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Journal articles on the topic 'Detective novels'
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Jin, Yu Jae. "Detective Novels by Japanese Residents of Joseon: Detective Novels without Detectives." Korean Journal of Japanology 104 (August 30, 2015): 171–81. http://dx.doi.org/10.15532/kaja.2015.08.104.171.
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Sánchez Zapatero, Javier. "Eugenio Fuentes y la (re)creación del género policiaco." Epos : Revista de filología, no. 28 (January 1, 2012): 215. http://dx.doi.org/10.5944/epos.28.2012.12272.
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El artículo analiza las obras que integran la serie de novelas negras protagonizadas por el detective Ricardo Cupido, escritas por Eugenio Fuentes durante las décadas de 1990 y 2000. Además de centrarse en diversos aspectos narratológicos, el artículo reflexiona sobre el modo en que las novelas respetan y a la vez subvierten las características básicas del género.The paper analyzes the crime novels by Ricardo Cupido, featuring the private detective Ricado Cupido (1990s-2000s). The paper studies some narratological aspects and reflects how these novels respect and subvert the basic features of crime stories.
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Ardila J., Clemencia, and Grupo Especialización en Hermenéutica Literaria. "Los impostores de Santiago Gamboa: el juego de la escritura." Estudios de Literatura Colombiana, no. 13 (October 28, 2013): 121–38. http://dx.doi.org/10.17533/udea.elc.17271.
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Este artículo desarrolla un análisis hermenéutico y semiótico de la novela Los impostores del escritor Santiago Gamboa, y parte del presupuesto de entenderla como novela policíaca. Se analiza en especial el papel del héroe, la acción del espía y la impostura.Descriptores: Novela policíaca; Los impostores; Gamboa, Santiago; Pöppel, Hubert; La impostura.Abstract: This article develops a hermeneutic and semiotic analysis of Los impostores, a novel by Santiago Gamboa and bases its analysis in the understanding of the novel as detective novels. The special role of the hero, the action of the spy and the imposture are analyzed.Key words: Detective novels; Los impostores; Gamboa, Santiago; Pöppel, Hubert; Imposture.
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Suárez Lafuente, Socorro. "DESARROLLO DE LAS DETECTIVES EN LA LITERATURA CONTEMPORÁNEA." RAUDEM. Revista de Estudios de las Mujeres 1 (May 22, 2017): 167. http://dx.doi.org/10.25115/raudem.v1i0.572.
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ResumenLa novela de detectives es el marco idóneo para las características arquetípicas de las mujeres. Tradicionalmente las mujeres han sido culpadas por su curiosidad, atentas siempre a la vida de los demás; se les desea silenciosas y capaces de aguantar sin perder la calma los rigores de confinamientos prolongados. Paciencia, quietud y curiosidad construyen la perfecta detective, capaz de observar en las circunstancias más adversas a los sospechosos. En Inglaterra, donde surgieron las primeras detectives literarias, éstas han nacido prácticamente con el propio género policiaco. Se analiza su devenir con referencia a las autoras más significativas a lo largo de la historia.Palabras clave: mujeres, detectives, novela inglesa, novela nórdica, novela española.English Title: Development of Women Detectives in Contemporary LiteratureAbstract: Taking into account the archetypal characteristics attributed to women, the role of detective appears to be eminently suited to them: women were traditionally considered as gossips; moreover, for centuries, men have wanted women to be quiet, calm and somewhat confined. That combination of patience, calm and curiosity makes for the perfect detective, capable of surveillance of suspects even in difficult circumstances. Women detectives surfaced in English Literature from the outset of the genre. This paper outlines their evolution and also refers to the most famous women crime writers and their fictional detectives.Key words: women, detectives, English novels, Nordic novels, Spanish novels.La novela de detectives es el marco idóneo para las características arquetípicas de las mujeres. Tradicionalmente las mujeres han sido culpadas por su curiosidad, atentas siempre a la vida de los demás; se les desea silenciosas y capaces de aguantar sin perder la calma los rigores de confinamientos prolongados. Paciencia, quietud y curiosidad construyen la perfecta detective, capaz de observar en las circunstancias más adversas a los sospechosos. En Inglaterra, donde surgieron las primeras detectives literarias, éstas han nacido prácticamente con el propio género policiaco. Se analiza su devenir con referencia a las autoras más significativas a lo largo de la historia.
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YOSHIDA, Morio. "Japanese Detective Novels and Southeast Asia." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 15–22. http://dx.doi.org/10.22628/bcjjl.2021.13.1.15.
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Southeast Asia as depicted in Japanese detective novels was not only a source of exotic mysteries, but also a space where complex histories and cultures were intertwined. One example is “Kaikyo Tenchikai”, written by Oguri Mushitaro, who stayed in Murray from 1941 to 1942. One feature of this work is that the people who solve the novel’s mystery are Iinuma, an apprentice doctor, and Kogure, a detective novelist and a member of the press. Their relationship is reminiscent of the one between Holmes and Watson, but the detective and the narrator are not clearly distinct, and in fact their voices gradually overlap. They are more like characters in spy novels than in detective novels. Another example of the genre is Yuki Shoji’s “Gomez no na ha Gomez”, in which a former Japanese soldier who assimilated into Vietnam appears, having not returned to Japan after the end of the war. Here, the theme of being a double agent overlaps with that of national betrayal. In one more example, a Japanese holdout from the end of the war living in Asia also appears in Matsumoto Seicho’s “Atsui Kinu”. Ultimately, the divergence between the ideal of the liberation of Asia, which was the cause of the Pacific War, and the reality brought about by the Japanese military invasion, casts a complex shadow over mysteries set in Southeast Asia.
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YU, Jaejin. "The Popularity of Japanese Mystery Novels in South Korea ：The Traslation Status from1945 to the 2010s." Border Crossings: The Journal of Japanese-Language Literature Studies 13, no. 1 (December 30, 2021): 39–51. http://dx.doi.org/10.22628/bcjjl.2021.13.1.39.
