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Schutt, Sita Annette. "French detection, English detectives : a comparative study on the emergence of the detective story." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/french-detection-english-detectives--a-comparative-study-on-the-emergence-of-the-detective-story(9cc97ad9-ee35-462f-ab90-ad1481166c9a).html.
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Sorfa, David. "Detective/text/critic." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/18266.
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This thesis grapples with the curious relationship of the metaphors of detection and reading. Detective fiction is often seen as an enactment of reading, while the literary critic is often described in terms of detection, investigation and interrogation. The Introductory section discusses the implications that such a self-reflexive and reflecting involvement has for narrative, the self, logic and the very institution of academic literary criticism itself. The notion of a detective genre, and genre-criticism in general, is put into question by analysing the legal and coercive nature of a literary concept that styles itself as objective, scientific and historical. The power of the critic to construct genre is likened to the legal capacity of the detective and a polemical call is made to re-examine the academy's resulting claims of authority. An analysis of the crime of incest in two films, Roman Polanski's Chinatown and Jack Nicholeson's The Two Jakes, is used to further problematise the notion of the law. Claude Levi-Strauss' work on kinship structures helps to point to the aporetic and contradictory position that incest can be seen to occupy in the formation of human society. Criminal anthropology provides an interesting frame for this discussion. Thomas Pynchon's The Crying of Lot 49 is used to explore the fundamental uncertainty in which the detective/reader necessarily finds herself. Sigmund Freud's concept of the uncanny is introduced to account for the interpreter's state of unease in the face of ambiguity. Finally, a literary essay, Jacques Derrida's "Structure, Sign and Play in the Discourse of the Human Sciences", is read rather as a form of detective story than as a factual analysis, whether this experiment is successful will be up to the reader. The overriding claim of this thesis is that there is no such thing as perception.
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Molander, Danielsson Karin. "The dynamic detective : special interest and seriality in contemporary detective series /." Uppsala : [Uppsala universitet], 2002. http://catalogue.bnf.fr/ark:/12148/cb39285060p.
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Connelly, Kelly C. "From Poe to Auster: Literary Experimentation in the Detective Story Genre." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/41668.
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English<br>Ph.D.<br>Two dominating lines of criticism regarding the detective novel have perpetuated the misconception that detective fiction before the 1960s was a static and monolithic form unworthy of critical study. First, critics of the traditional detective story have argued that the formulaic nature of the genre is antithetical to innovation and leaves no room for creative exploration. Second, critics of the postmodern detective novel have argued that the first literary experiments with the genre began only with post-World War II authors such as Umberto Eco, Italo Calvino, and Paul Auster. What both sets of critics fail to acknowledge is that the detective fiction genre always has been the locus of a dialectic between formulaic plotting and literary experimentation. In this dissertation, I will examine how each generation of detective story authors has engaged in literary innovation to refresh and renew what has been mistakenly labeled as a sterile and static popular genre.<br>Temple University--Theses
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Idini, Antonio Giovanni 1958. "Detecting colonialism: Detective fiction in Native American and Sardinian literatures." Diss., The University of Arizona, 1998. http://hdl.handle.net/10150/282702.
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This dissertation compares Native American and Sardinian literatures, focussing on literary renditions of detective stories, a recent development which has occurred in both literatures. The study is based on Procedura (1988), and Il terzo suono (1995), by Sardinian author Salvatore Mannuzzu; The Sharpest Sight (1992), Bone Game (1994), and Nightland (1996) by Choctaw-Cherokee-Irish writer Louis Owens. In both literatures the use of detective fiction embodies the authors' commentary regarding the discourse on colonization. Recurrent thematic features are the concern with history, notably the history of domination and the processes that have led to the present post-colonial condition. The drive towards solving the crime symbolizes and comments upon the necessity of addressing the history of colonization, past and present, both of the land and its people. All the novels included in this study elaborate the basic features of the genre in innovative ways that offer significant commentaries on the condition of these two colonized peoples. The truth at the end of the narration is broken down to a multiplicity of competing narratives. The dispossession and exploitation of ancestral land are textually structured as crimes which further parallel and comment upon the murder of human beings. Also, the characters of the detectives are pivotal for the embodiment of a critique of the classic anthropological model. The gathering of data in order to offer a 'scientific' version of the truth is an endeavor shared by criminal investigators as well as anthropologists, ethnologists and archaeologists. Since classic detective fiction and modern science developed simultaneously around the middle of nineteenth century, it is not coincidental that post-colonial authors of detective fiction feel the necessity to address the self-appointed superiority of so-called scientific discourse. As both cultures have been commodified as objects to be studied by external social scientists, Mannuzzu's and Owens's refusal to depict a univocal solution is also indicative of the clash between definitions elaborated by outsiders versus forms of traditional knowledge within the cultural group.
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Guerra, Bruna Tella 1987. "Ressignificação da detective fiction em Los detectives salvajes, de Roberto Bolaño." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/269979.
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Orientador: Francisco Foot Hardman<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-23T01:28:04Z (GMT). No. of bitstreams: 1
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Previous issue date: 2013<br>Resumo: A síntese deste trabalho é a ressignificação da detective fiction em Los detectives salvajes, de Roberto Bolaño. O ponto de partida são os vários textos do autor que têm a figura do detetive na intitulação, sendo esse apenas um dos vários aspectos que recorre na obra bolañiana. Entendendo que a enorme rede de relações que existe em seus textos é sugestiva de seu projeto literário, coerentemente será assumida uma visão transtextual para a análise da narrativa: através de textos críticos de Bolaño, de sua obra ficcional geral e do histórico da detective fiction, algumas interpretações serão traçadas para que se perceba de que forma novos sentidos deste gênero podem ser atribuídos a Los detectives salvajes. Para isso, será feita uma análise conjectural, num nível fragmentário, e nunca totalizante<br>Abstract: The synthesis of this work is the resignification of the detective fiction in Roberto Bolaño's Los detectives salvajes. The starting point is the various texts of the author that have the figure of the detective in the entitlement, being this aspect only one of the many others that resort in bolañian work. Understanding that the huge network of relationships that exist in his texts is suggestive of his literary project, it will coherently be assumed a transtextual vision for analyzing the narrative: through Bolaño's critical texts, his general fiction and the history of the detective fiction, some interpretations shall be outlined for the perception of how new meanings of this genre can be attributed to Los detectives salvajes. To achieve this aim, it will be assumed a conjectural analysis, in a fragmentary level, and never totalizing<br>Mestrado<br>Teoria e Critica Literaria<br>Mestra em Teoria e História Literária
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Baptista, Marco Simão Valente. "Fernando Pessoa's detective fiction." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:0f959d62-d4a7-4aa7-9e63-c02e40c40f5b.
