DOCSLIB.ORG

Teaching Adaptations

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Teaching Adaptations Copyrighted matrial – 978–1–137–31115–3 Selection, introduction and editorial matter © Deborah Cartmell and Imelda Whelehan 2014 Individual chapters © Contributors 2014 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorized act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The authors have asserted their rights to be identified as the authors of this work in accordance with the Copyright, Designs and Patents Act 1988. First published 2014 by PALGRAVE MACMILLAN Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN 978–1–137–31112–2 hardback ISBN 978–1–137–31115–3 paperback This book is printed on paper suitable for recycling and made from fully managed and sustained forest sources. Logging, pulping and manufacturing processes are expected to conform to the environmental regulations of the country of origin. A catalogue record for this book is available from the British Library. Library of Congress Cataloging-in-Publication Data Teaching Adaptations / [edited by] Deborah Cartmell, Reader in English, De Montfort University, UK; Imelda Whelehan, Professor of English, University of Tasmania, Australia. p. cm. – (Teaching the New English) Summary: “This volume looks at the ways in which adaptations can and have been taught by leading academics in the field of Adaptation Studies from all over the world. While aware that Shakespeare and canonical literature remain the mainstay of adaptation study in English, Teaching Adaptations addresses the challenges and appeal of teaching popular fiction and culture, video games and new media content, which serve to enrich the curriculum, as well as exploit the changing methods by which English students read and consume literary and screen texts. The volume is structured to appeal to both those who are considering teaching adaptations for the first time as well as those who are familiar with key perspectives in adaptation criticism”– Provided by publisher. Includes bibliographical references and index. ISBN 978–1–137–31112–2 (hardback) 1. Literature—Adaptations—Study and teaching. I. Cartmell, Deborah, editor. II. Whelehan, Imelda, 1960– editor. PN171. A33T43 2014 809—dc23 2014026130 Typeset by MPS Limited, Chennai, India. Copyrighted matrial – 978–1–137–31115–3 Copyrighted matrial – 978–1–137–31115–3 Contents Series Editor’s Preface vii Notes on Contributors ix 1 A Short History of Adaptation Studies in the Classroom 1 Deborah Cartmell and Imelda Whelehan 2 Canons, Critical Approaches, and Contexts 11 Shelley Cobb 3 The Paragogy of Adaptation in an EFL Context 26 Laurence Raw 4 Avoiding ‘Compare and Contrast’: Applied Theory as a Way to Circumvent the ‘Fidelity Issue’ 41 Ariane Hudelet 5 Learning to Share: Adaptation Studies and Open Education Resources 56 Imelda Whelehan and David Sadler 6 Doing Adaptation: The Adaptation as Critic 71 Kamilla Elliott 7 Teaching Adapting Screenwriters: Adaptation Theory through Creative Practice 87 Jamie Sherry 8 Out of the Literary Comfort Zone: Adaptation, Embodiment, and Assimilation 106 Alessandra Raengo 9 ‘Adapting’ from School to University: Adaptations in the Transition 120 Natalie Hayton 10 Coming soon … Teaching the Contemporaneous Adaptation 135 Rachel Carroll v Copyrighted matrial – 978–1–137–31115–3 Copyrighted matrial – 978–1–137–31115–3 vi Contents 11 Teaching Adaptations through Marketing: Adaptations and the Language of Advertising in the 1930s 157 Deborah Cartmell Appendix A: Instructions for the Creative-Critical Project 171 Appendix B: Marking Descriptors for the Creative-Critical Project 173 Chronology of Key Publications and Events 181 Select Bibliography 184 Index 190 Copyrighted matrial – 978–1–137–31115–3 Copyrighted matrial – 978–1–137–31115–3 1 A Short History of Adaptation Studies in the Classroom Deborah Cartmell and Imelda Whelehan Adaptation studies is a growth area in the Arts and Humanities and has brought numerous multidisciplinary perspectives to what used to be more commonly known as ‘novel to film’ or ‘literature and film’ studies. The impact of adaptation studies on English has been indis- putably significant, and it could be argued that the study of adapta- tions has changed the way we teach the subject for good; at the very least it is now common to see English modules delivered with varying degrees of adaptation content across the globe, even if, as