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1
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).
3
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.
6
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.
10
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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Naicker, Kamil. « Return to the scene of the crime : The returnee detective and postcolonial crime fiction ». Doctoral thesis, University of Cape Town, 2017. http://hdl.handle.net/11427/25397.
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This thesis investigates the ways in which the crime novel genre has been taken up and adapted in order to depict and grapple with ideas of justice in selected postcolonial contexts. It approaches this investigation through the figure of the 'returnee detective' in these texts and determines how this recurring figure is used to mediate the reader's understanding of civil conflict in the postcolonial world. What makes this trope so noteworthy, and merits investigation, is the way in which guilt and innocence (and their attendant associations of self and other) are forced into realignment by the end of colonial rule and the rise of civil conflict. In the context of civil war, crime becomes more insidious and intimate than the traditional mystery motif will allow. The returnee detective furthers this breakdown by performing the role of hybrid mediator within the text. The returnee figure is at once strange and familiar, lacking both the staunch sense of identity that is necessary in order to maintain the mystery of the 'other' and the objectivity to comfortably apportion blame to one side. Postcolonial fictions of crime set in the context of civil conflict thus emerge as belonging to a distinct category requiring a distinct critical approach. The primary texts are When We Were Orphans by Kazuo Ishiguro, Anil's Ghost by Michael Ondaatje, The Long Night of White Chickens by Francisco Goldman, Red Dust by Gillian Slovo and Crossbones by Nuruddin Farah. My theoretical framework combines genre theory and postcolonial theory. By combining two critical strands I demonstrate that the intimacy of civil war and the returnees' ambivalent attitudes to home and away unsettle crime genre conventions, producing a new form that challenges notions of morality, legitimacy and culpability.
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Emerson, Kristin Amanda. « Women of Mystery and Romance : Tracing a Feminist Rewriting of the Detective Genre ». NCSU, 2007. http://www.lib.ncsu.edu/theses/available/etd-03142007-151252/.
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Many critics find that female characters in detective fiction are never entirely successful as either women or detectives. They argue that authors find it impossible to portray women properly in both roles?one persona always eclipses the other. The conflict is generally attributed to the traditionally ?masculine? and conventional nature of the detective genre. This study proposes that the recent combination of detective fiction with the conventionally ?feminine? genre of romance fiction offers hope for a feminist rewriting of the detective genre. A set of guidelines to subtly re-script detective fiction?s conventions is derived from suggestions by several critics, and is heavily influenced by typical elements of romance fiction. The usefulness of this framework in identifying the characteristics of more empowered and fully developed female detectives is tested by a close reading of three representative works from various points in the history of detective fiction. The three works, which include Wilkie Collins?s The Woman in White, Carolyn Keene?s Nancy Drew series, and Janet Evanovich?s Stephanie Plum series, each incorporate a combination of romance and detective fiction and feature a female investigator. The framework proves useful in assessing the achievements and failures in the characterization of female detectives in these novels. It also offers guidelines that could be considered by authors of future detective works to re-script the most conservative elements of the detective fiction genre so that they no longer prevent the emergence of successful, empowered female detectives.
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Chan, Cheng Lei. « Critical and creative approaches to the detective genre in a South China setting ». Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1780856.
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Kobritz, Sharon J. « Why Mystery and Detective Fiction was a Natural Outgrowth of the Victorian Period ». Fogler Library, University of Maine, 2002. http://www.library.umaine.edu/theses/pdf/KobritzSJ2002.pdf.
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Krohn, Sara. « Equality in Crime Fiction : A Modern, Female Literary Detective in Christopher Brookmyre's A Tale Etched in Blood and Hard Black Pencil ». Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-16267.
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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.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.
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.
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.
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.
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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Trainin, Sarah Jean. « The rise of mass culture theory and its effect on golden age detective fiction ». CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.
