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Harold L. Smith

6 Crime The belief that Dunkirk created a new sense of social solidarity does not seem consistent with the increased crime and juvenile delinquency rates in 1940 and in the following years. Magistrates were so alarmed by this trend that they resorted to more severe punishments in an attempt to stem the tide of increased criminal activity. As Mannheim notes in document 6.4, the higher crime rate was not due to professional criminals taking advantage of the war, but to normally law-abiding citizens breaking the law. 6.1 Looting Looting began to be a serious

in Britain in the Second World War
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The ‘real’ crime obsession
Joe McGrath

1 Defining crime: the ‘real’ crime obsession Introduction In December 1985, the Revenue Commissioners commissioned billboards which stated that ‘[t]ax fiddlers are going to have to face the music’. Rottman and Tormley (1986) observed that the purpose of these billboards was to remind the general public that tax evasion was a criminal offence, a reminder that would not have been necessary for more conventional wrongdoing. Similarly, Box (1983: 1) argued that the public conception of criminality was driven by a fear of conventional or so-called ‘real’ crimes, like

in Corporate and white-collar crime in Ireland
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Chris Gilligan

7 Hate crime In early January 2004 the London-based Guardian newspaper announced that Northern Ireland … is fast becoming the race-hate capital of Europe. It holds the UK’s record for the highest rate of racist attacks: spitting and stoning in the street, human excrement on doorsteps, swastikas on walls, pipe bombs, arson, the ransacking of houses with baseball bats and crow bars, and white supremacist leaflets nailed to front doors.1 Two days after the Guardian article, the Dublin-based Irish Independent repeated the claim that Northern Ireland was the ‘race

in Northern Ireland and the crisis of anti-racism
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Representing Jewish wartime experience in French crime fiction of the 1950s and 1960s
Claire Gorrara

•  2  • Forgotten crimes: representing Jewish  wartime experience in French crime fiction  of the 1950s and 1960s The 1950s and early 1960s in France have been discussed as years given  over  to  a  repression  of  the  multiple  histories  and  memories  of  the  occupation. In her study of crises of memory and the Second World War,  Susan  Rubin  Suleiman  encapsulates  these  dominant  perceptions  when  she  refers  to  a  ‘forced  amnesia’,  reinforced  in  the  legal  sphere  by  a  series of amnesties which freed the majority of French men and women  who

in French crime fiction and the Second World War
Novel, film, television

Swedish crime fiction became an international phenomenon in the first decade of the twenty-first century, starting with novels but then percolating through Swedish-language television serials and films into English-language BBC productions and Hollywood remakes. This book looks at the rich history of Nordic noir, examines the appeal of this particular genre, and attempt to reveal why it is distinct from the plethora of other crime fictions.


A practical, critical and personal guide to the craft of crime writing by novelist and professor of creative writing, Henry Sutton. Drawing on exceptional experience and resource, the mystery of creating crime fiction which moves with pace and purpose, menace and motivation, is forensically and engagingly uncovered. The work of the genre’s greatest contributors, and that from many lesser known names from around the world, past and present, is explored with both practical acumen. Sutton also mines his own fiction for lessons learnt, and rules broken. Personal creative successes, struggles and surprises are candidly addressed. In nine entertaining chapters the key building blocks for crafting pertinent and characterful crime fiction, are illustrated and explained. The genre’s extraordinary dynamism, with its myriad and ever-evolving sub-genres, from the cosy to the most chilling noir, the police procedural to the geopolitical thriller, is knowingly captured. However, the individual and originality are given centre stage, while audience and inclusivity continually considered and championed. This is an essential guide for those interested in writing crime fiction that gets noticed and moves with the times, if not ahead of the times.

The mystery of the city’s smoking gun
Lynne Pearce

3970 Postcolonial Manchester:Layout 1 28/6/13 12:37 Page 110 3 Manchester’s crime fiction: the mystery of the city’s smoking gun Lynne Pearce Greater Manchester is frequently written and spoken about as one of the UK’s top crime hotspots; and many of its districts (Hulme, Moss Side, Wythenshawe, Longsight, Whalley Range) rank high in those league tables used to provide a snapshot of the nation’s most socially and economically deprived areas (Taylor, Evans and Fraser, 1996: 275–9; ).1 It should therefore be no surprize that the fiction genre that has become

in Postcolonial Manchester
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Anthony Musson
Edward Powell

Crime has a perennial fascination for historians of all periods and the Middle Ages has an unenviable reputation amongst amateur and professional researchers alike for yielding detailed and explicit accounts of violence and criminal activity. This chapter concentrates on recorded instances of crime and disorder and so does much to confirm the reputation of the late medieval

in Crime, Law and Society in the Later Middle Ages
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Places and spaces in Johan Theorin’s Öland quartet series
Yvonne Leffler

Since the turn of the millennium, there has been a boom of a certain kind of Nordic crime story that international scholars call ‘Nordic Noir’, sometimes also known as ‘Scandinavian Noir’ or ‘Scandi Noir’. These crime stories are narrated from the viewpoint of the investigating detective and are often set in a bleak urban landscape in combination with a desolate wintry countryside, as in Stieg Larsson's Millennium trilogy (2005–2007). The first part, Män som hatar kvinnor (2005; The Girl with the Dragon Tattoo , 2008), is located both in

in Nordic Gothic
Christine Byron

Background to crimes against humanity The origins of crimes against humanity are less clear than those of war crimes, but the concept was first invoked in the early nineteenth century in order to condemn brutal treatment by a State of its own citizens. 1 The concept of crimes against humanity was also referred to in the preambular paragraphs of the 1868 St Petersburg Declaration and the 1907 Hague Convention, which alluded to limits imposed by the ‘laws of humanity’ during armed conflicts, but the notion

in War crimes and crimes against humanity in the Rome Statute of the International Criminal Court