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In this thesis I set out to write the first in-depth study of Pessoa's detective stories. I approached this task in three steps: firstly, by tracing Pessoa's interest in the genre of crime fiction, his readings and influences. Secondly, by analysing the themes and structure of the Quaresma stories. Thirdly, by placing them in the context of Pessoa's written output. The first step is addressed in the first two chapters of the thesis, where I study the connections between Pessoa and Anglo-American detective fiction, as well as how he adapted foreign models to a Portuguese context. The second step of my approach is developed in chapters 3 to 5. In the first of these I focus on the construction of Quaresma as a literary character. My key finding is that the texts featuring him are composed by two kinds of writing: on the one hand narrative prose, including descriptions, actions and elements that further the plot; on the other, an essayistic prose which consists of Quaresma's long speeches expounding his theories on criminal investigation, philosophy, psychology, and reasoning. Chapters 4 and 5 study several of the Quaresma stories from the point of view of gender relations and how these shape the construction of plot and character. At this juncture I use Lacanian and Derridean readings on Poe's 'The Purloined Letter', having previously established that author's influence on Pessoa. The third and final step of my thesis is an attempt to interpret Pessoa's detective fiction in relation to his wider work: I propose a reading of the Quaresma stories, other prose texts and heteronymity as parts of a literary project of creating non-narrative fictions.
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Lake, Darlene Margaret. "The detective as social critic : the Spanish and Mexican detective novel 1970-1995 /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/8312.
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Gillis, S. J. "Detecting fictions : resistance and resolution in the golden age detective novel." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341176.
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Jenner, Mareike. ""Follow the evidence"? : methods of detection in American TV detective drama." Thesis, Aberystwyth University, 2013. http://hdl.handle.net/2160/973dbcaf-5796-42c5-a044-b51252c91b66.
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This thesis deals with methods of detection i.e. the mode of investigation employed to catch a criminal in American detective dramas on television. It divides methods of detection into the categories of ‘rational-scientific’ and ‘irrational-subjective’. ‘Rational-scientific’ methods of detection are linked to the literary tradition of Golden Age fiction and suggest an analytical distance to the crime. ‘Irrational-subjective’ methods are linked to a hard-boiled tradition and suggest (often emotional) ‘closeness’ to the victim, suspects or witnesses. Drawing on the work of Michel Foucault, John Fiske and Jason Mittell, this thesis views genre as discourse. As such, television genre is viewed as always changing and intersecting with a variety of other discourses, for example, representing social and political debates, shifts within the television industry and mirroring ideologies of ‘truth-finding’. It analyses methods of detection as a discourse internal to the genre, as a genre convention, as well as external to the genre i.e. as relating to discourses regarding social, political and industrial developments. It also explores how methods of detection, as an expression of ideologies of ‘truth-finding’, reveal how a specific series may be positioned in relationship to modern post-Enlightenment and postmodern discourses. A number of texts from different historical moments (Dragnet [NBC, 1951-1959], Quincy, M.E. [NBC, 1976-1983], CSI: Crime Scene Investigation [CBS, 2000- ], Hill Street Blues [NBC, 1981-1987], Twin Peaks [ABC, 1990-1991] and The Shield [fX, 2002-2008]) are analysed as examples of how individual genre texts represent these shifts in attitudes towards ‘truth-finding’. In a final step, this thesis analyses The Wire (HBO, 2002-2008) and Dexter (Showtime, 2006- ) as dramas that represent a more recent shift in the representation of ideologies of ‘truth-finding’ that may formulate ‘alternative’ methods of detection and a possible epistemological shift in postmodern culture.
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Effron, Malcah. "If only this were a detective novel : self-referentiality as metafictionality in detective fiction." Thesis, University of Newcastle Upon Tyne, 2010. http://hdl.handle.net/10443/838.
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This thesis constitutes the first attempt to examine formally the use of self-referential forms in the detective genre. By focusing detective fiction’s self-referential invocation of the genre within its narratives, it explores the relation between generic boundaries and the boundaries between reality and fictionality. Because the self-referential moments in detective fiction maintain the realistic representation of the narrative frame, they unselfconsciously indicate the textuality of the detective form, so they never wholly expose the disjuncture associated with metafiction. This creates an impression rather than an awareness of metafictionality. These self-referential moments in detective fiction directly relate to critical explication of metafiction because they negotiate the boundaries of reality and fictionality, particularly as implied in fictional narrative. Since these forms appear throughout detective fiction, my project tracks this self-referential examination of the boundaries of reality and fictionality across subgenre. As this examination continues throughout these forms, self-referentiality in detective fiction suggests that the nature of reality is the one mystery that the detective genre has not— and perhaps cannot—solve. To explore this, Chapter One considers self-referential statements that explicitly acknowledge detective fiction and its tropes, which I call overt self-referentiality. Chapter Two broadens the criteria, examining intrageneric intertextuality, where the texts refer to classic examples of detective conventions. Chapter Three explores the self-referentiality implicit in the figure of the detective protagonist who is a detective writer. The self-referentiality in these moments metafictively engages with the boundaries of text and criticism and of reality and fictionality. By considering how these moments work simultaneously to construct and deconstruct the boundaries of the genre, this study of self-referentiality provides a method for considering deviations as a means of underscoring, rather than simply undermining, our understanding of what constitutes a novel. As it exposes the critical analysis of literary construction embedded within the detective genre, this thesis challenges both the division between the popular and the literary and the dominant association of metafictionality with experimental art, revealing the philosophical debates about the nature of reality in literary realms not traditionally considered as metafictional.
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Winkler, Tania Liselotte Lopez. "The detective of modern life." Thesis, Open University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.542456.
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Barker, Emily Jane. "American detective fiction : four transformations." Thesis, University of Essex, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.485340.