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Chavez, Katie Louise. « Illustrating Sherlock Holmes : Adapting the Great Detective in Granada Television’s Sherlock Holmes ». CSUSB ScholarWorks, 2019. https://scholarworks.lib.csusb.edu/etd/939.
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By using adaptation theory and Linda Hutcheon’s depiction of adapters in the process of adaptation as “first interpreters and then creators” (18), this article argues how the original Sherlock Holmes illustrations, penciled most notably by Sidney Paget, are both a canonical element of the Holmes legacy and themselves an adaptation. This creates a means of exploring why and how the television show Sherlock Holmes (1984-1994), developed by Granada Television, uses the original Holmes illustrations as a source of adaptation to create the appearance of fidelity to Arthur Conan Doyle’s Sherlock Holmes stories. Being faithful to the Holmes stories is not a common adaptation practice. Granada’s Holmes chooses to be faithful to the original illustrations and to the Victorian era, not so much to be unique among Holmes adaptations but to be similar to the 1980s heritage cinema trend of faithfully adapting English literature. Heritage cinema, as Andrew Higson states, is a “potent marketing of the past” (1), and through its propensity to adapt literature faithfully to a past time period, heritage cinema reflects a cultural desire for national nostalgia in 1980s Britain. In the case of Granada’s Holmes, this tactic turns Sherlock Holmes into both financial and cultural capital. By being seemingly faithful to the original illustrations, Granada’s Holmes is left vulnerable to the kinds of fidelity or comparative criticisms that adaptation scholars often denounce. Adaptation studies criticizes efforts to compare the source text to the adaptation, saying it will inevitably lead to privileging the source text. Through my investigation, however, I argue that there is a need to use forms of fidelity criticism in order to more fully explore the reasons why Granada’s Holmes hinges its success around fidelity to the original Holmes illustrations.
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Pack, Kendall G. « "We want to get down to the nitty-gritty" : The Modern Hardboiled Detective in the Novella Form ». DigitalCommons@USU, 2015. https://digitalcommons.usu.edu/etd/4247.
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This thesis approaches the issue of the detective in the 21st century through the parodic novella form. The main body of the work is a piece of fiction about an amateur detective trying to find a solution to an imagined crime. This comes from my study of detective fiction, starting with Oedipus and ending with twentieth and twenty-first century examples, especially in the works of Thomas Pynchon and Chester Himes, where the detective loses power. The novella follows Whitney Sloat as he acts as detective in a world that can’t let go of the hardboiled traditions. He and the people around him struggle to connect with reality, pursuing a way of life that cannot exist outside of their world.
20
Pallo, Vicki. « Quarantining the criminal isolation in early British literature of crime and detection / ». Diss., Online access via UMI:, 2009.
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Monello, Valeria. « A Foreignising or a Domesticating Approach in Translating Dialects ? Andrea Camilleri s detective novels in English and The Simpsons in Italian ». Doctoral thesis, Università di Catania, 2012. http://hdl.handle.net/10761/1209.
