Relevant bibliographies by topics / Women detectives – juvenile fiction

Academic literature on the topic 'Women detectives – juvenile fiction'

Author: Grafiati
Published: 26 July 2024
Last updated: 27 July 2024

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Journal articles on the topic "Women detectives – juvenile fiction"

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Fadhila, Alya Khoirunnisa, and Ida Rochani Adi. "Women Detectives in Detective Fiction: A Formula Analysis on <em>Dublin Murder Squad</em> Series." Lexicon 8, no. 1 (April 7, 2022): 1. http://dx.doi.org/10.22146/lexicon.v8i1.73421.

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This paper studies the formulation of two women detectives in Tana French’s work, Cassie Maddox and Antoinette Conway, in the Dublin Murder Squad Series by exploring the hard-boiled fiction conventions which underlie the formulation of Tana French’s two female detectives. The objective of this study is to determine how French innovates the hard-boiled fiction conventions in the formation of her women detective characters, Cassie Maddox and Antoinette Conway. By employing formula analysis as theorized by John G. Cawelti (1976), the results of this study show that French innovates the hard-boiled formula in four aspects. First, French innovates the hard-boiled formula by expanding the concept of marginality from economic class to gender and race. The second innovation is the substitution of the hard-boiled convention which emphasizes on masculine toughness with resistance to patriarchal control. Third, French re-established the relationship between the detective and the character femme fatale. Their similarity of female experiences and perspective with the femme fatale makes these women detectives not only reveal the femme fatale as a murderer, but also the motives and scenarios behind their acts. Finally, French also innovates the antithetical nature of the hard-boiled detective’s presentation by offering a ‘feminine’ path to justice. These observations show that French’s innovations on hard-boiled conventions on her women detectives are the extensions of the women investigators in the antecedent feminist revisions of the hard-boiled stories which are heavily influenced by the second-wave feminist values. However, Tana French also inserts her own commentary on the new variants of female character shaped by the new post-feminist discourse which separates her women detectives from those in the antecedent feminist hard-boiled revision series.
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Orr, David MR. "Dementia and detectives: Alzheimer’s disease in crime fiction." Dementia 19, no. 3 (May 28, 2018): 560–73. http://dx.doi.org/10.1177/1471301218778398.

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Fictional representations of dementia have burgeoned in recent years, and scholars have amply explored their double-edged capacity to promote tragic perspectives or normalising images of ‘living well’ with the condition. Yet to date, there has been only sparse consideration of the treatment afforded dementia within the genre of crime fiction. Focusing on two novels, Emma Healey’s Elizabeth is Missing and Alice LaPlante’s Turn of Mind, this article considers what it means in relation to the ethics of representation that these authors choose to cast as their amateur detective narrators women who have dementia. Analysing how their narrative portrayals frame the experience of living with dementia, it becomes apparent that features of the crime genre inflect the meanings conveyed. While aspects of the novels may reinforce problem-based discourses around dementia, in other respects they may spur meaningful reflection about it among the large readership of this genre.
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Knight, Stephen. "Detection and Gender in Early Crime Fiction: Mrs Bucket to Lady Molly." Crime Fiction Studies 3, no. 2 (September 2022): 89–105. http://dx.doi.org/10.3366/cfs.2022.0068.

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Crime fiction is often mistakenly held to be based on books and male detection. In fact, in the nineteenth century periodicals were a major mode of publication and from the mid-century on women inquirers played a recurring role in the developing genre, while most early male detectives were, by later standards, distinctly under-gendered. Chambers’s Edinburgh Journal was a major early source; by the 1860s, female detectives were being created by male writers and in Bleak House (1852–53), Dickens gave Inspector Bucket’s wife distinct inquiring capacities. The major Australian author Mary Fortune – with more than four hundred stories in magazines over forty years from the 1860s – developed female inquirers over time. By the 1890s, professional English woman detectives were created, Loveday Brooke by C.L. Pirkis and Florence Cusack by L.T. Meade, while Baroness Orczy created as well as her best-selling ‘Scarlet Pimpernel’ the leading police detective Lady Molly, like the others first appearing in magazines.
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Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.

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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.
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Katelyn Mathew. "How Young Adult Crime Fiction Influences and Reflects Modern Adolescents." Digital Literature Review 10, no. 1 (April 18, 2023): 108–19. http://dx.doi.org/10.33043/dlr.10.1.108-119.

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When we read crime fiction, we oftentimes expect a cast dominated by adult characters. This is likely a result of decades’ worth of popular crime fiction narratives almost exclusively containing adult characters. The earliest literature in the mystery and crime genre that was targeted towards younger audiences contained teenage detectives and adult criminals because it allowed the younger audiences to read about powerful teenagers overthrowing adult authority while still only engaging in acceptable moral activities in an attempt to decrease or discourage juvenile delinquency. A newer trend among young adult crime fiction novels is the adolescent playing the part of the criminal in addition to the detective. Applying social cognitive theory explored in the study conducted by Black and Barnes to the roles of adolescents in Karen M. McManus’s young adult mystery novel One of Us Is Lying and its sequel One of Us Is Next, this paper will analyze the novels’ adolescent characters to show how adolescent characters in young adult crime fiction reflect their young audiences’ desires to subvert adult hierarchies while still displaying acceptable morals and how they possibly influence their sense of morality.
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Delafield, Catherine. "Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre." English Studies 94, no. 2 (April 2013): 245–46. http://dx.doi.org/10.1080/0013838x.2013.765220.