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Geldenhuys, Emile Leonard. "The spectator as transtextual detective in the metaphysical detective films of David Lynch / E.L. Geldenhuys." Thesis, North-West University, 2013. http://hdl.handle.net/10394/9657.
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The filmic oeuvre of auteur director David Lynch has a reputation among average spectators as being too “difficult” to understand. In particular, the Lynch films Lost Highway and Mulholland Drive are considered by the average spectator to be devoid of any real meaning. Spectator theory provides insight into the structures through which spectators find or fail to find meaning in films. Spectator theory explains that the average spectator has a set of schemas for “reading” and understanding film, and that these schemas are shaped by the conventions of popular Hollywood cinema. The films of David Lynch do not adhere to these conventions, and thus challenge the average spectator’s competency with regard to their ability to emplot a coherent and meaningful narrative from these films. In the case of Lost Highway and Mulholland Drive, the films present the spectator with multiple mysteries, yet never provide any solutions to these mysteries. If a spectator is to find meaning in Lost Highway and Mulholland Drive, then such a spectator needs an appropriate schema for interpreting these films. This dissertation aims to develop one possible schema which can be used to find meaning in Lost Highway and Mulholland Drive. To this end, the films Lost Highway and Mulholland Drive are shown to qualify as metaphysical detective films, a genre of narrative which playfully interprets the conventions of classical detective narrative. Under the neologism “transtextual detective” this dissertation traces the characteristics of a spectator who would assume the role of a detective figure, existing outside of the borders of the film text, and calling upon a diverse collection of texts and schemata to solve the mysteries identifiable in these metaphysical detective films. In order to test the applicability of the schema of the transtextual detective, the writer undertakes a demonstration of an investigation into the films Lost Highway and Mulholland Drive while assuming the role of a transtextual detective. The writer firstly indentifies the mystery of identity as a salient mystery in both films, before demonstrating how solutions to this mystery can be found in Lost Highway.<br>Thesis (MA (English))--North-West University, Potchefstroom Campus, 2013.
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Johanson, Teija. "Detecting Detective Fiction : The Complexity of Genre in Paul Auster’s City of Glass." Thesis, Högskolan Dalarna, Engelska, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:du-25496.
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Coetzee, Liesel. "Detecting dominant discourses in selected detective fiction by Enid Blyton and Agatha Christie." Thesis, University of Pretoria, 2010. http://hdl.handle.net/2263/24763.
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Enid Blyton and Agatha Christie were the most successful British women writers of their time. Christie and Blyton were contemporaries, living and writing in the United Kingdom during the first half of the twentieth century. This study takes into consideration these similarities in its examination of the depiction of dominant discourses in relation to emergent, alternative and oppositional discourses in their writing. This thesis suggests that while Enid Blyton and Agatha Christie offer alternatives to the dominant patriarchal discourses of the British Empire in the first half of the twentieth century, they show allegiance, too, to the dominant discourses of their time. Specific consideration is given to the portrayal of discourses concerned with gender, feminism, classism, British colonialism, racism, and xenophobia in their writing. The work of Enid Blyton and Agatha Christie was extremely popular in their time and still is today. Their important contribution to popular literature in England in the early twentieth century justifies a study of a selection of their work in relation to detective fiction and children’s literature as well as to studies of social history that include the investigation of how dominant discourse is both endorsed and challenged.<br>Thesis (DLitt)--University of Pretoria, 2010.<br>English<br>unrestricted
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McGinley, Susan. "Detective Work in Tracing Animal Disease." College of Agriculture and Life Sciences, University of Arizona (Tucson, AZ), 1993. http://hdl.handle.net/10150/622369.
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Simpson, Inga Caroline. "Lesbian detective fiction : the outsider within." Thesis, Queensland University of Technology, 2008. https://eprints.qut.edu.au/20120/1/Inga_Simpson_Exegesis.pdf.
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Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.
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Simpson, Inga Caroline. "Lesbian detective fiction : the outsider within." Queensland University of Technology, 2008. http://eprints.qut.edu.au/20120/.
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Lesbian Detective Fiction: the outsider within is a creative writing thesis in two parts: a draft lesbian detective novel, titled Fatal Development (75%) and an exegesis containing a critical appraisal of the sub-genre of lesbian detective fiction, and of my own writing process (25%). Creative work: Fatal Development -- It wasn’t the first time I’d seen a dead body, but it didn’t seem to get any easier. -- When Dirk and Stacey discover a body in the courtyard of their Brisbane woolstore apartment, it is close friend and neighbour, Kersten Heller, they turn to for support. The police assume Stuart’s death was an accident, but when it emerges that he was about to take legal action against the woolstore’s developers, Bovine, Kersten decides there must be more to it. Her own apartment has flooded twice in a month and the builders are still in and out repairing defects. She discovers Stuart was not alone on the roof when he fell to his death and the evidence he had collected for his case against Bovine has gone missing. Armed with this knowledge, and fed up with the developer’s ongoing resistance to addressing the building’s structural issues, Kersten organises a class action against Bovine. Kersten draws on her past training as a spy to investigate Stuart’s death, hiding her activities, and details of her past, from her partner, Toni. Her actions bring her under increasing threat as her apartment is defaced, searched and bugged, and she is involved in a car chase across New Farm. Forced to fall back on old skills, old habits and memories return to the surface. When Toni discovers that Kersten has broken her promise to leave the investigation to the police, she walks out. The neighbouring – and heritage-listed – Riverside Coal development site burns to the ground, and Kersten and Dirk uncover evidence of a network of corruption involving developers and local government officials. After she is kidnapped in broad daylight, narrowly escaping from the boot of a moving car, Kersten is confident she is right, but with Toni not returning her calls, and many of the other residents selling up, including Dirk and Stacey, Kersten begins to question her judgment. In a desperate attempt to turn things around, Kersten calls on an old Agency contact to help prove Bovine was involved in Stuart’s death, her kidnapping, and ongoing corruption. To get the evidence she needs, Kersten plays a dangerous game: letting Bovine know she has uncovered their illegal operations in order to draw them into revealing themselves on tape. Hiding alone in a hotel room, Kersten is finally forced to confront her past: When Mirin didn’t come home that night, I was ready to go out and find her myself, disappear, and start a new life together somewhere far away. Instead they pulled me in before I could finish making arrangements, questioned me for hours, turned everything around. It was golden child to problem child in the space of a day. This time, she’s determined, things will turn out differently. Exegesis: The exegesis traces the development of lesbian detective fiction, including its dual origins in detective and lesbian fiction, to compare the current state of the sub-genre with the early texts and to establish the dominant themes and tropes. I focus particularly on Australian examples of the sub-genre, examining in detail Claire McNab’s Denise Cleever series and Jan McKemmish’s A Gap in the Records, in order to position my own lesbian detective novel between these two works. In drafting Fatal Development, I have attempted to include some of the political content and complexity of McKemmish’s work, but with a plot-driven narrative. I examine the dominant tropes and conventions of the sub-genre, such as: lesbian politics; the nature of the crime; method of investigation; sex and romance; and setting. In the final section, I explain the ways in which I have worked within and against the subgenre’s conventions in drafting a contemporary lesbian detective novel: drawing on tradition and subverting reader expectations. Throughout the thesis, I explore in detail the tradition of the fictional lesbian detective as an outsider on the margins of society, disrupting notions of power and gender. While the lesbian detective’s outsider status grants her moral agency and the capacity to achieve justice and generate change, she is never fully accepted. The lesbian detective remains an outsider within. For the lesbian detective, working within a system that ultimately discriminates against her involves conflict and compromise, and a sense of double-play in being part of two worlds but belonging to neither. I explore how this double-consciousness can be applied to the lesbian writer in choosing whether to write for a mainstream or lesbian audience.
