate Research Companion to Monster and the Monstrous. Farnham: Ashgate, 217-236.

Peeples, J. (2011). Toxic Sublime: Imagining Contaminated Landscapes. Environmental Communication, 5.4, 373-392.

Puckett, J. et al, (2002). Exporting Harm: The High-tech Trashing of Asia. Seattle, WA: the Basel Action Network & Silicon Valley Toxics Coalition.

Pu Songling. (2006). Strange Tales from a Chinese Studio. London: Penguin Books.

Song, Mingwei. (2013). Variations on Utopia in Contemporary Chinese Science Fiction. Science Fiction Studies, 40, 2013, 86-102.

Wang Yanjie. (2015). Violence, Wuxia, Migrants: Jia Zhangke’s Cinematic Discontent in A Touch of Sin'. Journal of Chinese Cinemas, 9.2, 159-172.

Warner, M. (2002). Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self. Oxford: Oxford University Press.

Xiao, Jiwei. (2015). China Unraveled: Violence, Sin, and Art in Jia Zhangke's A Touch of Sin. Film Quarterly, 68.4, 24-35.

___. (2011). The Quest for Memory: Documentary and Fiction in Jia Zhangke's Films. Senses of Cinema, 59. http://sensesofcinema.com/2011/feature-articles/the-quest-for-memory-documentary-and-fiction-in-jia-zhangke%E2%80%99s-films/

 

[Topic 4: The Mediterranean Noir, Weeks 15-17]

(* asterisk = recommended reading)

Theorising the Mediterranean Space

Braudel, F. (1972-1973). Mediterranean and the Mediterranean World in the Age of Philip II. 2 vols. London: Collins.

* Cassano, F. (2012). Southern Thought and Other Essays on the Mediterranean.N. Bouchard, V. Ferme trans. and eds. New York: Fordham University Press. 

* Chambers, I. (2008). Mediterranean Crossings. The Politics of an Interrupted Modernity. Durham N.C.: Duke University Press.

Fogu, C. (2020). The Fishing Net and the Spider Web. Mediterranean Imaginaries and the Making of Italians. Basingstoke: Palgrave-MacMillan.  

Matvejević P. (1999). Mediterranean: A Cultural Landscape Berkeley. London : University of California Press.

Hard Boiled and Noir Fiction

* Ellroy, J., (2010). Introduction. In Ellroy, J., Penzler, O., eds. The Best American Noir of the Century. London: Windmill Books, pp.xiii-xiv

Mc Cann, S. (2010). ‘The Hard Boiled Novel. In The Cambridge Companion to American Crime Fiction, ed. Catherine Ross Nickerson. Cambridge University Press, pp.42-57

Penzler, O., (2010). Foreword. In Ellroy, J., Penzler, O., eds. The Best American Noir of the Century. London: Windmill Books, pp.ix–xi

* Pepper, A. (2010). ‘The American Roman Noir’, in The Cambridge Companion to American Crime Fiction, ed. Catherine Ross Nickerson. Cambridge University Press, pp.58-71

Convergence Culture and Transmedia Storytelling

Jenkins, H. (2006). Convergence Culture: Where Old and New Media CollideNew York: New York University Press.

*Jenkins, H. (2007). Transmedia Storytelling 101. In Confessions of an Aca-Fan. The official weblog of Henry Jenkins, 22 March. Available at:  <http://henryjenkins.org/2007/03/transmedia_storytelling_101.html >

The Mediterranean Noir

Broe, D. (2016). Mediterranean Noir. Sunlight Gleaming Off a Battered ‘45. Situations, 6.1-2, 85-102. Also available at https://radicalimagination.institute/wp-content/uploads/2017/01/broe-2016.pdf 

Carlotto, M.(2006), Today in Italy: an article by Massimo Carlotto on the uses and abuses of Noir (first appeared in Greek in the magazine Diavazo, 2005).  https://www.europaeditions.com/review/105 

Detect. Detecting Transcultural Identities in European Popular Crime Narratives. https://www.detect-project.eu/portal/places/ [maps of Mediterranean Noir].