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This paper gives an overview of the reception of translated Japanese detective novels in South Korea from 1945 to 2021. The resulting analysis of the impact and characteristics of these translations, in the context of changes in Korean publishing and in popular culture, explains the popularity of Japanese detective novels in South Korea, and the significance of the still-current Japanese detective novel boom. Previously I have analyzed the reception of translated Japanese detective novels in South Korea from 1945 to 2009, so in this article, I will continue this analysis for the period up to 2021.The translation and publication of Japanese detective novels in South Korea began in 1961, and the number of such texts increased little by little every year until the end of the 20th century. Then, in the 2000s, the number of translations increased sharply, and since the beginning of the 2010s, detective novels have been translated and published at nearly three times the rate as was previously the case. The popularity of Japanese detective novels in South Korea has been influenced by the prevailing circumstances in the publishing world and by political and social conditions in South Korea. In addition, detective novels with a social dimension were popular from the 1960s to the 1980s, but since 1990 when they began to make an impact on mass consumer culture, more diverse detective novels and those with lighter themes have come to the fore. Finally, the unprecedented Japanese detective novel boom Korea is experiencing is due to the appearance of star writers such as Keigo Higashino and Miyuki Miyabe. This boom seems to have cultivated a more refined sense in Korean readers of the aesthetics of detective novels, and it has also been naturally influenced by the mystery narrative form in Korean popular culture.
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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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Maiboroda, Nataliia. "Lexical-semantic peculiarities of Andrii Kokotiukha’s detective novels." Philological Review, no. 2 (December 5, 2021): 56–63. http://dx.doi.org/10.31499/2415-8828.2.2021.246087.
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The article touches upon various lexical-semantic peculiarities of Andrii Kokotiukha’s detective novels, specifically the nomination of people – characters of the novel. Such research are presented mostly from the point of view of literary studies. Scientists studied peculiar features of composition, genre, and plot of detective novels. The question of language and style of detective novels would uncommonly become a subject of research as they are regarded to as so-called mass literature, that is one that is focused on literature preferences of a wide circle of readers, in other words – it is a popular, entertaining, trivial literature.
Linguistic research of detective works were mostly done on the material of literary texts of English and French languages, Ukrainian detectives were not a subject of such analysis. Questions of influence of genre peculiarities on the choice of linguistic units was also left beyond attention of researchers, which predetermines the relevance of the research. The source basis of the research consists of detective novels by Andrii Kokotiukha – one of the most notable Ukrainian detective authors. That is a series of retronovels, where the action takes place at the beginning of XX century in Lviv, and three novels about the modern period as well.
The aim of the work is to explore lexical units that denote a person in Andrii Kokotiukha’s detective novels in terms of their expressive functions depending on the aim and genre features. Vocabulary of denomination of people is widespread in Kokotiukha’s works. Specifics of detective novels involves agile, dynamic nature of vocabulary and their text.
Semantics of people’s names is diverse: its affiliation to the biological genus of humans; gender; age; family status; profession and occupation; status from the point of view of law; class and social structure of Ukrainian society; social status; financial situation; nationality or confession; affiliation to political parties; names of dead people, external signs; temporary sign. The author frequently uses descriptive compounds, metaphors, jargon, and colloquial language. A distinctive method of nominating a person which, according to genre requirements, creates mystery and enigma of presentation, is descriptive compounds with pronouns. Quantitative ratio of lexical groups mentioned depends on the peculiarities of the plot of specific novel.
Nomination of people in A. Kokotiukha’s detective novels are components of dynamic and static descriptions, help convey the cultural-historical background, create the appropriate emotional tint. That is one of the elements which ensures that the text corresponds to the canons of detective genre.
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Davis, Colin. "Psychoanalysis, Detection, and Fiction: Julia Kristeva's Detective Novels." Contemporary French and Francophone Studies 6, no. 2 (2002): 294–306. http://dx.doi.org/10.1080/718591983.
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Mossman, Mark. "REPRESENTATIONS OF THE ABNORMAL BODY INTHE MOONSTONE." Victorian Literature and Culture 37, no. 2 (September 2009): 483–500. http://dx.doi.org/10.1017/s1060150309090305.
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Wilkie Collins'sThe Moonstoneis anovel constructed through the repeated representation of the abnormal body. ReadingThe Moonstonein critical terms has traditionally required a primary engagement with form. The work has been defined as a foundational narrative in the genre of crime and detection and at the same time read as a narrative located within the context of the immensely popular group of sensation novels that dominate the Victorian literary marketplace through the middle and the second half of the nineteenth century. T. S. Eliot is one of the first readers to define one end of this paradigm, reading the novel as an original text in the genre of detective fiction, and famously saying thatThe Moonstoneis “the first, the longest and the best of modern English detective novels” (xii). On the other end of the paradigm, the novel's formal workings are again often cited as a larger example, and even triumph, of Victorian sensation fiction – melodramatic narratives built, according to Winifred Hughes and the more recent Derridean readings by Patrick Brantlinger and others, around a discursive cross-fertilization of romanticism, gothicism, and realism.
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Bobkova, Natalia G. "Functions of plot associations from classical literature in B. Akunin’s game projects about Fandorin and Pelagia." Philological Sciences. Scientific Essays of Higher Education, no. 6 (November 2022): 77–81. http://dx.doi.org/10.20339/phs.6-22.077.
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The article is devoted to novels by B. Akunin who uses the quotations, reminiscences and subjects of classical authos for the realization of his detective projects. The scientific novelty of the article lies in the fact that an attempt is made to investigate the role of quotations and reminiscences, plot, figurative and stylistic associations borrowed from Russian and foreign classical literature in B. Akunin’s detective novels about Fandorin and Pelagia. In the intertextual space of the writer’s novels, themes and motives from the novels of F.M. Dostoevsky, N.V. Gogol, M.A. Bulgakov, M.Yu. Lermontov and other writers. The writer skillfully combines foreign classics with detective intrigue. The image of detective Erast Fandorin is a fusion of features of Sherlock Holmes, William of Baskerville, Prince Florizel: the image of the nun Pelagia — Miss Marple and Father Brown. The motives, style, language of the classics of Russian literature determine the stylistic originality of the modern writer. The stylization of the writer’s novels not only makes it possible to strike up a literary game with a reader — a connoisseur of classical literature, at the same time, counting on a detective lover, but also makes it possible to overcome the difference between two cultural fields: elite literature and mass literature.