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Marinkovic, Sladana. "Female detectives in modern detective novels : an analysis of Miss Marple and V. I. Warshawski." Thesis, University West, Department of Social and Behavioural Studies, 2003. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-1481.
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Tong, Stephen. "Training the effective detective : a case-study examining the role of training in learning to be a detective." Thesis, University of Cambridge, 2005. http://create.canterbury.ac.uk/14186/.
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This research seeks to understand the process of detective training and its contribution to the practice of crime investigation. A traditional focus upon the outcomes of the investigative process has proven contentious as it fails to provide evidence on which to base adequate assessment of the quality of detective work. Thus in the research I explore ways in which detective work is learned and the contribution that detective training makes to effective investigative practice by examining the process of crime investigation and the concept of effectiveness in this context. The research seeks to describe the reality of crime investigation as it is practised by detectives and explores the question of what counts as ‘good quality’ detective work. Based on a critical review of the literature on the investigative quality of detective work, the thesis concludes that the effective detective has a breadth of skills (investigative, interpersonal and management skills) knowledge (legal, practical and generic knowledge) and personal qualities (intelligence, determination, patience and integrity). Quality in investigation can be conceptualised as going beyond short term crime control objectives and to consider more long term objectives such as crime prevention, victim satisfaction and effective case management. The research is based on extensive interviews with, and observation of, detectives in training and out ‘in the field’. It also includes interviews with trainers and analysis of relevant documents. The research material collected includes approximately 880 hours of observation and data from a total of 56 interviews. The data were collected over a period of fourteen months and involved elements of ethnography as I joined with detective trainees as they were being trained and then shadowed a small sample of detectives as they carried out investigations in the post training phase. The dissertation provides an insight into detective training and makes a significant contribution to knowledge by revealing something of the meaning of investigative experience and the role of training in the development of trainee detectives. The research findings suggest that the structure of training and the process of measuring competence in the workplace do not currently maximise the learning potential of trainee detectives. Frequently, good detective work is not recognised because it has not achieved a specified goal or objective, whilst the practice of detectives exists in a vacuum of experience with little opportunity for objective reflection and/or professional guidance. Furthermore, the trainees within this sample had an average of 3.5 years investigative experience and this contributed to their perception that much of the content of the formal detective training course had already been learned through experience. In my conclusions I point to weaknesses in the training process and how they might be addressed, including ways of improving the co-ordination of training approaches to ensure consistency and efficiency, ways of improving the relevance and effective delivery of the training content, and the need to introduce work-based assessments to ensure practical competence in the workplace.
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Meyer, Deon 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 /." Link to the online version, 2005. http://hdl.handle.net/10019/1111.
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Whalen, David Gerard. "The detective story and the political landscape." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/24105.
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Moore, T. A. "Development of the outsider in detective fiction." Thesis, Queen's University Belfast, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.546338.
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Wright, Michelle. "Detective intuition : the role of homicide schemas." Thesis, University of Liverpool, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.445963.
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Miskimmin, Esme. "Detective fiction, religion, and Dorothy L. Sayers." Thesis, University of Liverpool, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406822.
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Quinn, Kathleen Martina. "The evolution of detective fiction in Chile." Thesis, Queen's University Belfast, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394595.
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Pittard, Christopher Allan. "Purity and genre : late Victorian detective fiction." Thesis, University of Exeter, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.437150.
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Wilkinson, Stephen. "Detective fiction in Cuban society and culture." Thesis, Queen Mary, University of London, 2000. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1671.
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The object of this thesis is to reach towards an understanding of Cuban society through a study of its detective fiction and more particularly contemporary Cuban society through the novels of the author and critic, Leonardo Padura Fuentes. The method has been to trace the development of Cuban detective writing and to read Padura Fuentes in the light of the work of twentieth century Western European literary critics and philosophers including Raymond Williams, Antonio Gramsci, Terry Eagleton, Roland Barthes, Jean Paul Sartre, Michel Foucault, Jean François Lyotard and Jean Baudrillard in order to gain a better understanding of the social and historical context from which this genre emerged. By concentrating on the literary texts, I have explored readings which lead out into an analysis of the broader philosophical, political and historical issues raised by the Cuban revolution. Since it deals primarily with modes of deviance and notions of legality and justice within the context of the modern state, detective fiction is particularly well suited to this type of investigation. The intention is to show how this is as valid in the Cuban context as it is in advanced capitalist societies where such research has already been carried out with some success. The thesis comprises an introduction, ten chapters and a conclusion. The chapters are divided into three sections. Chapters 1 to 3 attempt a broad theoretical, historical and socio-political analysis of the cultural reality within which the Cuban revolutionary detective genre emerged. Chapters 4 to 6 analyse the Cuban detective narrative from its inception in the early part of the twentieth century until the emergence of Leonardo Padura Fuentes as the foremost exponent of the genre in Cuba after 1991. Chapters 7- 10 concentrate upon the work of Leonardo Padura Fuentes, offering a reading of his detective tetralogy informed by the preceding discussion. The contribution made by the thesis to knowledge of the subject is to build upon the work of Seymour Menton and Amelia S. Simpson on the development of the Cuban detective novel and to provide analyses of the pre-Revolutionary Cuban detective narrative and the work of Leonardo Padura Fuentes for the first time in the English language. The thesis concludes that the study of this popular genre in Cuba is of crucial importance to the scholar who wishes to reach as full an understanding of the social dynamics within that society as possible. In particular, it proves that Cuban detective fiction provides a useful barometer of social change which records the shifts in the Cuban Zeitgeist that have taken place over the past century.
