Thursday 13th June 2019 Session 2: 9:00-10:50 Panel 2a: Gender and Crime (1) Chair: Mara Mattoscio 1. “Down these Green Streets”: Pastoral Guilt and the Feminised Landscape in Raymond Chandler’s The Big Sleep – Nathan Ashman (The University of East Anglia, UK) 2. Angels or Aliens? Women in Russian Gangster Films – Milla Fedorova (Georgetown University, USA) 3. “A Woman Ahead of Her Time”: Representations of the Past in Nicola Upson's Josephine Tey Mysteries – Isabell Große (Leipzig University, Germany) 4. The Portrait of a Lady Murderous in William Oldroyd’s Lady Macbeth (2017) – Emilia Musap (University of Zadar, Croatia) Panel 2b: Comparative Readings of Crime Fiction Across Cultures Chair: Maurice N. Fadel 1. The Crimes of the Count in Bram Stoker and Franz Kafka – Ricardo Pérez Martínez (Universidad de las Américas Puebla, Mexico) 2. Retail Rapacity and Ravishment in Emile Zola’s The Ladies’ Paradise and Barry Maitland’s Silvermeadow – Susan Poznar (Arkansas Tech University, USA) 3. Mass Hysteria in True Crime Fiction: Marie Belloc Lowndes’ The Lodger and Arthur Miller’s The Crucible – Kerstin-Anja Münderlein (University of Bamberg, Germany) 4. Holism and the Detective Story: Carlo Emilio Gadda and Douglas Adams Compared – Emilio Gianotti (Università degli Studi di Perugia, Italy) Panel 2c: Crime Elements Across the Arts Chair: Persida Lazarević Di Giacomo 1. Conan Doyle, Leblanc, and Belshazzar’s Feast: A Biblical Connection – Rebecca Josephy (Oakland University, USA) 2. “Justice is blind”: A Critical Analysis of the Queered, Blind Detective Hero – Oliver James Robinson-Sivyer (Bath Spa University, UK) 3. Textual and Body Mutilations in 1.Outside, David Bowie’s Detective Story on Musical Scale – Laura Tommaso (Università degli Studi del Molise, Italy) 4. “Everything You’ve Heard Is True”: Gossip, Detection, and the Recollection of Historical Fact and Fiction in Antonio Salieri’s Literary Afterlives – Kristin Franseen (McGill University, Canada) Coffee and refreshments: 10:50-11:20 Session 3: 11:20-13:10 Panel 3a: Crime and the Victorians: Facts, Fictions, Crossings (1) Chair: Enrique Ajuria Ibarra 1. Poison and Pens: Bulwer Lytton’s Lucretia in Fiction and Real Life – Marie MulveyRoberts (University of the West of England, UK) 2. “Between Slum and Gaol”: Criminal Clerkenwell in Nineteenth-Century Fact and Fiction – Minna Vuohelainen (City, University of London, UK) 3. “Look for the Beast with a Man’s Face”: How the Victorian Press Rewrote Burkers – Anna Gasperini (Marie Skłodowska Curie Fellow at Università Ca’ Foscari di Venezia, Italy) 4. Reflections on Real-Life Criminal Cases in Mid-Victorian Literature – Sercan Öztekin (Kocaeli University, Turkey) 2 Panel 3b: Italy and Crime Chair: Sophie Melissa Smith 1. Sensational Trials: Crime, Law, and the Printed Media in Post-Unification Italian Crime Fiction (1861–1914) – Stefano Serafini (Royal Holloway, University of London, UK) 2. Pier Paolo Pasolini and the Narration of the Crimes: Il massacro del Circeo – Claudia Lisa Moeller (Independent Scholar) 3. Prison Films and Penal Changes in 1970s Italy – Matteo Brera (University of Toronto, Canada) 4. Premeditated Imperfect Metamorphoses: Clues of Italianness in Contemporary Crime Novels Translated into English – Paola Brusasco (Università degli Studi “G. d’Annunzio” di Chieti-Pescara, Italy) Panel 3c: Spatializing Crime: Psychogeography and Toxic Borders Chair: Nicole Kenley 1. Ecological Crime Fiction and Toxic Borders: Imposed National Boundaries of Toxicity in Donna Leon’s Death in a Strange Country