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Focuses on women's crime writing from Spain and offers an approach to Spanish crime fiction, combining literary criticism with sociological and criminological theory. This multidisciplinary study analyses how female authors use crime and detective genres to analyse the role and position of their countrywomen.
Since Prosper Mérimée and Georges Bizet (with his librettists Meilhac and Halévy) brought the figure of the Spanish Carmen to prominence in the nineteenth century an astonishing eighty or so film versions of the story have been made. This collection of essays gathers together a unique body of scholarly critique focused on that Carmen narrative in film. It covers the phenomenon from a number of aspects: cultural studies, gender studies, studies in race and representation, musicology, film history, and the history of performance. The essays take us from the days of silent film to twenty-first century hip-hop style, showing, through a variety of theoretical and historical perspectives that, despite social and cultural transformations--particularly in terms of gender, sexuality and race--remarkably little has changed in terms of basic human desires and anxieties, at least as they are represented in this body of films. The conception of Carmen's independent sexuality as a source of danger both to men (and occasionally women) and to respectable society has been a constant. Nor has sexual and ethnic otherness lost its appeal. On the other hand, the corpus of Carmen films is more than a simple recycling of stereotypes and each engages newly with the social and cultural issues of their time.
Since Prosper Mérimée and Georges Bizet (with his librettists Meilhac and Halévy) brought the figure of the Spanish Carmen to prominence in the nineteenth century an astonishing eighty or so film versions of the story have been made. This collection of essays gathers together a unique body of scholarly critique focused on that Carmen narrative in film. It covers the phenomenon from a number of aspects: cultural studies, gender studies, studies in race and representation, musicology, film history, and the history of performance. The essays take us from the days of silent film to twenty-first century hip-hop style, showing, through a variety of theoretical and historical perspectives that, despite social and cultural transformations—particularly in terms of gender, sexuality and race—remarkably little has changed in terms of basic human desires and anxieties, at least as they are represented in this body of films. The conception of Carmen’s independent sexuality as a source of danger both to men (and occasionally women) and to respectable society has been a constant. Nor has sexual and ethnic otherness lost its appeal. On the other hand, the corpus of Carmen films is more than a simple recycling of stereotypes and each engages newly with the social and cultural issues of their time.
Carmen's daughter Raja was six-&-one-half years old at the time of her mother's death. Her son, Scott, was only four. In all, some 150 persons were questioned in the combined investigations conducted by the Sheriff's office & the Phoenix Police. A half-dozen potential suspects volunteered to take polygraph tests, all with negative results. The check of motives & suspects stretched from Arizona to Amarillo, TX, then on to the state of Kansas. Since the time of the murder, many of the officers who first investigated Carmen's death have retired or left the department for various reasons. But one thing even new officers & department heads hate to have on the books is an unsolved homicide. The Goll murder rankles the professional lawmen involved because of the senseless brutality involved. Meanwhile, friends & family members who have suffered so long without answers merely hope to find a little peace.
Defenses are mental operations that restore or maintain psychic equilibrium when people feel that they cannot manage emotions that stem from conflict; they remove components of unpleasant emotions from conscious awareness. For example, using sex, food, or hostility to relieve tension - that's a defense - catalogued here as entry number 68: Impulsivity. Screaming at someone can be a defense. Playing golf can be a defense. So can saving money. Or at least all of these activities may involve defenses. In this book, Blackman catalogs 101 defenses - the most ever compiled - with descriptions practical for use in everyday assessment and treatment of psychopathology. He explains how to detect and interpret a defense and offers supportive therapy techniques. The many practical tips interspersed throughout this text make it an excellent reference tool for students and experienced clinicians, while the user-friendly features allow all readers to experience how psychological defenses operate in everyday life.
The noted literary critic delves into the psychology and significance of American hardboiled crime fiction and film noir of the 1930s and ’40s. Early in the twentieth century, American crime novelists like Dashiell Hammett and Raymond Chandler put forward a new kind of character: the “hard-boiled” detective, as exemplified by Sam Spade in The Maltese Falcon. Unlike the analytical detectives of nineteenth-century fiction, these new detectives encountered cases not as intricate logical puzzles but as stark challenges of manhood. John T. Irwin explores how the stories of these characters grapple with ideas of American masculinity. Professional codes are pitted against personal desires, resulting in either ruinous relationships or solitary integrity. In thematic conflicts between independence and subordination, all notions of manly independence prove subordinate to the hand of fate. Tracing the stylistic development of the genre, Irwin demonstrates the particular influence of the novel of manners, especially the writing of F. Scott Fitzgerald. He also shows that as hard-boiled fiction began to appear on the screen in film noir, it took on themes of female empowerment—just as women entered the workforce in large numbers. Finally, he discusses how these themes persist in contemporary dramatic series on television, representing the conflicted lives of Americans into the twenty-first century.
“What will I do if Carmela Bordeaux doesn’t arrive on time?” Graciela Brown shouted over her shoulder as she headed out the door. “That makes two of us,” Gabriel softly replied to Brown’s backside. “Especially since she has never existed anywhere except in my head,” he muttered softly when the woman was out of hearing range. So begins a harrowing tale as teen girl advice author Carmela Bordeaux battles with one of sudden fame's downsides: death threats from a White Supremacist group intent on killing her because she is beautiful, intelligent and a Latina.
Carmen is a young woman in her twenties who keeps looking for love in all the wrong places. She’s also a Christian struggling to integrate her religion into the confines of modern dating. Over and over, Carmen chooses the wrong guy. In her journal, she acknowledges that she fears abandonment and is afraid of being alone. She longs to find the right guy to start a family, and she is lucky to have her faith to lean on. She truly believes God has a man waiting for her. She believes she has a divinely ordained match out there somewhere, so she asks God for guidance as she is shaped into the person God wants her to be. Carmen has moments of doubt, however, as she sometimes thinks God hates her due to some of her past decisions. She eventually finds her way back into His loving arms, though not without strife. She must go through a lot of Mr. Wrongs to find Mr. Right, but Carmen will not give up. She looks forward to the day when she finds a true love of her own.