Thomas Leitch asserts, ‘English studies has continued to treat film adaptation not so much with hostility as with benign neglect’.1 While fictional texts and their feature film adaptations remain at the subject’s core,2 the study of adaptations has broadened to embrace ‘literature’ and the ‘screen’ in the broadest senses of each word. With a new theoretical richness and interdisciplinary confidence, adaptation studies has facilitated fresh approaches to issues of interpretation, rewriting, and refunctioning, enabling purposeful reflection on our contemporary obsession with reworking culture to suit our own needs. In order to demonstrate how adaptation studies has changed, we take the case of the use of films based on Austen’s fictions within literary studies. Like Shakespeare, Jane Austen is firmly embedded in the field of adaptation studies as an author who has repeatedly had the ‘adaptation treatment’, beginning with a chapter on Robert Z. Leonard’s 1940 adaptation of Pride and Prejudice (starring Greer Garson and Laurence Olivier) in the first full-length study of lit- erature and film, George Bluestone’s Novel into Film (1957). By 2009, Austen and film had become a major critical preoccupation, 1 Copyrighted matrial – 978–1–137–31115–3 Copyrighted matrial – 978–1–137–31115–3 2 Deborah Cartmell and Imelda Whelehan as Pamela Church Gibson’s summary of work on Austen and film demonstrates,3 with a list that includes Sue Parrill’s Jane Austen on Film and Television: A Critical Study of the Adaptation (2002), Linda Troost and Sayre Greenfield’s Jane Austen in Hollywood (1998; 2nd edn 2001), Suzanne R. Pucci and James Thompson’s Jane Austen and Co. (2003), Gina MacDonald and Andrew F. MacDonald’s Jane Austen on Screen (2003), and David Monaghan, Ariane Hudelet and John Wiltshire’s The Cinematic Jane Austen: Essays on the Filmic Sensibility of the Novels (2009). Claire Harmon’s Jane’s Fame (2009) and the online journal Persuasions, which frequently delivers articles on Austen films, demonstrate a modern tendency to move away from an absorp- tion in the novels themselves to the fictions’ afterlives. It now seems obligatory to include at least one chapter on ‘Austen films’ or ‘Austen offshoots’ in collected essays on her work, because studies of Austen are no longer complete until they show consideration of how her work provides inspiration for other trends in contemporary culture, from chick lit to dating manuals, to testing the ability of contem- porary bestselling writers like Joanna Trollope and Val McDermid to ‘reimagine Austen’ all over again.4 Given the number of films of Austen’s novels, it has been hard to ignore them in the classroom, and for many years much teaching has relied on them to explicate the text for a new cohort of students. Since the availability of videos in the 1970s, teaching often involved showing a short clip ‘illustrating’ a part of a novel or play as a means to open up discussion, but always as a path back to consideration of the book. While it is easy to appreciate the relevance of film clips within Shakespeare classes (given that the plays are performance pieces), showing novel adaptations was a practice harder to justify in the early days of video. Such a practice was, more often than not, scorned rather than applauded, a legacy of the chequered history of literature and film, when critics, in the first half of the twentieth century, blushed when suggesting that an author’s work might be influenced by cinema.5 Showing film clips, however, could be defended as a means of inspiring discussion that would often take the form of reflecting on what was wrong with the film adaptation, how it misunderstood the literary text, thereby empowering the students (as ‘ENGLISH students’) to feel a sense of superiority over those involved in the making of such films. In the not-so-distant past (certainly in our memories), the showing of films in literature classes Copyrighted matrial – 978–1–137–31115–3 Copyrighted matrial – 978–1–137–31115–3 A Short History of Adaptation Studies 3 was often stigmatized by academics and teachers, who believed such practice as lazy and, even more unforgivably, a devaluing of literature that unwittingly encouraged pupils to watch movies rather than read books. As Timothy
Load more

Recommended publications
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
    CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates.