and Joseph Wambaugh’s Finnegan’s Week – Anna Kirsch (Durham University, UK) 2. Monstrous Places and Monstrous People: The Effect of Psychogeography in Tana French’s Broken Harbour – Megan Avery (Bath Spa University, UK) 3. Broken: Insanity and Economy in Tana French’s Broken Harbour – Gaynor Baker (Bath Spa University, UK) 4. The Effect of Tradition and Psychogeography in Tartan Noir Crime Fiction – Alexandra Griffiths (Bath Spa University, UK) Lunch: 13:10-14:30 Session 4: 14:30-16:20 Panel 4a: Gender and Crime (2) Chair: Manuela D’Amore 1. What’s Women’s Crime?: Margery Allingham’s and Josephine Tey’s Gender Agenda and the Golden Age of Detective Fiction – Renata Zsamba (Eszterházy Károly University, Hungary) 2. Keeping Her Quiet: Eliminating the Female Witness in the American Television Series Columbo – Jennifer Schnabel (The Ohio State University, USA) 3. Hard-Boiled Femininity in Contemporary Crime Fiction – Ffion Davies (Bath Spa University, UK) 4. On Some Neglected Aspects of Violence in Gender Violence – Iren Boyarkina (Independent Scholar) Panel 4b: Generic Developments in Detective Fiction (1) Chair: Linda Ledford-Miller 1. Victorian Tales of the Unexpected: Secular Magic and Narratives of Surprise in Nineteenth Century Detective Fiction – Christopher Pittard (University of Portsmouth, UK) 2. Crime and Literary Detection: The Epistemological Foundations of the Detective Story from Holmes to Spade – Neil C. Sargent (Carleton University, Canada) 3. “What justice?”: Cross-Examining the Narrator in Caleb Williams – Bethany Johnsen (University of California, USA) 4. Trains and Detective Stories: From Non-Place to Place – Debora A. Sarnelli (Università degli Studi di Salerno, Italy) 3 Panel 4c: France and Crime: Facts, Fictions, Interactions Chair: Kerstin-Anja Münderlein 1. I Spy: Surveillance and Identity from Vidocq to Balzac – Emma Bielecki (King’s College London, UK) 2. The Impact of Gaston Leroux’s Early Journalistic Career upon the Interaction of Crime Fiction and Gothic – Rebecca Davey (Bath Spa University, UK) 3. Crime and Punishment in Borislav Pekić’s Man Who Ate Death – Persida Lazarević Di Giacomo (Università degli Studi “G. d’Annunzio” di Chieti-Pescara, Italy) 4. “In which the choices we make in life do not determine everything”: Investigating the Impact of Transition in the Marseilles Trilogy – Amber Huckle (Bath Spa University, UK) Coffee and refreshments: 16:20-16:50 Keynote 2: 16:50-17:50 Chair: Fiona Peters Waking from the Big Sleep: Crime Fiction, Cultural Prestige, and Contemporary Literary Production – Eric Peter Sandberg (City University of Hong Kong, China) Session 5: 18:00-19:30 Panel 5a: Gender and Crime (3) Chair: Francesco Marroni 1. “Murder or no Murder?” Generic Crossings and Victorian Psychology in James Redding Ware’s Rewritings of the Road Hill Murder – Raffaella Antinucci (Università di Napoli “Parthenope”, Italy) 2. Monopolizing the Female Image: Murderous Collectors in Vera Caspary’s Laura and Gillian Flynn’s Gone Girl – Jean Gregorek (Canisius College, USA) 3. Murderous Desire: Repression, Madness and Morality in the Detective Fiction of Gladys Mitchell – Sophie Melissa Smith (Independent Scholar) Panel 5b: Newspaper, TV, Media in Spain Chair: Ángel López Gutiérrez 1. Freedom of Expression and Honour Rights, Personal Privacy and Own Image Throughout the History of the Weekly Spanish Criminal Events Newspaper El Caso – María-Julia Bordonado Bermejo & Julio Alard Josemaría (Esic/Universidad Rey Juan Carlos, Spain) 2. The Evolution of Women´s Role in the Spanish