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Stoecklein, Mary, and Mary Stoecklein. "Native American Mystery, Crime, and Detective Fiction." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/624574.
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Native American Mystery, Crime, and Detective Fiction examines a range of texts, most of them Native-authored, that utilize elements of a popular and accessible literary genre: the mystery, crime, and detective story. The examined texts convey how writers fuse tribally-specific cultural elements with characteristics of mystery, crime, and detective fiction as a way to, as I argue, inform all readers about Native American histories, cultures, and contemporary issues. Exploring how Native American writers approach the genre of mystery, crime, and detective fiction is critical, since it is a sub-genre of American Indian literature that has, to date, received little scholarly attention.
This study considers eight novels and two made for TV movies that are either written by Native American writers, feature Native American characters and settings, or both. The novels and films that are analyzed represent a spectrum of mystery, crime, and detective stories: starting with the historical mysteries about the Osage Oil Murders presented by Linda Hogan and Tom Holm; to the calls to action regarding contemporary issues of justice, jurisdiction, and violence against American Indian women offered by Frances Washburn and Louise Erdrich; to the short series that invoke intricate questions about history and identity created by Louis Owens; and, finally, to Tony Hillerman's immensely popular hard-boiled Navajo tribal policemen who are brought to the small screen by Chris Eyre, where the distinctions between Western and Indigenous conceptions of healing and spiritual belief are highlighted. These novels and films illustrate a range of American Indian mystery, crime, and detective fiction, and my analysis illuminates the ways in which these texts work to inform and transform readers in regard to issues that surround crime and justice within American Indian contexts.
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Dormer, Mia Emilie. "A hidden life : how EAS (Era Appropriate Science) and professional investigators are marginalised in detective and historical detective fiction." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/33257.
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This by-practice project is the first to provide an extensive investigation of the marginalisation of era appropriate science (EAS) and professional investigators by detective and historical detective fiction authors. The purpose of the thesis is to analyse specific detective fiction authors from the earliest formats of the nineteenth century through to the 1990s and contemporary, selected historical detective fiction authors. Its aim is to examine the creation, development and perpetuation of the marginalisation tradition. This generic trend can be read as the authors privileging their detective’s innate skillset, metonymic connectivity and deductive abilities, while underplaying and belittling EAS and professional investigators. Chapter One establishes the project’s critique of the generic trend by considering parental authors, E. T. A Hoffmann, Edgar Allan Poe, Émile Gaboriau and Wilkie Collins. Reading how these authors instigated and purposed the downplaying demonstrates its founding within detective fiction at the earliest point. By comparing how the authors sidelined and omitted specific EAS and professional investigators, alongside science available at the time, this thesis provides a framework for examining how it continued in detective fiction. In following chapters, the framework established in Chapter One and the theoretical views of Charles Rzepka, Lee Horsley, Stephen Knight and Martin Priestman, are used to discuss how minimising EAS and professional investigators developed into a tradition; and became a generic trend in the recognised detective fiction formula that was used by Sir Arthur Conan Doyle, Freeman Wills Crofts, H. C. Bailey, R. Austin Freeman, Agatha Christie, Ruth Rendell and P. D. James. I then examine how the device transferred to historical detective fiction, using the framework to consider Ellis Peters, Umberto Eco and other selected contemporary authors of historical detective fiction. Throughout, the critical aspect considers how the trivialisation developed and perpetuated through a generic trend. The research concludes that there is a trend embedded within detective and historical detective fiction. One that was created, developed and perpetuated by authors to augment their fictional detective’s innate skillset and to help produce narratives using it is a creative process. It further concludes that the trend can be reimagined to plausibly use EAS and professional investigators in detective and historical detective fiction. The aim of the creative aspect of the project is to employ the research and demonstrate how the tradition can be successfully reinterpreted. To do so, the historical detective fiction novel A Hidden Life uses traditional features of the detective fiction formula to support and strengthen plausible EAS and professional investigators within the narrative. The end result is a historical detective fiction novel. One that proves the thesis conclusion and is fundamentally crafted by the critical research.
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Laredo, Jeanette A. "Reading the Ruptured Word: Detecting Trauma in Gothic Fiction from 1764-1853." Thesis, University of North Texas, 2016. https://digital.library.unt.edu/ark:/67531/metadc862792/.
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Using trauma theory, I analyze the disjointed narrative structure of gothic works from 1764-1853 as symptomatic of the traumatic experience. Gothic novels contain multiple structural anomalies, including gaps in experience that indicate psychological wounding, use of the supernatural to violate rational thought, and the inability of witnesses to testify to the traumatic event. These structural abnormalities are the result of trauma that characters within these texts then seek to prevent or repair via detection.
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Martin, Catherine Eloise. "Sam Spade as the detective next door: industry, culture, and class in post-war radio adaptations of hardboiled detective fiction." Thesis, Boston University, 2012. https://hdl.handle.net/2144/12509.
