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Marking and remarking
Editors: and

Tattoos in crime and detective narratives: Marking and remarking examines representations of the tattoo and tattooing in literature, television and film, from two periods of tattoo renaissance (1851–1914, and around 1955 to the present). The collection reads tattoos and associated scarification, such as branding, as mimetic devices that mark and remark crime and detective narratives in complex ways. The chapters utilise a variety of critical perspectives drawn from posthumanism, spatiality, postcolonialism, embodiment and gender studies to read the tattoo as individual and community bodily narratives. The collection develops its focus from the first tattoo renaissance and considers the rebirth of the tattoo in contemporary culture through literature, children's literature, film and television. This book has a broad appeal and will be of interest to all literature and media scholars and, in particular, those with an interest in crime and detective narratives and skin studies.

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Sentient ink, curatorship and writing the new weird in China Miéville’s Kraken: An anatomy
Katharine Cox

novel Kraken: An anatomy ( 2010 ) through both form and content (Miéville 2009 ). 2 In Kraken , by recombining the twin foundations of modern detective and weird fiction, 3 Miéville ‘was deliberately writing something big and monstery’ (Miéville qtd Socialist worker 2010 : n.p.). Through marking and remarking – metaphors of ink, tattooing and detection – writing the new weird is aligned to the process of tattooing. I argue this remarking process exposes the depth of the weird beyond the narrative of the modern and new weird that Miéville theorises. While

in Tattoos in crime and detective narratives
From Pound to Prynne
Author:

The book begins by attempting to define the theoretical and ideological factors contributing to what the author calls 'late modernism' (schematically, occupying the period 1945-1975). It sets out the historical bases of my argument, and reexamines Pound's use of hermetic sources in the light of recent scholarship on the modernist occult. The hermetic in poetry is generally associated with forms of modernist writing deriving from romantic and symbolist models. The book focuses on Prynne's use of the shaman as a figure mediating between crude archetypal theories of the historical subject and a sophisticated temporal dialectic. It explores Heidegger's influence on late modernist poetics in more detail. Heidegger is a highly problematic figure in modern critical theory because he is at once the modernist thinker par excellence and the architect of postmodernism. The book provides an account of late modernism's revision of the fundamental romantic and modernist tropes of obscurity and fragmentation. It theorises the dialectical grounds of the relationship between hermetic poetry and philosophical commentary. The survival of romantic aesthetics in modernism is considered, leading into preliminary remarks on the deconstruction of the romantic fragment and Heidegger's theory of the Unheimliche. The questions of identity and dispersal, meaning and non-meaning, return to the uncanny by way of the Lacanian problematic of translation and the dream-work, involving the position of the subject called' by the otherness of the obscure text.

Tattoos, the Mark of Cain and fan culture
Karin Beeler

), The tattoo encyclopedia: A guide to choosing your tattoo (New York: Fireside/Simon & Schuster). Hawthorn, Ruth and John Miller (2018), ‘Tattoos, deviance and consumer culture in North American television: Criminal minds, CSI: NY and Law and order ’, in K. Watson and K. Cox (eds), Tattoos in crime and detective narratives: Marking and remarking (Manchester: Manchester University Press), pp. 256–70. Hills, Matt (2004), ‘Defining cult TV: Texts, inter-texts and fan audiences’, in R. C. Allen and A. Hill

in Tattoos in crime and detective narratives
Anthony Mellors

' which 'portrays the subject on the verge (au bard; literally, "on the rim'') of disappearing, suspended (and thus "propping up'' his desire) on the verge of castration'. 95 Or, as Prynne's poetic of the 'counter-self puts it, 'Only at the rim does the day tremble and shine' ('Of Movement Towards a Natural Place', 221.) Notes 1 Wheale, 'J. H. Prynne', 773-4. 2 Jacques Derrida discusses Mallarme's relation to the 'marking' and 're-marking' of poetry in 'The Double Session' in Dissemination, and the 're-trait' in 'The Retrait of Metaphor', enclitic, 2:2 (fall 1978), pp

in Late modernist poetics