Society Through the Crime Fiction Television Series Made in Spain – Maria Cristina Sanz Villegas (Esic/Universidad Rey Juan Carlos, Spain) 3. New Type of Investigator in the Detective Novel: The Last Decade in Spain – Ángel López Gutiérrez (Esic/Universidad Rey Juan Carlos, Spain) Panel 5c: Latin American Crime: Social Issues and Narrative Strategies Chair: Mariapia D’Angelo 1. Forensic Narratology: Reading the Pseudo-Singulative in Ciudad Juárez – Bede Scott (Nanyang Technological University, Singapore) 2. True Crime Gothic: From Individual Horrors to Social Commentary in the Stories of Mariana Enríquez – Mary Hood (University of California, USA) 3. Drug Trafficking and Crime Fiction in Mexico – Agustin Cadena (University of Debrecen, Hungary) 4 Friday 14th June 2019 Session 6: 9:00-10:50 Panel 6a: Crime and the Victorians: Facts, Fictions, Crossings (2) Chair: Anna Gasperini 1. From Reality to Fiction: Melodic Magnetism, Criminality and the Case of George du Maurier’s Trilby – Raffaella Sciarra (Università di Napoli “Parthenope”, Italy) 2. Sherlock Holmes and His Nemeses: Reshaping the Gothic Double Through Victorian Science and Anthropology – Camilla Del Grazia (Università degli Studi di Pisa, Italy) 3. The Sorrows of Modernity: Crime and Madness in Sensation Fiction – Mathilde Vialard (University of Nottingham, UK) 4. The Newgate Calendar – Maria Giulia Salvioni (Independent Scholar) Panel 6b: Crime, Community and Social Allegories in TV Series and Film Chair: Mona Raeisian 1. Reading the City Through the Lens of Crime Fiction – Eduardo Obradò Mancholas (Universidad de Cantabria, Spain) 2. World under Your Head: A Historical Detective Series as a Social and Political Allegory – Luboš Ptáček (Palacký University, Czech Republic) 3. “Uneasy lies the head that wears a crown”: Metamorphosis of Fathers, Brothers and Sons in Kurt Sutter’s Sons of Anarchy (2008-2014) – Gabriele Basile (Università di Napoli “Parthenope”, Italy) 4. Crimes of Amnesia, Places of Memory: L’Avventura and Sicilian Ghost Story – Annemarie Lopez (Independent Scholar) Panel 6c: Postcolonial Representations of Crime Chair: Tania Zulli 1. When We Were Orphans: A Case of Arrested Development – Kamil Emma Naicker (Rhodes University, South Africa) 2. Sociocultural Reality and Factual Information: Reading Beyond the Fictional Deviant World in the Adventures of Feluda – Anindita Dey (Debraj Roy College, India) 3. Urban Fantasy and Crime Fiction: The Indispensable Knot – Lobna Ben Salem (University of Manouba, Tunisia) 4. Arctic Atrocities: A Post-colonial Reading of Scott Young’s Murder in a Cold Climate (1988) and The Shaman’s Knife (1993) – Jana Nittel (University of Bremen, Germany) Coffee and refreshments: 10:50-11:20 Session 7: 11:20-13:10 Panel 7a: Dark Crime, Drama and Trauma in TV and Film Chair: Jennifer Schnabel 1. Gothic Crimes and Family Secrets: Terror and Death in Riverdale – Enrique Ajuria Ibarra (Universidad de las Américas Puebla, Mexico) 2. Juxtaposing True Crime Docuseries & Fictional Movies to Understand Child Sexual Abuse by Priests: The Keepers, El Club and Doubt – Eli Teram (Wilfrid Laurier University, Canada) 3. Gaming Ripley – Kate A. Laity (College of Saint Rose, USA) 4. LIE TO ME: Claims for Superiority in Times of Post-Forensics and Medialization – Annegret Scheibe (Karlsruhe Institute of Technology, Germany) 5 Panel 7b: Factual Forensics and the Media: Forms of Interaction Chair: Anindita Dey 1. Program Formats and Broadcasting Pattern of Crime Based Programs on Indian National Television Channels – Rajeev