Tesi sul tema "American crime literature"

The study directly explores the three aspects of deviance that contemporary American crime fiction manipulates: linguistic, social, and generic. I conduct case studies into crime series by James Patterson, Michael Connelly and Patricia Cornwell and investigate the way in which the novelists correspondingly challenge linguistic norms, the boundaries of acceptable social behaviour, and the relevant generic conventions. The study particularly explores the nature of the figurative language employed to portray the criminal mind in Patterson, and additionally examines the moral justification of crimes from all three series using the notion of mind style. I also challenge the nature of abnormality as featured in the Connelly series, and argue that crime fiction can be seen as carnival. I name THE MONSTER, THE VAMPIRE, and THE SPOILT CHILD as contemporary criminal archetypes that feature in the genre, and additionally deal with the implications that such a classification bears for the reading of it. In an attempt to re- define the genre, I draw on family resemblance theory, the prototype approach to sense, and defamiliarisation. I argue that novelists such as Paul Auster and Philip Kerr dismember the conventions of crime fiction and defamiliarise the genre. Finally, I hold that the extent to which sub-genres such as Cornwell's forensic series evolve into new genres is a matter of reception. Deviance proves to be a term that means different things for different disciplines, and is difficult to define in the context of anyone. The language used to portray the criminal mind is seen as deviant due to the labelling of criminals as 'socially deviant'. The detectives' social abnormalities are tolerated due to these characters' labelling as ‘socially normal’. Finally, generic deviance goes hand in hand with both other forms of deviance, since character behaviour and mind styles form part of generic conventions. Key words: crime/detective fiction, carnival, Wittgenstein, Bakhtin, deviance/deviation, stylistics, genre, defamiliarisation, James Patterson, Patricia Cornwell, Michael Connelly

This thesis is based on the author's English translation of key passages of an Argentine crime novel: Jose Pablo Feinmann's Ultimos dias de la victima (1979). The thesis establishes a theoretical framework revolving around the original text and its translation. This theoretical framework examines the novel's place in the history of the crime fiction genre in Argentina, translation's role in this history, the socio-political context in which the novel was created, and the linguistic, cultural, stylistic, and interpretive challenges of its translation. Most importantly, this thesis will examine how the novel can be translated for an audience who might not be aware of the socio-political situation that provides the context for a number of interpretations of this story.

This dissertation investigates the emergence of detective fiction and film from 1994 to the present. The corpus appears during the government of Carlos Menem and its intent to insert Argentina into a globalized economy. Poverty, insecurity and violence prevail in the Argentine society and ten detective novels, based on real-life murders, appear in 1994. Consequently, I explore each murder case, beginning with the newspaper article, and trace its transformation into short fiction, novel and/or film. The articles about the homicides follow the tendencies of the sensationalist yellow press. The writers and film directors, however, transform those stories, following and also subverting the characteristics of the classic detective fiction or the hard-boiled. In doing so, these recreations of the murder cases aim to denounce or criticize specific aspects of Argentine society: domestic violence, discrimination, stigmatization and corruption, among others.

Extreme violence, which often results in murder, is a prominent theme in the American literary canon; therefore, it deserves a wider and more focused lens in the study of Twentieth-Century American literature. Murder and entertainment seldom coexist in canonical literature, but the very nature of the murder, foreign to many readers, consequently piques one’s curiosity, and demands special attention. The literary texts I have chosen to discuss are four novels and three plays. They all belong to the genre known in literature as ‘a crime novel or play.’ The murderers are easily identified, and their criminal acts have been carried out successfully, often with much forethought and detail. My focus has been to conduct a psychological study to highlight the impetus for the crime. Three basic themes have captured my attention: 1- Is the murder a sin or a crime? What is the role of religion in the lives of the accused? 2- Is it right to blame society for such horrendous acts? 3- How is the American Dream portrayed in these works? The closer we get to the end of the Twentieth-Century, the harder it is to detect an affirmative ending in the works of literature I have explored. The insatiable appetite for material consumption overshadows the pursuit of happiness, or, maybe happiness is defined by material wealth. The critical question is: can American society read the warning written on the wall?