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This doctoral thesis titled A Foreignising or a Domesticating Approach in Translating dialects? Andrea Camilleri s detective novels in English and The Simpsons in Italian is divided into four parts:
1) an introductory chapter dealing with the most noteworthy translation theories developed in the Western World over the centuries, with a special focus on Translation Studies;
2) a second part analysing two detective novels by Andrea Camilleri, in particular those passages that, because of the high concentration of diatopic, diastratic and diaphatic varieties and the combined use of standard and dialect in the same segment of the text, represent a serious challenge to the translator. This analysis (whose aim is to detect the functions of these linguistic variations) and the skopos the translator wants to maintain in the target text, will be followed by comparisons between the original excerpts and their respective English translations. The basis of my research consists of two detective novels by Andrea Camilleri, one of the first to be translated into English (The Voice of the Violin, first published in Italian in 1997 and in English translation in 2003) and one of the latest (The Wings of the Sphinx, first published in Italian in 2006 and in English translation in 2009). By comparing them to their respective translations, I will be able to say which aspects of the original texts Sartarelli has opted to maintain (precisely which kind of fidelity he has opted for) and whether he has adopted a foreignising approach to preserving the linguistic and cultural peculiarities of the way in which Camilleri uses Sicilian dialect and if over the years, Sartarelli's translating method has changed. Indeed, I consider the foreignising approach the best and perhaps the only way to deal with such culturally-connotated texts. For instance, one of the funniest characters in Camilleri s novels is the semi-illiterate Agatino Catarella whose idiolect merges Sicilian dialect and Italian, a strange mix that linguists define as popular Italian ;
3) A third chapter, specular to the first, which focuses on Screen Translation (dubbing and subtitling), and on the most interesting contributions to the field with a particular focus on Italian dubbing. Both case studies will be exemplified by the contrastive analysis of those excerpts that may represent a challenge to the translator;
4) In the fourth and last part by contrast, the problem of translating culture is treated from a different point of view: the source language (English), the medium conveying the message (the dubbing process imposes various constraints such lip and paralinguistic synchronization) and the translation approach change. The case study analysed in this part of the thesis is represented by some episodes of The Simpsons, an animated American television serial that is broadcast in many countries. The cartoon is ideal for this purpose, since it is extremely humorous and its humour is based on elements of the cultural context and on the exploitation of linguistic varieties. The Simpsons Italian dubbing is in fact one of the best examples of the domesticating method , or rewriting of the dialects, sociolects and idiolects of the famous cartoon. For instance, Italian screen translators had to deal with and to maintain the cultural connotations of for instance, Italian-American spoken by some mafia characters like Fat Tony and his goodfellas, and to totally recreate the connotations of some other original accents. Finally, the contrasting analysis conducted between original and Italian translations of the three episodes selected (namely The Last of the Red Hat Mamas, The Italian Bob and The Color Yellow) will be fundamental to shed light on the translating approach adopted for such a cultural- and linguistic-based humour, so that tendencies in the translation of humour and of cultural references in audiovisual texts can be pinpointed.
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Wirkus, Timothy Paul. « The Ingenious Narrator of Poe's Dupin Mysteries ». BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/3018.
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Scholarship on Edgar Allan Poe's Dupin stories consistently focuses on the stories' influence on the genre of detective fiction. One of the foundational genre elements pioneered by Poe in these tales is the sidekick/narrator. Throughout detective fiction, the less-intelligent sidekick has become a standard fixture, a convenient trope in foregrounding the brilliant machinations of the detective's mind. The attention the literature gives to the narrator of the Dupin tales is almost universally in terms of the sidekick/narrator figure as a trope of detective fiction; in this way, it seems that Dupin's companion has come to be read in terms of what he has in common with his successors, the Watsons and Archie Goodwins of mystery stories, rather than more strictly on the terms of what makes him unique. This thesis examines the ways in which the narrator alternately highlights (in subtle ways) and attempts to obfuscate (in equally subtle ways) his role as the fictional author of the tales. The narrator's role as writer complicates the reading of Dupin as the autonomous master of his own narrative, and as the narrator himself as a generic, dim-witted sidekick. In this way, Dupin and the narrator occupy flip sides of the same narrative coin—Dupin serves as the showman, and the narrator, the invisible author. As contrasting, complementary doubles of one another, they perform the function of collaborative authors, each one equally essential to the production of the tales. Similarly, this reevaluation of the narrator/sidekick as an author figure brings out ways in which the narrator's genius parallels and matches the genius of Dupin.
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Sarnelli, Debora Antonietta. « Landscapes of Murder : Exploring Geographies of Crime in the Novels of Agatha Christie ». Doctoral thesis, Universita degli studi di Salerno, 2019. http://elea.unisa.it:8080/xmlui/handle/10556/4512.