B. Ghode (MIT Art Design Technology University, India) 2. Sites of Forensic Drama: Scripts for the Enactment of the dr Ruxton Murder in the Courtroom, Newspapers and Radio Show – Pauline Dirven (Utrecht University, The Netherlands) 3. Selective & Objective Truth in True Crime Narratives – Elizabeth Barrett (Bath Spa University, UK) 4. Trial by Social Media: The Cyntoia Brown Case – Olga Thierbach-McLean (University of Hamburg, Germany) Panel 7c: Reinterpreting Crime in Contemporary Fictions Chair: Nathan Ashman 1. Reinventing Black Characters in English Black Crime Fiction from Mike Phillips to 2015 – Peter Kalu (Lancaster University, UK) 2. The Criminality Exhibition: J.G. Ballard’s Late Crime Fiction – Caleb Sivyer (University of the West of England, UK) 3. “This thing of Darkness”: Dystopian Realities in Bestselling and Web Thrillers – Zenith Roy (Dinabandhu Mahavidyalaya, India) 4. Investigating Crime in Virtual Reality: Bridging the Gaps between Fact and Fiction – Heike Henderson (Boise State University, USA) Lunch:13:10-14:30 Session 8: 14:30-16:20 Panel 8a: Neo-Victorian Crimes: Reinterpretations, Remediations Chair: Ruth Heholt 1. The Adventures of ‘Unofficial’ Gentlemen: Julian Barnes’s Arthur & George – Claudia Capancioni (Bishop Grosseteste University, UK) 2. Aestheticism of Victorian Crime Revisited: Gyles Brandreth and the Oscar Wilde’s Murders – Raffaella Leproni (Università degli Studi Roma Tre, Italy) 3. Of Whitechapel Fiends and Limehouse Golems: Ripping Through Boundaries between Fact and Fiction, Film and Literature – Moritz Maier (Technische Universität Dresden, Germany) 4. Portrayal of a Victorian Detective Now and Then: Peter Ackroyd’s Dan Leno and the Limehouse Golem and Charles Dickens’ Bleak House – Magdalena Okulowicz (University of Białystok, Poland) Panel 8b: Generic Crossings and Adaptations in Crime Films Chair: Milla Fedorova 1. “Solving” the Crime of Racial Culpability – Deborah Barker (University of Mississippi, USA) 2. Generic Crossings: Post-Western and the Crime Film – Jesús Ángel González (Universidad de Cantabria, Spain) 3. Four Cinematic Adaptations and Remakes of The Postman Always Rings Twice – Gilles Menegaldo (Université de Poitiers, France) 4. The Secret Agent and the Ghosts of Terrorism – Saverio Tomaiuolo (Università degli Studi di Cassino, Italy) 6 Panel 8c: Generic Developments in Detective Fiction (2) Chair: Malcah Effron 1. American Public Memory and the City of the Dead – Rita Malenczyk (Eastern Connecticut State University, USA) 2. Pierced by the Sun: Laura Esquivel’s Unusual Detective Novel – Linda Ledford-Miller (University of Scranton, USA) 3. “Sitting on Dynamite”: Words of Power in The Maltese Falcon – Keli Masten (Western Michigan University, USA) 4. Home and Identity: The Tichborne Case in the Golden Age Mystery – Chiho Nakagawa (Nara Women’s University, Japan) Coffee and refreshments: 16:20-16:50 Session 9: 16:50-18:20 Panel 9a: Crime Problems and Police Procedures: Between Fact and Fiction Chair: Armando Saponaro 1. Juvenile Delinquency. Causes, Consequences and Prevention – Lucretia Dogaru (University of Medicine, Pharmacy, Sciences and Technology, Romania) 2. The Absence of the Teen Voice in Adult Crime Fiction – Liz Mistry (Leeds Trinity University, UK) 3. Watch Me if You Can: Seeing, Identity and the Ideology of Capitalism in American Police Procedural Fiction – Mona Raeisian (Philipps-Universität Marburg, Germany) Panel 9b: Crime and the Uncanny: Literary Uses of Ghosts and Haunted Spaces Chair: Anna Enrichetta Soccio 1. Raising Crime from