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Thesis (M.F.A.)--Boston University<br>The character of the hardboiled detective seems a strange programming choice for early American radio networks. Despite his considerable popularity in print and film in the 1930s and 1940s, the hardboiled detective's violence and cynicism about American social and economic structures directly countered the enthusiastic capitalism and consumerism promoted by the manufacturing corporations that sponsored most programming on the three major radio networks, NBC, CBS, and ABC. However, by the post-World War II period, all three networks prominently featured series starring characters adapted from the work of popular hardboiled detective writers like Dashiell Hammett and Raymond Chandler. This thesis examines The Adventures of Sam Spade (1946-1951) as an adaptation ofHammett's most famous detective. I argue that crime series adapted from popular mystery novels, like Sam Spade, were shaped by a number of factors, including the source material, the industry production codes meant to maintain decency over the air, the individual producers and writers responsible for each series, the networks airing the series, the selling needs of program sponsors, and input from listeners. Throughout the 1940s and 1950s, these pressures helped to reshape an ideologically varied body of mystery novels into a relatively consistent collection of radio programs that participated in and augmented the mainstream battles against crime and juvenile delinquency. As large portions of the American middle class moved to homogenous and preplanned suburban communities, radio series like The Adventures of Sam Spade helped to redefine urban spaces and social order. These series supported a view of the world in which crime did not pay and suburban the American middle classes - and their possessions - were safely protected by vigilant law enforcement bodies.
Chapter One explores the literature on detective fiction, adaptation, and radio's role in transmitting cultural values. I rely particularly on Linda Hutcheon's (2006) theory of adaptation as a continuous process with a product that is particular to its own industrial and cultural context. Chapters Two and Three examine archival scripts from Sam Spade's five-year run. Chapter Two compares the characterization of Sam and the police, citizens, and criminals he interacts with on the radio to Hammett's original descriptions. I support my argument that the series' producers and sponsors sought to soften the detective's personality by referring to frequent censorship edits visible in the scripts. I also discuss external influences on Sam's character, particularly the dominating figure ofHumphrey Bogart. Chapter Three explores the image of post-war society presented by The Adventures ofSam Spade by comparing three early episodes with the Hammett short stories from which they were adapted. I argue that the series' producers appropriated certain elements of Hammett's work to increase their program's credibility and stature as quality entertainment while altering others to create a coherent and conservative world where law and order reign supreme. The radio episodes revise Hammett's exploration ofthe country's checkered past and attempt to present the modern city as potentially dangerous but ultimately controllable.
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Schultz, Bryan J. "The portrayal of Switzerland and the role of the Swiss detective in the modern Swiss crime novel /." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79977.
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The primary objective of this M.A. thesis is to examine the portrayal of Switzerland and the role of the Swiss detective in the modern Swiss crime novel, with special focus on the works of three modern Swiss authors of different social status: Friedrich Glauser, Friedrich Durrenmatt and Hansjorg Schneider. While the crime novel is generally considered trivial entertainment for mass audiences within the realm of German literature, the case is somewhat different in Switzerland, a country with a small state mentality. The forthcoming analysis will demonstrate how these authors employ the crime novel as an educational device to convey a very important message to their fellow countrymen about the society in which they live. In their portrayal of Switzerland, the authors cover a wide range of circumstances relevant to their respective time periods, often dealing with controversial issues. Consequently, the Swiss detective plays a major role, as he must often solve difficult cases while faced with tremendous pressure from society. By focusing exclusively on Switzerland, this analysis will ultimately prove that the modern Swiss crime novel contains not only an entertainment aspect, but also important political, sociological and historical elements that distinguish the phenomenon from its international counterparts.
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Brewer, Gaylord. "A detective in distress : Philip Marlowe's domestic dream /." Connect to resource, 1988. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1232644569.
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Pendrill, Michael Laurie. "A guilty satisfaction : detective fiction and the reader." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40838/.
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The purpose of this thesis is to explore the reasons why readers choose to read detective fiction. Taking Thomas De Quincey's satirical identification of the aesthetic quality of murder, I look at Edgar Allan Poe's detective fiction to find a non-satiric version of the same argument that emphasises the balancing quality of the ethical to the aesthetic. W.H. Auden's essay “The Guilty Vicarage” offers an argument concerning the reader's position in relation to these opposite components. I explore the ways in which Auden's arguments build into Freud's understanding of guilt, daydreams, the moral conscience, jokes, the uncanny and the death drive, and how these can be applied to the genre to help illustrate the reader's experience. Concurrent to this I offer an analysis of how the parallel developments in literary theory, particularly those of Barthes and Shklovsky, can be incorporated to enrich the understanding of these Freudian positions within the modern reader's experience. It is my intention to open up a field of study within the genre that differs from the traditional Marxist approach. Particular emphasis is placed on the role of the experience of pleasure found when moments of commonality between the aesthetic and the ethical are reached– how these are often unsatisfactory– necessitating a repetition of the literary experience. It is my argument that such an approach to the reader's position within the genre has not been explored in such a detailed fashion, centring as it does upon the active role of guilt in pleasure felt by the reader as the motivation to repeat. To illustrate that this is an argument that is applicable to different historical phases of detective fiction the study undertakes analysis of the following authors: Arthur Conan Doyle, Wilkie Collins, Agatha Christie, Raymond Chandler, Graham Greene and John Fowles.
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Brewer, Gay. "A detective in distress : Philip Marlowe's domestic dream." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1232644569.
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Pokorný, Šimon. "Migrace a refaktorizace Netfox Detective na .NET 5." Master's thesis, Vysoké učení technické v Brně. Fakulta informačních technologií, 2021. http://www.nusl.cz/ntk/nusl-445486.
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Every second, there are many attempts to attack various entities on the Internet. This is why high-quality, fast, and up-to-date tools are needed to easily analyze network traffic. Netfox Detective is one of such tools. Specifically, it is used for forensic analysis of network communication. The aim of this work is to migrate Netfox Detective to the newest version of .NET platform (.NET 5), including refactoring with respect to user experience and correct use of software design patterns. This thesis deals not only with the migration itself, but is listing common mistakes programmers make along with possible solutions to these mistakes. The chapters contain a detailed decision log that can help guide other developers to better solutions. Furthermore, the work deals with analysis and creation of unit tests and with correct use of tools for CI/CD. Fully migrated project is not the only output of this thesis. A development environment for the project has been prepared in GitLab and it is ready to be used.
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Sotelo, Susan B. "Chicano detective fiction: Hot sauce for the whodunit." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/289955.
