The Crime Fiction Series

dc.bibliographicCitation.firstPage1en_US
dc.bibliographicCitation.lastPage17en_US
dc.contributor.authorMayer, Ruth
dc.date.accessioned2022-07-13T11:37:17Z
dc.date.available2022-07-13T11:37:17Z
dc.date.issued2020en_US
dc.description.abstractThe serial logic manifests itself on several levels: the microlevel of the individual narrative, the intermediate level of the story or book series, and the macro level of the genre. In the course of the genre’s maturation and professionalisation in the nineteenth and twentieth centuries, crime fiction came to be inscribed with seriality. The traditions of the French feuilleton and the American dime novel proved especially instrumental for the evolution of modern crime narration. It has been argued that the formation of industrialised nation-states across the globe was contingent on the invention of “print capitalism” that gained traction in the nineteenth century and relied heavily on the formats of the periodical publishing market with its synchronised production and reception practices. For most of the twentieth century, serial storytelling in general and crime fiction particularly retained the reputation of being cheap and fast, and increasingly, literary and cinematic formats intersected.en_US
dc.identifier.urihttp://resolver.sub.uni-goettingen.de/purl?fidaac-11858/2145
dc.language.isoengen_US
dc.publishedInLondonen_US
dc.publisherRoutledgeen_US
dc.relation.editorAllan, Janice
dc.relation.editorGulddal, Jesper
dc.relation.editorKing, Stewart
dc.relation.editorPepper, Andrew
dc.relation.ispartofThe Routledge Companion to Crime Fictionen_US
dc.rightsL::CC BY-NC 4.0en_US
dc.subject.ddcddc:700en_US
dc.subject.ddcddc:791en_US
dc.subject.fieldamericanstudiesen_US
dc.subject.fieldmediastudiesen_US
dc.subject.fieldfilmstudiesen_US
dc.subject.fieldpopularcultureen_US
dc.titleThe Crime Fiction Seriesen_US
dc.typeanthologyArticleen_US
dc.type.versionacceptedVersionen_US
dspace.entity.typePublication
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