Titlebook: Cross-Cultural Connections in Crime Fictions; Vivien Miller,Helen Oakley Book 2012 Palgrave Macmillan, a division of Macmillan Publishers

蚊子

From the Locked Room to the Globe: Space in Crime Fiction,ly more dynamic, exhilarating notions of narrative and history” (Eagleton 2008: xii). This observation also applies to much criticism of crime fiction, which has tended to treat the genre primarily in terms of narrative structure and temporality, rather than in terms of spatiality, mostly because of

觀點

dithiolethione

,“You’re not so special, Mr. Ford”: The Quest for Criminal Celebrity,ubject of endless fascination. The nature of that phenomenon is also, however, illuminated by those who are unsuccessful in their attempts to attain such celebrity. Many criminals, of course, seek to avoid public attention of any kind, and only receive it, if at all, in a fleeting notice at the time

人類的發(fā)源

GUILE

carotid-bruit

discord

The Machine Gun in the Violin Case: Martin Scorsese, , and the Gangster Musical Art Melodrama,s during the Depression years of the early 1930s. Although . does not provide a detailed explanation of this coincidence, no specialist in the gangster or crime fiction film has done more than Scorsese to bring these genres into a creative union with the seemingly very different world of the Hollywo

FOVEA

Free-Radical