* Ferri, S. (2006). Towards a History of Mediterranean Noir. In M. Reynolds, trans. and ed., Black and Blue: An Introduction to Mediterranean Noir. New York: Europa Editions. Also available at: https://crimereads.com/towards-a-history-of-mediterranean-noir/   

* Izzo, J.-C. (2013).  Garlic, Mint and Sweet Basil. Essays on Marseilles, Mediterranean cuisine, and noir  fictionNew York: Europa Editions. [esp. the section ‘The Mediterranean and its noir’, and, inside it, the seminal article ’Le bleu et le noir’ (Le Nouvel Observateur, 1998)]

Kettler, D. (2006). Med noir. The bloody Continental take on an American genre. The Boston Phoenix, April, 27. https://www.thephoenix.com/Boston/Arts/10056-Med-noir/?page=2#TOPCONTENT (book review)

Reynolds, M., ed. (2006). Black and Blue: An Introduction to Mediterranean Noir. New York: Europa Editions.   

Reynolds, M., ‘Introduction’, in Reynolds, M., ed. (2006). Black and Blue: An Introduction to Mediterranean Noir. New York: Europa Editions.  

* Zambenedetti, A (2020). ‘Means streets and bloody shores: toward a spatial theory of the Mediterranean noir’, Studies in European Cinema, 17:3, 205-217.  

On Jean-Claude Izzo

Hewitt, Nicolas (2006). Departures and Homecomings. Diaspora in Jean-Claude Izzo’s Marseille. French Cultural Studies, 17: 3, 257-278.

Izzo, Justin (2019). Speculative Cityscapes and Pre-Millennial Policing. Ethnographies of the Present in Jean-Claude Izzo’s Marseille Trilogy. In Izzo, Justin, Experiments with Empire. Anthropology and Fiction in the French AtlanticDurham N.C.: Duke University Press. (chapter 5).

Luengo López, Jordi (2013). Sabores y olores en la novela policíaca de Jean-Claude Izzo: recetas de vida para una existencia cosmopolita. THÉLÈME : Revista complutense de estudios franceses, Vol.28,187-204.

Luengo López, Jordi (2020). Géneros musicales en la trilogía policíaca de Jean-Claude Izzo (1945-2000): Secuencias relacionales en una ciudad portuaria con ritmo de crimen. Anuario musical. Vol. 75, 163-180.

* Platten, David (2002), Polar Positions. On the Theme of Identity in Contemporary Noir Fiction. Nottingham French Studies, 41: 1, 5-18.

Platten, David (2011). Rebellion and Redemption. Jean-Claude Izzo. In Platten,The Pleasures of Crime: Readings in French Crime Fiction. Amsterdam: Rodopi, pp.194-203.

Rosemberg, Muriel, Troin, Florence. (2017). Cartographie du Marseille d’un héros de roman policier (Total Khéops de J.-C. Izzo). Mappemonde, 127, pp.1-22

Saward, Miriam (2012). Identity and place in Jean-Claude Izzo’s’ Total Kheops. Australian Journal of French studies49:3, 241-249.

Smyth, Edmund J. (2007). Marseille Noir: Jean-Claude Izzo and the Mediterranean Detective. Romance studies : a journal of the University of Wales. 25: 2,111-121.

https://journals.openedition.org/mappemonde/3391 

* Sawhney, Hirsh, ‘A novelist who speaks through music. Jean-Claude Izzo's novels make brilliant use of musical allusions in portraying France's ethnic divisions’, The Guardian Books Blog, 27.09.2007. https://www.theguardian.com/books/booksblog/2007/sep/27/anovelistwhospeaksthrough

[Spotify playlist] La musica di J.C. Izzo: la trilogia di Fabio Montale. All the music present in the Izzo's trilogy books about Marseille and Fabio Montale https://open.spotify.com/playlist/73EQDkbilvQccFzidMRr6g

Wesley, B. (2014). ‘Chourmo, la nostalgie d’un autre présent’. Études littéraires, 45 (2), 121–134.