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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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Ward, Ian. "Women Writers and Detectives in Nineteenth-Century Fiction: The Mothers of the Mystery Genreby Lucy Sussex, Palgrave Macmillan." King's Law Journal 22, no. 2 (July 2011): 247–53. http://dx.doi.org/10.5235/096157611796769541.

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Rinaldi, Lucia. "Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre. By Lucy Sussex." European Legacy 17, no. 3 (June 2012): 426. http://dx.doi.org/10.1080/10848770.2012.673362.

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Dorfman, Leonid, and Evgeniy Kurochkin. "Integrative approach, 4-factor questionnaire of personality self-destruction, and its psychometric features Report 2. 4-factor questionnaire of personality self-destruction and its psychometric features." Russian Journal of Deviant Behavior 2, no. 3 (October 31, 2022): 252–61. http://dx.doi.org/10.35750/2713-0622-2022-3-252-261.

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A self-destruction questionnaire (SDQ) is developed on the basis of the integrative approach to personality self-destruction (localization and unification). There are 4 domains and, accordingly, 4 scales of SDQ in the process of self-destruction of a healthy personality: dissatisfaction with oneself, authoritativeness, intolerance, and detachment. The SDQ consists of 42 points, 10 points per scale, 2 points belonging to the deception scale. The SDQ scales had a normal distribution in asymmetry and excess. The study included two samples. The first (main) sample consisted of 78 participants, average age 35.19 years, 32 men and 46 women, school and university teachers, social workers ("educators"). The second sample consisted of 107 participants, the average age 32.08 years, 89 men and 18 women, divisional inspectors, operational detectives, traffic police officers, juvenile departments employees. The author came to the following results. The SDQ scales had a sufficient degree of reliability. They had internal structural validity and external validity. The SDQ scales in total characterized the personality self-destruction in general.
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Dissertations / Theses on the topic "Women detectives – juvenile fiction"

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Carrasco, Katrina Marie. "Deepwater." PDXScholar, 2015. https://pdxscholar.library.pdx.edu/open_access_etds/2359.

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DEEPWATER is a novel that takes place in Port Townsend, Washington Territory, in 1887. This thesis contains the first sections of the novel, in which detective Alma Rosales goes undercover to infiltrate an opium-smuggling ring. She arrives in the remote outpost where the ring operates, falls in with some waterfront thieves, and gets to work. Soon it becomes apparent that Alma's reports to her Pinkerton employers aren't telling the whole truth. And as she gets cozier with the outlaws of Port Townsend, Alma's own identity and motives come into question. Thematically this novel is an exploration of constructed identity: the many parts one person plays in her daily life and over time, and how some parts become habit while others may never feel natural. Alma's disguises make explicit her various performances of personality, physicality and gender. Stylistically I've chosen to reflect Alma's personas, performed or otherwise, in corresponding narrative modes (points of view). Also explored are the performative aspects of dialogue, the blending or warping of genres and genre expectations, and the experience of inhabiting a physical body that is sometimes wildly at odds with the mind.
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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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Books on the topic "Women detectives – juvenile fiction"

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The case of the burning building. London: Collins, 1998.

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McClintock, Norah. Break and enter. Toronto: Scholastic Canada, 2002.

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Keene, Carolyn. Una carrera contrarreloj. Barcelona: Molino, 2007.

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Sutton, Margaret. The vanishing shadow. Bedford, Mass: Applewood Books, 1994.

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Who killed Olive Souffle? New York: Learning Triangle Press, 1997.

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Bugeja, Michael J. The case of the lost song. New York: Scholastic, 2004.

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ill, Doane Pelagie 1906, ed. The haunted attic. Bedford, Mass: Applewood Books, 1994.

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Bugeja, Michael J. The spider sapphire mystery. London: Armada, 1992.

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Keene, Carolyn. The Scarlet Slipper Mystery. New York: Penguin USA, Inc., 2009.

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Keene, Carolyn. The bungalow mystery. Bedford, MA: Applewood Books, 1991.

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Book chapters on the topic "Women detectives – juvenile fiction"

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Berglund, Birgitta. "Desires and Devices: On Women Detectives in Fiction." In The Art of Detective Fiction, 138–52. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62768-4_11.

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Sussex, Lucy. "Introduction: Look for the Women." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 1–5. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_1.

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Sussex, Lucy. "‘Origins are Multifarious and Unclean!’: The Beginnings of Crime Fiction." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 6–25. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_2.

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Sussex, Lucy. "The Art of Murder: Anna Katharine Green." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 164–82. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_10.

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Sussex, Lucy. "Conclusion: ‘She Has Got a Murderess in Manuscript in her Bedroom’." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 183–85. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_11.

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Sussex, Lucy. "Mrs Radcliffe as Conan Doyle?" In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 26–44. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_3.

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Sussex, Lucy. "‘A Most Preposterous Organ of Wonder’: Catherine Crowe." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 45–63. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_4.

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Sussex, Lucy. "‘I’m a Thief-Taker, Young Lady’." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 64–80. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_5.

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Sussex, Lucy. "Getting Away with Murder: Mary Braddon." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 81–100. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_6.

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Sussex, Lucy. "‘Dead! And … Never Called Me Mother’: Ellen (Mrs Henry) Wood." In Women Writers and Detectives in Nineteenth-Century Crime Fiction, 101–19. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289406_7.

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