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[...]these authors' particular kinds of giallo, together with Scerbanenco's groundbreaking offerings at the end of the 1960s, undermined the prejudice of crime fiction as exclusively low-brow entertainment.\n According to this perspective, the imaginary yet recognizable Vigata described by the writer contains features of the typical Sicilian provincial city, and thus becomes the dynamic setting of Camilleri's gialli, with their overabundance of formulaic elements, but they also demonstrate an attempt at investigating local society and identity. [...]the various analyses presented seem to emphasize the limits of a literary criticism exclusively based on a rigid notion of crime fiction as a genre whose range of possibilities is limited to a few structural options and whose masterpieces, as Tzvetan Todorov stated in his 'Typologie du roman policier', is represented only by those novels which best fit within the boundaries of the genre (Todorov 1971: 56).