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Einrichtungen >> Fakultät Geistes- und Kulturwissenschaften >> Institut für Anglistik und Amerikanistik >> Lehrstuhl für Englische Literaturwissenschaft >>
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Crime Fiction, Femininities and Masculinities II: From 1900 to 1960- Dozent/in
- Dr. Kerstin-Anja Münderlein
- Angaben
- Übung
Rein Online
2 SWS
Studium Generale, Gender und Diversität, Erweiterungsbereich, Modulstudium
Zeit: Mo 18:00 - 20:00
- Voraussetzungen / Organisatorisches
- 1. Module Allocation:
all modules including an obligatory/optional reading tutorial (Übung) for literature in
LA GS/HS/MS/RS/GY
BA Anglistik/Amerikanistik
MA English and American Studies
MA WiPäd
Erweiterungsbereich English and American Studies
open for Consolidation Module Literature (Übung)
NOT open for Ergänzungsmodul Literature
2. (De)Registration:
in FlexNow!: 06.09.2021, 10:00 - 31.10.2021, 23:59
Guest auditors should first contact the lecturer
- Inhalt
- Crime Fiction reaches large numbers of readers with heterogeneous interests. In other words, it provides something for everyone, yet in doing so it can either assert or scrutinise and thus re-negotiate gender and sexual normativity. As such, the genre itself is both assertive of perceived normativity and at the same time deviant from socially constructed roles and rules. A crime of any kind, after all, already provides a disruption of order and sets extraordinary events in motion. The exceptional situation a crime creates thus leaves room for all kinds of agents (for queerness or normativity) to revise order and normativity. Crime, sex and gender are intricately linked, be that through the characters, the target audience, or the crime itself. Probably no other genre provides such a broad spectrum of characters, ranging from the occasionally hyper-masculine hardboiled detective and the stereotypically feminine spinster sleuth to androgynous private eyes or gender-fluid police detectives.
Moreover, a scholarly focus on gender and sex in Crime Fiction “has […] advanced understanding of the socially constructed nature of crime” (2) as Bill McCarthy and Rosemary Gartner write in the Oxford Handbook of Gender, Sex and Crime (2014). Crime as a social construct inhabits a liminal position. Like gender, it crosses boundaries and is thus positioned on a perpetual threshold between what is read as “order” or “normality” and “chaos” or “deviance.” Crime Fiction provides the space to investigate this liminality and to open up stereotypical concepts of normativity in crime, gender and sexuality. Crime Fiction’s relationship with sex and gender is thus fascinatingly complex and allows for a broad variety of critical angles on the topic.
This course is the second of a three-part “Übung” on crime fiction and gender. It specifically covers the beginnings of 20th-Century British crime fiction with a focus on the Golden Age of Crime Fiction and ends with the spy novel and the time of James Bond. Please see below for the literature used in class (more literature to be announced and uploaded to the VC at the beginning of the semester). Students should be aware that this is a very reading- and discussion-intensive class and students should be prepared to participate in the in-class discussions.
Part III (summer semester 2022) will then conclude this series of Übungen with gender and modern crime fiction from the 1960s to today.
This course also serves as a preparation for the international conference “Captivating Criminality 8: Crime Fiction, Femininities and Masculinities” (30 June to 2 July 2022). Students in this course will have the chance to participate in a poster exhibition on the topic of the conference, but are not required to.
- Empfohlene Literatur
- Obligatory reading (in reading order throughout the semester):
Arthur Conan Doyle. "The Adventure of the Empty House." 1903 (short story)
G.K. Chesterton. "The Invisible Man." 1911 (short story)
Marie Bellow Lowndes. The Lodger. 1913 (novel)
Agatha Christie. The Murder of Roger Ackroyd. 1926 (novel)
Gladys Mitchell. Speedy Death. 1929 (novel)
Dorothy L. Sayers. Strong Poison. 1930 (novel)
Dashiell Hammett. The Maltese Falcon. 1930 (novel)
Raymond Chandler. The Big Sleep. 1939 (novel)
Ian Fleming. From Russia with Love. 1957 (novel)
- Gender & Diversität / Nachhaltigkeit
- This course specifically covers the importance and presentation of gender roles and the influence of gender on the development of crime fiction from the 19th century (SS 2021), via the first half of the 20th century (WS 2021/22) until today (SS 2022).