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2017 - 2018Mystery novels and literary geography have not often intersected. Crime fiction, for instance, has frequently been examined in terms of temporality, rather than in terms of spatiality. Todorov, in this respect, argues that crime narratives, in particular the clue-puzzle forms, are constructed on a temporal duality: the story of the crime – tells what really happened, and the story of the detective’s investigation – the way the detective/narrator presents it to the reader. The two stories eventually converge when the sleuth unmasks the murderer (Todorov 1977). The aim of the research is to read Agatha Christie’s whodunit mysteries as centrally concerned with space, considering that, to quote Geoffrey Hartman, “to solve a crime in detective stories means to give it an exact location” (Hartman 2004). The study focuses on the spatial dimension of Agatha Christie’s detective fiction, shedding a light on her domesticated milieus, both real and fictive. The first to be analysed is rural England, presenting both the narrations where the English country house – a Victorian or a Georgian mansion – functions as the only setting prevailing over the local geography, and her fictional villages, apparent idyllic paradises which offer no refuge from the cruelties of the world. Similarly, the study takes into consideration the urban settings with a special attention devoted to the city of London which becomes the epitome of a privileged lifestyle. The city space appears as dangerous as the country side village. Subsequently the research moves outside the British borders, but within the confines of the enormous British Empire, with narratives set in foreign and exotic geographies. The study analyses Christie’s “colonial” novels, where the Middle East is portrayed as a space of otherness. In conclusion, the research investigates the train as a non-place, working on those narratives set in transit. All of these settings present a precise point in common, what has come to be called the closed circle of suspects. Whether in England or in the Middle East, the accent is laid on the domestic sphere of the setting, which conveys the uncanny feeling that the murderer is “one of us”. [edited by author]
XVII n.s. (XXXI ciclo)
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Wouters, Els. « Roman policier et inférence : une étude philosophique, sémiotique et rhétorique de l'inférence logique dans le roman policer classique francophone et anglophone entre 1841 et 1945 / ». Online version, 2001. http://bibpurl.oclc.org/web/28328.
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Taylor, Michelle Marie. « From sentiment to sagacity to subjectivity : dogs and genre in nineteenth-century British literature ». Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6303.
Texte intégralRésumé :
My dissertation examines the ways that canine roles affect genre—the categories into which we place works of literature, which shape their forms and which in turn shape our expectations of what we read. For instance, if epitaphs and elegies are at least partially meant to usher the dead into heaven and praise the dead’s suitability for a Christian afterlife, what happens when the subject is a dog denied a soul by Christianity? These are the kinds of questions I address. In addition to epitaphs and elegies, I consider detective and sensation fiction as well as dog autobiographies—works of fiction written from the dog’s perspective—to explore how taking the dog as a subject forced the conventions of certain genres to change, or in the case of detective and sensation fiction, how dog-like ways of knowing helped to birth a new genre altogether. In either case, what is important is that the generic changes signal a less human-centered approach to literature: one which opens animals up to be the possessors of souls, intelligence, and subjectivity. These changes paved the way for the Victorians to consider animals as beings worthy of compassion and respect.
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Cannon, Ammie. « Controversial Politics, Conservative Genre : Rex Stout's Archie-Wolfe Duo and Detective Fiction's Conventional Form ». BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/469.
