Titlebook: Domestic Noir; The New Face of 21st Laura Joyce,Henry Sutton Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Gender.Marriage

有偏见

https://doi.org/10.1007/978-3-322-98597-2o fight back, to make choices, to survive a crime or even to be a criminal agent. Focusing on Gillian Flynn’s . and Paul Hawkins’ ., this chapter examines the gendering of the body in crime fiction and how female characters are portrayed as increasingly active participants in the plots of popular no

男学院

Von Ziffernsystemen und Palindromenth novels feature adolescent girls—not as murder victims, but as protagonist and antagonist (Addy and Beth in .) and as killers (Amma and her girl gang in .). They also feature adult women who are complex, desiring and deeply flawed, and the books explore what Grossman, writing about the femme fatal

辩论

https://doi.org/10.1007/978-3-322-98598-9ntersected with theories and methodologies from the field of cultural criminology. They analyse three contemporary European “domestic noirs”, comparing their representations of mothers as perpetrators of crimes with the intelligence on gender(ed) violence that comes from studies in criminology and c

上坡

Zweck und Methode des Betriebsvergleichst the almost mystical ways in which unseen hegemonic forces invade the most sacrosanct of domestic spaces. To represent such hauntings in crime fiction is to reveal the inextricable lines between the past and the present, between domestic home life and organizing systems of social power. French’s gh

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