[EAN: 9783899243499], Gebraucht, wie neu, [SC: 4.0], [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; … mais…
[EAN: 9783899243499], Gebraucht, wie neu, [SC: 4.0], [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499 Sprache: Englisch Gewicht in Gramm: 550, Books<
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[EAN: 9783899243499], Gebraucht, wie neu, [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; Ein gutes u… mais…
[EAN: 9783899243499], Gebraucht, wie neu, [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499 Sprache: Englisch Gewicht in Gramm: 550, Books<
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Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Res… mais…
[PU: Essen : Verl. Die Blaue Eule], 293 S. ; kart.
Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499, DE, [SC: 4.50], gebraucht; wie neu, gewerbliches Angebot, [GW: 550g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<
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Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Res… mais…
[PU: Essen : Verl. Die Blaue Eule], 293 S. ; kart.
Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499, DE, [SC: 9.00], gebraucht; wie neu, gewerbliches Angebot, [GW: 550g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<
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Essen, Verl. Die Blaue Eule, 293 S. ; kart. Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499USA [USA ; Kriminalfall ; Dokumentarliteratur; Kriminalliteratur, Englische Literatur Amerikas] 2012<
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[EAN: 9783899243499], Gebraucht, wie neu, [SC: 4.0], [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; … mais…
[EAN: 9783899243499], Gebraucht, wie neu, [SC: 4.0], [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499 Sprache: Englisch Gewicht in Gramm: 550, Books<
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[EAN: 9783899243499], Gebraucht, wie neu, [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; Ein gutes u… mais…
[EAN: 9783899243499], Gebraucht, wie neu, [PU: Essen : Verl. Die Blaue Eule], USA ; KRIMINALFALL DOKUMENTARLITERATUR; KRIMINALLITERATUR, ENGLISCHE LITERATUR AMERIKAS, 293 S. ; Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499 Sprache: Englisch Gewicht in Gramm: 550, Books<
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Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Res… mais…
[PU: Essen : Verl. Die Blaue Eule], 293 S. ; kart.
Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499, DE, [SC: 4.50], gebraucht; wie neu, gewerbliches Angebot, [GW: 550g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<
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Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Res… mais…
[PU: Essen : Verl. Die Blaue Eule], 293 S. ; kart.
Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499, DE, [SC: 9.00], gebraucht; wie neu, gewerbliches Angebot, [GW: 550g], Banküberweisung, Offene Rechnung, PayPal, Internationaler Versand<
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Essen, Verl. Die Blaue Eule, 293 S. ; kart. Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research I… mais…
Essen, Verl. Die Blaue Eule, 293 S. ; kart. Ein gutes und sauberes Exemplar. - Introducing American True Crime - Definition of True Crime - What Is the Object of this Study? - Research Interest and Structure of the Study - The Origins and Developments of True Crime Narratives in American Literature - True Crime Through the Centuries (Seventeenth - Twentieth) - Finding the Contemporary Form of True Crime - Truman Capote's/" Cold Blood - The Genre Today - Defining the Genre's Form - Definitions and Terminology - A Short History of Narrative Nonfiction and the New Journalists - Conventions and Assumptions of Narrative Nonfiction - True Crime as Narrative - True Crime and the American Fascination with Violence - A Thumbnail Sketch of Violence in American Culture - A Cultural Studies' Take on Violence and the American Character - How True is True Crime? - Constructions of Authenticity in Narrative Nonfiction Accounts of Real-Life Murder - Setting the Scene - Realism and Late Twentieth-century True Crime Narrative - Realism in Contemporary American Literature - Postmodern History Writing in Narrative Nonfiction -Establishing a Referential Pact with the Reader - Narrating Real-Life Murder - True Crime's Strategies to Construct a True Story of Crime - Internal Coherence in Accounts of Real-Life Murder - Authenticating Accounts of Murder Through the Evocation of Particularities of Time and Place - Murderous Characters - Evoking Particularities of Character - Constructing Authenticity - Journalistic Objectivity in Erik Larson's The Devil in the White City - "this is not a work of fiction" - Asserting Authenticity Through Documentation - "We know more than they did then" - Seeing the Whole Picture in Retrospect - Acknowledging Interpretive Efforts - "to weave a plausible account" - Reconstructing Scenes of Murder - Characterizing the Historical H H Holmes - Inferences for Objectivity Claims of True Crime Literature - The Truth in Subjectivity - Gaining the Reader's Trust Through Personal Authenticity - Admitting Perspective - Point of View and the Construction of Knowledge in James Ellroy's My Dark Places - "The Boy in the Picture" - First- and Third-Person Narrative and the Use of Perspective - "I went insane once" - Presenting an Unreliable Narrator - "She wasn't abstracted" -Verifying the Facts - Jeopardizing the Reader's Trust Through Violation of Contract - The Role of the Reporter in John Berendt's Midnight in the Garden of Good and Evil - Establishing an Author-Reader Contract - The Narrator as an Authenticator - Violating Contract - The Narrator as a Narrative Device - The Significance of the Referential Pact to a Nonfictional Reading of True Crime - "I know this story well" - Authenticity Through First-hand Experience in Mikal Gilmore's True Crime Memoir Shot in the Heart - True Crime as an Autobiographical Story - Gaining Knowledge Through Personal Experience - Unreliable Memory - Favoring Emotional Sincerity over Factual Accuracy - Denying Closure - The Ambiguity of Unanswered Questions - Concluding Remarks - Narrating Violent Crime in America - The Cultural Significance of Contemporary True Crime Writing // u.a.m. ISBN 9783899243499USA [USA ; Kriminalfall ; Dokumentarliteratur; Kriminalliteratur, Englische Literatur Amerikas] 2012<
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Dados bibliográficos do melhor livro correspondente
Dados detalhados do livro - Writers, Readers, and True Crime: Negotiating Truth and Meaning in Contemporary American Nonfiction (Arbeiten zur Amerikanistik)
EAN (ISBN-13): 9783899243499 ISBN (ISBN-10): 3899243498 Livro de capa dura Livro de bolso Ano de publicação: 2012 Editor/Editora: Die Blaue Eule 294 Páginas Peso: 0,398 kg Língua: Englisch
Livro na base de dados desde 2009-12-01T15:17:23-02:00 (Sao Paulo) Página de detalhes modificada pela última vez em 2024-03-03T14:09:30-03:00 (Sao Paulo) Número ISBN/EAN: 3899243498
Número ISBN - Ortografia alternativa: 3-89924-349-8, 978-3-89924-349-9 Ortografia alternativa e termos de pesquisa relacionados: Autor do livro: tüllmann, tullmann Título do livro: true crime, readers, negotiating negotiating, nonfiction, meaning truth, american crime
Dados da editora
Autor: Mareike Tüllmann Título: Arbeiten zur Amerikanistik; Writers, Readers, and True Crime - Negotiating Truth and Meaning in Contemporary American Nonfiction Editora: Die Blaue Eule 294 Páginas Ano de publicação: 2012-10-01 Impresso / Feito em Língua: Inglês 34,00 € (DE) 35,00 € (AT) No longer receiving updates
BA; PB; Hardcover, Softcover / Sprachwissenschaft, Literaturwissenschaft/Englische Sprachwissenschaft, Literaturwissenschaft; Literaturwissenschaft, allgemein; Jounalismus; Mythen; Nichtfiktionale Literatur; Verbrechen; Identitätskonstruktionen; Gewalt; Klassische Kriminalromane und Mystery; Vereinigte Staaten von Amerika, USA