Texte intégralRésumé :
Rex Stout maintained his popular readership despite the often controversial and radical political content expressed in his detective fiction. His political ideals often made him many enemies. Stances such as his ardent opposition to censorship, racism, Nazism, Germany, Fascism, Communism, McCarthyism, and the unfettered FBI were potentially offensive to colleagues and readers from various political backgrounds. Yet Stout attempted to present radical messages via the content of his detective fiction with subtlety. As a literary traditionalist, he resisted using his fiction as a platform for an often extreme political agenda. Where political messages are apparent in his work, Stout employs various techniques to mute potentially offensive messages. First, his hugely successful bantering Archie Goodwin-Nero Wolfe detective duo—a combination of both the lippy American and the tidy, sanitary British detective schools—fosters exploration, contradiction, and conflict between political viewpoints. Archie often rejects or criticizes Wolfe's extreme political viewpoints. Second, Stout utilizes the contradictions between values that occur when the form of detective fiction counters his radical political messages. This suggests that the form of detective fiction (in this case the conventional patterns and attitudes reinforced by the genre) is as important as the content (in this case the muted political message or the lack of overt politics) in reinforcing or shaping political, economic, moral, and social viewpoints. An analysis of the novels The Black Mountain (1954) and The Doorbell Rang (1965) and the novellas "Not Quite Dead Enough" and "Booby Trap" (1944) from Stout's Nero Wolfe series demonstrates his use of detective fiction for both the expression of political viewpoints and the muting of those political messages.
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Rosales, Lauren N. « "Dismissed outright" : creating a space for contemporary genre fiction within neo-Victorian studies ». Diss., University of Iowa, 2018. https://ir.uiowa.edu/etd/6259.
Texte intégralRésumé :
Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.
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Singh, Anirood. « Road to redemption ». Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013035.
Texte intégralRésumé :
Lurching from day-today in the months before South Africa becomes a republic, booze-befuddled Indian private investigator Rohit Biswas does not ponder how he can secure his daughter's future after he became a widower and lost his job as police detective when he killed a man who fatally stabbed his wife. Salvation appears when a rich client hires the PI to find evidence proving his son did not rape and murder a white socialite. Fighting against seeming impossible odds in colonial-apartheid Durban and a sanctions-busting conspiracy, Biswas secures his client's acquittal. In the process he defies karma and redeems himself.
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Denning, Laurie Langlois. « L. T. Meade's Avaricious Anomaly : Â Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand ». BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6848.
Texte intégralRésumé :
L. T. Meade's Avaricious Anomaly: Madame Sara, British Imperialism, and Greedy Wolves in The Sorceress of the Strand. Laurie Langlois Denning, Department of English, BYU Master of Arts. Critics interested in the prolific late Victorian author L.T. Meade have primarily focused on her work as an author of girls' stories and novels for young people, which enjoyed fantastic commercial success in her lifetime but fell into obscurity after her death. Recent scholarship on her detective fiction shows Meade's significant contributions to the genre as well as her engagement with social and political discourse. Scholars have noted ways that Meade's popular series, The Sorceress of the Strand, contributes to the New Woman debate and expresses anxiety over the British imperial project. This project examines Meade's villain in the series as a social anomaly that functions to interrogate the greed at the heart of imperialism. Examining the series' conclusion and the unusual nature of its ending sheds new light on Meade's contribution to debate over empire at the fin de siécle. Meade's fascinating villain, Madame Sara, is doggedly pursued by two detective figures--one is considered the top forensic specialist in the British police force and the other is the head of a business fraud agency--but the detectives are never able to bring Madam Sara to justice. Instead, it is a wolf that finally defeats the brilliant criminal mastermind. Why a wolf? Madam Sara's unusual demise serves as a deus ex machina that invites the reader to consider the Dante symbolism embedded in the text. Other critics see Meade's ending as reinforcing the empire; however, given the Dante imagery that has Madam Sara symbolizing a greedy imperial force, Meade's series indicts imperial greed and warns British citizens about failure to apprehend the evil in empire.
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Hoffman, Megan. « Women writing women : gender and representation in British 'Golden Age' crime fiction ». Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.
Texte intégralRésumé :
In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.
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Green, Jennifer Elizabeth. « Aesthetic Excuses and Moral Crimes : The Convergence of Morality and Aesthetics in Nabokov's Lolita ». unrestricted, 2006. http://etd.gsu.edu/theses/available/etd-04272006-134431/.