    [Show full text]
  • Kelly Freemantle
    Kelly Freemantle Eaglestone Management Elaine Eaglestone Phone: +44 7837 898793 Email: [email protected] Website: www.eaglestonemanagement.co.uk © AP Wilding Information Acting age 35 - 45 years Nationality British Year of birth 1981 (40 years) Languages English: native-language Height (cm) 101 Dialects English: always Weight (in kg) 83 Accents Irish: only when required Eye color green brown Indian: only when required Hair color Brown Arabic: only when required Hair length Long English: always Stature normal Russian: only when required Place of residence Leeds Romanian: only when required Housing options Anywhere Greek: only when required French: only when required Italian: only when required American: only when required Sport Aerobics, Ballet, Darts, Hiking, Swim, Weight training, Yoga Dance Salsa: medium Samba: basic Ballet: basic Voguing: basic Belly dance: basic Burlesque: basic Dancehall: basic Pole Dance: professional Bollywood dance: basic Profession Actor Other Education & Training 2017 –… David Johnson Drama 2006 –… NYC Acting Studio Film 2018 –… X Role: Gemma (SR) Director: Mark Duggan Distribution: Mark Duggan Films 2018 Vita Kelly Freemantle by www.castupload.com — As of: 2021-04- 21 Page 1 of 4 The Strangers Case Role: Barmaid (SR) Director: Peter Trifunovic Distribution: Kids On The Run Productions 2017 Unlucky Fred Role: Mrs Kershaw (SR) Director: Siena Ramsay Distribution: York University 2017 Supernatural Speed Dating Role: Shelley (SR) Director: Laurie Garrant Distribution: Leeds Ninja Film makers 2017
    [Show full text]
  • The Violences of Men: David Peace's 1974
    The violences of men: David Peace’s 1974 The violences of men: David Peace’s 1974 THE VIOLENCES OF MEN: DAVID PEACE’S 1974 Ian Cummins: Salford University [email protected] Dr Martin King: Manchester Metropolitan University [email protected] A revised version of this paper was published CULTURE, SOCIETY & MASCULINITIES, VOLUME 6 ISSUE 1, SPRING 2014, PP. 91–108 1 | P a g e The violences of men: David Peace’s 1974 This article examines representations of hegemonic masculinity and the resultant “violences of men” in the context of literature on representations of men and masculinities and representations of policing in TV and films. Using bricolage as a theoretical hub, an analysis is made of hegemonic masculinity at work in the film 1974 (produced by Channel Four and Screen Yorkshire in 2005) based on the first of the novels from David Peace’s Red Riding quartet. An ex- amination of three of the film’s characters—a “young turk” journalist, an old- school Detective Inspector, and a criminal entrepreneur—and the ways in which they are drawn together in a plot which centres on violence and corruption, provides examples of the adaptive nature of hegemonic masculinity and the centrality of power and violence to this concept. The value of examin- ing the past in relation to the present is also addressed. Keywords: hegemonic masculinity, David Peace, bricolage, Red Riding Quartet (1999-2002) O’Sullivan (2005) has argued that it is difficult to tell what the real life impact of screen portrayals of policing have.
