By L. Peach
This ground-breaking examine argues that literature and criminology proportion a standard situation to appreciate modernity and that this venture is frequently concentrated upon gender-specific criminal activity. imperative to this hindrance is duplicity masquerade and function. those matters are explored for the 1st time in terms of illegal activity almost about more than a few literary and well known texts, from Dickens and Poe via to Toni Morrison and Easton Ellis, during which the normal limitations among diversified genders and sexualities are made extra fluid and complicated than in conventional legal narratives.
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This ground-breaking examine argues that literature and criminology proportion a standard problem to appreciate modernity and that this undertaking is frequently targeted upon gender-specific criminal activity. vital to this quandary is duplicity masquerade and function. those topics are explored for the 1st time with regards to illegal activity as regards to a variety of literary and well known texts, from Dickens and Poe via to Toni Morrison and Easton Ellis, during which the conventional limitations among varied genders and sexualities are made extra fluid and complicated than in conventional legal narratives.
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Additional info for Masquerade, Crime and Fiction: Criminal Deceptions (Crime Files)
Their power is associated with their capacity to challenge the nation’s dominant view of itself. Thus, the street criminal who frequents twentieth-century British literature as a culturally constructed harbinger of violence, especially sexual violence, looks back to previous centuries. The worrying of women on commercial city streets by male pests was a phenomenon in which the Victorian press seemed to delight. 8 That part of Virginia Woolf’s The Years (1937; rpt. Oxford: Oxford University Press, 1992).
There are three principal premises from modern, left-of-centre criminology with which Norris’s stories appear to be in sympathy: there are different levels of sensitivity to certain offences in different communities, that crime is a social phenomenon and so reflects the social setting, and the ‘crime’ that characterises society is actually only that degree of unlawful activity that law makers and enforcers perceive through the filters of their own social interests, assumptions and even prejudices.
The following account by the wife of Canon Barnett, published in 1918, echoes aspects of the description of ‘outcast London’ in Oliver Twist in that poverty, drink, street violence, crime and a particular type of masculinity are similarly interleaved: There were two or three narrow streets lined with fairly decent cottages occupied entirely by Jews, but, with these exceptions, the whole parish was covered with a network of courts and alleys. None of these courts had roads … Each chamber was the home of a family who sometimes owned their indescribable furniture, but in most cases the rooms were let out furnished for eight pence a night, a bad system which lent itself to every form of evil.
Masquerade, Crime and Fiction: Criminal Deceptions (Crime Files) by L. Peach