Relevant bibliographies by topics / Detective and mystery fiction – History and criticism

Academic literature on the topic 'Detective and mystery fiction – History and criticism'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Detective and mystery fiction – History and criticism"

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Malmgren, Carl D. "Anatomy of Murder: Mystery, Detective, and Crime Fiction." Journal of Popular Culture 30, no. 4 (March 1997): 115–35. http://dx.doi.org/10.1111/j.0022-3840.1997.3004_115.x.

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Stoecklein, Mary. "Native Narratives, Mystery Writing, and the Osage Oil Murders: Examining Mean Spirit and The Osage Rose." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 137–54. http://dx.doi.org/10.17953/aicrj.42.3.stoecklein.

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Through analysis of two debut novels, Linda Hogan's Pulitzer-Prize-nominated murdermystery Mean Spirit 1990 and Tom Holm's private eye detective story The Osage Rose 2008, this article considers what Native-authored mystery fiction has to offer in terms of self-representation of Indigenous history and culture. Paying particular attention to detective fiction genre elements—such as the novels' openings, the detectives, the forms of detection, and the resolution—shows how Hogan and Holm employ the mystery genre to present Native narratives about the Osage oil murders, and, given their ability to reach wide audiences, how such narratives ultimately provide broader understandings of Indigenous history and culture.
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Novitz, Julian. "Disco Elysium as Gothic fiction." Baltic Screen Media Review 9, no. 1 (December 1, 2021): 32–42. http://dx.doi.org/10.2478/bsmr-2021-0004.

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Abstract Disco Elysium demonstrates many hallmarks of the Gothic through its storyline and representational elements, particularly its emphasis on the instability of its protagonist, the sense of decline and decay conveyed through its setting, and the interconnected secret histories that are revealed through exploration. Furthermore, many of the game’s stylistic and ludic features, such as its dense description and emotive language, and its overwhelming array of options, interactions, and responses, can be understood as engagements with the uncanny and disorienting excess of the Gothic tradition. These Gothic elements manifest most frequently through the game’s attempt to represent psychological complexity within its role playing system, its depictions of urban spaces, and its approach to questions of unresolved memory and history. The presence of these Gothic features in Disco Elysium work to contest the game’s categorisation as a ‘detective role playing game.’ While the genres are closely connected, detective fiction typically follows a trajectory in which the history of the central mystery becomes progressively clearer through the accumulation of information and detail, whereas the Gothic traditionally seeks to maintain and heighten a sense of disorientation. Exploring the tension between Disco Elysium’s Gothic elements and its status as a detective game allows for a richer appreciation of the political and social commentary that emerges from both its narrative and gameplay.
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Parkinson, Gavin. "The Delvaux Mystery: Painting, the Nouveau Roman, and Art History." Nottingham French Studies 51, no. 3 (December 2012): 298–313. http://dx.doi.org/10.3366/nfs.2012.0029.

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Meant to signal in its parodic title both the causal, deductive conventions of academic art history and those of the detective story, this essay looks at the work of the Belgian artist Paul Delvaux (1897–1994), and discusses the uses to which that œuvre has been put by several of the pioneers of the twentieth-century novel, such as Michel Butor, Alain Robbe-Grillet, Claude Simon, Julio Cortázar, and J.G. Ballard. It goes on to speculate as to why so many French novelists from the 1950s who interrogated specifically narrative form, together with those inspired by their example, responded to Delvaux's work in their writing. Asking whether any gain can be made in art history's knowledge and understanding of art by viewing it back through the fiction or poetry generated by it, the essay suggests that fiction and poetry might inflect academic art history at the level of style, asking what the genre implications of such writing might be for a discipline in which writing and style have had such well-defined boundaries and limitations.
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Jang, Kyungjae. "Constructing and Consuming Space in Detective Fiction Tourism: The Case of the Detective Conan Mystery Tour." Journal of Popular Culture 54, no. 6 (November 30, 2021): 1355–70. http://dx.doi.org/10.1111/jpcu.13089.

