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Vorlesungsverzeichnis >> Fakultät Geistes- und Kulturwissenschaften >>
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Crime Fiction, Femininities and Masculinities III: From the 1960s to Today- Dozent/in
- Dr. Kerstin-Anja Münderlein
- Angaben
- Übung
Rein Präsenz
2 SWS
Studium Generale, Gender und Diversität, Erweiterungsbereich, Modulstudium
Zeit und Ort: Mo 18:00 - 20:00, LU19/00.13; Einzeltermin am 30.6.2022 6:00 - 8:00, U2/00.25; Einzeltermin am 1.7.2022 20:00 - 23:30, 6:00 - 8:00, U2/00.25; Einzeltermin am 22.7.2022 10:00 - 16:00, U5/02.17
- 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!: 01.03.2022, 10:00 07.05.2022, 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 third of a three-part Übung on crime fiction and gender. It specifically covers the second half of 20th-Century British crime fiction with a focus on the police procedural and the thriller. Besides, the class will also cover more "quirky" forms of contemporary crime fiction, such as animal crime novels. 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.
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). The conference itself it part of the class and students can choose which (or how many) panels they wish to attend to make up for the full class time. 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. All of this will be explained in detail in the first session of class.
- Empfohlene Literatur
- Obligatory reading (in reading order throughout the semester):
Ruth Rendell. From Doon with Death. 1964.
Tom Stoppard. The Real Inspector Hound. 1968.
Peter Lovesey. Wobble to Death. 1970.
P.D. James. An Unsuitable Job for a Woman. 1972.
Ian Rankin. Knots and Crosses. 1987.
Val McDermid. The Mermaids Singing. 1995.
Ben Aaronovitch. The Rivers of London. 2011.
A.B. Greenfield. Ra the Mighty: Cat Detective. 2018.
S.J. Bennet. The Windsor Knot. 2020.
- Englischsprachige Informationen:
- Title:
- Crime Fiction, Femininities and Masculinities III: From the 1960s to Today
- 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!: 01.03.2022, 10:00 07.05.2022, 23:59
Guest auditors should first contact the lecturer
- 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 third of a three-part Übung on crime fiction and gender. It specifically covers the second half of 20th-Century British crime fiction with a focus on the police procedural and the thriller. Besides, the class will also cover more "quirky" forms of contemporary crime fiction, such as animal crime novels. 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.
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). The conference itself it part of the class and students can choose which (or how many) panels they wish to attend to make up for the full class time. 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. All of this will be explained in detail in the first session of class.
- Literature
- Obligatory reading (in reading order throughout the semester):
Ruth Rendell. From Doon with Death. 1964.
Tom Stoppard. The Real Inspector Hound. 1968.
Peter Lovesey. Wobble to Death. 1970.
P.D. James. An Unsuitable Job for a Woman. 1972.
Ian Rankin. Knots and Crosses. 1987.
Val McDermid. The Mermaids Singing. 1995.
Ben Aaronovitch. The Rivers of London. 2011.
A.B. Greenfield. Ra the Mighty: Cat Detective. 2018.
S.J. Bennet. The Windsor Knot. 2020.
- Zusätzliche Informationen
- Erwartete Teilnehmerzahl: 25
- Institution: Lehrstuhl für Englische Literaturwissenschaft
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