Wallander's Dark Geopolitics

A current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this...

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Main Author: Stougaard-Nielsen Jakob
Format: Article
Language:English
Published: Sciendo 2020-09-01
Series:Nordicom Review
Subjects:
Online Access:https://doi.org/10.2478/nor-2020-0014
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author Stougaard-Nielsen Jakob
author_facet Stougaard-Nielsen Jakob
author_sort Stougaard-Nielsen Jakob
collection DOAJ
description A current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).
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spelling doaj-art-2f70d51ca766418e93844cf2ec15b6592025-02-02T15:48:50ZengSciendoNordicom Review2001-51192020-09-0141s1294210.2478/nor-2020-0014Wallander's Dark GeopoliticsStougaard-Nielsen Jakob0School of European Languages, Culture and Society, University College London, UKA current fault line in the study of crime fiction as a transnational genre is to what extent crime novels offer readers genuine cosmopolitan windows onto other worlds and cultures or whether it simply is bound to reproduce trite imagologies and national stereotypes. The overarching premise for this article is to explore the extent to which Henning Mankell's crime novels and their adaptations engage the character Wallander's own and “other” worlds with a cosmopolitan perspective, by considering the mutations of Wallander's fictional local world as intricately tied to discursive geopolitical realities of the post–Cold War world. More specifically, I consider what may be gained from exploring the Wallander series within two distinct – yet, I shall argue, related – perspectives on geopolitics and crime fiction: on the one hand, the geopolitics of the translation, adaptation, and reception networks that have “worlded” the Wallander series (what I call Wallander's geopolitical adaptation networks), and on the other, the fictional geopolitical networks that weave the Global North and the Global South together in several of Mankell's intricate crime plots (Wallander's dark geopolitics).https://doi.org/10.2478/nor-2020-0014nordic noirgeopoliticstranslationadaptationwallander
spellingShingle Stougaard-Nielsen Jakob
Wallander's Dark Geopolitics
Nordicom Review
nordic noir
geopolitics
translation
adaptation
wallander
title Wallander's Dark Geopolitics
title_full Wallander's Dark Geopolitics
title_fullStr Wallander's Dark Geopolitics
title_full_unstemmed Wallander's Dark Geopolitics
title_short Wallander's Dark Geopolitics
title_sort wallander s dark geopolitics
topic nordic noir
geopolitics
translation
adaptation
wallander
url https://doi.org/10.2478/nor-2020-0014
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