    [Show full text]
  • “Dead Cities, Crows, the Rain and Their Ripper, the Yorkshire Ripper”: the Red Riding Novels (1974, 1977, 1980, 1983) of David Peace As Lieux D’Horreur ______
    International Journal of Criminology and Sociological Theory, Vol. 6, No.3, June 2013, 43-56 “Dead Cities, Crows, the rain and their Ripper, The Yorkshire Ripper”: The Red Riding Novels (1974, 1977, 1980, 1983) of David Peace as Lieux d’horreur ________________________________________________________________________ Martin S. King1 Ian D. Cummins2 Abstract This article explores the role and importance of place in the Red Riding novels of David Peace. Drawing on Nora’s (1989) concept of Lieux de mémoire and Rejinders’ (2010) development of this work in relation to the imaginary world of the TV detective and engaging with a body of literature on the city, it examines the way in which the bleak Yorkshire countryside and the city of Leeds in the North of England, in particular, is central to the narrative of Peace’s work and the locations described are reflective of the violence, corruption and immorality at work in the storylines. While Nora (1984) and Rejinders (2010) describe places as sites of memory negotiated through the remorse of horrific events, the authors agree that Peace’s work can be read as describing L’ieux d’horreur; a recalling of past events with the violence and horror left in. Introduction Pierre Nora’s (1989) concept of Lieux de mémoire examines the ways in which a “rapid slippage of the present into a historical past that is gone for good” (Nora, 1989:7) is compensated for by the focus of memory on particular physical spaces. Nora (1989) outlines an idea of a modern world obsessed with the past and in search of roots and identity that are fast disappearing, a loss of collectively remembered values replaced by a socially constructed version of history as a representation of the past.
    [Show full text]
  • Red Riding Nineteen Eighty Pdf, Epub, Ebook
    RED RIDING NINETEEN EIGHTY PDF, EPUB, EBOOK David Peace | 384 pages | 04 Sep 2008 | Profile Books Ltd | 9781846687075 | English | London, United Kingdom Red Riding Nineteen Eighty PDF Book Nolan takes Hunter downstairs to the cells where Hunter enters to see Craven slouched back in a chair, shot through his head. Sometimes I don't who is talking,,,perhaps it doesn't matter. Our newest hero is the upstanding type of cop that all the others hate - brought in to decide whether or not they've done their jobs properly, nobody is surprised that his path isn't smooth. Required reading It helped that several of the Oh lordy lordy. Also the Really difficult and depressing novel. To accept cookies from this site, please click the Allow Cookies button below. It is also revealed that he knew about the innocence of Michael Myshkin Daniel Mays , a mentally retarded man who was accused of the serial killings in He's in a class of his own in terms of ambition. Sydney Morning Herald , 11 November Also the constant stream of consciousness rumblings from multiple characters was as annoying as it was indecipherable. Close It appears you don't have the ability to view PDFs in this browser. July Serpent's Tail. Because of this, I would give this one a 3. He ends up returning to Laws' home to enact revenge, but in the last moment finds himself unable to do so due to Laws' mind-numbing, domineering influence on him. He lives in Tokyo. Other Editions Extremely dark, graphic and hard hitting.
    [Show full text]
  • Our Side of the Mirror: the (Re)
    inolo rim gy C : d O n p a e n y King, Social Crimonol 2013, 1:1 g A o c l c o i e c s DOI: 10.4172/2375-4435.1000104 s o Sociology and Criminology-Open Access S ISSN: 2375-4435 ReviewResearch Article Article OpenOpen Access Access Our Side of the Mirror: The (Re)-Construction of 1970s’ Masculinity in David Peace’s Red Riding Martin King1* and Ian Cummins2 1Department of Social Work and Social Change, Manchester Metropolitan University, UK 2Department of Social Work-University of Salford, UK Abstract David Peace and the late Gordon Burn are two British novelists who have used a mixture of fact and fiction in their works to explore the nature of fame, celebrity and the media representations of individuals caught up in events, including investigations into notorious murders. Both Peace and Burn have analysed the case of Peter Sutcliffe, who was found guilty in 1981 of the brutal murders of thirteen women in the North of England. Peace’s novels filmed as the Red Riding Trilogy are an excoriating portrayal of the failings of misogynist and corrupt police officers, which allowed Sutcliffe to escape arrest. Burn’s somebody’s Husband Somebody’ Son is a detailed factual portrait of the community where Sutcliffe spent his life. Peace’s technique combines reportage, stream of consciousness and changing points of views including the police and the victims to produce an episodic non linear narrative. The result has been termed Yorkshire noir. The overall effect is to render the paranoia and fear these crimes created against a backdrop of the late 1970s and early 1980s.
