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This paper reads fin-de-siècle and Edwardian British occult detective fiction as a form of proto-science fiction, suggesting that the epistemological focus on the occult typical of these texts can be usefully envisioned as formally and functionally equivalent to the focus of modern science fiction on orthodox science. Drawing from Stephen Halliwell's studies on mimesis and recent developments in the field of unnatural narratology, the paper thus shows how the subgenre of occult detective fiction anticipates and participates in the systematic rationalization of the impossible that distinguishes the discourse of modern science fiction. [ABSTRACT FROM AUTHOR]

This paper analyzes the translation of Manner-of-motion in a Swedish>Spanish parallel corpus of crime novels by Henning Mankell (and more specifically, a selection of the Wallander series). Since Swedish is a satellite-framed language, while Spanish is a verb-framed language, the aim of the research is to identify translation techniques adapted to the issue of translating Manner-of-motion in an intertypological translation scenario. The results of this study are compared with previous research on the topic, which has focused mainly on general prose fiction and fiction for children and young adults. Our findings confirm that Manner-of-motion is omitted to a great extent in the Spanish translations, compared with the original texts in Swedish. Moreover, some differences are encountered in the translation of original fragments, including general and specific Manner-of-motion verbs. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Complutense Journal of English Studies is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these narratives portray Lizzie Borden in various ways--from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by sociocultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction literary works of primary concern are blurred. [ABSTRACT FROM AUTHOR]

Åsa Larsson’s novels about tax attorney Rebecka Martinsson are situated in the far north of Sweden, in and around Kiruna. The novels have been translated into many languages, and in 2017 one of the novels, The Blood Spilt, was finally translated into Northern Sami, one of the languages spoken in the area where the novels are set. The aim of this paper is to discuss and analyze Larsson’s five novels in order to demonstrate how issues of identity are connected to the peripheral North – the ‘real’ North of Nordic Noir. The novels will not be discussed separately, but the chapter is divided into themes that are of importance to discuss identity and place: views of the North, crossing/blurring the borders, place and identity, history: borders of periphery, center and self. [ABSTRACT FROM AUTHOR]

(Sophie Hannah's. 2009. The Other Half Lives. London: Hodder). The Other Half Lives both complies with, and departs from, the crime fiction formula or text schema. It features a mystery the specifics of which are unravelled non-chronologically, while its numerous crimes and non-ideal criminals and victims disrupt readers' world schemas and help enable its surprising effects. Not unlike such fiction, the story's early happenings feature late in the telling, while many happenings are given from different character perspectives. Both of these help unsettle narrative perspective, and generate suspense, mystery, and readers' later repairing and replacing of frames. Focalisation and the working and reworking of killing characters' early depiction are techniques also enabling foreshadowing and misdirection, for readers' sympathies and prejudices to be manipulated accordingly, and for surprise revelations to prove effective, even when a surprise ending is – given the nature of this genre – only to be expected. [ABSTRACT FROM AUTHOR]

The article focuses on theoretic issues concerning the analysis of serial crime fiction in television and literature (a) as a diagnostic tool of contemporary social identities, (b) as an example of the work of popular culture to communicate and perform social identities, and (c) as representations and ambassadors of cultural identities. It starts by introducing some of the most important specifics of serialized entertainment and its role in contemporary popular culture. Repetition, variation, connection and continuation are described as the fundamental principles of serial aesthetics. The article also discusses the key concept of ‘identity’, summarizing its meaning on an empirical, a theoretical, a political, and an aesthetic level. In the conclusion, the crisis of the concept of identity in current political theory is debated in relation to the potential of serial crime fiction to intervene in this crisis. [ABSTRACT FROM AUTHOR]

One of the strengths of the book is that Cox offers not just compelling readings of neo-Victorian texts, but also new readings of sensation novels as well. I The Woman in White i (1859), perhaps the most influential sensation novel, features as an ur-text; Cox uses it in the introduction to demonstrate the impact of sensationalism on neo-Victorianism and frequently returns to it. Further, Cox suggests that if neo-Victorianist scholars insist on using the murky concepts of "self-conscious" or knowing texts, they also risk mimicking those Victorian critics who dismissed popular sensation novels as unworthy of serious discussion. [Extracted from the article]