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Littérature scientifique sur le sujet « English Detectives »

Auteur : Grafiati

Publié le 25 juillet 2024

Mis à jour le 30 juillet 2024

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Articles de revues sur le sujet "English Detectives"

Suárez Lafuente, Socorro. « DESARROLLO DE LAS DETECTIVES EN LA LITERATURA CONTEMPORÁNEA ». RAUDEM. Revista de Estudios de las Mujeres 1 (22 mai 2017) : 167. http://dx.doi.org/10.25115/raudem.v1i0.572.

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ResumenLa novela de detectives es el marco idóneo para las características arquetípicas de las mujeres. Tradicionalmente las mujeres han sido culpadas por su curiosidad, atentas siempre a la vida de los demás; se les desea silenciosas y capaces de aguantar sin perder la calma los rigores de confinamientos prolongados. Paciencia, quietud y curiosidad construyen la perfecta detective, capaz de observar en las circunstancias más adversas a los sospechosos. En Inglaterra, donde surgieron las primeras detectives literarias, éstas han nacido prácticamente con el propio género policiaco. Se analiza su devenir con referencia a las autoras más significativas a lo largo de la historia.Palabras clave: mujeres, detectives, novela inglesa, novela nórdica, novela española.English Title: Development of Women Detectives in Contemporary LiteratureAbstract: Taking into account the archetypal characteristics attributed to women, the role of detective appears to be eminently suited to them: women were traditionally considered as gossips; moreover, for centuries, men have wanted women to be quiet, calm and somewhat confined. That combination of patience, calm and curiosity makes for the perfect detective, capable of surveillance of suspects even in difficult circumstances. Women detectives surfaced in English Literature from the outset of the genre. This paper outlines their evolution and also refers to the most famous women crime writers and their fictional detectives.Key words: women, detectives, English novels, Nordic novels, Spanish novels.La novela de detectives es el marco idóneo para las características arquetípicas de las mujeres. Tradicionalmente las mujeres han sido culpadas por su curiosidad, atentas siempre a la vida de los demás; se les desea silenciosas y capaces de aguantar sin perder la calma los rigores de confinamientos prolongados. Paciencia, quietud y curiosidad construyen la perfecta detective, capaz de observar en las circunstancias más adversas a los sospechosos. En Inglaterra, donde surgieron las primeras detectives literarias, éstas han nacido prácticamente con el propio género policiaco. Se analiza su devenir con referencia a las autoras más significativas a lo largo de la historia.

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KOSOVETS, Marharyta V. « COMMUNICATIVE TACTICS MANIFESTING SELF-PRESENTATION STRATEGY IN ENGLISH DETECTIVE DISCOURSE ». Мова, n^o 37 (13 juillet 2022) : 89–94. http://dx.doi.org/10.18524/2307-4558.2022.37.261457.

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The present article reports on the study of the communicative strategy of self-presentation and the communicative tactics that manifest it in detective discourse. The analysis is based on the data from English detective novels. The object of the study is the characters’ speech: the detective’s interrogation of witnesses and suspects. The scope of the study is the communicative tactics of self-presentation as the means of influencing the suspect in order to obtain the necessary information to solve the crime. The purpose is cognitive and pragmatic analysis of the communicative tactics applied by the detectives to obtain the necessary information to solve a crime. The investigation is based on the general and special linguistic methods : synthesis and analysis, method of observation, descriptive method, pragmatic and linguistic method, analysis of contextual interpretation. The main results of the study. The cognitive and pragmatic analysis of the detective’s strategic plan has resulted in our own classification of communicative tactics and strategies applied by the detective during the interrogation of witnesses and suspects. It has been established that one of the major communicative strategies used by the detective is self-presentation. Self-presentation is realized by the following communicative tactics: tactics of distancing, solidarity, belonging to a certain group. Each of these tactics is manifested by certain lexical, morphological and syntactic means of the English language. The perspective for further research is seen in the comprehensive study of the linguistic mechanisms of manipulative impact on the recipient in fiction.

