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Dissertations / Theses on the topic 'Detective and mystery stories, Australian History and criticism'

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Published: 10 December 2022

Last updated: 29 January 2023

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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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2

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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3

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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4

Meyer, Deon. "'n Praktiese ondersoek na die struktuur van die speur- en spanningsroman met spesifieke verwysing na die werk van Michael Connelly, John le Carré, Ian Rankin, Lee Child en Frederick Forsyth." Thesis, Stellenbosch : University of Stellenbosch, 2005. http://hdl.handle.net/10019.1/1814.

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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2005.
The primary objective of this thesis is to explore and analyse the structure of the crime novel / thriller in a practical manner – and subsequently develop an equally pragmatic, broad and useful guide which would potentially be of value to both reader and author of the genres. This tight and reductive focus has one important consequence: It will more or less ignore traditional literary theory, but the one obviously excludes the other.

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5

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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6

Ma, Chun-laam, and 馬鎮嵐. "Characterization of detective figure as a site of negotiation of modernism and postmodernism in the 21st century." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B47055376.

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7

Lamontagne, Yves. "Une jambe à mon cou, roman ; suivi de Élaboration de caractéristiques visant la création d'un roman policier de série commercialisable." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq25638.pdf.

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8

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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9

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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10

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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11

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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12

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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13

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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14

Baraban, Elena V. "Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s." Thesis, 2003. http://hdl.handle.net/2429/15156.

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The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv.

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15

Van, der Linde G. P. L. (Gerhardus Philippus Leonardus). "Cognitive rationality and indeterminism in the contemporary detective novel, with special reference to the work of Umberto Eco, Carlo Emilio Gadda and Stanislaw Lem." Thesis, 1994. http://hdl.handle.net/10500/16256.

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The study examines cognitive rationality as to()l for problemsolving within the context of a movement from determinism and monolithic universal Reason towards indeterminism and plurality. It is contended that theories of literature do not provide an adequate conceptual framework, and therefore, extensive use is made of pluralist fallibilism (Popper, Helmut Spinner) and chaos theory. The philosophy of Friedrich Nietzsche is viewed as a decisive influence in the shift towards plurality and scepticism. In chapter 2, Conan Doyle's Sherlock Holmes stories, a novel by Agatha Christie and Gaston Leroux's Le mystere de Ia chambre jaune are discussed as examples of optimistic rationalism. Chapter 3 indicates that Eco's II nome della rosa emphasizes the conjectural nature of truth and objective knowledge, underpinned by a 'soft' rationalism which amounts to monopolistic pluralism. Chapter 4 analyses the defeat of cognitive rationality by the complex interaction of a multiplicity of independent causal series. The detectives' relationship with the feminine exemplifies the interpenetration of rationality and the instinctual, while the mystery of the feminine is a metaphor for impenetrable complexity. Chapter 5 shows that hypotheses concerning random complex systems remain inconclusive. However, as the trajectory of a complex system can be regulated, so reason can be viewed as the underlying regulative pattern (strange attractorl for an infinite proliferation of hypotheses. Thus, despite .shifting conceptions of rationality and order, all the detectives in the study accept objective truth as regulative principle and are involved in a search for objective knowledge
Afrikaans & Theory of Literature
D.Litt. et Phil. (Theory of literature)

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16

"A critical evaluation of D.N. Moloto's Tshipu e rile : ke lebelo as a detective novel." Thesis, 2015. http://hdl.handle.net/10210/14725.

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M.A. (African Languages)
The main aim of this study is to make a critical evaluation of the detective story, and to draw a line of demarcation between a detective and a crime story. This chapter is based on the theoretical arguments of different scholars. However, an extensive study needs to be done to come up with a clear and convincing difference between the two ...

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17

"The multiplicity of the detective thriller as literary genre." 2003. http://library.cuhk.edu.hk/record=b5896108.

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Kwok Sze-Ki.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 131-138).
Abstracts in English and Chinese.
Abstract --- p.i
摘要 --- p.iii
Acknowledgements --- p.v
Introduction The Genre of Detective Thriller --- p.1
Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33
Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68
Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99
Concluding Remarks --- p.127
Bibliography --- p.131

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18

Chigidi, Willie L. "The emergence and development of the Shona detective story as a fictional genre in Zimbabwean literature." Diss., 1997. http://hdl.handle.net/10500/16468.

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This study b·aces the development of the Shona clctective story as a genre different from rhe mainstream Shona novel. The Shona detective story emerges from the non-detective traditional folktale and develops into rhree types, namely, the rudimentary form. the pure 'whoduniC, and the detectivethriller. An attempt is made to show that when the Shona detective story first appeared it was quite elementary and showed signs of me influence of Shona traditional folklore. But later on authors developed the detective narrative into pure 'whodunits' and detective-mrillers which showed influence of Western ftlms and English detective stories. The study ends with the argument that although at its highest level of development the Shona detective story manifests characteristics that make it a unique genre different from other Shona novels its treatment of female characters is not very different from their treatment in the mainstream Shona novel.
African Languages
M.A. (African Languages)

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19

Erickson, Paul Joseph. "Welcome to Sodom: the cultural work of city-mysteries fiction in antebellum America." Thesis, 2005. http://hdl.handle.net/2152/1543.

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