    [Show full text]
  • Boxoffice Barometer (April 15, 1963)
    as Mike Kin*, Sherman. p- builder the empire Charlie Gant. General Rawlmgs. desperadc as Linus border Piescolt. mar the as Lilith mountain bub the tut jamblei's Zeb Rawlings, Valen. ;tive Van horse soldier Prescott, e Zebulon the tinhorn Rawlings. buster Julie the sod Stuart, matsbil's*'' Ramsey, as Lou o hunter t Pt«scott. marsl the trontie* tatm gal present vjssiuniw SiNGiN^SVnMNG' METRO GOlPWVM in MED MAYER RICHMOND Production BLONDE? BRUNETTE? REDHEAD? Courtship Eddies Father shih ford SffisStegas 1 Dyke -^ ^ panairtSioo MuANlNJR0( AMAN JACOBS , st Grea»e Ae,w entl Ewer Ljv 8ecom, tle G,-eai PRESENTS future as ^'***ied i Riel cher r'stian as Captain 3r*l»s, with FILMED bronislau in u, PANAVISION A R o^mic RouND WofBL MORE HITS COMING FROM M-G-M PmNHunri "INTERNATIONAL HOTEL (Color) ELIZABETH TAYLOR, RICHARD BURTON, LOUIS JOURDAN, ORSON WELLES, ELSA MARTINELLI, MARGARET RUTHERFORD, ROD TAYLOR, wants a ROBERT COOTE, MAGGIE SMITH. Directed by Anthony Asquith. fnanwitH rnortey , Produced by Anotole de Grunwald. ® ( Pana vision and Color fEAlELI Me IN THE COOL OF THE DAY” ) ^sses JANE FONDA, PETER FINCH, ANGELA LANSBURY, ARTHUR HILL. Mc^f^itH the Directed by Robert Stevens. Produced by John Houseman. THE MAIN ATTRACTION” (Metrocolor) PAT BOONE and NANCY KWAN. Directed by Daniel Petrie. Produced LPS**,MINDI// by John Patrick. A Seven Arts Production. CATTLE KING” [Eastmancolor) ROBERT TAYLOR, JOAN CAULFIELD, ROBERT LOGGIA, ROBERT MIDDLETON, LARRY GATES. Directed by Toy Garnett. Produced by Nat Holt. CAPTAIN SINDBAD” ( Technicolor— WondroScope) GUY WILLIAMS, HEIDI BRUEHL, PEDRO ARMENDARIZ, ABRAHAM SOFAER. Directed by Byron Haskin. A Kings Brothers Production.
    [Show full text]
  • Katherine Mansfield and Conceptualisations of the Self
    Katherine Mansfield and Conceptualisations of the Self Submitted for the Degree of Doctor of Philosophy of English Literature At the University of Northampton 2018 Louise Jane Edensor © Louise Jane Edensor 2018 PhD This thesis is copyright material and no quotation from it may be published without proper acknowledgement. Abstract The thesis aims to show how Katherine Mansfield’s desire to discover aspects of the self shaped her strengths and distinctiveness as a writer, particularly in the development of her own modernist aesthetic. Mansfield’s letters and notebooks often betray a preoccupation with issues of the self. In one notebook entry she exclaims, ‘if one was true to oneself . True to oneself! Which self? Which of my many – well, really, that’s what it looks like coming to – hundreds of selves’ (CW4, 349). By examining this and many other scattered references to the self throughout Mansfield’s letters and notebooks, this thesis aims to uncover the relationship between Mansfield’s personal comments and questions on the self and the development of her literary techniques. The beginning of the twentieth century, when Mansfield was writing, saw many advancements in science and technology as well as new psychological theories popularised by William James and Sigmund Freud. These theories added to a discourse on the psychological make-up of the individual as modernity caused a crisis in understanding the construction of the self, calling identity into question. By examining these theories, this thesis provides a framework for the analysis of Mansfield’s writing, integrating current critical commentary on her fiction, Mansfield’s private thoughts and her experimental fiction.