Texte intégralRésumé :
Thesis (M.A.)--Georgia State University, 2006.Title from title screen. Paul Schmidt, committee chair ; Marti Singer, Chris Kocela, committee members. Electronic text (60 p.) : digital, PDF file. Description based on contents viewed Apr. 17, 2007. Includes bibliographical references (p. 55-64).
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Douglas, Jason G. « Towards a New Currency of Economic Criticism ». BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1466.
Texte intégralRésumé :
“The Purloined Letter,” Edgar Allan Poe's third and final tale featuring the detective Dupin, has evoked a long history of critical response. Criticism has tended to read the text for its role in the development of detective fiction and as illustrative of various theoretical positions. However, the implications of the “The Purloined Letter,” as a tale of ratiocination, has largely been left unexplored. “The Purloined Letter” explores logical processes of value and exchange, particularly economic exchange, in a manner very similar to what Charles Sanders Peirce will call pragmatism several decades later. Dupin's deductive methods and Peirce's abductive logic express the nature of objects in terms of social systems of preference and perception rather metaphysics. Peirce's classification of signs as icon, index, or symbol provides a framework of signification which can be read in conjunction with “The Purloined Letter” to flesh out the role of materiality and value in the theory of economic criticism. Reading value and exchange as part of a social system of signs, perceptions, and representations of value will serve to expose a penchant for material fetishism in economic criticism and provide a theory of currency, value, and exchange that contextualizes representational and material notions of value within the social and economic system that provides the processes and mechanisms of value determination. The way that the Prefect, the Minister D___, and Dupin each conceptualize the purloined letter as having a different representational relationship with value can be used to demonstrate Poe's abductive framework for economy.
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Ludtke, Laura Elizabeth. « The lightscape of literary London, 1880-1950 ». Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.
Texte intégralRésumé :
From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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« Genres of truth : Vision and knowledge in nineteenth-century ghost and detective fiction ». Tulane University, 2003.
Trouver le texte intégralRésumé :
My dissertation shows that nineteenth-century philosophical and scientific inquiries into the relationship between vision and knowledge exerted a formative influence on the epistemology and ideology of Victorian ghost and detective fiction. In contrast to the popular assumption that it is possible to isolate a single dominant model or regime of vision in this period, I maintain that nineteenth-century visual culture was defined by the continuous negotiation and tension between different conceptual models, epistemologies, and ideologies. Chapter One argues that the Victorian ghost story registers the shift in the early nineteenth century from spiritual to physiological models of vision and the growing demand for empirical verification of notions that had traditionally been accepted as articles of faith, while at the same time opening a discursive space for expressions of dissent to the rule of rationalism and materialism by underscoring the unreliability of the bodily senses and nostalgically invoking a spiritual model of spectatorship. The second chapter argues that Victorian detective fiction puts back into circulation Bishop Berkeley's theory of a universal visual language, transforming it into a new kind of ocularcentric epistemological fantasy about the instantaneous discovery of 'plain meaning,' while simultaneously subscribing to the empiricist theory that observation is a compound of sensations and inferences, and as such is inevitably fraught with interpretive difficulties and epistemological uncertainties. Chapter Three examines how certain late-nineteenth century developments in physics and mathematics, most importantly non-Euclidean geometry and speculations about n-dimensional space, occasioned an increasing fascination in late-Victorian science in the invisible and the unseen, reorienting scientific discourse toward non-positivist, idealist conceptions of seeing and knowing, preeminently intuition. In the genre of psychic detection, a hybrid of ghost and detective fiction, this fascination manifests itself quite differently: as the paranoid anxiety of always being watched by unseen spectral watchers. The final chapter examines nineteenth-century spirit photographs and composite mug shots in terms of their mutual correspondences. In both photographic genres, I argue, the ostensible evidential value of the image ultimately depends on a mutually non-exclusive commitment to seemingly incompatible impulses and beliefs: ocularcentrism and antiocularcentrism, positivism and idealism, empiricism and metaphysicsacase@tulane.edu
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Kinsman, Melanie Jane. « 'The Nightwatchers' a novel and 'Breaking English' an exegesis on 'The Nightwatchers' ». Thesis, 2012. http://hdl.handle.net/2440/83640.