A problemática do narrador na teoria do romance aumenta à medida que as relações humanas se tornam mais complexas e abrangentes. Daí a importância de mostrar ao público o escritor norte-americano E.L. Doctorow e seu romance The Book of Daniel de 1971, uma vez que através da figura do narrador, neste romance, tem-se acesso às suas diferentes visões da História norte-americana. O sujeito no pós-modernismo (período em que o romance está inserido) perde a sua capacidade de organizar a narrativa de maneira homogênea, e esta assume, mais do que nunca, o caráter de narrativa fragmentária e de difícil vinculação com o tempo. Só resta, então, ter acesso a esta \"realidade\" histórica por meio de imagens e estereótipos proporcionados pelo narrador da história, daí o nosso interesse em mostrar como estas diferentes vozes da narração veiculam o conteúdo histórico pungente da narrativa, isto é, o comunismo dos anos 30 e 40 e a sua versão mais radical nos anos 60 e como isto pode contribuir para a discussão da relação entre narração e História.
The question of the narrator in the theory of the novel develops into a central issue as human relations become broader and more complex. Hence the importance of introducing to the readers the North-American writer E. L. Doctorow and his novel The Book of Daniel, written in 1971, in which, through the narrator, one is presented with his different views on the North American History. The subject in post-modernism (when the book was written) is no longer able to organize the narrative homogeneously, which becomes fragmentary and time problematic. Thus, this \"historical reality\" is only available through the images and stereotypes provided by the narrator, and our aim in this study is to show how these different voices (of the narrator) convey the historical content of the narrative, i.e, the comunism of the 30s and 40s, and its later radical version of the 60s, and how this analysis contributes to the discussion of the relationship between narration and History.

Looking primarily at two critically acclaimed texts that concern themselves with American citizenship—F. Scott Fitzgerald’s The Great Gatsby and Stephanie Powell Watts’ No One is Coming to Save Us—I analyze the claims made about citizenship identities, rights, and consequential access to said rights. I ask, how do these narratives about citizenship sustain, create, or re-envision American myth? Similarly, how do the narratives interact with the dominant culture at large? Do any of these texts achieve oppositional value, and/or modify the complex hegemonic structure? I use Pierre Bourdieu’s “The Forms of Capital” to investigate the ways in which economic, cultural, and social capital are distributed amongst identity groups of citizens, focusing on its favorable distribution to white upper-class men. Interesting, too, is the way in which these texts relate with one another and evolve over time. As Fitzgerald reaffirms boundary rights to white upper-class social capital to longstanding wealthy white males, Watts celebrates the survival of black individuals through the hard-earned persistence of human connection. Ultimately, as Gatsby fails to repeat the past, Watts succeeds in rewriting it.

This thesis reexamines the beginnings of Swedish hardboiled crime literature, in part tracking its lineage to American culture and unpacking Swedish identity. Following the introduction, the second chapter asserts how this genre began as a form of escapism, specifically in Maj Sjöwall and Per Wahlöö’s Roseanna. The third chapter compares predecessor Raymond Chandler’s The Big Sleep with Roseanna, and how Sweden’s greater gender tolerance significantly outshining America’s is reflected in literature. The fourth chapter examines how Henning Mankell’s novels fail to fully accept Sweden’s complicity in neo-Nazism as an active component of Swedish identity. The final chapter reveals Helene Tursten’s Detective Inspector Huss engaging with gender and racial relations in unique ways, while also releasing the suppressive qualities found in the Swedish identity post-war. Therefore, this thesis will better contextualize the onset of the genre, and how its lineage reflects the fruits and the damages alike in the Swedish identity.