the Dead: Revenge and Retribution in ‘Real’ Ghost Stories – Ruth Heholt (Falmouth University, UK) 2. Law, Natural and Supernatural. The Idea of Justice in Ghost Stories – Anastasia A. Lipinskaya (SPbSU, Russia) 3. Haunted Houses: Manderley in Rebecca by Daphne du Maurier – Nicoletta Brazzelli (Università degli Studi di Milano, Italy) Panel 9c: Gender and Crime (4) Chair: Maria Luisa De Rinaldis 1. The Female Offender: Infanticide, Petty-Treason and Punishment in Early Modern Street Culture – Manuela D’Amore (Università degli Studi di Catania, Italy) 2. “Nothing but the truth”: An Analysis of ‘Authentic’ Policing in Dorothy Uhnak’s Autobiography and Crime Novels – Diana Bianchi (Università degli Studi di Perugia, Italy) 3. Exploring Differences in Gender Culpability in Twenty-First Century Fiction – Emma Gardner (Bath Spa University, UK) 20:30 Conference Dinner (Ristorante La Sirenetta, Pescara) Saturday 15th June 2019 Session 10: 9:30-11:00 Panel 10a: Issues of Real Spaces in Crime Fiction Chair: Emma Bielecki 1. Reshaping Reality: Narrative Consequences of Crime Fiction Literary Tourism – Malcah Effron (Massachusetts Institute of Technology, USA) 7 2. 3. Criminality and Border Formation in Dave Hutchinson’s Fractured Europe Series – Nicole Kenley (Baylor University, USA) “White Noir” in Sápmi: Lars Petterson’s Novels – Lena Ahlin (Kristianstad University Sweden) Panel 10b: China and Crime: Tradition and Disseminations Chair: Elvira Diana 1. Crime-Resolving Riddles and Conundrums in a 16th-Century Collection of Detective Fiction – Luca Stirpe (Università degli Studi “G. d’Annunzio” di Chieti-Pescara, Italy) 2. Serial Crime, Serious Threats? Replicating the “Yellow Peril” in British Popular Crime Fiction – Marilena Parlati (Università degli Studi di Padova, Italy) 3. The Image of China in Van Gulik’s Novels: Between Fiction and Reality – Lara Colangelo (Università degli Studi “G. d’Annunzio” di Chieti-Pescara, Italy) Panel 10c: New Developments in Crime TV Series Chair: Miriam Sette 1. Too Human Inhuman: A Paradigm Shift in Contemporary Crime Fiction – Armando Saponaro (Università degli Studi di Bari Aldo Moro, Italy) 2. Subtitling the Criminal Mind: Adaptation and Text-Reduction Shifts in BBC Sherlock Holmes – Eleonora Sasso (Università degli Studi “G. d’Annunzio” di Chieti-Pescara, Italy) 3. Fictionalising True Crime: The Progression of Mindhunter – Chloe Treharne (Bath Spa University, UK) Panel 10d: Social and Gender Critique in Crime Fiction and TV Series Chair: Chiara Scarlato 1. The Woman Victim from Object to Subject: Voices Lost and Gained in Lars Gustafsson’s The American Girl’s Sundays – Maria Freij (Kristianstad University Sweden 2. You’ve Got to Be Kidding! Translation and Analysis of Lesbian Dialogues in the TV Crime Fiction I Bastardi di Pizzofalcone – Sonia Maria Melchiorre (Università degli Studi della Tuscia, Italy) 3. Crime Fiction, Storytelling and Gender Roles in Students’ Imaginary – Mara Maretti (Università degli Studi “G. d’Annunzio” di Chieti-Pescara, Italy) Closing remarks: 11:10-11:30 Coffee and refreshments: 11:30-12:00 8 Mona Raeisian (Philipps-Universität Marburg, Germany) Watch Me if You Can: Seeing, Identity and the Ideology of Capitalism in American Police Procedural Fiction American police procedural fiction is a complex arena of gazes. From the voyeuristic gaze of the serial killer to the clinical gaze of the pathologist and the surveilling gaze of the law, the genre weaves a web of intricate relationships based on the dynamics of seeing (the subjects and objects of