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ENG32020

Academic Year 2026/2027

Detecting Fictions: the Crime Novel in America, Britain and Ireland (ENG32020)

Subject:
English
College:
Arts & Humanities
School:
English, Drama & Film
Level:
3 (Degree)
Credits:
10
Module Coordinator:
Dr Maria Stuart
Trimester:
Autumn and Spring (separate)
Mode of Delivery:
On Campus
Internship Module:
No
How will I be graded?
Letter grades

Curricular information is subject to change.

The course will chart the development of the dynamic, shifting genre of crime fiction. We begin with its origins in the nineteenth-century in the work of the American writer, Edgar Allan Poe, and trace its development though the work of some key figures and movements within the genre: the work of British writers Wilkie Collins and Arthur Conan Doyle, the 'Golden Age' of Agatha Christie, the 'hard boiled' detectives of Raymond Chandler and Walter Mosley, ending with the contemporary writers Attica Locke and Tana French.

Key topics for analysis will include:
Genre: the ongoing development and subversion of the 'rules' of crime fiction from the 19th to the 21st century.
Sub-genre: detective fiction, the police procedural, 'hard-boiled' fiction, domestic noir.
Cultural contexts: variations in the history and development of the crime novel in Britain, America and Ireland.
The ideological implications of representations of detection, criminality, victimhood, justice and the law (especially in relation to race, class and gender)
The relationship between form and content: the significance of narrative perspective, voice, and structure to the 'story' of detection.
Popular culture and concepts of 'literary' fiction.

Crime fiction is a genre that engages with shifting cultural constructions of criminality, justice, and victims. It interrogates not just individual actions and experiences but the broader systemic forces that shape our understanding of crime and punishment. In particular, it asks us to consider how structures of power and authority (social, political, cultural, economic) interact with concepts of difference (gendered, sexual, class-based, racial, ethnic). As such, it encourages you to draw on some of the critical frameworks studied in your Critical Theory course.

NOTE: Students registered to ENG 31780 Contemporary European Crime Fiction should NOT register for this module.

About this Module

Learning Outcomes:

1. Demonstrate a critical understanding of the genre of crime fiction through close reading of a range of texts across differing historical and cultural contexts (British, American and Irish).
2. Engage with key critical and theoretical concepts relating to race/ethnicity, gender, sexuality, class and national identities and their representation in the literature of criminality and detection.
3. Apply such concepts and contexts to close analysis of the course texts, analysis that is alert to issues of narrative form, generic convention and ideological inflection.
4. Develop the ability to articulate and share opinions within a seminar group of 20-22 students.
5. Produce a critical essay on a topic which addresses some of the key themes of the course, shows engagement with a range of critical sources pertinent to that topic, and demonstrates a capacity for close reading and independent critical thinking.

Indicative Module Content:

Topics to be explored (across different texts, and contexts) will include the following:

1. What is a detective? What kind of authority (social, political, intellectual, moral) do they claim? Who gets to occupy this role?

2. How is the victim constructed in crime fiction? In what way are factors like gender, race, class and/or sexuality at play in the representation of the victim?

3. Are there any common traits evident in fictional representation of criminals and criminality? To what extent do concepts of race, class, gender, and/or sexuality shape representations of crime and punishment?

4. How significant is location to the representation of crime? Do urban/cityscapes and rural spaces situate and shape the plot in different ways?

5. This course highlights how crime fiction emerges from specifc historical and cultural contexts. How do these contexts shape crime narratives? What do these narratives reveal about the particular anxieties and concerns of their time and place?

6. Discuss the particular significance of ‘endings’ to crime fiction? Do all the texts we study on this course offer 'closure'?

7. Genre fiction (like crime fiction) generates a set of ‘rules’ or conventions that shape reader expectations. What are these 'rules'/conventions? To what extent are these conventions revised/subverted from the 19th to the 21st century?

8. Why do some critics claim that crime fiction is an inherently conservative genre? Do you understand the reasons for such readings? Do you agree with this assessment?