This is a coming of age story about two very different boys – Jason, a Northerner who ends up stuck in a small Southern town and Billy, a Southern boy with an abusive father. The boys become friends and grow up learning the dark secrets that are allowed to fester in a tiny southern town ruled by the Good Ol’ Boy System of justice. The story chronicles how their shared experiences change them in ways they never imagined and ultimately destroys their friendship and their lives. Through a history of violence and prejudice, Billy and Jason learn who they really are and just how far they’re willing to go to get what they want. They discover the true meaning of strength and weakness and how to survive in a world where they don’t fit in. The story explores the issues of violence, drug abuse, and murder that often lie hidden beneath the façade of fanatic Christianity, propriety, and status in seemingly innocent, charming Southern towns.

Orientador: Álvaro Luiz Hattnher
Banca: Fábio Akcelrud Durão
Banca: Orlando Nunes de Amorim
Resumo: O presente trabalho analisa a descentralização do paladino super-heróico na narrativa Invincible (2003), de Robert Kirkman. Para tanto, toma a personagem Super-Homem como arquétipo narrativo de super-herói e modelo criador do conceito paladinesco nos comic books e, por isso, recorta algumas das variadas histórias desta personagem que é narrada desde a década de 40. O enfoque da seleção foram as recriações e re-narrações do universo diegético do Homem de Aço, que, em conjunto com o estudo comparativo da narrativa gráfica de Kirkman, forneceram elementos para observar e comprovar a descentralização do conceito do super-herói paladino. O conceito de descentralização foi retirado das teorias sociais de Zygmund Bauman (2005) e de Stuart Hall (2009), acerca da crise de identidade do sujeito pós-moderno, e compreendido aqui como o deslocamento da identidade, sua liquidez. Portanto, sua aplicação como ferramenta de análise de narrativas é desenvolvida pela evidenciação das relações intertextuais que o universo de Invencível possui com as histórias do Super-Homem, dessa forma, demonstrando por meio das referências textuais, como a mudança dentro do paladino está relacionada a crise de identidade
Abstract: The present work analyses the super-heroic paladin decentralization in Robert Kirkman's narrative, Invincible (2003). Because of this, it takes the Superman character as the narrative archetype and the creator model of the paladin concept in the comic books, so it selects some of the many stories of this character narrated since the 40s. The re-creations and the retelling of the Man of Steel's diegetic universe were the focus of the selection to, in union with the comparative study of Robert Kirkman's graphic narrative, Invincible (2003), look and prove the super-hero paladin concept's decentralization in Kirkman's narrative. The decentralization concept is taken from the social theories of Zygmund Bauman (2005) and Stuart Hall (2009) about the post modern subject crisis and its understood here as the identity's displacement, it's liquidity. Therefore it's application as a tool to narrative analyses is developed by the demonstration of the intertextetual relationship that the Invincible universe shows towards Superman stories, thus showing by textual references how the paladin changing is related to the identity crisis
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Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
O presente trabalho analisa a descentralização do paladino super-heróico na narrativa Invincible (2003), de Robert Kirkman. Para tanto, toma a personagem Super-Homem como arquétipo narrativo de super-herói e modelo criador do conceito paladinesco nos comic books e, por isso, recorta algumas das variadas histórias desta personagem que é narrada desde a década de 40. O enfoque da seleção foram as recriações e re-narrações do universo diegético do Homem de Aço, que, em conjunto com o estudo comparativo da narrativa gráfica de Kirkman, forneceram elementos para observar e comprovar a descentralização do conceito do super-herói paladino. O conceito de descentralização foi retirado das teorias sociais de Zygmund Bauman (2005) e de Stuart Hall (2009), acerca da crise de identidade do sujeito pós-moderno, e compreendido aqui como o deslocamento da identidade, sua liquidez. Portanto, sua aplicação como ferramenta de análise de narrativas é desenvolvida pela evidenciação das relações intertextuais que o universo de Invencível possui com as histórias do Super-Homem, dessa forma, demonstrando por meio das referências textuais, como a mudança dentro do paladino está relacionada a crise de identidade
The present work analyses the super-heroic paladin decentralization in Robert Kirkman‘s narrative, Invincible (2003). Because of this, it takes the Superman character as the narrative archetype and the creator model of the paladin concept in the comic books, so it selects some of the many stories of this character narrated since the 40s. The re-creations and the retelling of the Man of Steel‘s diegetic universe were the focus of the selection to, in union with the comparative study of Robert Kirkman‘s graphic narrative, Invincible (2003), look and prove the super-hero paladin concept‘s decentralization in Kirkman‘s narrative. The decentralization concept is taken from the social theories of Zygmund Bauman (2005) and Stuart Hall (2009) about the post modern subject crisis and its understood here as the identity‘s displacement, it‘s liquidity. Therefore it‘s application as a tool to narrative analyses is developed by the demonstration of the intertextetual relationship that the Invincible universe shows towards Superman stories, thus showing by textual references how the paladin changing is related to the identity crisis