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Gyimesi, Brigitta. "Hermeneutical Uncertainty in Postmodern Detective Novels." Pro&Contra 3, no. 2 (2021): 27–46. http://dx.doi.org/10.33033/pc.2019.2.27.
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Velie, Alan R. "The Detective Novels of Qiu Xiaolong." World Literature Today 83, no. 3 (2009): 55–58. http://dx.doi.org/10.1353/wlt.2009.0048.
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Mohd Ali, Tengku Intan Marlina, and Salinah Ja’afar. "Adolescent Knowledge Indexes in Detektif Indigo." Malay Literature 26, no. 1 (June 8, 2013): 80–99. http://dx.doi.org/10.37052/ml.26(1)no5.
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Teenagers or adolescents today are more exposed to a variety of reading materials, whether produced by local or international publishers. Most of the novels revolve around the story of young love, friendship, family, school and natural life. Novels with a detective or investigation theme are also being produced to court young readers. The latter type of novels not only have their charm, but are also said to be able to hone young minds to think in-depth about current and global issues. Detektif Indigo ( Indigo Detectives ) is a novel in a series of detective novels written by Faisal Tehrani. It is about a group of youths calling themselves Detektif Indigo. The analysis will be using Peirce’s Theory of Semiotics (1965) focusing on knowledge indexes regarding Islam, international relations, social relations and science in the novel. There are many aspects of knowledge that can be extracted from this work in order to shape young minds. Keywords: Detektif Indigo, hero, heroism, heroic deeds, heroic age, ethnocentrism
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Mlačnik, Primož. "From Minor Literature to Neoliberal Noir: The Detective Novels of Sergej Verč." Caietele Echinox 43 (December 1, 2022): 77–92. http://dx.doi.org/10.24193/cechinox.2022.43.04.
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"In this article, we analyze the politics of representation in the detective tetralogy (1991- 2009) of the late Slovenian and Triestinian writer Sergej Verč. Addressing several aspects of Verč’s primary literary semiotic device of schizophrenia, we trace a simultaneous literary and chronological shift from minor literature to neoliberal noir. We expose the fundamental representational ambiguity by analyzing the detective triad (murder-victim-criminal), the fetishization of detective clues, the erotization of detection, and the underlying binary oppositions. Verč’s detective novels critique the Slovenian capitalist transition but also reproduce culturally conservative representations of gender, sexuality, and family."
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Porinets, Yurii Yur'evich. "Literary allusions in detective novels by Agatha Christie." Филология: научные исследования, no. 8 (August 2022): 73–86. http://dx.doi.org/10.7256/2454-0749.2022.8.38665.
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The author analyzes literary allusions in detective novels by Agatha Christie. For the first time, allusions to the works of W. Shakespeare, C. Dickens, P. G. Wodehouse, G. K. Chesterton are considered in detail. Many allusions are established for the first time. As a material for writing this article, a large number of novels were used, among which there are also rarely considered texts of the English writer. The meaning of allusions to "Twelfth Night" in the novel "The Sad Cypress" is revealed in detail, to the works of Wodehouse – in the novel "Why not Evans?" In the article, in the context of the studied problem, the features of escapism of the detective genre are considered. Based on the consideration of examples from a number of novels by Agatha Christie, conclusions are drawn about the significance of literary allusions in her novels in general and in specific works in particular. Allusions expand the semantic field of novels, allow Agatha Christie to go beyond the detective story, limited by the principles of formulaic literature, to consider psychological problems, to portray ambiguous characters in the spirit of classical English literature. At the same time, with the help of a significant number of allusions emphasized by the author, the literary nature of what is happening in detective novels is brought to the fore, which largely corresponds to the escapist nature of this genre.
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Moiseev, P. A. "Boltanski, L. (2019). Mysteries and conspiracies. Translated by A. Zakharevich. St. Petersburg: Izdatelstvo Evropeyskogo universiteta. (In Russ.)." Voprosy literatury, no. 2 (June 17, 2021): 264–69. http://dx.doi.org/10.31425/0042-8795-2021-2-264-269.
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The review deals with Luc Boltanski's Mysteries and Conspiracies [Enigmes et complots]. The following is noted as defects of the reviewed book: detective fiction is associated with anxieties that question the framework of modern reality. Such attribution, it is argued, results from inaccurate comparison of detective fiction to a spy novel. The reviewer identifies contradictions in the definition of detective fiction: on the one hand, it is characterised by the proverbial anxiety. On the other, the writer suggests that unravelling a mystery normalises the ‘integrity of predictable expectations.' In addition, Boltanski confuses detective fiction with police procedural novels as well as the concepts of genre and theme with regard to spy novels (as a result, he dwells on ‘the genre of the spy novel,' even though spy novels are written in a number of genres). The review particularly criticises Boltanski's assessment of A. Conan Doyle's prose.
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Bubnova, A. S. "French Philological Detective as a New Subgenre of Criminal Literature (by the Example of F. Vargas Novels)." Nauchnyi dialog, no. 3 (March 30, 2020): 207–20. http://dx.doi.org/10.24224/2227-1295-2020-3-207-220.
