IN:\u00a0<\/span><\/strong>Partit\u00fara Irodalomtudom\u00e1nyi foly\u00f3irat, Volume XVII. , Issue 1, 2022, 67-84. oldal,\u00a0ISSN 1336-7307<\/span><\/p>\n DOI:\u00a0<\/strong>10.17846\/PA.2022.17.1.67-84<\/p>\n Abstract:<\/strong><\/p>\n While retaining the rather rigid structural form and character typology built around the investigation of crime, contemporary juvenile crime fiction is diversified by new emphases, new structural solutions, settings and character elements, and their study is an exciting field not only from the point of view of literary history but also from the point of view of reception theory. In the following, I will use the examples of two contemporary youth crime novels (No\u00e9mi Sz\u00e9csi\u2019s Mandrag\u00f3ra utca 7 and \u00c1gnes M\u00e9sz\u00f6ly\u2019s A kupol\u00e1k titka) to outline the typical parallels and differences between the genre versions that address different age groups (young adolescents, teenagers and adults). In this context, I will also discuss how the emergence of the characteristics of crime noir can add to the toolbox of youth crime fiction in terms of the emotional involvement and development of readers.<\/p><\/blockquote>\n