UNESCO highlights a set of key competencies that support individuals in their development and support society in achieving the UN Sustainable Development Goals (SDGs). UCD has adapted these competencies and is combining them with others to form a general framework of learning competencies. This module will help you develop the competencies below to the levels specified. 
Learning Competency Additional Information Level

Collaboration

 The ability to learn from others; to understand and respect the needs, perspectives and actions of others (empathy); to understand, relate to and be sensitive to others (empathic leadership); to deal with conflicts in a group; and to facilitate collaborative and participatory problem solving. Competent

Critical Thinking

 The ability to question norms, practices and opinions; to reflect on one’s own values, perceptions and actions. Competent

Systems Thinking

 The ability to recognize and understand relationships; to analyse complex systems; to think of how systems are embedded within different domains and different scales; and to deal with uncertainty. Competent

Strategic

 The ability to collectively develop and implement innovative actions that further sustainability at the local level and further afield. Not addressed

Integrated Problem Solving

 The overarching ability to apply different problem-solving frameworks to complex sustainability problems and develop viable, inclusive and equitable solution options that promote sustainable development, integrating the competencies in this list. Not addressed

Self-awareness

 The ability to reflect on one’s own role in the local community and (global) society; to continually evaluate and further motivate one’s actions; and to deal with one’s feelings and desires. Competent

Normative

 The ability to understand and reflect on the norms and values that underlie one’s actions; and to negotiate values, principles, goals, and targets, in a context of conflicts of interest and trade-offs, uncertain knowledge and contradictions. Competent

Anticipatory

 The ability to understand and evaluate multiple scenarios for the future – possible, probable and desirable; to create one’s own visions for the future; to apply the precautionary principle; to assess the consequences of actions; and to deal with risks and changes. Advanced Beginner

Digital Literacy and Judgement

 The ability to access, evaluate, create and communicate information in digital environments; to engage critically, ethically and responsibly with digital technologies and digital information; to understand their opportunities, limitations, risks and impact on individual’s digital identities; and to exercise informed judgement in digital participation and decision-making. Competent

AI Literacy & Agency

 The ability to understand, critically evaluate and responsibly engage with artificial intelligence; to recognise how AI systems are shaped by human values; to assess their ethical, social and environmental implications; and to exercise human judgement, agency and accountability in AI-related contexts. Competent

Wellbeing

 Wellbeing is having the resources and skills to meet life's challenges, including attributes such as personal development skills, resilience, stress management, strengths, lifestyle skills, nutrition, physical activity, sleep, alcohol/substance use, academic skills, time management, goal setting, interpersonal skills, group work, communication. Competent

The United Nations identified seventeen Sustainable Development Goals (SDGs) as core to the 2030 Agenda for Sustainable Development, and UCD contributes in general to SDG 4 Quality Education. Further SDGs explored within this module if relevant are listed below. A scale of 1 - 5 indicates the extent to which the SDG is covered.


Goal Name Description Coverage

Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all 2

Achieve gender equality and empower all women and girls 2

Reduce inequality within and among countries 2

Make cities and human settlements inclusive, safe, resilient and sustainable 1

Promote peaceful and inclusive societies for sustainable development, provide access to justice for all and build effective, accountable and inclusive institutions at all levels 2
 

Student Effort Hours:
Student Effort Type Hours
Seminar (or Webinar)

24
Specified Learning Activities

76
Autonomous Student Learning

100
Total

200

Approaches to Teaching and Learning:
NOTE: The use of AI tools is NOT permitted in this module. Students are expected to engage directly with module materials and activities WITHOUT the use of AI tools.

Class Structure:

Our course will open with an Introduction to the genre of Detective Fiction, identifying the key topics, themes, concerns, and questions that will be carried through the course.

Subsequent weeks will focus on a different text and writer from the 19th to the 21st century, exploring how they develop and complicate these key themes, concerns, questions.

In advance of each class, a set of questions will be circulated. These will be based on the kinds of critical debates and concerns that have arisen around the specific author/text selected for that week. Students will also be invited to submit their own suggestions for discussion topics in advance of class.

This is a two-hour class. The first half will focus on class discussion.
Two or three students each week will be asked to 'lead the discussion' through offering their response to one of the topics/questions set. We will then open up to a general discussion, with the group responding to and developing the points raised by those leading.