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Recent detective novels (1985-2001) of five Chicano authors, Rudolfo Anaya, Lucha Corpi, Rolando Hinojosa, Michael Nava and Manuel Ramos are analyzed in relationship to Anglo-American and British detective genres, Chicano literature and eighteenth- and nineteenth-century Romanticism. The analysis focuses on Rudolfo Anaya's Shaman Winter, Lucha Corpi's Cactus Blood, Rolando Hinojosa's Partners in Crime, Michael Nava's Rag and Bone and Manuel Ramos' The Ballad of Rocky Ruiz. Chicano detective fiction draws from Anglo-American and British detective genre formulas and can be distinguished from the Anglo-American and British detective fiction genres because of the nature of its departures from detective genre formulas. In addition to the detective genre, Chicano authors refer to various eighteenth- and nineteenth-century Romantic literatures. Chicano detective fiction is aware of popular interests in the United States: an interest in ethnic literatures, a popular interest in origin, and the popularity of the crime story or detective story in non-fiction news and fictional narratives of television and film. The five novelists utilize these contemporary popular trends in the United States in order to reach a larger readership than would otherwise be possible if any one of the three were ignored. Anglo-American and British detective fiction assumes a homogeneous readership: national and/or ethnic-racial. Chicano detective fiction does not assume that its readers are Chicano and for this reason elaborates on the origin and the community of the detective in order to facilitate the reader's identification with the investigator. Chicano detective novels integrate, under the guise of detective fiction, the stories of an ethnic experience and the origin of an ethnicity. The quest of Chicano detectives is to establish a stable environment and a stable identity, but the dialectic that ensues between the detective and his environment cannot be resolved conclusively. Their visions of stability originate from various sources that range from a homogeneous North-American ideology to a Chicano alter-ideology. Each individual novel suggests a space where the detective, his community and the nation state can entertain the romantic illusion of productive cooperation beneficial to the Chicano community.
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Leslie-McCarthy, Sage. "The Case of the Psychic Detective: Progress, Professionalisation, and the Occult in Psychic Detective Fiction from the 1880s to the 1930s." Thesis, Griffith University, 2008. http://hdl.handle.net/10072/365497.
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This thesis examines a little-known hybrid genre popular in the late nineteenth and early twentieth centuries: psychic detective fiction. The stories that comprise this hybrid genre involve the rational investigation of supernatural phenomena. They have received relatively little critical attention due, in part, to their inability to fit comfortably in either the traditional “detective” or “ghost story” categories, in addition to the comparative obscurity of many of the writers. Typically, psychic detective narratives have been subsumed within the discourses of late Victorian “Gothic” criticism. Consequently they have been understood as manifestations of various forms of cultural anxiety because Gothic criticism is typically concerned with the transgression of boundaries and the anxieties associated with modernity. This thesis moves beyond the anxiety model of Gothic criticism by arguing that psychic detective fiction engages with ideas of progress, contemporary occult theories and the development of professionalisation at the turn of the century.
While anxiety was certainly one response to the uncertainty and rapid change that is generally understood as characterising the late nineteenth and early twentieth centuries, so too was optimism, excitement regarding new possibilities and a fervent desire to bring about social improvement. In particular, this thesis focuses upon progressive ideas of social reform, collectivism, relativity, the synthesis of seemingly different “ways of knowing” and the possibilities offered by new fields of study such as the social sciences and psychical research. It is the sense of possibility, excitement, and faith in the ability to improve (both as individuals and as a society), that characterises psychic detective fiction. The detectives discussed are concerned with problem solving, attempting to bring about positive resolutions to supernatural problems, and providing assistance to those in need. In psychic detective fiction resolution and understanding is most often brought about through the merging of seemingly disparate elements and the transcending of binary oppositions, rather than the traditionally Gothic mode of reinstating former boundaries and enforcing the separation or elimination of the threatening force. Psychic detectives are more concerned with forging new paths than recovering the status quo.<br>Thesis (PhD Doctorate)<br>Doctor of Philosophy (PhD)<br>School of Arts<br>Faculty of Arts<br>Full Text
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Приходько, Наталія Анатоліївна, Наталия Анатольевна Приходько, Nataliia Anatoliivna Prykhodko та Д. В. Возна. "Стилістичні особливості творів Джанет Іванович". Thesis, Вид-во СумДУ, 2010. http://essuir.sumdu.edu.ua/handle/123456789/16401.
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Сьогодні під назвою "детектив" об'єднуються книги, що не мають між собою нічого спільного і розраховані на читачів з дуже різними літературними запитами. Існування такого багатозначного та невизначеного терміна, яким є сьогоденний "детектив без берегів", ймовірно вигідний видавництвам та торгівлі, але читач залишається при цьому без будь-яких орієнтирів і йому залишається покладатися на випадок.
При цитуванні документа, використовуйте посилання http://essuir.sumdu.edu.ua/handle/123456789/16401
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Stone, Lelia M. "A Textual Analysis of the Closer and Saving Grace: Feminist and Genre Theory in 21St Century Television." Thesis, University of North Texas, 2013. https://digital.library.unt.edu/ark:/67531/metadc407774/.
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Television is a universally popular medium that offers a myriad of choices to viewers around the world. American programs both reflect and influence the culture of the times. Two dramatic series, The Closer and Saving Grace, were presented on the same cable network and shared genre and design. Both featured female police detectives and demonstrated an acute awareness of postmodern feminism. The Closer was very successful, yet Saving Grace, was cancelled midway through the third season. A close study of plot lines and character development in the shows will elucidate their fundamental differences that serve to explain their widely disparate reception by the viewing public.
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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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Dzirkalis, Anna M. "Investigating the female detective : gender paradoxes in popular British mystery fiction, 1864-1930 /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3287860.
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Griswold, Amy Herring Simpkins Scott. "Detecting masculinity the positive masculine qualities of fictional detectives /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3971.
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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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Schiller, Beate. "Between afrocentrism and universality : detective fiction by black women." Master's thesis, Universität Potsdam, 2004. http://opus.kobv.de/ubp/volltexte/2005/547/.