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Freier, Mary P. "A Brief History of Scholarly Study of Detective Fiction, with Particular Attention to the Detective & Mystery Fiction Area of the Popular Culture Association." Collection Management 29, no. 3-4 (October 12, 2004): 189–96. http://dx.doi.org/10.1300/j105v29n03_14.

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Gómez-de-Tejada, Jesús. "Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo." Studia Romanica Posnaniensia 47, no. 1 (March 15, 2020): 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.

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Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.
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Togola, Adama. "Du polar d’Afrique francophone et des stratégies pour contourner la marge instituée." International Journal of Francophone Studies 24, no. 3 (December 1, 2021): 207–19. http://dx.doi.org/10.1386/ijfs_00038_1.

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This study attempts to reassess the critical discourse on the Francophone African detective fiction in order to show how the dynamics of genres and discourse in the crime novel participates in a reflection on writing and the boundaries between so-called popular literature and the so-called ‘literate’. It is about analysing the workaround strategies implemented by writers to lift the crime novel from the sidelines in which it has long been placed. Born in the nineteenth century with modernity, the African detective fiction is today one of the axes of development of African literature. It competes, by its dynamism and its originality, with the canonical novel. The resumption of thematic recurrences (immigration, social and political criticism) shows that it contributes to a broad representation of social semiosis. It now claims a discursive space of which the dominant field is obliged to recognize the relevance.
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ROLLS, ALISTAIR. "Primates in Paris and Edgar Allan Poe’s Paradoxical Commitment to Foreign Languages." Australian Journal of French Studies 58, no. 1 (April 1, 2021): 76–87. http://dx.doi.org/10.3828/ajfs.2021.07.

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Drawing on recent innovations in detective criticism in France, this article broadens the quest to exonerate Poe’s famous orang-utan and argues that the Urtext of modern Anglo-American crime fiction is simultaneously a rejection of linguistic dominance (of English in this case) and an apologia for modern languages. This promotion of linguistic diversity goes hand in hand with the wilful non-self-coincidence of Poe’s detection narrative, which recalls, and pre-empts, the who’s-strangling-whom? paradox of deconstructionist criticism. Although “The Murders in the Rue Morgue” is prescient, founding modern crime fiction for future generations, it is entwined with a nineteenth-century tradition of sculpture that not only poses men fighting with animals but also inverts classical scenarios, thereby questioning the binary of savagery versus civilization and investing animals with the strength to kill humans while also positing them as the victims of human violence.
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Lázaro, Alberto. "The Popularity of Wilkie Collins’s Sensation Fiction in Spain: The Case of The Woman in White." Complutense Journal of English Studies 30 (December 16, 2022): 81–90. http://dx.doi.org/10.5209/cjes.81787.

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Wilkie Collins, one of the most popular Victorian novelists, has been widely acclaimed as the early master of the sensation novel and a pioneer of English detective fiction. Novels such as The Woman in White (1860) and The Moonstone (1868) became best sellers and captivated Victorian readers with their convoluted plots full of mystery, crime and sexuality, usually within the respectable middle-class home. His popularity crossed national and linguistic borders, and his novels, novellas and short stories were soon translated into different languages. In Spain, we find over a dozen of different editions of Collins’s stories already in the nineteenth century, which often appeared serialised in popular journals or magazines, like their original counterparts. One of these early Spanish translations was The Woman in White which, in different forms and with different titles, attracted the attention of many publishers and readers during the twentieth century, despite the obstacles posed by censorship and the hardships of the post-war period. This paper aims to discuss the Spanish publication history and reception of Collins’s sensation novel The Woman in White and analyse the scale of its popularity.
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Dissertations / Theses on the topic "Detective and mystery fiction – History and criticism"

1

Cleveland, William. ""Why is Everyone So Interested in Texts?": The Shifting Role of the Reader in the Genre of Hard-boiled Fiction." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/ClevelandW2007.pdf.

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袁洪庚 and Honggeng Yuan. "From conventional to experimental: the makingof Chinese metaphysical detective fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B43894422.

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Kindler, Jessica Claire. "Tokuya Higashigawa's After-Dinner Mysteries: Unusual Detectives in Contemporary Japanese Mystery Fiction." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1011.