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Narayan, Niketa G. « THE PERSISTENCE OF THE BRAHMIN PRIESTS IN WILKIE COLLINS'STHE MOONSTONE ». Victorian Literature and Culture 45, n^o 4 (8 novembre 2017) : 783–800. http://dx.doi.org/10.1017/s1060150317000213.

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When T. S. Eliotfamously called Wilkie Collins's 1868 novelThe Moonstone“the first, the longest, and the best of modern English detective novels” (The Moonstone1966, v), the implication, presumably, was that the “detectives” are the hero Franklin Blake and other English characters who carry out the detective function, such as the family lawyer, Mr. Bruff. In addition to a detective story, the novel has been read variously as imperialist, anti-imperialist, a narrative invested with economic undertones, and as an exploration of gift theory, among others. In all these iterations, however, the underlying assumption has been that the only real “detectives” in the novel are the English characters; it is they who solve the theft of the diamond and work to police it. The Brahmin priests, whose pursuit of the diamond parallels that of the English, have generally been viewed as peripheral to the main narrative; a marginal acknowledgement of the impact that India, in its various facets, had upon nineteenth-century English society. Vicki Corkran Willey calls the priests, tongue-in-cheek, “‘villains’. . . working in tandem with two other imported troublemakers – [John] Herncastle's stolen diamond and the drug, opium” (226). Timothy L. Carens describes them as practicing “dutiful self-renunciation” (246) in their search for the diamond, implying that passivity is inherent in such dutifulness, and Jenny Bourne Taylor suggests they are important only because of their use of “[c]lairvoyance [which] is projected on to them as a form of romantic fascination, [and] which they then internalize and represent” (193). Critics are in general agreement, then, that the priests are not central to the novel, and their involvement in the solving of the crime is minimal. The present essay will refute this perspective and argue that, in fact, the Brahmin priests are central to the narrative and far more active (and effective) policing agents than the English characters.

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Knight, Stephen. « Detection and Gender in Early Crime Fiction : Mrs Bucket to Lady Molly ». Crime Fiction Studies 3, n^o 2 (septembre 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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Bennett, Kirsty. « The media as an investigative resource : reflections from English cold-case units ». Journal of Criminal Psychology 10, n^o 2 (24 avril 2020) : 145–66. http://dx.doi.org/10.1108/jcp-02-2020-0009.

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Purpose The use of the media in live cases has been explored in terms of its use and value to an investigation. However, it is unclear as to whether engaging with the media in cold-case investigations results in a positive or negative reception, and what impact this can have on a case’s possibility for progression. Because of the passage of time and a lack of, or a failed, prosecution means that the approach to media use needs to be different. The purpose of this paper is to explore how the media could be used as an investigative resource for cold cases. Design/methodology/approach This study is a result of a 7-month observation period with a 2-force collaborative cold-case team in England, and supplemented with interviews with 12 experienced cold-case detectives. Using inductive thematic analysis, the themes identified allow an exploration of detectives’ use of the media and the effect that this has on progressing cases. Further, there is discussion as to whether the media’s involvement is positive or negative. Findings The overarching theme is that when using the media, cold-case detectives are met with a positive reception and interest. The media can be used to obtain information, particularly in cases with minimal information, and it is important to use murder-anniversaries to obtain help from the public. However, this needs to be a carefully managed strategy as the media coverage can be negative, including inaccurate or inappropriate reporting which can be of detriment to the investigation. Originality/value To the best of the author’s knowledge, this is the first paper to explore how cold-case detectives have used the media to progress cases, and the findings demonstrate that when the public are encouraged to come forward with information, there is a better chance of case progression. Further research is required to explore how all cold cases can receive appropriate coverage.

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Steere, Elizabeth. « “The mystery of the Myrtle Room” : Reading Wilkie Collins’ The Dead Secret as an Early Female Detective Novel ». Victorian Popular Fictions Journal 5, n^o 1 (3 juillet 2023) : 58–72. http://dx.doi.org/10.46911/yrrl8350.