Texte intégralRésumé :
The creative work ‘The Nightwatchers’ is a novel with gothic undertones, written for a young adult audience. Twelve-year-old Mattie Russo and her best friend Harry are the ‘nightwatchers’, who entertain themselves by watching the comings and goings of the residents of their apartment block. When five-year-old Sammy goes missing, they play detective, discovering his corpse by the local river. Mattie and Harry realise the murderer is someone from the apartments who’s been watching where the local children play; this puts them in danger. Mattie cannot turn to her illiterate Italian grandmother (Nonna), or her depressed father for help; nor can Harry turn to his drunken, violent parents. When another boy disappears, Mattie and Harry return to the river in search of him, terrified that their silence has cost the boy his life. The plot of the novel is a device to engage the young adult reader; the novel is most importantly a ‘multicultural’ work, drawing attention to the need for cross-cultural communication in Australia. The relationship between Mattie and her Italian migrant grandmother is crucial to the novel. Their struggles to communicate (Nonna’s broken English and Mattie’s inability to speak Italian) mean they must each ‘culturally negotiate’ two cultures. Although the contemporary relevance of the concept of multiculturalism has been contested, I use the arguments of Wenche Ommundsen to support my claim that recognition of cultural difference and representation of minority groups is still important to Australian society and literature. My exegesis, ‘Breaking English’, analyses contemporary sites of ‘cultural negotiation’, including my own experiences of negotiation, both as a ‘writer’ and a supporter of ‘multiculturalism’. I examine multiculturalism in a social and political context, in relation to contemporary literature and to my own novel. I compare my novel to Melina Marchetta’s Looking for Alibrandi and other multicultural young adult narratives. Finally, I consider the process of writing a novel with my illiterate grandmother Esterina as a muse.Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2012
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Van, der Linde G. P. L. (Gerhardus Philippus Leonardus). « Cognitive rationality and indeterminism in the contemporary detective novel, with special reference to the work of Umberto Eco, Carlo Emilio Gadda and Stanislaw Lem ». Thesis, 1994. http://hdl.handle.net/10500/16256.
Texte intégralRésumé :
The study examines cognitive rationality as to()l for problemsolving within the context of a
movement from determinism and monolithic universal Reason towards indeterminism and plurality.
It is contended that theories of literature do not provide an adequate conceptual framework, and
therefore, extensive use is made of pluralist fallibilism (Popper, Helmut Spinner) and chaos theory.
The philosophy of Friedrich Nietzsche is viewed as a decisive influence in the shift towards plurality
and scepticism. In chapter 2, Conan Doyle's Sherlock Holmes stories, a novel by Agatha Christie
and Gaston Leroux's Le mystere de Ia chambre jaune are discussed as examples of optimistic
rationalism. Chapter 3 indicates that Eco's II nome della rosa emphasizes the conjectural nature of
truth and objective knowledge, underpinned by a 'soft' rationalism which amounts to monopolistic
pluralism. Chapter 4 analyses the defeat of cognitive rationality by the complex interaction of a
multiplicity of independent causal series. The detectives' relationship with the feminine exemplifies
the interpenetration of rationality and the instinctual, while the mystery of the feminine is a
metaphor for impenetrable complexity. Chapter 5 shows that hypotheses concerning random
complex systems remain inconclusive. However, as the trajectory of a complex system can be
regulated, so reason can be viewed as the underlying regulative pattern (strange attractorl for an
infinite proliferation of hypotheses. Thus, despite .shifting conceptions of rationality and order, all
the detectives in the study accept objective truth as regulative principle and are involved in a
search for objective knowledgeAfrikaans & Theory of Literature
D.Litt. et Phil. (Theory of literature)