... to define and contain criminal traces, arguing that Roberto Bolaño's and Teresa Margolles's works point, rather, to the potentiality of criminal space to project itself onto other locations. Their diffuse and globalized crime scenes have structural similarities with what Giorgio Agamben terms generalized...

..., not what is said between the confessor and confessant, but the dynamic that is produced between them? How do we understand, not what is said between the police interrogator and the alleged criminal, but the underlying cultural assumptions and legal strategies that inform the scene in the interrogation...

..., not what is said between the confessor and confessant, but the dynamic that is produced between them? How do we understand, not what is said between the police interrogator and the alleged criminal, but the underlying cultural assumptions and legal strategies that inform the scene in the interrogation...

..., not what is said between the confessor and confessant, but the dynamic that is produced between them? How do we understand, not what is said between the police interrogator and the alleged criminal, but the underlying cultural assumptions and legal strategies that inform the scene in the interrogation...

... in 1829 describing a scene in which Apollo orders that a foolish usurper be beaten with sticks (see Dolinin and Skonechnaia 775), so Hermann is punished with, or rather by, the stick that he forgets at the crime scene. In the 1966 Despair these Pushkinian echoes are muted and new connections...

... undercut the accuracy or agency of this scar as testimony ( Putzi 186 ). Still, the scar can exceed its rhetorical exploitation by others. Putzi argues that scars “have a symbolic potential absent in the scene of punishment, allowing authors and readers to exercise their own imaginations and become...

... crime and the silencing or appropriation of their voices. Contra critics who argue that Schlink offers an exculpatory, because explanatory, portrayal of his Nazi protagonist and second-generation German narrator, I argue that The Reader exposes the potential for abuse that characterizes the rhetoric...

... understanding of the world and our ability to, as Jaggar puts it, “prefigure alternative social forms.” Because it argues for affect both as a way of knowing and as a distinct realm in which mean- ing is made, a realm that is influenced by but also potentially resistant to the ideological, such work urges...

... scene. Leys’s lucid “spectator” is thus replaced by a “witness” who confronts a catastrophe that potentially remains enigmatic. In the absence of diegesis, the act of “witnessing” trauma, for Caruth, serves an ethics rather than a cure, an imperative to “listen” and “respond” to crisis rather than...

... to official accounts. The file betrays, and the novel dramatizes, parallels between law and translation as forms of mediation that claim but always fail to establish proportionate exchange (equivalent term for term, equivalent punishment for crime). Among the intertexts of the early Arabic novel, it seems...

...ILYA KLIGER This essay studies a crucial feature of Dostoevsky's novelistic poetics, and the poetics of Crime and Punishment (1866) in particular, in light of contemporaneous debates regarding the historical fate of Russia. The novel, I argue, is a thought experiment exploring the emerging...

..., from gender hate crimes to killings related to the drug trade. In “The Part about the Crimes,” which focuses on the murders of women, there is a scene in a bar in which police agent Juan de Dios Martínez speculates that a rancher, who he sees from behind, must be a “narco,” a drug traf- ficker...

... with severe infractions of moral codes (usually exile), he also recognizes that “a singularly atrocious act appeared to be denied closure until the perpetrator returned to expiate on the scene of the crime,” and asks: “are we then perhaps moving too far ahead of our violators in adopting a structure...

... collective enthusiasm for the revolution’s promise and the potential of marginal people to remake their communities. The Angolan film O herói points back to a revolutionary style of filmmaking by asking collective participation from the audience. In Pepetela’s crime fiction novels, the exoticized feminine...

... processes that attempt to deal with the experience of loss: mourning and melancholy. While potentially inter-related, each comes with a structurally distinct narrative that produces its own unique form of subjectivity. In “Mourning and Melancholia,” Freud implies that the cessation of narrative...

... masculines à Paris, 1870–1918 . Paris : L'Harmattan , 2005 . Print . Rosario Vernon A. “Pointy Penises, Fashion Crimes, and Hysterical Mollies: The Pederasts' Inversions.” Homosexuality in Modern France . Ed. Merrick Jeffrey Ragan Bryan T. Jr. New York : Oxford UP , 1996...

... argues that Dolly’s potential vanishing act pays homage to the mercurial personalities that Nabokov encountered in Proust’s novel and the unconventional literary structures he admired in the works of Pushkin and Chekhov. Copyright © 2020 by University of Oregon 2020 Nabokov Proust Pushkin...

... contemporary (homosocial or colonial) desires on the naturalist text, we should, following both Caminha’s and Lombroso’s instruc- tions, turn our gaze from the victim or the crime scene to the novel’s construction of the criminal. This concern with the “other” is explicit in the warning, which is also...

... of a Madman Explaining His Crime.” Rev. of The Butcher Boy, by Patrick McCabe. New York Times 6 Aug. 1993 . Web. < http://www.nytimes.com/1993/08/06/books/books-of-the-times-the-voice-of-a-madman-explaining-his-crime.html >. 3 May 2008. Kearney, Richard. “Island Race that Outgrew Its Insularity...

...) with remarkable fidelity, tracking Brooke scene by scene and character by charac- ter, except for Mercutio, who is Shakespeare’s invention. Shakespeare is not considered a plagiarizer. West Side Story follows Shakespeare’s Romeo and Juliet with less fidelity, translat- ing the setting and characters...