On Andrea Camilleri

Leotta, Alfio (2018). Arancini and Crime Fiction. The Aesthetics of Food in Inspector Montalbano franchise. In Anderson, Jean, Miranda, Carolina, Pezzotti, Barbara (eds). Blood on the Table: Essays on Food in International Crime FictionNC: Jefferson: McFarland, 39-51

Macleod, Alex (2014). The contemporary fictional detective as critical security analyst: Insecurity and immigration in the novels of Henning Mankell and Andrea Camilleri. Security Dialogue, 45: 6, 1-15 (online publication)

* Mazzucchelli, Chiara (2018). Roots and Routes: Immigration in Andrea Camilleri's Montalbano Series. Italica, 95: 2, 161-82.

Michelis, Angelica (2010) Food and Crime: what's eating the crime novel?. European Journal of English Studies, 14:2, 143-157.

Pezzotti, Barbara (2020). Food as a Political Weapon in the Inspector Montalbano Crime Series. In D. Glenn, & G. Tulloch (Eds.), Italian Identities (Vol. 62, pp. 97-109). (Troubador Italian Studies; Vol. 62). Troubador Publishing Ltd.

* Pezzotti, Barbara (2012), Sicily between Old and New, in Pezzotti. The Importance of Place in Contemporary Italian Crime FictionMadison: Fairleigh Dickinson University Press, 125-146.

Russi, Cinzia (2018). The Functions of Sicilian in Camilleri’s ‘Il ladro di merendine’. Italica, 95:2, 183-214.

Films and TV Series

Sironi, Alberto (dir.). Il commissario Montalbano. Il ladro di merendine (Italy, 1999) [Inspector Montalbano. The Snack Thief], with Luca Zingaretti. Available on Box of Broadcasts (BoB)

Sironi, Alberto (dir.). Il commissario Montalbano. Il cane di terracotta (Italy, 1999) [Inspector Montalbano. The Terracotta Dog], with Luca Zingaretti. Available on Box of Broadcasts (BoB)

Pinheiro, José (dir.) Fabio Montale, series of three TV movies (France, 2001), with Alain Delon in the leading role.  

Beverini, Alain (dir.), Total Kheops (France, 2002), with Richard Bohringer, Marie Trintignant. 90 minutes.  

 

[Topic 5: Feminist Crime Fiction, Weeks 18-20]

Adleson, L. (1997). The Price of Feminism: Of Women and Turks. In P. Herminghouse, M. Mueller eds., Gender and Germanness: Cultural Productions of Nation. New York/Oxford: Berghahn, 305-19.

Auslander, P. (1993). Brought to You by Fem-Rage: Stand-up Comedy and the Politics of Gender. In L. Hart and P. Phelan eds., Acting Out: Feminist Performances. Ann Arbor, MI: University of Michigan Press, 315–36.

Barfoot, N. (2007). Generic Expectations and the Reception of Recent French and German Crime Novels by Women. Bern: Peter Lang.

Bielby, C. (2012). Violent Women in Print: Representations in the West German Print Media of the 1960s and 1970s. Rochester/New York: Camden House.

Bing, J. (2004). Is Feminist Humor an Oxymoron? Women and Language, 27, 22–33.

Case, C., Lippard, C.  (2009). Humorous Assaults on Patriarchal Ideology, Sociological Inquiry, 79.2, 240-255.

Colvin, S. (2009). Ulrike Meinhof and West German Terrorism. Language, Violence, and Identity. Rochester/New York: Camden House.

Cranny-Francis, A. (1990). Feminist Fiction. Feminist Uses of Generic Fiction. Cambridge: Polity Press.

Feree, M. M. (2012). Varieties of Feminism: German Gender Politics in Global Perspective. Stanford, CA: Stanford University Press.