Géographe picaresque à cheval sur les côtes atlantique et pacifique, Thomas Ruggles Pynchon Junior signe une œuvre orientée vers l’origine défectueuse et la trajectoire entropique du continent américain, sept générations après la grande migration puritaine à laquelle son ancêtre William fut l’un des premiers à participer. L’enjeu de cette thèse est de revenir sur la façon dont le roman pynchonien cherche à circonscrire les figures de cette latence de la grande faute américaine, un « vice caché, » puisque tel est le titre de son avant-dernier roman, pour retrouver la prairie perdue et composer un contre-espace au sein de la fiction. Ouverte à toutes les modulations historiques, la notion de fantasmagorie occupe une œuvre où le flâneur, dans un dernier geste de résistance politique, est mené à déchiffrer la crise d’une surface surcodée par la déformation optique et les reflets trompeurs de la ville. En traversant les reflets de cette cité sur la colline, Pynchon met à jour une stratigraphie de l’Amérique, une géologie de la faute, où les lignes de faille et brèches dialoguent avec les mythes fondateurs et achèvent de fracturer la géographie idéalisée du continent, signalant la nature défectueuse de son espace mais aussi de son temps, traversé par la crise. Face à l’insuffisance des récits fondateurs et aux spasmes de l’Histoire, l’écriture pynchonienne réagit en s’enroulant autour de nouvelles modalités narratives, pour faire émerger, entre les lignes, les bifurcations et les incertitudes d’un récit historique écrit au « Subjonctif. »
As a picaresque cartographer standing astride the Atlantic and Pacific coasts, Thomas Ruggles Pynchon Jr. stresses the flawed origin and entropic trajectory of the American continent, seven generations after the great Puritan migration to which his forebear William participated. This dissertation aims to recast the way his work defines these latent figures of the American fault, an “inherent vice,” for such is the title of his penultimate novel, in order to recover the lost prairie of the past and recompose an idealized counter-space within the realm of fiction. This work will consider how the notion of phantasmagoria inhabits a cityscape overcoded by optical devices and deceitful distortions that can only be resisted by the flâneur’s politics of loitering. By exposing the dreamworld of this city upon a hill, Pynchon delves into the depths of the continent and starts a stratigraphic study of America: geological fault-lines engage in a dialogue with deficient founding myths and fracture the revered geography of the continent, signaling the defective nature of its space but also of its time, permeated by the cracks of the crisis. To face the failure of founding narratives and the spasms of History, Pynchon’s work unfolds new modalities that, while not essential to narrative, disrupt reading procedures and suffuse his historical novels with the forking paths and counterfactuals of the “Subjunctive” form

This project is an exploration of 20th century dystopian literature through the lens of germ theory. This scientific principle, which emerged in the late 19th century, asserts that microorganisms pervade the world; these invisible and omnipresent germs cause specific diseases which are often life threatening. Additionally, germ theory states that vaccines and antiseptics can prevent some of these afflictions and that antibiotics can treat others. This concept of a pervasive, invisible, infection-causing other is not just a biological principle, though; in this paper, I argue that one can interpret it as an ideological framework for understanding human existence as a whole. Particularly, I believe that authors of prominent 20th century dystopian novels applied the tenets of germ theory in order to explore the potential “pathogens” that furtively exist within the human mind. These pseudo-germs are various human tendencies that, when left “untreated” by governments, create nonnormative members of society. In the eyes of dystopian regimes, it is precisely this nonnormativity that poses a lethal threat, in that it challenges the continued existence of society with the current ruling body at the helm. In this paper, I trace love (both sexual and familial) and individuation (as a function of social hierarchy, recreational activities, and the use of language) as social disease-causing pathogens in George Orwell’s 1984 and in Aldous Huxley’s Brave New World.