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While Wilkie Collins’ novels The Moonstone (1868) and The Woman in White (1859-60) have long been accepted as part of the early mystery canon, Collins’ earlier novel The Dead Secret (1857) is rarely included. The Dead Secret is here reconsidered as one of the earliest English female detective novels, revealing its heretofore unrecognised significance to the genre of detective fiction and the evolution of the literary female detective. The Dead Secret’s protagonist, Rosamond, is almost Holmesian in her methodical collection of evidence and tactical lines of questioning to arrive at the solution of the mystery, but she also employs techniques more often attributed to female detectives, demonstrating the importance of emotion, intuition, surveillance, and proximity. In solving the mystery, Rosamond also disrupts the status quo, as is more typical of sleuthing heroines of sensation fiction. The Dead Secret demonstrates Collins’ innovations to the emerging genre of detective fiction, before its tropes become typified by Sherlock Holmes, and reveals the overlap of tropes that originate with sensation novels.

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Devdiuk, Ivanna, et Tetiana Huliak. « TRANSFORMATION OF THE FEMALE DETECTIVE IMAGE IN THE19thAND 20thCENTURIES ENGLISH FEMALE DETECTIVE PROSE ». Fìlologìčnì traktati 14, n^o 1 (2022) : 27–34. http://dx.doi.org/10.21272/ftrk.2022.14(1)-3.

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The article deals with the peculiarities of the image of the female detective in the English female detective prose of the 19thand 20thcenturies. We have traced the changes in theportrayal of the female detective in English literature and singled out the factors which influenced them. First of all, every writer’s experience and life conditions make an impact on the construction of their images. It is obvious that S.Hopley couldn’t but work secretly as her creator C.Crowe wrote detective using the other name. It was the trend of the nineteenth century. In the first part of the twentieth century, women started to obtain different professions alongside men. A.Christie and D.Sayers had an opportunity to be not only writers but even theoreticians of the genre. That is why Miss Marple and H.Vane were able to show their achievements together with men. And the second part of the twentieth century presented women with total freedom. So, we can read about Sharon McCone who is a successful private detective. The second important fact is the situation in the society which for sure is reflected in the realistic literary works and can be easily noticed in the behaviour of the characters. And the last efficient thing is the plot of the story because it dictates the actions which sometimes do not depend on the personality.The article analyzes the characteristic features of the female detectives belonging to three stages of detective development: detective classics(until the early twentieth century), detective modernism(1910–the 1970s), and detective postmodernism(after the1970s).The female detective of detective classics is clever and kind but lacks self-confidence and support. Detectivemodernism shows us an intelligent, smart, very brave, and attentive detective. The woman detective of the postmodern period is smart, courageous, emotional, and hard-working. Thus, we have suggested the canonic image of the female detective. She has a sharp mind, a very high level of knowledge, a sense of responsibility, a strong wish to work, and a little time for her personal life. This woman is pretty, careful, witty, and ready to investigate at any time

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Sidorova, Elizaveta Nikolaevna. « The explication of the notional part of the concept "gardening" in the British detectives of the XIX century ». Litera, n^o 5 (mai 2023) : 240–48. http://dx.doi.org/10.25136/2409-8698.2023.5.40815.

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Within the framework of this article, the author examines in detail the structure of the hyperconcept "Englishness", paying special attention to the concept of "gardening" included in it, which is most widely represented in British detectives of the XIX century. Using the continuous sampling method, its conceptual component was analyzed. The selected examples are classified according to the representation of the "garden" frame, which is verbalized using such hyperonyms as "flowers", "trees", as well as through the lexemes "grass", "plants". A special role in the detectives of the XIX century is played by the lexeme "rose" as part of the hyperonym "flowers". The following works served as material: "Moonstone" by W. Collins, "A Study in crimson tones" by A. K. Doyle, "Ignorance of Father Brown" by G. K. Chesterton. The author's main contribution to the study of the hyperconcept "Englishness" can be considered an analysis of the representation of the hyperconcept by studying one of its constituent concepts, in our case, the concept of "gardening". Since today most researchers study the complex concept of "Englishness", guided by the techniques of cultural and literary approaches, the relevance of this study is that it is carried out in a linguistic way. As a result, it was concluded that gardening is an integral part of English life, which is verbalized in British detectives of the XIX century. The English people have a special love for roses, which are also represented in the concept of "gardening".