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The novelty of this study is in the fact that for the first time the characteristic features of the new detective subgenre, the philological detective, are described. The material for the study was the cycle of novels by the French author F. Vargas. The main reasons for the emergence of a philological detective story as a subgenre are revealed. They include a paradoxical combination of canonicity and variability, the ability to adapt to the reader’s expectations, the desire for originality and time features. It is proved that, unlike other detective subgenres, genre-forming components in the philological detective affect and change not the content, but the form, namely, the language material. The French philological detective by F. Vargas is compared with his chronological predecessor, the ironic detective by F. Dar. The idea is expressed that in ironic detectives the linguistic component does not affect the development of the plot and is secondary to it, while in the philological detective story the linguistic component is embedded in the plot and comes to the fore. A brief explanation of the characteristic features of the new subgenre is given: bilingualism, word-creation, author’s neologisms, barbarism, a rich vocabulary of heroes. The opinion is expressed that the above traits are enough to distinguish philological detectives into a separate category.
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Leservot, Typhaine. "Murder or Accident?: Condé's Postcolonial Detective Novels." Women in French Studies 16, no. 1 (2008): 85–99. http://dx.doi.org/10.1353/wfs.2008.0031.
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Porinets, Yurii Yur'evich. "The Innocence in the Novels of Agatha Christie." Филология: научные исследования, no. 8 (August 2022): 33–46. http://dx.doi.org/10.7256/2454-0749.2022.8.38666.
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The author examines the motive of innocence in the detective novels of Agatha Christie. This motive is being analyzed in detail for the first time. The conceptual basis of the research was the works of W. H. Auden, G. K. Chesterton, D. Cavelty, D. Sayers devoted to the genre of detective literature. Using the example of many novels, the article traces the relationship between the motives of guilt, innocence, paradise lost and others. The motive of love is considered as a motive, in many ways the opposite of the motive of guilt. Special attention is paid in the article to the novel "The Trial of Innocence", on the example of which the motive of innocence and its significance in the motivic structure are revealed. Based on numerous examples, the article shows that the search for truth in Agatha Christie's detectives is essentially equivalent to the defense of innocence. The motive of innocence in Agatha Christie's novels is of great importance and is closely related to the motives of guilt, retribution, justice, good and evil, paradise, trust, and personality formation. The article shows that it is the protection of innocent characters (both victims of crime and those unjustly accused) that is the primary task for those who conduct the investigation. This is due to the idea inherent in the detective genre of restoring the original harmony destroyed as a result of the crime.
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Gutiérrez, José Ismael. "Ross MacDonald y la "Hollywood novel"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (February 2, 2018): 435–54. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018291702.
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La novela negra ha revelado una versatilidad que le ha permitido establecer una relación de ósmosis con otros géneros. Uno de ellos es la conocida como «novela de Hollywood». En la narrativa de Ross MacDonald, uno de los maestros de la novela negra norteamericana, se producen abundantes cruces entre las historias de detectives herederas de la ficción hard-boiled y la novela que utiliza el mundo de Hollywood como trasfondo o tema principal de las tramas. El presente artículo trata de mostrar cómo ese diálogo intergenérico se traduce en la incorporación al relato de imágenes de naturaleza cinematográfica o que enfatizan el aspecto fílmico de la realidad que representan. Asimismo, las novelas y cuentos de MacDonald perfilan un universo, unos ambientes y unos personajes vinculados o cercanos a la industria del cine americano dominados por la pérdida de valores éticos, la delincuencia y el crimen. The noir novel has generated a versatility that has allowed it to establish a relationship of osmosis with other genres, with one of these being the so-called «Hollywood novel». In narrative of Ross MacDonald, one of the masters of the American noir novel, we can find abundant overlaps between the detective stories deriving from the hard-boiled fiction tradition and those novels that use the world of Hollywood as their fictional background or as main element in their plots. The present article attempts to show how this intergeneric dialogue is achieved by the incorporation of cinematographic images in the story or by others that emphasize the filmic aspect of the reality they represent. Likewise, MacDonald's novels and short stories define a universe, settings and characters linked to or in reflection of the American film industry and dominated by the loss of ethical values, delinquency and crime.
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Tan, Jerrine. "The International Settlement: The Fantasy of International Writing in Kazuo Ishiguro’s When We Were Orphans." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 47–64. http://dx.doi.org/10.2478/abcsj-2018-0016.
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Abstract I identify two general approaches to the reception of Ishiguro’s novels: World Literature critics writing on cosmopolitanism exalt what I am calling Ishiguro’s “post-Japan novels” for their consideration of universal ethical dilemmas that transcend their historical moment and place; conversely, most criticism on his “Japan novels” performs problematically culture-specific exoticizing and Orientalist readings. Widely read as a detective novel about a British detective, Christopher Banks, solving the mystery of his parents’ disappearance, When We Were Orphans is in many ways Ishiguro’s most underwhelming novel. But, set in Shanghai, it is an anomaly among Ishiguro’s “post-Japan novels.” Its lackluster reception may be explained by simply acknowledging from the start that When We Were Orphans is just not a very good detective novel at all. The refusal or discomfort around doing so, this essay argues, is because the excuse of bad genre provides (like Japaneseness does for the Japan novels) precisely the convenient veil for why the novel does not work, or is not well liked. In other words, by historicizing the novel and reading it (with)in its political and historical moment, I argue that When We Were Orphans forces an exposure of the double standard and aestheticizing reading practices that critics often bring to their readings of Ishiguro’s works.
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Sukovata, Viktoriya. "Detectives of Agathe Christie as a philosophy of everydayness: a postmodernist analysis." Bulletin of Mariupol State University. Series: Philosophy, culture studies, sociology 10, no. 19 (2020): 13–21. http://dx.doi.org/10.34079/2226-2830-2020-10-19-13-21.