the act of seeing as well as the temporality and the purpose of the act). Within the capitalistic structure of the society depicted, these dynamics also represent simultaneously both the fear and the desire inherent in an ideology based on consumerism (the ideology being contingent upon consumers constantly seeing and instantly coveting products) in that they dichotomize and concurrently bring together the desire for being the observer and the fear of being the observed. This paper is an attempt to analyze the significance of various acts of surveillance within the genre and to highlight how they affirm/challenge constructed borders of self/other, normal/deviant, sanctioned/taboo, villain/victim/hero in a consumerist culture. In order to delineate the scope and depth of the paper, the focus will be on five novels written in the period 1995-2015. Valentina Re (Università degli Studi Link Campus University, Italy) DETECting L’allieva: Notes on Production and Distribution Massimiliano Coviello (Università degli Studi Link Campus University, Italy) L’allieva: The Use of Social Media between Promotion and Consumption Elisa Mandelli (Università degli Studi Link Campus University, Italy) The News Media Coverage of L'Allieva Marica Spalletta (Università degli Studi Link Campus University, Italy) From News to Views: Journalistic Insights about L'Allieva PANEL TITLE: DETECting L’allieva: Popular Crime Narratives and the Formation of a Transcultural European Identity Combining expertise from both film studies and sociological research, the panel aims to illustrate the main objectives and research methodologies of the H2020 research project “DETECt - Detecting Transcultural Identity in European Popular Crime Narratives” (www.detect-project.eu) through a focus on the Italian TV series L’allieva (Endemol Italia / Rai Fiction, 2016-), inspired by the novels of Alessia Gazzola. L’allieva tells the sentimental and professional life of Alice Allevi, a resident in forensic medicine who is also an amateur detective, in tune with other traditional representations of female investigation: a talented, naïve and muddling student, with a good feminine intuition that helps police to solve complex cases. The DETECt project focuses on the notions of identity and popular culture and intends to show how the transnational production, circulation, and reception of crime narratives from the various European countries can contribute to the formation of a transcultural and shared European identity. Within this general, theoretical framework, a case study like L’allieva allows to point out and discuss the main research areas that will be developed by the Link Campus University research unit, and in particular: - The tension between tradition and innovation displayed by recent crime TV shows produced by Rai Fiction, namely the Italian public broadcaster, in the wider context of the international audiovisual sector; - The international distribution and circulation of Italian crime productions; - The hybridization between different genres, and particularly (in the case of L’allieva) between crime and romantic comedy; - Changes, innovation, and stereotypes in gender identities, with particular attention to female characters in the role of detective; - The use of locations and the local/global dialectic with respect to cultural identities; - The relationships between audiovisual narratives, literary narratives, and transmedia fictional worlds; - Forms and practices of promotion, reception, and consumption between the press and social media. 29