This dissertation focuses on the scene of the crime as a living place. The crime scene forces a retrospective look—a detailed inquiry into the past to uncover physical, political, and historical elements particular to that location. At the scene of the crime, lost or hidden clues are uncovered to solve a mystery: in the texts examined in this study, crime scenes of murder, forced cultural migration, and nuclear bomb testing disclose vital ecological data about changes in the land—in the wilderness, on the family farm, in the southwest desert, and in the urban future. Crimes in these works serve as metaphors for crimes against the land, the possible collapse of the ecosystem, or apocalypse. The rhetoric of crime is well documented in environmental writing—from descriptions of earth slashed by wagon wheels to apocalyptic projections of slaughtered forests, poisoned seas, and the “critical condition” of the earth and its atmosphere—all warnings that envision the world as a vast scene of cultural crime. The works considered in this study command attention in a new way—as ecologically-based tales of crime. The first chapter traces the legacy of crime rhetoric in contemporary environmental writing beginning with Rachel Carson's exposé, Silent Spring. In chapter 2, I investigate Peter Matthiessen's Watson trilogy, a multi-voiced saga of the 1910 murder of E. J. Watson, that recounts the ecological destruction of the Everglades at the turn of the nineteenth and twentieth centuries. Chapter 3 examines Annie Proulx's Postcards and Wendell Berry's A World Lost. In both novels, a brutal murder directs attention to the survival of small-scale living on the land and the fate of the family farm. Chapter 4 investigates the cultural crime of nuclear testing and the links between radiation and cancer in Terry Tempest Williams's Refuge, and Leslie Marmon Silko's Ceremony. The final chapter examines the apocalyptic landscapes of Octavia Butler's Parable of the Sower and Parable of the Talents, science-fiction novels set in futuristic urban California. These texts look to the stars for a better place in space and anticipate the possibility of partnership ethics as a means of preserving the living earth and its creatures.

This dissertation, “Wayward Reading: Women’s Crime and Incarceration in the United States, 1890-1935” illuminates the literary stakes of a crucial, yet overlooked, moment in the history of American incarceration: the development of the women’s prison and the unique body of literature that materialized alongside that development. In the late 19th and early 20th century, the women’s prison became a testing ground for the study of women’s sexuality: social scientists sought to assimilate their “patients” into gendered and racialized citizenship by observing the minutiae of women’s everyday lives and policing their sexual and social associations. Ultimately, this experimental study of women’s sexuality served to reinforce racial stratification: sociologists figured white women’s waywardness as necessitating rescue and rehabilitation into domesticity, and depicted black women’s waywardness as confirming their essential criminality, justifying their harsher punishment and consignment to contingent labor. I argue that women’s imprisonment also sparked another kind of experimentation, however, one based in literary form. A wide range of writers produced a body of literature that also focused on the “wayward girl’s” life trajectory. I contend that these authors drew on social science’s classificatory system and cultural authority to offer alternate scales of value and to bring into focus new forms of relationship that had the potential to unsettle the color line. In Jennie Gerhardt, for instance, Theodore Dreiser invokes legitimate kinship outside the racialized boundaries of marriage, while women incarcerated in the New York State Reformatory for Women exchanged love poetry and epistles that imagine forms of romance exceeding the racial and sexual divides that the prison sought to enforce. Wayward Reading thus draws together an unexpected array of sociological, legal and literary texts that theorize women’s crime and punishment to imagine alternate directions that modern social experience might take: popular periodicals such as the Delineator magazine, criminological studies by Frances Kellor and Katharine Bement Davis, the poetry and letters of women incarcerated at the New York State Reformatory for Women, and novels by W.E.B Du Bois and Theodore Dreiser. To understand how both social difference and social intimacy were reimagined through the space of the women’s prison, I model what I call “wayward” reading, tracing the interchange between social scientific and literary discourses. I draw attention to archives and texts that are frequently sidelined as either purely historical repositories (such as institutional case files from the New York State Reformatory) or as didactic and one-dimensional (such as Frances Kellor’s sociological exploration of women’s crime), as well as to literary texts not traditionally associated with women’s imprisonment (such as W.E.B. Du Bois’ The Quest of the Silver Fleece). Reading “waywardly” thus allows me to recover a diverse set of aesthetic experiments that developed alongside women’s imprisonment, and also to reconsider critical assumptions about the status of “prison writing” in literary studies. A number of critics have outlined the prison as a space of totalizing dehumanization that in turn reflects a broader logic of racialized domination structuring American culture. As such, scholars have read literary texts that describe incarceration as either enforcing or critiquing carceral violence. However, by turning our attention to the less-explored formation of the women’s prison, I argue that authors mobilized social science not only to critique the prison’s violence and expose how it produced social difference, but also to re-envision the relationships that comprised modern social life altogether.

