David Platten

Gigliola Sulis

Christiana Gregoriou

In recent decades crime fiction has enjoyed a creative boom. Although, as Alison Young argues in her book Imagining Crime (1996), crime stories remain strongly identified with specific locations, the genre has acquired a global reach, illuminating different corners of the world for the delectation of international audiences. The recent fashion for Nordic noir has highlighted the process by which the crime story may be franchised, as it is transposed from one culture to another. Crime fiction has thus become a vehicle for cultural exchange in the broadest of senses; not only does it move with apparent ease from one country to the next, and in and out of different languages, but it is also reproduced through various cultural media. What is involved in these processes of transference? Do stories lose or gain value? Or are they transformed into something else altogether? How does the crime story that originates in a specific society or culture come to articulate aspects of very different societies and cultures? And what are the repercussions of this cultural permeability?

Crime Fiction in the Global Era

Retold Resold Transformed

Francesca Billiani

Meanwhile, by assimilating the Other into our own modes of representation of reality and imagination, twentieth-century female writers of the fantastic show how alternative identities can be shaped and social constituencies can be challenged."--BOOK JACKET.

Gigliola Sulis

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