By C. Gregoriou
Nominated for the secret Writers of the United States ‘Edgar Awards’! This ebook at once explores the 3 facets of deviance that modern American crime fiction manipulates: linguistic, social, and widely used. Gregoriou conducts case reviews into crime sequence via James Patterson, Michael Connelly and Patricia Cornwell, and investigates the way those novelists correspondingly problem linguistic norms, the bounds of appropriate social habit, and the suitable widely used conventions.
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Extra resources for Deviance in Contemporary Crime Fiction (Crime Files)
As Wales (2001: 252) puts it, in semiotic terms, metonymy is an indexical sign in that there is a directly or logically contiguous relationship between the substituted word and its referent. Also, with metonymy, truth is maintained; there is no ﬂouting of the ‘quality’ maxim. Moreover, whereas in the case of metonymy the meanings associated are in the same domain, with metaphor there is transfer of ﬁeld of reference. Saeed (1998: 78) recognises some resemblance between metonymy and the semantic part-whole relation of meronymy, but indicates that whereas metonymy is a process used by speakers as part of their practice of referring, meronymy describes a classiﬁcation scheme evidenced in the vocabulary.
And it is the nature of the archetypal criminal schemata that I investigate in the Social Deviance section of this study. Generic deviance The character roles are part and parcel of the generic conventions that govern contemporary crime ﬁction, or any one genre for that matter. Therefore, in addition to considering the (criminal) character types that characterise the genre at hand, I ﬁnd it necessary to analyse the wider generic conventions that govern it; hence social deviance is analysable alongside generic deviance.
The cause is not ‘in’ such texts but in fact in the interaction between text and reader, for which the reader must bear responsibility; there can be no direct cause and effect relationship because the text is mediated by human consciousness, hence what one does with one’s interaction with such material need necessarily be one’s own responsibility (see Cameron and Frazer (1992), for a paper on pornography that tries to provide a corrective by getting beyond crude causal views). In other words, whilst not resolving the issue, my book is concerned with discussing mainly the reader’s experience in their interaction with carnivalesque material, rather than referring to the nature of the ﬁctional worlds portrayed in the crime novels.