abstract: "The Wicked Man's Portion" uses crime writing as a means to measure modernity in early America. Crime writing does things all too familiarly "modern"; it imagines audiences in need of moral instruction, citizens questioning the decisions of those in power, and men and women seeking reassurance that their community was safe, just, and moral. Crime writing pries open the dialectic between the expectations of authority and individuals' experiences. What emerges is the concept of a moral citizen, a self-reliant individual sharing responsibility for a well-ordered community. The first chapter examines typological interpretations of scripture in execution sermons revealing the interrelation between religion and law. Chapters two and three focus on the interaction between criminal law and beliefs in the supernatural; chapter two looks at supernatural crimes and forensic methods, such as those surrounding witch trials, and chapter three examines arguments for capital punishment that hinged upon divine involvement in human affairs. The fourth chapter discusses gallows publications' functions in the public sphere and contributions to inchoate democracy. The final chapter asks how equity defined punishment in economic terms. This chapter pays particular attention variations of punishment determined by race, class, and gender.
Dissertation/Thesis
Ph.D. English 2013

Splot męskości i jedzenia nie jest kwestią szczególnie eksplorowaną ani w opracowani ach dotyczących płci kulturowej. Tę lukę w analizie płci kulturowej niniejsza praca doktorska stara się wypełnić, pokazując że jedzenie i praktyki konsumpcyjne są równie ważne w reprezentacji męskości. Uwzględnienie jedzenia jako wykładnika różnych typów k onsumpcji i praktyk żywieniowych pozwala na dużo głębszą i bardziej interdyscyplinarną analizę konstrukcji męskości, uwzględniającą przeoczane często aspekty rasowe, narodowościowe, genderowe, sprawnościowe, seksualne, klasowe, interpersonalne, a także te związane z władzą, przemocą czy śmiercią. Zastosowany aparat wykorzystuje wiele narzędzi teoretycznych, poczynając od feministycznej krytyki literatury, zwłaszcza popularnej, badań nad płcią kulturową, przez teorię queer, interdyscyplinarne badania nad jed zeniem, fat studies, a kończąc na studiach nad niepełnosprawnościami. W rozprawie poddałam interpretacji sześć amerykańskich powieści kryminalnych ze szczególnym uwzględnieniem bohaterów – białych detektywów. Głównym wnioskiem z tak przeprowadzonej analizy białej męskości reprezentowanej w amerykańskich kryminałach noir jest to, że choć przedstawiana jako transhistoryczna i esencjalistyczna, męskość wymaga ciągłego potwierdzania i odtwarzania. Najważniejsze w k onstrukcji silnej białej męskości (ang. tough masculinity ) w kontekście szeroko pojętego jedzenia są trzy kategorie: konsumpcja, kontrola i kanibalizm. Zatem nie tyle jedzenie, ale kontrola konsumpcji, w tym także seksualnej czy ekonomicznej, staje się wyz nacznikiem męskości. Omawiane powieści to Sokół maltański Dashiella Hammetta, Wielki sen Raymonda Chandlera, No Good from a Corpse Leigh Brackett, In a Lonely Place Dorothy B. Hughes, Morderca we mnie Jima Thompsona oraz Champagne for One Rexa Stouta. Prac a