During its two-hundred-year-long history, the crime genre has proved not only persistent, but also flexible and mobile in many ways, and its contemporary global popularity can be partly attributed to its adaptability to different times, cultures and purposes. While the genre was earlier often dismissed as "a trashy, minor genre" (Rodriguez 3), crime fiction scholarship has during the past few decades increasingly drawn attention to the genre's sociocritical potential. 1 In Transnational Crime Fiction: Mobility, Borders, and Detection, the popular crime story that incorporates entertainment into critical analyses of societies is approached from the perspective of mobility. We suggest that many contemporary crime narratives across the globe host a heightened interest in diverse and ambiguous mobilities, border crossings and borderlands. As the chapters in this volume show, often the representations of such mobilities and crossings reflect on sociocultural developments on local and global levels
Nature and mountains are often represented as places of healing in literature and the media, especially for white, healthy, and middleclass men. However, discussions on nature and gender in relation to trauma are rare, and a specific discussion on the representation of male mountain climbers' traumas is missing. In this article, we are interested in how nature, particularly the famous mountain El Capitan, is represented in Jeff Long's novel The Wall (2006) and Tommy Caldwell's memoir The Push (2017) as a specific spatial location of healing for male rock climbers, who at the same time are both victims of traumatic events and partially responsible for the development of those events. More specifically, this article places ecofeminist and ecological masculinities scholarship in dialog with trauma studies and analyzes these texts with the aim of showing how representations of trauma relate to those of nature and masculinity. In this analysis, questions of how certain aspects of ecological and hegemonic masculinities relate to representing trauma, nature, and masculinity are central, as are issues of perpetrator trauma and the non-generic character of traumatic experience. Ultimately, we show how representations of nature, trauma, and masculinities in the primary texts converge and reflect a plurality of gendered responses to trauma and healing in nature. ResumenLa naturaleza y las montañas se presentan a menudo como lugares de curación en la literatura y en los medios de comunicación, especialmente para los hombres blancos, sanos y de clase media. Sin embargo, las discusiones sobre la naturaleza y el género en relación con el trauma son escasas, y falta una discusión
All parts of this publication are protected by copyright. Any utilisation outside the strict limits of the copyright law, without the permission of the publisher, is forbidden and liable to prosecution. This applies in particular to reproductions, translations, microfilming, and storage and processing in electronic retrieval systems.This publication has been peer reviewed.www.peterlang.com Narrative as a Conceptual Starting Point/PerspectiveNarrative is one of the important conceptual tools in this volume. When analysing the narrative of the deviant woman, it is important to understand the cultural role of narrative. Through narrative, we organise reality. Therefore, narratives play important roles in the structuring of reality as well as the construction of identities and representations (see Currie, 1998). Gender can be seen as a narrative that aims at coherence; thus, it is, following French cultural critic Jean -François Lyotard (2004Lyotard ( /1979, one of the Grand Narratives, which realises the narrative of gender difference as defined by the hegemonic ideology. Lyotard also emphasises fragmentation as one of the characteristics of postmodern society, which, in regard to gender, means the emergence of different, constantly renewing mini -narratives about gender and desire, as described, for example, by Judith Butler in Gender Trouble (1990) and Bodies that Matter (1993).Ideology plays an important role in the formation of these narratives. According to Louis Althusser (1971), literature (and representation in general) is a central ideological apparatus which repeats and rewrites cultural narratives, promoting the present hegemonic ideology and inviting -or 'interpellating' -individuals to adapt to the subject positions offered to them within the constraints of this ideology. In this way, literature repeats and rewrites the narrative of gender through representation. This mechanism is not only typical of literature but of all textual representation: all narratives of deviant women are part of the cultural narrative of femininity and gender in general.
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