Gavin, A. (2010). Feminist Crime Fiction and Female Sleuths. In C. Rzepka, L. Horsley eds., A Companion to Crime Fiction. Oxford: Blackwell, 258-69.

Haug, F. (1992). Beyond Female Masochism: Memory, Work and Politics. London: Verso.

Heberle, R. (1999.) Disciplining Gender; Or, Are Women Getting Away with Murder?’ Signs: Journal of Women in Culture and Society, 24.4.

Irons, G., ed. (1995). Feminism in Women’s Detective Fiction. Toronto: University of Toronto Press.

Merivale, P. (1996). Feminism in Women’s Detective Fiction. Contemporary Literature, 37.4.

Merrill, L. (1988). Feminist Humor: Rebellious and Self-Affirming. Women’s Studies, 15, 271–80.

Munt, S. (1994). Murder by the Book? Feminism and the Crime novel. London: Routledge

Pykett, L. (1990). Investigating Women: the Female Sleuth after Feminism. In I. Bell, G. Daldry eds., Watching the Detectives: Essays on Crime Fiction. New York: Springer, 48-67.

Reddy, M. (1988). Sisters in Crime: Feminism and the Crime Novel. New York: Continuum.

Sharp, I., Flinspach, D. (1995). Women in Germany from Division to Unification. In D. Lewis, J. McKenzie eds., The New Germany.  Social, Political and Cultural Challenges of Unification. Exeter: University of Exeter Press, 173-195.  

Sieg, K. (2004). Postcolonial Berlin? Pieke Biermann’s Crime Novels as Globalization Critique. Studies in 20th and 21st Century Literature, 28.1, 152-82.

Stewart, F. (2014). German Feminist Queer Crime Fiction: Politics, Justice and Desire. Jefferson, NC: MacFarland.

Stewart, F. (2011). Dialogues with Tradition: Feminist-queer encounters in German Crime Stories at the Turn of the Twenty-first Century. Studies in 20th and 21st Century Literature, 35.1, 114-35.

  

[Topic 6: Utopian and dystopian thought, Weeks 21-23]

Campbell, B., Guenther-Pal. A., Rützou Petersen V., eds., (2014). Detectives, Dystopias, and Poplit. Studies in Modern German Genre Fiction. Rochester: Camden House. https://boydellandbrewer.com/detectives-dystopias-and-poplit.html  

Chodorkoff, D. (1983). The Utopian Impulse: Reflections on a Tradition. Harbinger: The Journal of Social Ecology 1.1. Avail- able at http://social-ecology.org/wp/1983/12/the-utopian-impulse- reflections-on-a-tradition/ Available online   

Cornils, I., (2020). Beyond Tomorrow. German Science Fiction and Utopian Thought in the 20th and 21st Centuries. Rochester: Camden House.

[NB: An e-book version of this title is available (9781787447974) to libraries through a number of trusted suppliers. See here for a full list of our partners.]

Csicsery-Ronay, I. (2008) The Seven Beauties of Science Fiction. Middleton, CT: Wesleyan University Press.

Gupta, S. (2016). On Mapping Genre: “Literary Fiction”/“Genre Fiction” and Globalization Processes. In J. Habjan, and F. Imlinger, eds., Globalizing Literary Genres: Literature, History, Modernity. New York: Routledge, 213-227.

Hollinger, V. (2014). Genre vs. Mode. In R. Latham, ed., The Oxford Handbook of Science Fiction. Oxford: Oxford University Press, 139-154.

Moylan, Tom (2020), Becoming Utopian: The Culture and Politics of Radical Transformation. London: Bloomsbury    

Schneider-Mayerson, M. (2010). Popular Fiction Studies: The Advantages of a New Field, Studies in Popular Culture, 33.1, 21-35. Available online 

Tally, R. (2017). In the File Drawer Labelled ‘Science Fiction’: Genre after the Age of the Novel, English Language and Literature, 63.2, 201–17. Available online 

 

 

 

 

 

 

 

 

 

This list was last updated on 09/02/2022