Academic Quarter<\/em><\/a>, entirely devoted to the themes explored by the DETECt project, has been published online earlier this month. Edited by the Project Coordinator Monica Dall\u2019Asta and DETECt scholars Natacha Levet and Federico Pagello, the publication investigates the multiple, contradictory ways in which crime narratives represent European landscapes and social realities to showcase the great geographical, social and cultural diversity that characterizes the continent, critically engaging with current debates about the glocal and cosmopolitan nature of contemporary popular culture.
We reproduce here below a short excerpt from the Introduction written by the three editors as well as the table of contents of this issue.<\/p>\n[\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2021\/04\/Killing-Eve.jpeg” _builder_version=”3.5.1″][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ _builder_version=”3.0.47″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″]<\/p>\n
\u201cIn the last few decades crime fiction has been one of the genres that have most often been used as lenses to observe, and a means to negotiate, the tensions, fears and hopes of our time as experienced in specific social-cultural contexts, while framing them through the intrinsically international form provided by the genre\u2019s conventions.\u00a0<\/strong>In Europe as elsewhere, the trend of \u2018regional\u2019 crime fiction has indeed characterized a surprising number of recent crime novels, films and TV dramas. Leaving behind the metropolitan atmosphere that had distinguished classical detective and gangster stories for most of the 20th century, contemporary crime narratives have been decidedly shifting their interest towards peripheral, marginal and remote settings, thus representing parts of Europe and other world regions which used to be largely forgotten by either mainstream popular culture and traditional crime fiction.<\/p>\nIt is no coincidence that David Damrosch, one of the main proponents of the notion of glocalism in the field of literature,\u00a0is also one of the editors of an important collection of essays, Crime Fiction as<\/em> World<\/em> Literature<\/em> (Bloomsbury 2017), which highlights the multiple ways in which the genre has been used, and critically analysed, to explore provincial, rural and oft-forgotten areas. In this respect, the crucial feature of the genre\u00a0proves to be the flexibility of\u00a0its narrative structures, which can serve a double purpose (Weissmann 2017). On the one hand, crime narratives are used to attract\u00a0the attention of an international audience\u00a0on some characteristic features of a specific local community. On the other hand, they help creatives convey a content explicitly conceived for domestic, and even local audiences through international\u00a0generic forms and formats, so as to allow the inhabitants of particular regions or countries to recognize themselves, their habitats and cultures in products that adopt global patterns of representation.<\/p>\n[\/et_pb_text][et_pb_text _builder_version=”3.5.1″][\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ parallax=”off” parallax_method=”on”][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2021\/04\/Ivalo-frame.jpeg” _builder_version=”3.5.1″][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″]<\/p>\n
(\u2026)\u00a0 To look at popular narratives from the prism of glocality\u00a0might thus lead us to think that the motto\u00a0of the European Union \u2013 \u201cUnity in diversity\u201d \u2013 corresponds\u00a0to a visible reality, as crime fiction from across the continent\u00a0shows\u00a0a stunning\u00a0mixture of a variety of local, national and international\u00a0cultures\u00a0interacting\u00a0with one another through the common language of the genre.\u00a0At the same time, all the ambiguity and possible shortcuts of a simplistic reading\u00a0of the European integration process become all the more visible\u00a0when looking more closely at this peculiar cultural production.\u00a0To further investigate the\u00a0riddle of European identity, this special issue\u00a0engages with another central concept in contemporary cultural and social studies:\u00a0cosmopolitanism. As many authors have suggested, contemporary articulations of cosmopolitanism are largely shaped by practices of aesthetic consumption, such as culinary choices, listening to music, reading fiction or watching TV. According to Beck\u00a0(2003, 2004, 2006), all these unremarkable everyday practices participate in moulding a type of \u201cbanal cosmopolitism\u201d productive of new social identities that thrive in the consumption of differences. And yet, we cannot help asking whether the\u00a0transnational cultural encounters\u00a0undeniably enabled by popular media do actually\u00a0give shape to a transcultural\u00a0space truly accessible to all Europeans,\u00a0or\u00a0whether they don\u2019t\u00a0also highlight the widening gap existing between the cosmopolitan\u00a0ethos expressed by the professionals\u00a0of the creative industries and\u00a0the strong attachments to traditional\u00a0identities\u00a0that is still very much\u00a0alive in large sectors of European society.\u201d<\/p>\n
[\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ parallax=”off” parallax_method=”on”][et_pb_image src=”http:\/\/www.detect-project.eu\/wp-content\/uploads\/2021\/04\/Comrade-Detective.jpg” _builder_version=”3.5.1″][\/et_pb_image][\/et_pb_column_inner][\/et_pb_row_inner][et_pb_row_inner _builder_version=”3.5.1″][et_pb_column_inner type=”4_4″ saved_specialty_column_type=”3_4″ parallax=”off” parallax_method=”on”][et_pb_text _builder_version=”3.5.1″]<\/p>\n
Table of contents<\/strong><\/p>\n\n- Jacques Migozzi – Crime Fiction Import\/Export in European Publishing: The Emergence of Euro Noir through the Process of Translation<\/li>\n
- S\u00e1ndor\u00a0K\u00e1lai, Anna Keszeg – Is There Such a thing as a Hungarian Nordic Noir?: Cultural Homogenization and Glocal Agency<\/li>\n
- Massimiliano Coviello, Valentina Re – Translocal\u00a0Landscapes: La porta <\/em>rossa<\/em> and the Tse of Peripheral Locations in Contemporary Italian TV Crime Drama<\/li>\n
- Lothar Mikos – Berlin\u2019s Cosmopolitan Production Culture<\/li>\n
- Livio\u00a0Lepratto – \u201cROMA(nzo) criminale: Portrayals of Rome in Third-millennium Crime Genre Screenwriting<\/li>\n
- Alice Jacquelin – Identity, Borders and the Environment: New Political Issues in Contemporary French Noir<\/li>\n
- Kaisa\u00a0Hiltunen – Remote but Connected: Lapland as a Scene of Transnational Crime in Ivalo<\/em><\/li>\n
- Lynge\u00a0Stegger\u00a0Gemz\u00f8e – Ironic Europe: Gender and National Stereotypes in Killing Eve<\/em><\/li>\n
- Jamie Nicholas Steele – Identifying the Unknown Girl: The Spaces and Inequalities of the Noir Tradition in La fille inconnue<\/em><\/li>\n
- Caius Dobrescu – Failed Cultural Hybridity and Takeaways for the Euro-Noir\u00a0in the American-Romanian Series Comrade Detective<\/em><\/li>\n<\/ol>\n
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