- Englischsprachige Informationen:
- Title:
- Crime Fiction, Femininities and Masculinities II: From 1900 to 1960
- Credits: 4
- Prerequisites
- 1. Module Allocation:
all modules including an obligatory/optional reading tutorial (Übung) for literature in
LA GS/HS/MS/RS/GY
BA Anglistik/Amerikanistik
MA English and American Studies
MA WiPäd
Erweiterungsbereich English and American Studies
open for Consolidation Module Literature (Übung)
NOT open for Ergänzungsmodul Literature
2. (De)Registration:
in FlexNow!: 06.09.2021, 10:00 - 31.10.2021, 23:59
Guest auditors should first contact the lecturer
- Additional information regarding gender, diversity and sustainability
- This course specifically covers the importance and presentation of gender roles and the influence of gender on the development of crime fiction from the 19th century (SS 2021), via the first half of the 20th century (WS 2021/22) until today (SS 2022).
- Contents
- Crime Fiction reaches large numbers of readers with heterogeneous interests. In other words, it provides something for everyone, yet in doing so it can either assert or scrutinise and thus re-negotiate gender and sexual normativity. As such, the genre itself is both assertive of perceived normativity and at the same time deviant from socially constructed roles and rules. A crime of any kind, after all, already provides a disruption of order and sets extraordinary events in motion. The exceptional situation a crime creates thus leaves room for all kinds of agents (for queerness or normativity) to revise order and normativity. Crime, sex and gender are intricately linked, be that through the characters, the target audience, or the crime itself. Probably no other genre provides such a broad spectrum of characters, ranging from the occasionally hyper-masculine hardboiled detective and the stereotypically feminine spinster sleuth to androgynous private eyes or gender-fluid police detectives.
Moreover, a scholarly focus on gender and sex in Crime Fiction “has […] advanced understanding of the socially constructed nature of crime” (2) as Bill McCarthy and Rosemary Gartner write in the Oxford Handbook of Gender, Sex and Crime (2014). Crime as a social construct inhabits a liminal position. Like gender, it crosses boundaries and is thus positioned on a perpetual threshold between what is read as “order” or “normality” and “chaos” or “deviance.” Crime Fiction provides the space to investigate this liminality and to open up stereotypical concepts of normativity in crime, gender and sexuality. Crime Fiction’s relationship with sex and gender is thus fascinatingly complex and allows for a broad variety of critical angles on the topic.
This course is the second of a three-part “Übung” on crime fiction and gender. It specifically covers the beginnings of 20th-Century British crime fiction with a focus on the Golden Age of Crime Fiction and ends with the spy novel and the time of James Bond. Please see below for the literature used in class (more literature to be announced and uploaded to the VC at the beginning of the semester). Students should be aware that this is a very reading- and discussion-intensive class and students should be prepared to participate in the in-class discussions.
Part III (summer semester 2022) will then conclude this series of Übungen with gender and modern crime fiction from the 1960s to today.
This course also serves as a preparation for the international conference “Captivating Criminality 8: Crime Fiction, Femininities and Masculinities” (30 June to 2 July 2022). Students in this course will have the chance to participate in a poster exhibition on the topic of the conference, but are not required to.
- Literature
- Obligatory reading (in reading order throughout the semester):
Arthur Conan Doyle. "The Adventure of the Empty House." 1903 (short story)
G.K. Chesterton. "The Invisible Man." 1911 (short story)
Marie Bellow Lowndes. The Lodger. 1913 (novel)
Agatha Christie. The Murder of Roger Ackroyd. 1926 (novel)
Gladys Mitchell. Speedy Death. 1929 (novel)
Dorothy L. Sayers. Strong Poison. 1930 (novel)
Dashiell Hammett. The Maltese Falcon. 1930 (novel)
Raymond Chandler. The Big Sleep. 1939 (novel)
Ian Fleming. From Russia with Love. 1957 (novel)
- Zusätzliche Informationen
- Erwartete Teilnehmerzahl: 15
- Institution: Lehrstuhl für Englische Literaturwissenschaft
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