Chair:

Noir Men and Women I

Chair:

Paula Arvas (Helsinki)

Is there a glass ceiling for Finnish women crime writers?

Deborah Walker (Auckland)

Fatal men in classic French film noir

Jacky Collins (Northumbria)

The ‰Û÷Irene Huss’ novels by Helene Tursten

Martin Rosenstock (Kuwait)

Sterile Erotics in the Interwar Period: Marek Krajewski’s Death in Breslau (1999)

Jane Rosenbaum (Rider)

Nina Borg The Boy in the Suitcase and the gendering of heroes and victims

Maysaa Jaber (Baghdad)

Opening the “Forbidden Box”: female criminality and agency in the works of James M. Cain

Scandinavian Crime II: The Millennium Trilogy.

Chair:

Noir Men and Women II

Chair:

V̩ronique Kwak (Taiwan National Cheng-chi University)

From victim to victimizer: Corporeal suffering as spatial transcendence of genders in the case of Stieg Larsson’s The Girl who Played with Fire

Linda Crawford (Salve Regina)

Men writing women in noir: Paco Ignacio Taibo II and Luis Sep̼lveda

Deepthi Sebastian (QUB)

The dissonant body of Lisbeth Salander

Veronika PitukovÌÁ (Masaryk University)

Hard-boiled Mike Hammer and seductive babes

Kerstin Bergman (Lund)

The women who are hated by men: Women victims and Heroes in the Millennium Trilogy

Richard Williams (Independent Scholar)

Interrogating the alleged misogyny of Gardner’s portrayal of Bertha Cool

French Crime

Chair:

New incarnations and the ongoing influence of Sherlock Holmes

Chair:

Meryem BelkaÌød

Women written and women writers in modern French crime fiction

Palle Schantz Lauridsen (Copenhagen)

Holmes & Watson: Friendship, bromance, and sexuality, 1887-2014

Eva Robustillo-BayÌ_n (Seville)

French women detectives in contemporary French crime fiction: Louise Morvan and Gloria Parker-Simmons

Malcah Effron (Case Western Reserve, Ohio)

Holmes’s female companions: Re-figuring Watson as a woman

Andrea Hynynen (Abo Akademi University, Finland and Universit̩ Paris 13)

Size matters: challenging gender and sexual norms through the detective’s body – a comparison of Fred Vargas’s and Pierre Lemaitre’s crime novels

Antoine Dech̻ne (Li̬ge/CIPA/Belspo)

Gender and sexuality in the metaphysical thriller: the case of Paul Auster

Masculinities

Chair:

18^th and 19^th-century constructions of the female criminal

Chair:

Dominique Jeannerod (QUB)

Putting the killer to rest: Gender and generic exhaustion in Manchette’s The Prone Gunman

Anna C. Jenkin (Sheffield)

‰Û÷Sensation, seduction and submission: representations of murderous wives in eighteenth-century London and Paris’

Jeffrey Halpern (Rider)

‰Û÷When worlds collide: images of masculinity in the novels of Tony Hillerman’

Shampa Roy (Delhi)

Errant Wives and Wanton Widows: Gender and Crime in the Crime Narratives of one of the first crime writers in Bengal

Louise Vincent (Rhodes)

Gender and Sexuality in South African Twenty-first Century Crime Fiction

Joanne Simpson (University of Ulster)

‰Û÷Mad, bad and pathetic: engendering evil in the Victorian novel’

Women in Contemporary International Crime Fiction

Chair:

Partners in crime.

Chair:

Liala Khronopoulo (St Petersburg)

‰Û÷”Weak” and “strong” women characters in contemporary Japanese crime stories

Eva Erdmann (Freiburg)

Masculine/feminine – detecting couples in crime fiction: from Miss Marple/Hercule Poirot to Sarah Lund/Jens=Peter Raben

Madhumita Chakraborty (Delhi)

Women in Bangla detective fiction

Arco van Ieperen (PWSZ)

The equilibrium of the sexes: gender equality in Robert B. Parker’s Spenser series

Patricia Plummer (Duisburg-Essen)

Female sleuths: a survey of contemporary trends

Linda Ledford-Miller (Scranton)

Just hot enough: gender roles and sexuality in J. D. Robb’s detective series

Deadly Affairs

Chair:

Screening Gender I

Chair:

Silvia Ammary (John Cabot University, Rome)

Poe’s beautiful dead women: males’ fictional ideals

Eduardo ObradÌ_ (Cantabria)

This is a man’s world: the women of the game in The Wire

Tina Pusse (NUIG)

H. H. Jahnn’s The Wooden Ship trilogy

Noel O’Shea (UL)

Performing masculinity in the films of Michael Mann

Joel Phillips (Rider)

Love Triangle as Mise en Abyme in Wesley Stace’s Charles Jessold, Considered as a Murderer

Natascha Haarstick (Ruprecht-Karls-UniversitÌ_t Heidelberg)

Female investigators in the German TV series Tatort

Italian Crime Writers and Gender

Chair:

Screening Gender II

Chair:

Carol Nicholson (Rider)

Ockham’s Razor, Women, and God: Philosophical Themes in The Name of the Rose

Henrietta Phillips (Birmingham)

Competition, narcissism and the spectacle of British “Northern” masculinity in pop-cultural accounts of Ian Brady and Peter Sutcliffe

Elizabeth Scheiber (Rider)

Bending Gender and Genre: Changing Gender Roles in Italian Crime Fiction

Samantha Lindop (Queensland)

Deadly Lesbians and the Contemporary Cinematic Crime Thriller

Barbara Pezzotti (Independent Scholar)

Blame it on the Tranny: Transvestism and Transgender in Andrea G. Pinketts’s Crime Fiction

Kylo-Patrick Hart (Texas Christian University)

Queering the Crime ‰Û÷Splatter Film’: The Case of William Friedkin’s Cruising

True Crimes and Criminals Revisited

Chair:

Screening Gender III: Psychology

Chair:

Dunlaith Bird (Oxford/ENS Paris)

Bodies in the Bosphorus: true crime and travel writing

Rachel MagShamhrÌÁin (University College Cork)

The Female Thief in Marnie: Poor or Poorly?

Marian Lara-Ja̩n and Jean-Philippe Imbert (DCU)

Bleeding Borders, Bleeding Bodies: Violence and Sexuality in Desert Blood (Alicia Gaspar De Alba, 2005)

Jacqui Miller (Liverpool Hope)

‰Û÷He certainly wasn’t a pervert‘: (A)sexuality, Abnormal Psychology, and Criminality in the novels of Patricia Highsmith and their filmed adaptations

Katarina Gregersdotter (Ume̴ University, Sweden)

Gender, sexuality and the power of storytelling in Margaret Atwood’s Alias Grace

Sujata Moorti (Middlebury, Vermont)

Crime on your mind: Scientific identities