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A counter-history of crime fictionsupernatural, gothic, sensational /

Record Type:	Electronic resources : Monograph/item
Title/Author:	A counter-history of crime fictionMaurizio Ascari.
Reminder of title:	supernatural, gothic, sensational /
Author:	Ascari, Maurizio.
Published:	Basingstoke [England] ;Palgrave Macmillan,2007.
Description:	xv, 222 p. ;23 cm.
Series:	Crime files series
Subject:	Detective and mystery stories, EnglishHistory and criticism.
Online resource:	access to fulltext (Palgrave)
ISBN:	9780230234536

A counter-history of crime fictionsupernatural, gothic, sensational /
Ascari, Maurizio.

A counter-history of crime fictionsupernatural, gothic, sensational /[electronic resource] :Maurizio Ascari. - Basingstoke [England] ;Palgrave Macmillan,2007. - xv, 222 p. ;23 cm. - Crime files series.

Includes bibliographical references (p. 197-212) and index.

Acknowledgements -- Introduction -- Revising the Canon of Crime and Detection -- PART I: SUPERNATURAL AND GOTHIC -- Detection Before Detection -- Persecution and Omniscience -- Victorian Ghostsand Revengers --Pseudo-Sciences and the Occult -- PART II: SENSATIONAL -- The Languageof Auguste Dupin -- On the Sensational in Literature -- London as a 'Heart of Darkness' -- The Rhetoric of Atavism and Degeneration -- The Age of Formula Fiction -- Bibliography -- Index.

A Counter-History of Crime Fiction takes a new look at the evolutionof crime fiction, drawingon material from the Middle Ages up to the early twentieth century, when the genre was theoretically defined as detective fiction. Considering 'criminography' as a system of inter-related, even incestuous, sub-genres, Maurizio Ascari explores the connections between modes of literature such as revenge tragedies and providential fictions, the gothic and the ghost story, urban mysteries and anarchist fiction, while taking into account the influence of pseudo-sciences such as mesmerism and criminal anthropology. The result is a fascinating inquiry into the nature of a genre whose formulaic nature has not prevented imaginative, not to say heretical, variations on the themes of crime and detection. Theoretically informed, with an innovative approachto its subject matter, and written in an accessible style, A Counter-History of Crime Fiction is essential reading for those researching in, studying, or just intrigued by crime fiction and its development.

Electronic reproduction.
Basingstoke, England :
Palgrave Macmillan,
2009.

Mode of access:World Wide Web.

ISBN: 9780230234536Subjects--Topical Terms:

298375
Detective and mystery stories, English
--History and criticism.Index Terms--Genre/Form:

214472
Electronic books.

LC Class. No.: PR830.D4 / A8 2007

Dewey Class. No.: 823/.087209

A counter-history of crime fictionsupernatural, gothic, sensational /
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245 1 2 $a A counter-history of crime fiction $h [electronic resource] : $b supernatural, gothic, sensational / $c Maurizio Ascari.
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300 $a xv, 222 p. ; $c 23 cm.
440 0 $a Crime files series
504 $a Includes bibliographical references (p. 197-212) and index.
505 0 $a Acknowledgements -- Introduction -- Revising the Canon of Crime and Detection -- PART I: SUPERNATURAL AND GOTHIC -- Detection Before Detection -- Persecution and Omniscience -- Victorian Ghostsand Revengers --Pseudo-Sciences and the Occult -- PART II: SENSATIONAL -- The Languageof Auguste Dupin -- On the Sensational in Literature -- London as a 'Heart of Darkness' -- The Rhetoric of Atavism and Degeneration -- The Age of Formula Fiction -- Bibliography -- Index.
520 $a A Counter-History of Crime Fiction takes a new look at the evolutionof crime fiction, drawingon material from the Middle Ages up to the early twentieth century, when the genre was theoretically defined as detective fiction. Considering 'criminography' as a system of inter-related, even incestuous, sub-genres, Maurizio Ascari explores the connections between modes of literature such as revenge tragedies and providential fictions, the gothic and the ghost story, urban mysteries and anarchist fiction, while taking into account the influence of pseudo-sciences such as mesmerism and criminal anthropology. The result is a fascinating inquiry into the nature of a genre whose formulaic nature has not prevented imaginative, not to say heretical, variations on the themes of crime and detection. Theoretically informed, with an innovative approachto its subject matter, and written in an accessible style, A Counter-History of Crime Fiction is essential reading for those researching in, studying, or just intrigued by crime fiction and its development.
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