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Nefedov, Dmitry B. « Home and family in teenage foreign detectives of German and English speaking writers ». Izvestia Ural Federal University Journal Series 1. Issues in Education, Science and Culture 29, n^o 4 (2023) : 98–112. http://dx.doi.org/10.15826/izv1.2023.29.4.069.

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Within the framework of this study, the task of this article was to analyze and compare the image of Home and Family in teenage detective novels from the point of view of similarities and differences written by German (E. Kestner, A. Steinhöfel, A. Schlüter, J. Steinleitner) and English speaking writers (M. Blyton, R. Stevens, A. Bradley and S. Cleverly). The relevance of the task is determined by the fact that the characters of these novels have a significant impact on the formation of the life values of a teenage reader, including the attitude to crime and the punishment. The object of consideration is the images of “home” and “family”, and the material of the study is detective novels for teenagers written in German and English. The study allows us to conclude that despite the fact that the images of “home” and “family” are plotforming elements in the detective stories of foreign writers, however, their role and significance in the lives of adolescents themselves, as well as their view to these images in the works of German and English speaking authors, differ significantly. While the family and home in German culture is the place where a teenager, in close connection with his parents, goes through the stages of his growing up, relying on the care and experience of the older generation, the family and home for British teenagers is associated with classmates and a school where strict mentors and not parents play the role of educators and teachers and educators. Sometimes it appears to be a negative role.

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Miller, Elizabeth Carolyn. « TROUBLE WITH SHE-DICKS : PRIVATE EYES AND PUBLIC WOMEN INTHE ADVENTURES OF LOVEDAY BROOKE, LADY DETECTIVE ». Victorian Literature and Culture 33, n^o 1 (mars 2005) : 47–65. http://dx.doi.org/10.1017/s1060150305000720.

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C. L. (CATHERINE LOUISA)PIRKIS'S“The Murder at Troyte's Hill,” second in her series of stories about Detective Loveday Brooke, begins with Brooke's boss debriefing her on a case: “Griffiths, of the Newcastle Constabulary, has the case in hand…. Those Newcastle men are keen-witted, shrewd fellows, and very jealous of outside interference. They only sent to me under protest, as it were, because they wanted your sharp wits at work inside the house” (528). This is a typical beginning for one of Brooke's adventures, which were published in the London magazineLudgate Monthlyin 1893 and 1894. As one of the earliest professional female detectives in English literary history, Brooke's career was marked by conflicts with territorial male officers and the ever-present pressure to keep her detective work “inside the house.” Emerging at a historical moment when understandings of women, criminality, and law enforcement were rapidly changing in Britain, Pirkis's stories offer an interpretation of these intersecting cultural shifts that is surprisingly different from her contemporaries. In a decade rife with scientific interrogation into the nature of criminality, such as in the work of Havelock Ellis and Francis Galton, detective fiction of the 1890s tended to mimic scientific discourse in its representations of criminals. The Brooke stories, however, challenge such conceptions of deviance and reveal the poverty of their underlying understandings of crime as well as gender.

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Thèses sur le sujet "English Detectives"

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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Cox, Cynthia Gail. « Bilingual word detectives transferability of word decoding skills for Spanish/English bilingual students / ». Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p1457293.

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Thesis (M.A.)--University of California, San Diego, 2008.
Title from first page of PDF file (viewed Nov. 10, 2008). Available via ProQuest Digital Dissertations. Includes bibliographical references (p. 188-193).

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

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

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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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Johansson, Cecilia. « Bibliotekarien som detektiv : Representationer av bibliotekarier i detektivromaner ». Thesis, Uppsala universitet, Institutionen för ABM, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-200921.