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The article is devoted to the study of the detective genre as a model of philosophical cognition of the world and a system of cultural values. The goal of the article is to study how the attitude to the detective genre evolved in the academic discussions of the 20th century: transformation of status of the detective from an “entertainment genre” to the object of the philosophical reflection was the result of evolution of the philosophical paradigms from semiotics and postpositivism in the Modern epoch to postmodernism and theories of everyday thinking in the Postmodern epoch. The actuality of the article is due to insufficient study of the epistemology of the detective in the contemporary Cultural studies. The research methods of the article are based on the "archeology of knowledge" by M. Foucault and the cultural-semiotic approaches of R. Barthes and U. Eco. Author argues that although both detectives of A. Conan Doyle and Agatha Christie belong to the intellectual type of detective, they are based on different epistemological images of the world. Author of the article investigates the epistemological paradigms which the base in the detective stories of A. Conan Doyle and in the novels of Agatha Christie. The author analyzes the methodological approaches to the detective genre in the works of the leading theorists of the 20th century, including V. Shklovsky, M. Bakhtin, Z. Krakauer, U. Eco, and others. The author proposes to consider the modern detectives not only as the entertaining genre, but as a way to know various different forms of culture and traditions. The author notices that Finnish philosopher J. Hintikka has created a tradition of using the stories on Sherlock Holmes as an explanatory model of the principles of operation of artificial intelligence systems which goes back to Aristotle's logic. As a rule, the detectives in Agate Christie’s novels represent not formal logic (which prevailed in the stories about Sherlock Holmes), but searches of criminal through intuition, own life experience, knowledge of people and their typical behavior (habitués). Recognition of a criminal or a victim in the novels of Christie occurs through knowing the lifestyle of a person which becomes a source of the formation of his / her “idea”, his motives, desires and disappointments, which lead to certain decisions and actions. There concludes that A. Christie's detectives were based on the ideas of the philosophy of “everyday social thinking” (by A. Schütz) as the epistemological and culturosophical model. The author argues that the detectives of A. Conan Doyle and A. Christie are determined by different philosophical paradigms which represent the different epochs.
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Culbertson, Philip. "Psychotherapy as fiction." Ata: Journal of Psychotherapy Aotearoa New Zealand 11, no. 1 (September 30, 2005): 167–76. http://dx.doi.org/10.9791/ajpanz.2005.12.
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This past year, two major psychotherapists each published a novel. Struck by this coincidence, I decided to explore the historical relationship between novels and psychotherapy, focusing on psychotherapy by novels, psychotherapy in novels, and psychotherapists as novelists. Particular attention is given to Slavoj Žižek's theories of the detective story as an analogue for psychoanalysis.
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홍윤표. "Detective Novels and a Colonial Identity focused on Kim Nae-seong's Japanese novels." 아시아문화연구 23, no. ll (September 2011): 197–220. http://dx.doi.org/10.34252/acsri.2011.23..009.
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Gruss, Susanne. "Wilde Crimes: The Art of Murder and Decadent (Homo)Sexuality in Gyles Brandreth's Oscar Wilde Series." Victoriographies 5, no. 2 (July 2015): 165–82. http://dx.doi.org/10.3366/vic.2015.0191.
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Gyles Brandreth's Oscar Wilde novels (2007–12) appropriate Wilde for a neo-Victorian crime series in which the sharp-witted aestheticist serves as a detective à la Sherlock Holmes. This article explores Brandreth's art of adapting Wilde (both the man and the works) and English decadent culture on several levels. The novels can, of course, be read as traditional crime mysteries: while readers follow Wilde as detective, they are simultaneously prompted to decipher the ‘truth’ of biographical and cultural/historical detail. At the same time, the mysteries revolve around Wilde's scandalous (homo)sexuality and thus his masculinity. The novels remain curiously cautious when it comes to the depiction of Wilde as homosexual: all novels showcase Wilde's marriage, Constance's virtues, and Oscar's love for his children, and the real ‘Somdomites’ are the murderers he pursues. By portraying these criminals and their crimes, the novels evade the less comfortable, transgressive aspects of Wilde's sexuality and help to reduce him to a thoroughly amusing decadent suitable for a general reading public. Brandreth's novels can therefore be read as a decidedly conservative account of Wilde's masculinity for the market of neo-Victorian fiction.
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Benigno Trigo. "NOIR ANALYSIS: HOW KRISTEVA'S DETECTIVE NOVELS RENEW PSYCHOANALYSIS." Cultural Critique 80 (2012): 27. http://dx.doi.org/10.5749/culturalcritique.80.2012.0027.
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Odhiambo, Tom. "The Romantic Detective in Two Kenyan Popular Novels." Social Dynamics 30, no. 2 (June 2004): 190–206. http://dx.doi.org/10.1080/02533950408628692.
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Trigo, Benigno. "Noir Analysis: How Kristeva’s Detective Novels Renew Psychoanalysis." Cultural Critique 80, no. 1 (2012): 27–55. http://dx.doi.org/10.1353/cul.2012.0003.
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Berberich, Christine. "Detecting the Past: Detective Novels, the Nazi Past, and Holocaust Impiety." Genealogy 3, no. 4 (December 7, 2019): 70. http://dx.doi.org/10.3390/genealogy3040070.
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Crime writing is not often associated with Holocaust representations, yet an emergent trend, especially in German literature, combines a general, popular interest in crime and detective fiction with historical writing about the Holocaust, or critically engages with the events of the Shoah. Particularly worthy of critical investigation are Bernhard Schlink’s series of detective novels focusing on private investigator Gerhard Selb, a man with a Nazi background now investigating other people’s Nazi pasts, and Ferdinand von Schirach’s The Collini Case (2011) which engages with the often inadequate response of the post-war justice system in Germany to Nazi crimes. In these novels, the detective turns historian in order to solve historic cases. Importantly, readers also follow in the detectives’ footsteps, piecing together a slowly emerging historical jigsaw in ways that compel them to question historical knowledge, history writing, processes of institutionalised commemoration and memory formation, all of which are key issues in Holocaust Studies. The aims of this paper are two-fold. Firstly, I will argue that the significance of this kind of fiction has been insufficiently recognised by critics, perhaps in part because of its connotations as popular fiction. Secondly, I will contend that these texts can be fruitfully analysed by situating them in relation to recent debates about pious and impious Holocaust writing as discussed by Gillian Rose and Matthew Boswell. As a result, these texts act as exemplars of Rose’s contention that impious Holocaust literature succeeds by using new techniques in order to shatter the emotional detachment that has resulted from the use of clichés and familiar tropes in traditional pious accounts; and by placing detectives and readers in a position of moral ambivalence that complicates their understanding of the past on the one hand, and their own moral position on the other.