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The detective fiction (tantei shōsetsu) genre is one that came into Japan from the West around the time of the Meiji Restoration (1868), and soon became wildly popular. Again in recent years, detective fiction has experienced a popularity boom in Japan, and there has been an outpouring of new detective fiction books as well as various television and movie adaptations. It is not a revelation that the Japanese detective fiction genre, while rife with imitation and homage to Western works, took a dramatic turn somewhere along the line, away from celebrated models like Poe, Doyle, and Christie, and developed into a unique subgenre of Japanese prose. However, despite its popularity and innovation, Japanese detective fiction has often been categorized as popular literature (taishū bungaku), which is historically disregarded as vulgar and common. My thesis first consists of a brief introductory history oftantei shōsetsugenre in Japan. This includes a discussion of Japanese writers' anxiety concerning imitation of Western forms and their perception of themselves as imposters and imitators. Following this, I examine the ways in whichtantei shōsetsuwriters--particularly Edogawa Ranpo (1894 - 1965), the grandfather of the genre in Japan--began to deviate from the Western model in the 1920's. At the same time, I investigate the bias againsttantei shōsetsuas a vulgar or even pornographic genre. Through a discussion of literary critic Karatani Kōjin's ideas on the construction of depth in literature, I will demonstrate how Edogawa created, through his deviance from the West, a new kind of construction in detective fiction to bring a different sort of depth to what was generally considered merely a popular and shallow genre. This discussion includes a look at the ideas of Tsubouchi Shōyō on writing modern novels, and Japanese conceptions of "pure" (junsui) and "popular" (taishū) literature. Through an examination of several of Edogawa's works and his use of psychology in creating interiority in his characters, I propose that the depth configuration, put forth by Karatani in his critique of canonical modern Japanese literature, is also present in popular fiction, like Edogawa'stantei shōsetsu. When viewed through the lens of Karatani's depth paradigm, we discover how detective fiction and the vulgarity therein may actually have more in common with "pure" fiction created by those writers who followed Shōyō's prescriptions. In the final section of the introduction, I propose a definition of Japanese detective fiction that links Edogawa's works from the 1920's to the contemporary Japanese detective novel After-Dinner Mysteries (Nazotoki wa dinaa no ato de, 2010), by Higashigawa Tokuya. Thus we see that many of the themes and conventions present in Edogawa remain prevalent in contemporary writing. Finally, I present my translation of the first two chapters of After-Dinner Mysteries.
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Leps, Marie-Christine. "The apprehension of criminal man, 1876-1913 : an intertextual analysis of knowledge production." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76904.

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Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.

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Griswold, Amy Herring. "Detecting Masculinity: The Positive Masculine Qualities of Fictional Detectives." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.

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Detective fiction highlights those qualities of masculinity that are most valuable to a contemporary culture. In mysteries a cultural context is more thoroughly revealed than in any other genre of literature. Through the crimes, an audience can understand not only the fears of a particular society but also the level of calumny that society assigns to a crime. As each generation has needed a particular set of qualities in its defense, so the detective has provided them. Through the detective's response to particular crimes, the reader can learn the delineation of forgivable and unforgivable acts. These detectives illustrate positive masculinity, proving that fiction has more uses than mere entertainment. In this paper, I trace four detectives, each from a different era. Sherlock Holmes lives to solve problems. His primary function is to solve a riddle. Lord Peter Wimsey takes on the moral question of why anyone should detect at all. His stories involve the difficulty of justifying putting oneself in the morally superior position of judge. The Mike Hammer stories treat the difficulty of dealing with criminals who use the law to protect themselves. They have perverted the protections of society, and Hammer must find a way to bring them to justice outside of the law. The Kate Martinelli stories focus more on the victims of crime than on the criminals. Martinelli discovers the motivations that draw a criminal toward a specific victim and explains what it is about certain victims that makes villains want to harm them. All of these detectives display the traditional traits of the Western male. They are hunters; they protect society as a whole. Yet each detective fulfills a certain cultural role that speaks to the specific problems of his or her era, proving that masculinity is a more fluid role than many have previously credited.
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Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.

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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.
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Hill, Lorna. "Bloody women : a critical-creative examination of how female protagonists have transformed contemporary Scottish and Nordic crime fiction." Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/27352.