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This master's thesis is a study of how librarians are depicted in crime fiction. 12 American and English mysterynovels featuring librarians in a central role were studied and analysed using character theory. Recurring traitswere identified and organised into themes. A number of prominent traits and themes emerged that show librariansas orderly and organised bibliophiles, but with a taste for adventure and excitement. They are keen problem solverswho enjoy a challenge, at work, or in the form of crime detection. These traits show fairly different sides ofthe characters, and hint of librarians having something of a dubble nature. Some of the traits resonate with findings in earlier studies in the field, but the old stereotype was only parti -ally confirmed. In general the image of librarians presented in the mystery novels is a positive one, which inmany respects also rings true against the background of actual librarians and library work. This is a two years master's thesis in Archive, Library and Museum studies.

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Redmond, Robert Stanley. « Female authors and their male detectives : the ideological contest in female-authored crime fiction : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in English at Massey University, Palmerston North, New Zealand ». Massey University, 2008. http://hdl.handle.net/10179/1057.

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In the nineteen-eighties a host of female detectives appeared in crime fiction authored by women. Ostensibly these detectives challenged hegemonic norms, but the consensus of opinion was that their appropriation of male values and adherence to conventional generic closures colluded with a gender system of male privilege. Academic interest in the work of female authors featuring male detectives was limited. Yet it can be argued that these texts could have the potential to disrupt the hegemonic order through the introduction, whether deliberately, or inadvertently, of a female counterpoint to the hegemony. The hypothesis I am advancing claims that the reconfiguration of male detectives in works authored by women avoids the visible contradictions of gender and genre that are characteristic of works featuring female detectives. However, through their use of disruptive performatives, these works allow scope for challenging normal gender practices—without damage to the genre. This hypothesis is tested by applying the performative theories of Judith Butler to a close reading of selected crime novels. Influenced by the theories of Austin, Lacan and Althusser, Butler’s concept of performativity claims that hegemonic notions of gender are a fiction. This discussion also uses Wayne Booth’s concept of the implied author as a means of distinguishing the performative agency of the text from that of the characters. Agatha Christie, P.D. James, and Donna Leon, each with their male detective heroes, come from different generations. A Butlerian reading illustrates their potential for disrupting gender norms. Of the three, however, only Donna Leon avoids the return to hegemonic control that is a feature of the genre. Christie’s women who have agency are inevitably eliminated, while conformist women are rewarded. James’s lead female character is never fully at ease in her professional role. When thrust into a leadership she proves herself to be competent, but not ready or desirous of the senior position. Instead her role is to mediate the transition of her junior, a male, to that position. Donna Leon is different. The moral and emotional content of her narratives suggests an implied author committed to ideological change. Her characters simultaneously renounce and collude with illusions of patriarchal authority, and could lay claim to be models for Butler’s notion of performative resistance.

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Smillie, Rachel Jane. « The lady vanishes : women writers and the development of detective fiction ». Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225765.

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The history of detective fiction has frequently centred on three key figures: Edgar Allan Poe, Wilkie Collins and Arthur Conan Doyle. These writers hold a privileged place in the canon of detective fiction and represent key sites in a linear narrative of development which has often overlooked the complexity and variability of the detective genre. This dissertation explores the disappearance of female writers from the critical history of detective fiction. Focusing on the mystery and detective narratives of Mary Elizabeth Braddon, LT Meade, Baroness Emmuska Orczy and CL Pirkis, this project aims to restore these overlooked authors to critical view. As this dissertation will argue, the erasure of these writers (among others) from critical histories of detective fiction has led to studies of the genre being based on a limited data set. This unstable foundation has resulted in a number of problematic assumptions about the nascent detective genre; namely, that it is conservative, prescriptive and phallocentric. By exploring the work of overlooked and forgotten writers, this project aims to explore the paradigms which have governed their disappearance; at the same time, this dissertation will examine established critical models and interrogate entrenched assumptions and approaches to detective fiction. Chapter one explores the figure of the female servant as household spy in Braddon's novels and considers her role in opposition to Braddon's male detectives. Chapter two focuses on the collaboratively-authored crime fiction of LT Meade; in particular, it addresses the battle for narrative agency and control which occurs in her texts and examines the breakdown of gender and genre roles. Chapter three considers Orczy's work in the context of the anxiety of the author and explores the potentially restrictive nature of genre fiction. Finally, chapter four addresses CL Pirkis's detective fiction alongside her work in other genres and uses these texts to interrogate traditional models of detective fiction.