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Saleh, Donia Sami, and Rihab Abduljaleel Saeed Alattar. "A Pragma-Stylistic Study of Misdirection in Selected Detective Novels." Journal of the College of languages, no. 47 (January 2, 2023): 63–103. http://dx.doi.org/10.36586/jcl.2.2023.0.47.0063.
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The analysis of detective novels has taken different aspects. The linguistic analysis of them, for example, has tackled the linguistic systems of morphology, phonology, syntax, semantics, and pragmatics. In line with the linguistic analysis, this study explores the various pragmatic and stylistic devices realized through detective novels for the purpose of misdirecting and deceiving the reader. The problem is that when readers try to reach to the truth, they face difficulties. They might not reach to the right solution or infer wrong conclusions because writers use some techniques to hide the truth and mislead them. This study aims at examining these techniques and devices; namely, Grice's Maxims and ambiguity as pragmatic devices on the one hand, and foregrounding, backgrounding, and focalization as stylistic devices on the other hand. It also aims to show the effect of these devices in a number of selected detective novels written by Agatha Christie and Arthur Conan Doyle. It is hypothesized that different stylistic strategies are used in detective novels for the purpose of misdirection and that foregrounding is the most frequently used one among these devices. It is also hypothesized that the rate of using pragmatic deception strategies is higher in Christie’s novels than in Doyle's ones, especially the violations of Grice's maxims, and that the two maxims of Quantity and Manner are more frequently violated than the other two maxims of Quality and Relevance. The findings of the study reveal that Christies’ style of writing is more mysterious than that of Doyle. The study also reveals that focalization, the violation of the two maxims of Quantity and Quality, and the utilization of ambiguous expressions which are also considered instances of violating the maxim of Manner are the most recurrent stylistic and pragmatic deception strategies respectively.
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Tyers, Rhys William. "The Labyrinth and the Non-Solution: Murakami’s A Wild Sheep Chase and the Metaphysical Detective." Manusya: Journal of Humanities 22, no. 1 (July 15, 2019): 76–89. http://dx.doi.org/10.1163/26659077-02201004.
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Many of Murakami’s novels demonstrate his appropriation of the terminology, imagery and metaphor that are found in hardboiled detective fiction. The question of Haruki Murakami’s use of the tropes from hardboiled detective stories has been discussed by scholars such as Hantke (2007), Stretcher (2002) and Suter (2008), who argue that the writer uses these features as a way to organize his narratives and to pay homage to one of his literary heroes, Raymond Chandler. However, these arguments have not adequately addressed the fact that many of Murakami’s novels fit into the definition of the metaphysical detective story, which is “a text that parodies or subverts traditional detective-story conventions” (Merivale & Sweeney 1999:2). Using this definition as a guiding principle, this paper addresses the issue of the metaphysical detective features apparent in Murakami’s third novel, A Wild Sheep Chase, and, more specifically, looks at his use of the non-solution and labyrinth as narrative devices. The main argument, then, is that Murakami’s A Wild Sheep Chase fits in with the metaphysical detective novel and uses the familiar tropes of the labyrinth and the non-solution to highlight our impossible search for meaning.
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McChesney, Anita. "Detective Fiction in a Post-Truth World: Eva Rossmann’s Patrioten." Humanities 9, no. 1 (February 5, 2020): 15. http://dx.doi.org/10.3390/h9010015.
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Detective fiction is known as a genre that is concerned with revealing truths, both in the fictional world of the text as well as in the society after which it is patterned. The current socio-political environment, however, has been described as an era of post-truth politics and political propaganda, in which truth is more often determined by the relative strength of its representation. While some contemporary crime novels continue to propagate a reassuring message of truth, select Austrian narratives reflect this new so-called post-truth world. Bringing together theories of detective fiction and post-truth discourse, this article demonstrates how Eva Rossmann’s 2017 crime novel Patrioten (Patriots) adapts the themes and structures of traditional detective narratives to expose a society in which certainty is determined less by objective facts than by their construction in the media and socio-political discourse. The analysis concludes that the novel’s thematic and formal innovations help to redefine the socio-critical potential of contemporary detective fiction by showing the imminent dangers of an unregulated post-truth society.
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Kokot, Joanna. "John Dickson Carr’s Early Detective Novels and the Gothic Convention." Lublin Studies in Modern Languages and Literature 43, no. 2 (July 3, 2019): 61. http://dx.doi.org/10.17951/lsmll.2019.43.2.61-74.
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<p>Even if the Gothic romance may be considered as one of the predecessors of detective fiction, the world model proposed by the latter seems to exclude what was the essence of the former: the irrational underlying the proposed world model. However, some of detective novel writers deploy Gothic conventions in their texts, thus questioning the rational order of the reality presented there. Such a genological syncretism is typical - among others - of the novels by John Dickson Carr. The paper is an analysis of Gothic conventions and their functions in four earliest novels by Carr, featuring a French detective-protagonist, Henri Bencolin. It concentrates on elements of Gothic horror, on the atmosphere of terror as well as the motif of the past intruding the present.</p>
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Mityk, Iwona. "Cykl o Teosiu Kefirku Małgorzaty Strękowskiej-Zaremby wobec wzorca powieści detektywistycznej." Annales Universitatis Paedagogicae Cracoviensis. Studia Poetica 6 (November 29, 2018): 74–83. http://dx.doi.org/10.24917/23534583.6.7.
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Series about the Adventures of Teoś Kefirek Małgorzaty Strękowskiej-Zaremby According to the Patterns of a Detective Novels
Małgorzata Strękowska-Zaremba is the author which writes a children’s novels. In her cycle of Teoś Kefirek she was inspired by classic pattern of detective novel, but she was able to modify it. She tries to work out her own style, creates colorful characters and fixes them in the 21st century realities and on the other hand she is capable of using conventional elements of genre and renews them with her own suggestions. She also intertwined the moments of great suspense with situations full of humour on account of young readers.