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This study will explore the role of female authors and their female protagonists in contemporary Scottish and Nordic crime fiction. Authors including Val McDermid, Denise Mina, Lin Anderson and Liza Marklund are just a few of the women who have challenged the expectation of gender in the crime fiction genre. By setting their novels in contemporary society, they reflect a range of social and political issues through the lens of a female protagonist. By closely examining the female characters, all journalists, in Val McDermid’s Lindsay Gordon series; Denise Mina’s Paddy Meehan series; Anna Smith’s books about Rosie Gilmour; and Liza Marklund’s books about Annika Bengzton, I explore the issue of gender through these writers’ perspectives and also draw parallels between their societies. I document the influence of these writers on my own practice-based research, a novel, The Invisible Chains, set in post-Referendum Scotland. The thesis will examine and define the role of the female protagonist, offer a feminist reading of contemporary crime fiction, and investigate how the rise of human trafficking, the problem of domestic abuse in Scotland and society’s changing attitudes and values are reflected in contemporary crime novels, before discussing the narrative structures and techniques employed in the writing of The Invisible Chains. This novel allows us to consider the role of women in a contemporary and progressive society where women hold many senior positions in public life and examine whether they manage successfully to challenge traditional patriarchal hierarchies. The narrative is split between journalist Megan Ross, The Girl, a victim of human trafficking, and Trudy, who is being domestically abused, thus pulling together the themes of the critical genesis in the creative work. By focusing on the protagonist, the victims and raising awareness of human trafficking and domestic abuse, The Invisible Chains, an original creative work, reflects a contemporary society’s changing attitudes, problems and values.
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Chan, Lit-chung, and 陳烈忠. "Sherlock Holmes, The secret agent, and ideas of justice." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B31643462.

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Kareno, Emma. "Sherlock's pharmacy : drugs in detective stories, 1860s to 1890s." Thesis, University of Stirling, 1996. http://hdl.handle.net/1893/21824.

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This work examines the significance of drugs in Victorian stories of detection through a selection of detective fiction published between the years 1860 and 1890. The main purpose of the work is to show how these texts make a specific link between drugs and detection, and use this link to engage themselves in questions concerning reading and the consumption of fiction. I wish to argue, first, that drugs play a significant role in Victorian detective stories as a device to produce a sense of mystery and excitement in these texts. Secondly, I shall hope to show how this is achieved especially by presenting detection as having the drug-like qualities of intoxication and addiction. And thirdly, I shall examine how this particular characterisation of detection evokes a conception of detective fiction as a drug and invites the reader to consider her experience of reading in terms of an experience of drugs. In short, drugs, in these narratives, do not appear as a mere theme or a plot element, but can be seen to affect the very narrative form and structure of the fiction.
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Books on the topic "Detective and mystery fiction – History and criticism"

1

Crime and detective fiction. Ipswich, Massachusetts: Salem Press, Grey House Publishing, 2013.

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Allen, L. David. CliffsNotes The Detective in Fiction. New York: John Wiley & Sons, Ltd., 2002.

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Martin, Swales, Vilain Robert, Chernaik Warren L. 1931-, and University of London. Institute of English Studies., eds. The Art of detective fiction. Basingstoke: Macmillan Press in association with Institute of English Studies, School of Advanced Study, University of London, 2000.

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L, Chernaik Warren, Swales Martin, and Vilain Robert, eds. The Art of detective fiction. New York: St. Martin's Press in association with Institute of English Studies, School of Advanced Study, University of London, 2000.

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D, James P. Talking About Detective Fiction. New York: Knopf Doubleday Publishing Group, 2009.

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D, James P. Talking about detective fiction. New York: Alfred A. Knopf, 2009.

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James, P. D. Talking about detective fiction. New York: Alfred A. Knopf, 2009.

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D, James P. Talking about detective fiction. New York: Vintage Books, 2011.

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1965-, Kelleghan Fiona, ed. 100 masters of mystery and detective fiction. Pasadena, Calif: Salem Press, 2001.

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McCaw, Neil. Adapting detective fiction: Crime, Englishness and the TV detectives. London: Continuum, 2011.

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