Genre and Gender : Reading Domestic Noir through the Lens of Feminist Criminology

Genre and Gender : Reading Domestic Noir through the Lens of Feminist Criminology single work criticism

Author:agent Meg Vann

Issue Details: First known date: 2019... 2019 Genre and Gender : Reading Domestic Noir through the Lens of Feminist Criminology

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'The contemporary crime fiction trend of domestic noir evinces literary themes and features that align with biases and advancements in criminological research, most specifically in feminist understandings of women and violence. Using the methodology of criminologist Drew Humphries as a conceptual framework, I analyse Liane Moriarty’s Big Little Lies (2014) to explore how key concepts in feminist criminology addressing domestic violence, including Critical Feminist Theory and Social Learning Theory, are useful in a textual analysis. I then demonstrate how this understanding of the production and subversion of generic features in domestic noir can be useful to inform creative work, with reference to my thriller novella Girl Crazy (2019).' (Publication abstract)

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y TEXT Special Issue Website Series Peripheral Visions no. 57 October Deborah Hunn (editor), Ffion Murphy (editor), Catherine Noske (editor), Anne Surma (editor), 2019 18271319 2019 periodical issue Abstract
'Official language smitheryed to sanction ignorance and preserve privilege is a suit of armor polished to shocking glitter, a husk from which the knight departed long ago. Yet there it is: dumb, predatory, sentimental. Exciting reverence in schoolchildren, providing shelter for despots, summoning false memories of stability, harmony among the public. (Morrison 1993)

'These lines, drawn from novelist, essayist, and teacher Toni Morrison’s 1993 Nobel lecture, offer a vivid description of the kinds of rhetoric dominating our public, professional, and even our cultural spaces today, although the cracks are beginning to show, and we would be hard pressed to claim that ‘harmony’ prevails.' (Deborah Hunn, Ffion Murphy, Catherine Noske and Anne Surma, Introduction)

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