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Brueck, Laura. "Bhais behaving badly: Vernacular masculinities in Hindi detective novels." South Asian Popular Culture 18, no. 1 (January 2, 2020): 29–46. http://dx.doi.org/10.1080/14746689.2020.1733810.
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Finnegan, Lesley. "‘A COMPLETELY SATISFACTORY DETECTIVE’: THE DETECTIVE FICTION GENRE IN ALEXANDER McCALL SMITH'S BOTSWANA NOVELS." English Studies in Africa 49, no. 2 (January 2006): 123–47. http://dx.doi.org/10.1080/00138390608691358.
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Komatsu, Shoko. "“Readers” and “Writers” in Japanese Detective Fiction, 1920s–30s: Tracing Shifts from Edogawa Rampo’s “Beast in the Shadows” to The Demon of the Lonely Isle." Humanities 12, no. 1 (January 18, 2023): 12. http://dx.doi.org/10.3390/h12010012.
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This paper explores the shifting position of “readers” and “writers” within serialized works by Japanese detective fiction author Edogawa Rampo. The essay focuses on two works published at the end of the 1920s and early 1930s: the novella “Beast in the Shadows” and Edogawa’s first long-form serialized novel, The Demon of the Lonely Isle. By examining the kinds of magazines in which Edogawa published, as well as the expected readership of those magazines, we discover several important stylistic shifts in Edogawa’s writing as he transitions from being a genre fiction short story writer to an author of popular novels. In Edogawa’s short detective fiction for niche magazines, the position of the reader and writer overlap, mirroring the way readers of detective fiction magazines often became writers themselves. Edogawa parodies his simultaneous position as dedicated reader and writer of detective novels. Moving to popular magazines and long-form fiction causes those self-parodies to shift into the background. Edogawa severs the correlative or dual position of writer/reader in favor of a detached “author” and consuming “reader”. This paper explores the genesis of this change in relation to the development of magazine media in modern Japan.
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Martin, Rebecca. "Tales of Trauma: The Return of the Past in Sue Grafton's Novels." Crime Fiction Studies 1, no. 2 (September 2020): 173–88. http://dx.doi.org/10.3366/cfs.2020.0019.
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This study approaches Sue Grafton's ‘Alphabet Series’ with attention to the concept of trauma and the repetition it entails. Trauma is linked to the past but the symptoms manifest themselves, repeatedly, in the present. The focus here is on the effects of this dynamic link between past and present for the detective, Kinsey Millhone, and selected characters, including serial killer Ned Lowe, the series’ final villain. At a novel's end, a reader closes the book, but endings and closure are not the same thing. Repetition is a powerful force pressing for continuation, moving to overcome closure, which takes two key, interwoven forms in Grafton's novels: seriality and trauma. Seriality features in the sequence of twenty-five Kinsey Millhone novels produced over time, as well as in the actions of a serial killer who bridges the gap between the series’ two final novels. Trauma is an expression of past pain or injury that manifests in the present, repeating the past experience in ways that unconsciously recreate the pain. Trauma is a deep-seated facet of Millhone's sense of identity, as well as a sign of the influence of crime and tragedy in the lives of many characters. This essay explores how seriality and trauma in the novels combine to create a rich sense of a past that is both always present and always under construction.
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Pakhsaryan, Natalia. "FRENCH ROMANTICISM AND THE GENESIS OF POPULAR LITERATURE." Herald of Culturology, no. 3 (2022): 125–40. http://dx.doi.org/10.31249/hoc/2022.03.08.
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The article analyzes the transformation ofcreativity in romanticism of the late 1820 s - 1830 s ideas, the interaction of romantics with newspapers and magazines in the second half of the 1830 s - 1840 s. and the appearance of the feuilleton novel as a genre of popular fiction. The success of F. Soulier, E. Sue, A. Dumas, and other authors works, published in periodicals, contributed to the emergence of ethical and aesthetic disputes about the feuilleton novelas a genre. Following Ch. Sainte-Beuve, who spoke out against "industrial literature", French intellectual elite attacked feuilleton novels, claiming the authors for damaging artistic taste and immorality. Meanwhile, the fields of "high" and "folk" romanticism constantly intersected, and in the course of dispute about feuilleton novels, the poetics of elite prose not only influenced popular fiction, but also voluntarily or involuntarily used its experience. In the process of this repulsion / attraction, the main types of popular literature were born, namely: detective story, love story, fantastic prose, etc.
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Hopler, J. "Watching the Detectives: Reading Dime Novels and Hard-Boiled Detective Stories in Context." Journal of Social History 36, no. 2 (December 1, 2002): 459–66. http://dx.doi.org/10.1353/jsh.2003.0018.
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Strong, Jeremy. "Zen And The Art Of Adaptation." Europe on and Behind the Screens 1, no. 2 (November 29, 2012): 38. http://dx.doi.org/10.18146/2213-0969.2012.jethc017.
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This article arises from a 2011 interview with producer Andy Harries. Earlier that year the BBC had aired three ninety-minute adaptations of the detective novels by Michael Dibdin featuring the character Aurelio Zen. The interview and subsequent article focus on the process by which the novels were chosen, the intended audience, casting, international co-financing, changes between page and screen, and the adaptations’ relationship to other texts - notably Wallander - also produced by Harries.
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Harmon, Lucyna. "Narratemes in Agatha Christie’s Poirot Novels." Studia Universitatis Babeș-Bolyai Philologia 66, no. 2 (March 30, 2021): 33–46. http://dx.doi.org/10.24193/subbphilo.2021.2.03.
