Nowe Szkoty

Gdańsk Scottish Studies Research Group

Publication: Crime Scenes

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Crime Scenes: Modern Crime Fiction in an International Context.

Ed. Urszula Elias and Agnieszka Sienkiewicz-Charlish (Peter Lang, 2014)

Publisher’s website

264154_cover_frontCrime Scenes: Modern Crime Fiction in an International Context examines the ways in which crime fiction has developed over several decades and in several national literary traditions. The volume covers a wide spectrum of current interests and topical concerns in the field of crime fiction studies. It introduces twenty-four original essays by an international group of scholars divided among three main sections: «Genres», «Authors and Texts» and «Topics». Issues discussed include genre syncretism, intertextuality, sexuality and gender, nationhood and globalization, postcolonial literature and ethical aspects of crime fiction.


David Malcolm, Introduction


Thomas Anessi, “Literary Codes of Conduct in PRL Crime Fiction: Barańczak, Joe Alex and the Powieść Milicyjna.”

Nina Holst, “Way too meta»: Readers, Writers and Transmedia in Castle.

Nina Muždeka, “A Pothead Detective Challenging the Genre: Thomas Pynchon’s Inherent Vice.”

Elżbieta Perkowska-Gawlik, “The Quest for Identity in Academic Mystery Fiction.”

Agnieszka Sienkiewicz-Charlish, “Tartan Noir: Crime, Scotland and Genre in Ian Rankin’s Rebus Novels.”


Stephen Butler, “Banville, Simenon, Stark – An Existential Ménage à Trois.”

Wolfgang Görtschacher, “Constructions of Identity and Intertextuality in Martha Grimes’s The Black Cat.”

Ayşegül Kesirli Unur, “Cingöz Recai at Work: A Study on Early Turkish Crime Fiction on Film.”

Arkadiusz Misztal, “LSD Investigations: The End of Groovy Times and California Noir in Inherent Vice by Thomas Pyncho.”

Monika Rajtak, “Investigating Evil: Crime Fiction Remodelled in When We Were Orphans by Kazuo Ishiguro.”

Monika Szuba, “Bloody Typical: Genre, Intertextuality, and the Gaze in The Cutting Room by Louise Welsh.”

Jørgen Veisland, “Whose Letter? Possession, Position and Detection in Edgar Allan Poe’s ‘The Purloined Letter’.”

Jadwiga Węgrodzka: The Detective as Reader: Narration and Interpretation in Arthur Conan Doyle’s Detective Stories

Marta Aleksandrowicz-Wojtyna, “Crime Fiction in South Africa? Nadine Gordimer’s Rendition of Crime in ‘Country Lovers’ and ‘Town Lovers’.”

Bernd-Peter Lange, “South Asian Sleuths: Colonial, Postcolonial, Cosmopolitan.”


Dorota Babilas, “Her Majesty’s Own Murderer? Queen Victoria and Jack the Ripper in Popular Fiction.”

Rachel Franks, “Gender and Genre: Changes in ‘Women’s Work’ in Australian Crime Fiction.”

Marie Hologa, “‘Snort for Caledonia’ – Drugs, Masculinity and National Identity in Contemporary Scottish Detective Fiction.”

Miriam Loth, “‘…the abyss gazes also into you’ – Guilt and Innocence in British Golden Age Detective Fiction and Contemporary Crime Novels.”

Jacqui Miller, “An American in Europe: US Colonialism in The Talented Mr Ripley and Ripley’s Game.”

Fiona Peters, “The Perverse Charm of the Amoral Serial Killer: Tom Ripley, Dexter Morgan and Seducing the Reader.”

Cyprian Piskurek, “More Than Meets the (Camera) Eye: Detective Fiction in Times of CCTV.”

Marta Usiekniewicz,  “The Eating Detective: Food and Masculinity in Robert B. Parker’s Spencer Series.”

Arco van Ieperen, “What’s the Word? Sexism and Political Correctness in the Crime Fiction of Robert B. Parker and Sara Paretsky.”

A short story by Paul D. Brazill –  “The Tut.”


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