The second part of our class will focus on a PowerPoint presentation by the module convenor, developing some of the topics discussed and highlighting the contributions of particular critics/theoretical approaches. All PowerPoint material will be posted on Brightspace.

Our course recognises that some students may find class presentation a particularly difficult prospect. Students experiencing this (or other difficulties) are encouraged to contact the course convenor. If necessary, alternative formats to class presentation can be accommodated.


Requirements, Exclusions and Recommendations

Not applicable to this module.


Module Requisites and Incompatibles
Incompatibles:
ENG31780 - Contemporary Crime Fiction

Additional Information:
​​ENG 32020 Detecting Fictions: The Crime Novel in Britain, America and Ireland: students registered to this course should not register to ENG 31780.


 

Assessment Strategy
Description Timing Component Scale Must Pass Component % of Final Grade In Module Component Repeat Offered
Assignment(Including Essay): End-of-term research-based 3000-word essay. Students may chose from list of essay topics or propose their own topic in consulation with convenor. Essays must focus on core texts and listed sources. Week 14 Graded No
60
 No
Assignment(Including Essay): Short (1,000-1,500 word) close reading exercise focused on one chapter or 3-4 paragraphs of one of the course texts. Week 7 Graded No
20
 No
Participation in Learning Activities: Each week 2-3 people will be assigned to lead the class discussion by responding briefly to questions circulated in advance. If necessary, an alternative format is possible if agreed with convenor. Week 2, Week 3, Week 4, Week 5, Week 6, Week 7, Week 8, Week 9, Week 10 Graded No
20
 No

As part of UCD's student support, under the Additional Consideration policy, extensions may be available for the following assessments in the module: Assignment (including essay/poster), Portfolio, Reflective Assignment, Report(s), and Individual Project.


Carry forward of passed components
No
 

Remediation Type Remediation Timing
Repeat Within Two Trimesters
Please see Student Jargon Buster for more information about remediation types and timing. 

Feedback Strategy/Strategies

• Feedback individually to students, post-assessment

How will my Feedback be Delivered?

There will be two student consultation sessions: one for in-person feedback for the mid-term assignment and one in preparation for the end-of-semester essay. Both in-person and zoom options are available.

Reading List for ENG 32020 Detecting Fictions (PROVISIONAL: one or two core texts may be changed from term to term; list to be confirmed by the end of August)

CORE TEXTS: students MUST have a copy (hard copy or ebook) of all CORE texts. It is expected that these will be read in advance of class.

Raymond Chandler, Farewell, My Lovely, 1940 (any edition)
Agatha Christie, The Murder of Roger Ackroyd, 1926 (any edition)
Wilkie Collins, The Moonstone, 1868 (any edition)
Arthur Conan Doyle, The Sign of Four, 1890 (any edition)
Patricia Cornwell, Body of Evidence, 1991 (any edition)
Tana French, Broken Harbour (Hodder and Stoughton, 2013)
Attica Locke, Blue Bird, Blue Bird (2017)
Walter Mosley, Devil in a Blue Dress, 1990 (any edition)
Edgar Allan Poe, The Murders in the Rue Morgue, 1841 (any edition) and ‘The Purloined Letter’, 1844 (any edition)

Critical Sources

General:
The following are recommended as general critical studies in the field (available via Britghtspace):
Janice Allan et al (eds.), The Routledge Companion to Crime Fiction (2020)
Martin Priestman (ed.), The Cambridge Companion to Crime Fiction (2006)
John Scaggs, Crime Fiction (2005)
Clues: A Journal of Detection (1980- )

Secondary sources for specific authors/texts will be posted each week on Brightspace.


Timetabling information is displayed only for guidance purposes, relates to the current Academic Year only and is subject to change.
Autumn Seminar Offering 1 Week(s) - Autumn: All Weeks Thurs 11:00 - 12:50
Spring Seminar Offering 1 Week(s) - 20, 21, 22, 23, 26 Wed 10:00 - 11:50
Spring Seminar Offering 1 Week(s) - 24, 25 Wed 10:00 - 11:50
Spring Seminar Offering 1 Week(s) - 29, 30, 31, 32, 33 Wed 10:00 - 11:50
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