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McCarthy, Maureen Frances. « Exploring Sara Paretsky's detective fiction from the perspective of ecofeminism ». CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3138.

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This thesis analyzes Paretsky's works and how the dominant members of society use their power to exploit the weaker members, and how that exploitation impacts society. It shows how the author connects the abuse that stems from the power of patriarchy to the abuse of nature.

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Livres sur le sujet "English Detectives"

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

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

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Ashley, Michael. Historical detectives. Edison, N.J : Castle Books, 2002.

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Harry, Greenberg Martin, et Hoch Edward D. 1930-, dir. Great British detectives. Chicago, Ill : Academy Chicago, 1987.

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D, McSherry Frank, Greenberg Martin Harry 1941- et Waugh Charles, dir. Detectives A-Z. New York : Bonanza Books, 1985.

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K, Chesterton G. Thirteen detectives. New York : Dodd, Mead, 1987.

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K, Chesterton G. Thirteen detectives. London : Xanadu, 1988.

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K, Chesterton G. Thirteen detectives. London : Xanadu, 1989.

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Maxim, Jakubowski, dir. 100 great detectives. New York : Carroll & Graf Publishers, 1991.

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D, McSherry Frank, Greenberg Martin Harry et Waugh Charles, dir. Detectives A to Z. New York : Bonanza Books, 1985.

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Chapitres de livres sur le sujet "English Detectives"

Martinez, Maria-Angeles. « The Language of Engagement and the Projection of Storyworld Possible Selves in Roberto Bolaño's The Savage Detectives ». Dans Powerful Prose, 207–30. Bielefeld, Germany : transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458808-013.

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In this contribution, María-Ángeles Martínez explores the language of engagement in a short extract from Los Detectives Salvajes (Roberto Bolaño, 1998) and its English translation, The Savage Detectives (2007) within the framework of storyworld possible selves (SPSs). Her analysis focuses on the first cluster of SPS linguistics anchors, or linguistic expressions requiring a hybrid mental referent, inclusive of an intra- and an extra-diegetic perspectivizer, in the novel, and discusses its bearing on storyworld possible selves projection and narrative construal. The main narrative function of this first SPS cluster seems to be to invite the activation of readers' past selves as young, restless university students as the part of their self-concepts with a stronger engagement potential in this specific narrative experience.

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Chernaik, Warren. « Mean Streets and English Gardens ». Dans The Art of Detective Fiction, 104–23. London : Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-62768-4_9.

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Mannion, Elizabeth. « ‘Irish by blood and English by accident’ : Detective Constable Maeve Kerrigan ». Dans The Contemporary Irish Detective Novel, 121–34. London : Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-53940-3_9.

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Hesse, Beatrix. « Stage Adaptations of Agatha Christie’s Detective Stories ». Dans The English Crime Play in the Twentieth Century, 197–217. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463043_12.

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Hesse, Beatrix. « Other Types of Detective Fiction Adapted for the Stage ». Dans The English Crime Play in the Twentieth Century, 218–37. London : Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137463043_13.

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Prillinger, Horst. « Writing an Argumentative Essay Like Sherlock Holmes : Teaching Essay Structure with the Detective Analogy ». Dans Developing Advanced English Language Competence, 153–60. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79241-1_14.

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Hepburn, Allan. « Detectives and spies ». Dans The Cambridge Companion to the Twentieth-Century English Novel, 210–22. Cambridge University Press, 2009. http://dx.doi.org/10.1017/ccol9780521884167.015.

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Beattie, J. M. « Introduction ». Dans The First English Detectives, 1–13. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199695164.003.0001.

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Beattie, J. M. « Henry Fielding at Bow Street ». Dans The First English Detectives, 14–24. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199695164.003.0002.

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Beattie, J. M. « Sir John Fielding and the Making of the Bow Street Runners, 1754–1765 ». Dans The First English Detectives, 25–51. Oxford University Press, 2012. http://dx.doi.org/10.1093/acprof:oso/9780199695164.003.0003.

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