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"Narratemes in Agatha Christie’s Poirot Novels. In this paper, Agatha Christie’s selected Poirot novels are examined for recurring narratemes, limited, for the purposes of this research, to actions and results of actions as important constituents of the plot. As point of departure, Propp’s narratemes, structural elements of Russian folktales are referred to. Then, ten recurrent narratemes are identified in twenty-two Poirot novels and their functionality is established. The need of further research on this topic is articulated. It is likely that more narratemes be recognised and localised and thus they broaden our knowledge about the componential aspects of Christie’s work. Keywords: Agatha Christie, Poirot, detective novel, narrateme, plot, suspense "
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Wang, Aiqing. "Attitudes Towards Corruption and Women in Children’s Literature and Detective Fiction: A Parallel between Zheng Yuanjie and Zijin Chen." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 15, no. 2 (November 10, 2021): 98. http://dx.doi.org/10.24036/ld.v15i2.112887.
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In this article, I explore male writers’ attitudes towards corruption and women in fairy tales and detective novels, by means of hermeneutically scrutinising works of Zheng Yuanjie, the illustrious ‘King of Fairy Tales’, as well as Zijin Chen, the ‘Chinese Keigo Higashino’. Anti-corruption is a prevalent and preponderant theme in both writers’ creation, yet their depictions of barbarous extrajudicial punishment for government officials’ misdeeds allude to karmic retribution and are prone to expatiation in graphic detail. Therefore, some of their fiction appertaining to anti-corruption can be regarded as ‘feel-good writing’ in essence. Furthermore, the writing of Zheng and Chen is sometimes featured by lack of feminist consciousness, in that a proportion of their works manifest gender stereotypes, which can also be attested in other male writers’ fairy tales and detective novels.
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Jatmiko, Dheny. "ESTETIKA SASTRA POPULER DALAM NOVEL MENCARI SARANG ANGIN KARYA SUPARTO BRATA." Lakon : Jurnal Kajian Sastra dan Budaya 4, no. 1 (August 24, 2016): 24. http://dx.doi.org/10.20473/lakon.v4i1.1928.
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This research’s title is Estetika Sastra Populer d Novel Mencari Sarang Angin Karya Suparto Brata. This research is aiming to elaborate the story of Mencari Sarang Angin by Suparto Brata. This research is done because Suparto Brata and his novels are containing historical story but, different with the other historical novels, appreciation and legitimation that received by Suparto Brata is not relatively significant.Mencari Sarang Angin is one of Suparto Brata’s popular work, that is the reason why this work becomes the object study. There are some theories that is used, they are cultural production by Bourdieu and detective formula theory. According to this research, there are two findings, they are dominant love story as the main story, also utilization of detective story formula as the structure of story telling.
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Amiryan, T. N. "DANIEL PENNCAC: FROM DETECTIVE TO AUTOFICTION." Human Being: Image and Essence. Humanitarian Aspects, no. 3 (2020): 98–118. http://dx.doi.org/10.31249/chel/2020.03.07.
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The article considers the evolution of autobiographical prose by Daniel Pennac, which is characterized by the transition from his earlier novels (1970-1990s) to the metanarrative essay «Reads like a novel» (1992), autobiographical novel «School Blues» (2007), and autofictional works such as «Le Journal d’un corps» (2012) and «La Loi du rêveur» (2020). The current article focuses on the literature and means of fictionalization of his own biography, which becomes the central figure and topic for multi-genre writings of the author.
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KOSOVETS, Marharyta V. "COMMUNICATIVE TACTICS MANIFESTING SELF-PRESENTATION STRATEGY IN ENGLISH DETECTIVE DISCOURSE." Мова, no. 37 (July 13, 2022): 89–94. http://dx.doi.org/10.18524/2307-4558.2022.37.261457.
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The present article reports on the study of the communicative strategy of self-presentation and the communicative tactics that manifest it in detective discourse. The analysis is based on the data from English detective novels. The object of the study is the characters’ speech: the detective’s interrogation of witnesses and suspects. The scope of the study is the communicative tactics of self-presentation as the means of influencing the suspect in order to obtain the necessary information to solve the crime. The purpose is cognitive and pragmatic analysis of the communicative tactics applied by the detectives to obtain the necessary information to solve a crime. The investigation is based on the general and special linguistic methods : synthesis and analysis, method of observation, descriptive method, pragmatic and linguistic method, analysis of contextual interpretation. The main results of the study. The cognitive and pragmatic analysis of the detective’s strategic plan has resulted in our own classification of communicative tactics and strategies applied by the detective during the interrogation of witnesses and suspects. It has been established that one of the major communicative strategies used by the detective is self-presentation. Self-presentation is realized by the following communicative tactics: tactics of distancing, solidarity, belonging to a certain group. Each of these tactics is manifested by certain lexical, morphological and syntactic means of the English language. The perspective for further research is seen in the comprehensive study of the linguistic mechanisms of manipulative impact on the recipient in fiction.
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Fasselt, Rebecca. "Crossing genre boundaries: H. J. Golakai's Afropolitan chick-lit mysteries." Feminist Theory 20, no. 2 (February 25, 2019): 185–200. http://dx.doi.org/10.1177/1464700119831538.
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Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others.
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Naudillon, Françoise, and Matt Reeck. "Popular Art Forms in the DRC." Journal of World Literature 6, no. 2 (June 22, 2021): 197–215. http://dx.doi.org/10.1163/24056480-00602005.
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Abstract Popular literary forms have experienced a remarkable vitality in the Democratic Republic of the Congo. While it is difficult to define popular literature, it is necessary to recognize within Francophone literature the existence of types of texts that escape the attention of both discursive and institutional practices of legitimization, texts that are consigned to the margins of the dominant literary canon. In fact, these texts transgress the conventions of these literary “sub-genres,” such as detective novels, dime novels, exoticist novels, novels of manners, as well as graphic novels or comics. The success of Zamenga Batukezanga (1933–2000), still the most widely read and recognized writer in the DRC, as well as the recent rise of comic book writer Jérémie Nsingi, the author of many fanzines and small-run comic strips, reflect how these genres reconstruct canons and illustrate the emergence of a popular social imaginary.
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JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (July 1, 2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.
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The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchoring the novels in familiar territory, the authors blur topographical references, create a polyphonic narrative structure and set a horrific tone to provide symbolic and political commentary. The novels thus borrow from magic realism to depict a declining rural and working-class world.