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This paper focuses on mysteries written by the Afro-American women authors Barbara Neely and Valerie Wilson Wesley. Both authors place a black woman in the role of the detective - an innovative feature not only in the realm of female detective literature of the past two decades but also with regard to the current discourse about race and class in US-American society.<br><br>
This discourse is important because detective novels are considered popular literature and thus a mass product designed to favor commercial instead of literary claims. Thus, the focus is placed on the development of the two protagonists, on their lives as detectives and as black women, in order to find out whether or not and how the genre influences the depiction of Afro-American experiences. It appears that both of these detective series represent Afro-American culture in different ways, which confirms a heterogenic development of this ethnic group. However, the protagonist's search for identity and their relationships to white people could be identified as a major unifying claim of Afro-American literature.<br><br>
With differing intensity, the authors Neely and Wesley provide the white or mainstream reader with insight into their culture and confront the reader's ignorance of black culture. In light of this, it is a great achievement that Neely and Wesley have reached not only a black audience but also a growing number of white readers.<br>Im Mittelpunkt dieser Arbeit stehen die Detektivserien der afroamerikanischen Autorinnen Barbara Neely und Valerie Wilson Wesley. Die Blanche White Mysteries von Neely und die Tamara Hayle Mysteries von Wesley repräsentieren mit der Einführung der schwarzen Hausangestellten Blanche White als Amateurdetektivin und der schwarzen Privatdetektivin Tamara Hayle nicht nur hinsichtlich der innerhalb der letzten zwanzig Jahre erschienen Welle von Kriminalautorinnen mit weiblichen Detektiven eine Innovation, sondern auch bezüglich der mit diesen Hauptfiguren verbundenen Auseinandersetzungen mit Klassenstatus und Rassismus.<br><br>
Die bisher erschienen Detektivromane beider Serien werden in dieser Arbeit im Hinblick auf ihre Präsentation der Erfahrungen der Afroamerikaner in den USA der 1990er Jahre untersucht. Da Detektivromane der Populärliteratur zugerechnet werden und entsprechend ihrer Befriedigung von Massenansprüchen "produziert" werden, war die Fragestellung, ob in den genannten Detektivserien diese Hinwendung zur Mainstreamkultur mit einer verringerten Darstellung der afroamerikanischen Probleme und Lebensweise verbunden ist. Bei der Analyse der Serien wurde deshalb der Entwicklung der Protagonistinnen als Detektivinnen und als schwarze Frauen sowie der Wirkung ihrer Erzählerstimme besondere Aufmerksamkeit geschenkt.<br><br>
Die beiden Serien repräsentieren die afroamerikanische Kultur auf unterschiedlichen Erfahrungsstufen, woran erkennbar ist, dass die afroamerikanische Bevölkerung in den USA keine homogene Gruppe darstellt. Ausschlaggebend für das Erreichen des Anspruchs der Afroamerikaner an ihre Literatur scheint die Auseinandersetzung mit Fragen der Identitätsfindung der schwarzen Protagonistinnen und der Beziehungen zwischen Schwarzen und Weißen zu sein. Den Autorinnen gelingt es in unterschiedlichem Maße den weißen und somit Mainstream-Lesern nicht nur einen Einblick in ihre Kultur zu vermitteln, sondern vielmehr, sie direkt mit ihrer Ignoranz gegenüber dieser schwarzen Kultur zu konfrontieren. Neelys und Wesleys große Leistung ist, dass die Stimmen ihrer Protagonistinnen sowohl ein zahlreiches schwarzes als auch ein wachsendes weißes Publikum erreichen.
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Mason, David Charles. "Investigating Turkey: detective fiction and Turkish nationalism, 1928-1950." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=96737.
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After extensive study of the Ottoman Empire, one notes that the historiographyfocuses on events from the perspective of the sultan and/or the elites. This should comeas no surprise as this has historically been the case. However, I felt an urge to know moreabout the lives and histories of the general population. In addition to this interest, I hold along-standing interest in propaganda in popular culture. Concepts of Turkish nationalismwere expounded by the elite in a top-down effort to rally the population of Anatolia toprotect their homeland from the impending attempt by European powers to control theterritory. As it was a top-down effort, there needed to be a mechanism or mechanismsthrough which these concepts could be transmitted to the general population. I decided toassess the level to which authors of indigenous Turkish detective fiction written between1928 and 1950 attempted to aid in this process of transmission. In order to assess this, Icarefully analysed five series of detective fiction. I found that authorial intent to spreadideas of Turkism was clearly displayed by personal addresses to the reader and theuniformity of message in each and every series. These messages of character traits Turksshould embody, the palpable derision shown toward Turks who would work to support aforeign power, and promotion of both rationalism and feminism adhered closely toKemalist concepts of Turkism. As a result, I conclude that these authors did work tospread concepts of Turkism to the general population.<br>Une étude extensive de l'Empire ottoman, m'a amené à relever quel'historiographie se concentrait sur les événements uniquement du point de vue du sultanet/ou des élites. Ceci ne devrait pas être surprenant puis qu'historiquement c'était le cas.Cependant, j'ai eu envie d'en savoir plus sur la vie et l'histoire de la population. Parailleurs, j'ai un intérêt de longue date pour la propagande dans la culture populaire. Lesconcepts du nationalisme turc ont été énoncés par l'élite, dans un effort du haut vers lebas, de rassembler la population d'Anatolie pour protéger leur patrie contre la tentativedes puissances européennes de contrôler le territoire. Comme il s'agissait d'une initiativepartant du haut pour aller vers le bas, il fallut un mécanisme ou des mécanismes parlesquels ces concepts pourraient être communiqués à la population. J'ai décidé d'étudierles moyens par lesquels les auteurs de littérature policière turque, écrite entre 1928 et1950, ont essayé de faciliter ce processus de transmission. Pour ce faire, j'aisoigneusement analysé cinq séries de littérature policière. Cela m'a permis de constaterque l'intention des auteurs de répandre le Turkisme se manifestait clairement par desmessages adressés directement au lecteur et par l'uniformité du message au sein dechaque série. Ces messages exaltent les traits de caractère turcs, expriment une dérisioncertaine en vers les Turcs qui travailleraient pour soutenir une puissance étrangère etpromeuvent le scepticisme et le féminisme, s'inscrivant ainsi dans la droite ligne duKémalisme et du Turkisme. Ma conclusion est que ces auteurs ont contribué à propagerl'idéologie turkiste parmi la population.
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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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Hadley, Mary. "New directions in crime : innovative British female detective writers." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394125.
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