Titlebook: Constructing Crime; Discourse and Cultur Christiana Gregoriou (Lecturer in English Language Book 2012 Palgrave Macmillan, a division of Mac

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Narrative and Historical Truth in Delayed Civil Actions for Child Abuse their findings of fact, and reach those findings on the balance of probabilities rather than claiming that they are ‘beyond reasonable doubt’. A finding reached by the narrowest margin of probability is as much a ‘fact’ for legal purposes as one that is beyond dispute. As Lord Hoffman put it in one

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Introduction and Rationale contributors are drawn to popular crime fiction, through the analysis of which they also scrutinise culture. Michelle Iwen’s analysis of the . novel and its filmic incarnation explores the subjects of insanity, violence and murder, and their relation to medical, philosophical and authority-related

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It’s a sin […] using Ludwig van like that. He did no harm to anyone, Beethoven just wrote music’: Therview of film music’. The sequence, from . (Tarantino 1992), depicts gangster Mr. Blonde torturing a policeman and severing his ear, while Stealers Wheel’s lively pop song ‘Stuck in the Middle with You’ plays on the radio. Kalinak (2010:8, 7) suggests that this example ‘demonstrates so many of the

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Criminal Publication and Victorian Prefaces: Suspending Disbelief in Sensation Fictionsively demanding the suspension of readerly disbelief. This even appears in crime fiction’s nineteenth-century precursors, as seen, for example, in the Prefaces to Charles Dickens’s (1853) . and Wilkie Collins’s (1861) .. Dickens’s . interweaves different narratives of intrigue, including subplots a

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Introduction and Rationaleed by means of doing good and wrong. This chapter directly explores the ways in which identities are constructed in narratives of ‘crime’ from across different ages and cultural contexts. Ulrike Tabbert’s critical linguistic and computational corpus approach focuses on the ways in which victims and