    [Show full text]
  • Northumbria Research Link
    Northumbria Research Link Citation: Shaw, Katy (2016) ‘Local Hells’ and State Crimes: Place, Politics, and Deviance in David Peace’s Red Riding Quartet. In: Globalization and the State in Contemporary Crime Fiction: A World of Crime. Palgrave MacMillan, pp. 59-77. ISBN 978-1-137-42572-0 Published by: Palgrave MacMillan URL: This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/id/eprint/33122/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/policies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies. To read and/or cite from the published version of the research, please visit the publisher’s website (a subscription may be required.) 1 “‘Local Hells’ and State Crimes: Place, Politics, and Deviance in David Peace’s Red Riding Quartet” in Globalisation and the State: A World of Crime (ed.) Andrew Pepper Palgrave 2016 ‘Local Hells’ and State Crimes: Place, Politics, and Deviance in David Peace’s Red Riding Quartet David Peace is a contemporary British author who uses crime fiction set in regional locations to reveal conflicts in the social order and explore the ways in which the state attempts to reinstate that order.
    [Show full text]
  • Analysing David Peace
    Analysing David Peace Analysing David Peace Edited by Katy Shaw Analysing David Peace, Edited by Katy Shaw This book first published 2011 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2011 by Katy Shaw and contributors All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-2990-0, ISBN (13): 978-1-4438-2990-8 To Joy, Mike and Kristian TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................ ix INTRODUCTION KATY SHAW ................................................................................................. 1 CHAPTER ONE POLITICS , CLASS AND THE 1970 S/80 S PADDY MAGUIRE ....................................................................................... 11 CHAPTER TWO “N O REDEMPTION ”: THE DEATH OF THE CITY IN THE WORK OF DAVID PEACE JARRED KEYES ........................................................................................... 19 CHAPTER THREE THE GREAT YORKSHIRE FUGUE : BARE LIFE IN THE RED RIDING QUARTET DEAN LOCKWOOD ...................................................................................... 41 CHAPTER FOUR “P ICTURES AT AN ATROCITY EXHIBITION ”: MODERNISM
    [Show full text]
  • The Red Riding Novels (1974, 1977, 1980, 1983) of David Peace As Lieux D’Horreur King, MS and Cummins, ID
    “Dead cities, crows, the rain and their ripper, the Yorkshire ripper”: The red riding novels (1974, 1977, 1980, 1983) of David Peace as Lieux d’horreur King, MS and Cummins, ID Title “Dead cities, crows, the rain and their ripper, the Yorkshire ripper”: The red riding novels (1974, 1977, 1980, 1983) of David Peace as Lieux d’horreur Authors King, MS and Cummins, ID Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/29346/ Published Date 2013 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. International Journal of Criminology and Sociological Theory, Vol. 6, No.3, June 2013, 43-56 “Dead Cities, Crows, the rain and their Ripper, The Yorkshire Ripper”: The Red Riding Novels (1974, 1977, 1980, 1983) of David Peace as Lieux d’horreur ________________________________________________________________________ Martin S. King1 Ian D. Cummins2 Abstract This article explores the role and importance of place in the Red Riding novels of David Peace. Drawing on Nora’s (1989) concept of Lieux de mémoire and Rejinders’ (2010) development of this work in relation to the imaginary world of the TV detective and engaging with a body of literature on the city, it examines the way in which the bleak Yorkshire countryside and the city of Leeds in the North of England, in particular, is central to the narrative of Peace’s work and the locations described are reflective of the violence, corruption and immorality at work in the storylines.
    [Show full text]