The Fascination with Violence in Contemporary Society: When Crime is Sublime

1.Introduction 
2.When crime is sublime2.1"Sympathy for the (d)evil": the fascination with crime 2.2Targeting the phenomenon: from "expulsion narrative" to "proximity narrative"2.3A psycho-social approach: for a cultural criminology of emotions 2.4The emotions involved in fascination with crime: the sublime, the uncanny, the state of awe2.4.1. "On The Sublime": violence as unrepresentable wound2.4.2. Edmund  Burke' s enquiry into the Sublime and Beautiful 2.4.3. From terror to morals: Kant's sublime2.4.4. Losing oneself is wonderful: uncanny crime2.4.5. Awe-ful moments2.5Potential connections: at the roots of a single emotional experience2.5.1. The sense of vastness and power when a boundary is crossed2.5.1.1. The limit by definition: death2.5.1.2. The limits from sacred to profane and Durkheim's effervescence2.5.1.3. The confines between the Pleasure Principle and the Reality Principle 2.5.2. Undecipherability and the need for accommodation3. Effervescent and ready for use: the sublime and other emotions in the Carnival of crime 3.1. Little Red Riding Hood3.2. The sublime, now3.3. The liminal experience and the Carnival of crime3.4. The carnivalesque and crime, now3.5. A possible bifurcation in thought: consumption and effervescence3.5.1. Crime consumption, chillness and enjoyment 3.5.1.1 Consuming crime3.5.1.2.  Consumption: from psychoanalysis to sociology3.5.2. Crime at the center of collective warm and Dyonisiac effervescence3.5.2.1. Violence from sacred to profane3.5.2.2. The sacredness of effervescence: Bataille and Bastide3.5.2.3. The return of Dionysus: Michel Maffesoli
3.5. A few clarifications
4.In the cultural criminology hall of mirrors4.1. The cultural diamond and fascination with crime 4.2.The place of emotions (and the sublime) in culture4.3. Methodological choices4.4. The dual carnival metaphor and the bond between the social world and cultural objects4.5. Research techniques or "go out and get your hands dirty in real research"
5.From sublime to resentment:  emotional pathways watching crime on television5.1. Case study: the "Quarto Grado" TV series5.2. The trajectory5.3. The morbid blend of attraction and repulsion5.4. The sense of vastness and power when a boundary is crossed 5.4.1. "Am I capable of it too?"5.4.2. "Look how easy is to die!"5.5 Undecipherability and the need for accommodation 5.6. Sublime. Use instruction5.7. The commodification of the sublime5.7.1. Selecting and framing crime5.7.2. The aestheticization of violence and visual spectacle5.7.3. Proximity, when the monster is at home5.7.4. The melding of real life and fiction5.7.5. The indeterminate nature of the cold case5.8. An effervescent resentment5.8.1. Collective effervescence and the process as  ritual 5.8.2. The Imaginary, fragile rituals and perpetual activation5.8.3. From sublime to resentment
6.In the wild land in search of a story: dark tourism6.1. Dark tourism and its nuances6.2. The research6.3. The sense of vastness and power when a boundary is crossed6.3.1. Death 6.3.2. The eagle and the wild boar: the authentic traces of a history6.4. Undecipherability and the need for accommodation6.5. The feeling rules 6.5.1. Time 6.5.2. Strong stories6.6. Breaking the feeling rules, playing at voyeurism6.7. Telling stories as a job (or the commodification of the sublime)6.8. Dark tourism and emotional communities

7."This is a taboo business" : the murderabilia market from sacred to profane7.1. Can evil be bought?7.2. "This is a taboo business": the sacred side of murderabilia collecting7.3.On containment attempts: from feeling rules to the law7.3.1. That obstinate search7.3.2. Son of Sam7.3.3. Goodfellas7.3.4. Sinatra Junior7.3.5. How to hinder the intermediaries: the California model and Senator Cornyn7.4. A well rooted evil
8.Attacks or fireworks? The spectacularisation of the Anders Breivik massacre8.1. A performer8.2. Materials for a successful performance 8.2.1. Good and bad according to Breivik8.2.2. A group of lone wolves8.2.3. Do it Yourself8.2.4. Poses to consume8.3. A performative justice8.4. Conclusions 
9.Conclusions