https://nova.newcastle.edu.au/vital/access/ /manager/Index ${session.getAttribute("locale")} 5 https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:38552 Wed 13 Mar 2024 14:17:56 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:29301 fiction and on crime fiction criticism. This base, of the creative and critical, can inform the production of a work that offers an aesthetic quality and an academically rigorous contribution to conversations around one of the world’s best-selling genres.]]> Wed 11 Apr 2018 13:09:11 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:15900 Wed 11 Apr 2018 11:43:12 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:8622 Wed 11 Apr 2018 11:30:47 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:14822 Wed 11 Apr 2018 11:14:10 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:14501 Wed 11 Apr 2018 10:59:28 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:26284 Tue 26 Feb 2019 13:16:48 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:28398 Pop. 1280. First translated into French in 1966 by Marcel Duhamel as the 1000th title of Gallimard’s famous Série Noire crime fiction collection, the novel became notorious for the loss of five of Thompson’s original population: Duhamel’s title was 1275 âmes [1275 Souls]. In 2000 novelist Jean-Bernard Pouy joined the ranks of those puzzled by this translation choice; he went further than most, however, by writing his own novel, entitled 1280 âmes [1280 Souls], in which his protagonist sets out to find the five missing characters. We argue that the ingenious solution found by Pouy is deliberately convoluted, that it wilfully overlooks a more obvious reason for choosing this different title, which is to say, to emphasise the fact that Duhamel’s translation aspires to a status beyond mere interlingual transfer, something closer to an adaptation or French appropriation of the original text. We then contextualise this argument by discussing the ways in which the early novels of the Série Noire, notably those by Peter Cheyney and James Hadley Chase, functioned as allegories of France in the years immediately following the Second World War, even though their “original versions” were written before the war and ostensibly in an effort (by these two British authors) to appear American. The article concludes by suggesting that Thompson’s novel can be considered, like those of Cheyney and Chase before it, a classic of the French crime fiction canon, or at the very least that much can be gained from reading it through that lens.]]> Tue 26 Feb 2019 13:15:02 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:15519 Tue 24 Aug 2021 14:35:35 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:48726 Thu 30 Mar 2023 09:56:29 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:24146 Thu 10 Nov 2016 16:02:49 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:21847 Sat 24 Mar 2018 07:55:30 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:21848 rompols (from roman policier, or crime novel). By mapping the plotline of L'Homme à l'envers (1999)[Seeking Whom He May Devour, (2006)] onto Conan Doyle's The Hound of the Baskervilles (1902), I will show that in both works a metropolitan (outsider) detective investigates a murder by a large canid in the depths of the countryside. Then, in line with Pierre Bayard's famous rewriting of Conan Doyle's novel, the innocence of the convicted party will be shown to be the other side of guilt, a foreignness that lurks within but which careful reading can bring to the surface. I will also argue that, along with deconstructive and Freudian readins, the modernist figure of the Baudelairean flâneur highlights the Otherness of the investigation. By questioning the guilt of Vargas's other Other, I will take self-alterity to its logical (and logically nihilistic) end-point, opening up possibilities, here both criminal and textual, and reconsidering the culpability of the supposed murderer.]]> Sat 24 Mar 2018 07:55:29 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:6728 Sat 24 Mar 2018 07:46:03 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:28402 Sat 24 Mar 2018 07:36:01 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:26152 Sat 24 Mar 2018 07:35:26 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:25585 Sat 24 Mar 2018 07:35:15 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:28533 Sat 24 Mar 2018 07:28:43 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:28532 Why Crime Fiction Matters in Melbourne in 2014 Stephen Knight reflected on the trajectory of scholarship in the field, which has gradually moved away from the broad-brush-stroke surveys of the genre towards more theoretically sophisticated studies and, more generally, a higher level of academic engagement to mirror crime's location in the literary marketplace. The move, he concluded, has been away from connoisseurship towards scholarship. When Intellect commissioned us immediately that we should need to manoeuvre ourselves strategically in this light, to place ourselves at a point somewhere on this line with connoisseurship at one end and scholarship at the other.]]> Sat 24 Mar 2018 07:28:43 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:26473 Sat 24 Mar 2018 07:27:16 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:26674 in other words, and indeed texts in other words. This textuality brims over and strains against the generic parameters that she is considered to have pioneered, but which have been set in stone by critics, those all-powerful readers. This article follows one line of flight beyond the bounds of the detectival solution. The marrow thrown by Hercule Poirot in The Murder of Roger Ackroyd will be shown to be a literary act par excellence, a sign of textual exuberance. Or perhaps not so much a sign (for all signs point to the solution, do they not?) as an explosion. I shall read the marrow for what it is - a marrow with a history; I shall try to go beyond the metaphorical in favour of the intertextual; and finally, rather than turning a blind eye to it in our pursuit of the murderer, I shall read it.]]> Sat 24 Mar 2018 07:26:53 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:23020 Sat 24 Mar 2018 07:16:35 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:23118 Ellery Queen's Mystery Magazine, still published today, made its debut in 1941. In 1975, executive producers Richard Levinson and William Link brought the detective to television in a mystery series entitled Ellery Queen which challenged viewers to 'match wits with Ellery Queen'. Starring Jim Hutton in the lead role and David Wayne as his father, Inspector Richard Queen, the series survived only a single season. It was not until Levinson and Link, wanting to rework the concept, collaborated with Peter S. Fischer, one of the producers of the failed television series, that a media phenomenon was created in the form of Murder, She Wrote, one of the most successful ever Western television mystery series.]]> Sat 24 Mar 2018 07:15:31 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:23805 The Empty Beach (1983), in two ways. The most obvious approach, which examines what happens to Corris's novel, and in particular to the ways in which it articulates Australianness and the key place of Sydney within that signifying system, when it is translated, is deemed, if not less important then certainly secondary. What is considered fundamental here is the novel's original predisposition towards translation. Corris's empty beach is therefore a site of evacuation - evacuation of any number of things, including of course its crimes and criminal plots, but especially, in the framework of this special issue, of indicators of national specificity. The extant French translation tests this translatability in interesting ways; notably, the French word for 'beach', la plage, is itself a broader term, which refers to a flat surface. In this sense, the novel's translated title is doubly suggestive of emptiness and thus intensifies the failure of the original novel to ground itself in its setting. This analysis will therefore be counterintuitive but will also, hopefully, like the translation process on which it is focused, suggest new lenses for reading Peter Corris, for getting him out of his Sydney mould, which are nonetheless, once sun protection is provided against the glaring Bondi sun, in full view in his work.]]> Sat 24 Mar 2018 07:12:53 AEDT ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:43634 Mon 26 Sep 2022 16:22:46 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:28403 Dead Man's Folly can assist in deconstructing the novel as a textual folly. A comparison of Dead Man's Folly to The Body in the Library reveals that Christie's tricks in the latter text, which may or may not have fooled Miss Marple, are also played on Hercule Poirot.]]> Mon 23 Sep 2019 10:23:12 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:28404 La forma dell'acqua (1994) is the first of his acclaimed series of Inspector Montalbano novels. Its translation into English in 2002, by the also much acclaimed Stephen Sartarelli, as The Shape of Water, allowed Anglophone readers to access not only an example of high-quality Italian crime fiction but also an example of crime fiction that is about translation. Sartarelli's version will not be analyzed here in terms of its translation qualities, since I am quite unable to speak Italian; it will be analyzed, instead, as a vehicle for a will to translation, or translatability, that is always already present in the original text. Our focus here will be on the choice of the liminal space of the beach to mark the liminal edge of this first novel (the limen of the series). The Shape of Water, as an enigmatic title (paratextual puzzle) and philosophical paradox, will be shown to correspond to the text's wilful vacillation between body (original as exemplary textness) and intentionality (translation as textuality, both re-actualized translated version and virtual otherness or translatability). The ramifications of this (un)marking of liminal territory on the mystery it contains (or fails to contain) will be explored. While there is some truth in Carlo Vennarucci's (2003, s.p.) statement as to the excellent translation of Italianness in The Shape of Water - "Stephen Sartarelli does an admirable job in translating Camilleri's novel from the Italian. While reading The Shape of Water, you always get the sense that this is an Italian mystery about Italian characters and written by a superb Italian author" - it seems equally clear that Italianness (versus both Italian otherness and foreignness) is being signed "in translation", both by Camilleri and his translator, which is to say, problematized and decentred. Translation and translatability will be explored here as reflexive stagings of textuality, which in turn focus our readerly attention on the ironic and reflexive ways that Camilleri and his detective negotiate the shape of water.]]> Mon 23 Sep 2019 10:07:28 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:40394 Mon 22 Aug 2022 14:31:45 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:50237 Mon 10 Jul 2023 14:50:27 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:42197 Fri 19 Aug 2022 10:32:25 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:41526 Fri 05 Aug 2022 12:38:27 AEST ]]> https://nova.newcastle.edu.au/vital/access/ /manager/Repository/uon:41518 Fri 05 Aug 2022 11:56:20 AEST ]]>