zorganizowana jest chronologicznie, podzielona na dwie części, każda składa się z trzech rozdziałów. Pierwsza część “Tough Masculinity of the 1920s, 1930s and 1940s: On Sam Spade, Philip Marlowe and Ed Clive”, obejmuje okres od końca lat 20. XX w. do d rugiej wojny światowej. Czarny kryminał ukształtował się tuż przed Wielkim Kryzysem i w jego trakcie. Kluczowi dla tego okresu autorzy nie kryli sceptycyzmu wobec mechaniki kapitalizmu, źródeł bogacenia się i konsumpcji. Przekonania te znajdują odzwiercied lenie w pisanych przez nich powieściach, w których to bohater ma być przedstawicielem klas pracujących, krytycznym wobec wszelkich autorytetów i władzy. Jednocześnie ten wczesny okres gatunku wiąże się z silną mizoginią, homofobią i rasizmem słusznie przyp isywanym zarówno twórcom, jak i czytelnikom utworów. Druga część “Postwar Tough Masculinity: On Dix Steele and Brub Nicolai, Lou Ford, and Nero Wolfe and Archie Goodwin ”, obejmuje teksty opublikowane po wojnie, które nie tyle powielają wypracowaną wcześn iej literacką formułę, lecz wprowadzają innowacje, grając konwencją i mieszając gatunki. Ze względu na poprawę sytuacji materialnej w kraju, utwory w tej sekcji szerzej komentują konsumpcję i dobrobyt, pod warunkiem, że praktyki konsumpcyjne odpowiadają do ść wąskim zasadom właściwym amerykańskiemu modelowi konsumpcji. Okres powojenny charakteryzuje się także większą różnorodnością postaw autorów i autorek powieści. Pojawia się coraz więcej twórców reprezentujących mniejszości rasowe i etniczne, a z czasem r ównież seksualne. Zmiany w obrębie samego gatunku również odzwierciedlają się w typach męskości przedstawianych w utworach. Rozdział pierwszy, “ Success to crime”: Sam Spade's Consumption Habits in Dashiell Hammett's The Maltese Falcon (1929)”, skupia się n a jednym z najbardziej ikonicznych detektywów literackich, Samie Spadzie. Oszczędna narracja Hammetta uniemożliwia jakikolwiek wgląd w psychikę bohatera, zatem interpretacji dokonuje się na podstawie przedstawionych zachowań i wybranych szczegółów. Męskoś ć Spade’a kształtuje się relacyjnie, a jego wątpliwa moralność sprawia, że pozornie twardy detektyw jest tak naprawdę elastyczny – dostosowuje się do sytuacji, odpowiednio naginając normy prawne, rasowe czy płciowe. Detektyw konsumuje zarówno alimentarnie, jak i seksualnie, ale ponieważ w świecie przedstawionym przez autora kontrolę ma tylko Spade, jedzenie nie stanowi zagrożenia dla jego męskości. Wprost przeciwnie: jest jednym z narzędzi, za pomocą których bohater kontroluje innych. Rozdział drugi, “To he ll with the rich. They made me sick”: On Philip Marlowe's Indigestion in The Big Sleep (1939)”, ukazuje, jak bardzo niestabilna jest silna męskość i jak bardzo utopijna jest mizoginistyczna wizja świata bez kobiet. Stworzony przez Raymonda Chandlera Philip Marlowe, zarówno bohater i narrator, wciąż lęka się, że padnie ofiarą konsumpcyjnych praktyk. Nie uprawia też seksu, a ciepła szuka w relacjach z mężczyznami. Ze względu na silnie homofobiczny (i seksistowski) charakter powieści, jego homospołeczne relacj e kończą się szybko i często tragicznie, zaś Marlowe tylko pozornie, bo za sprawą narracji pierwszoosobowej, a nie skuteczności, kontroluje świat wokół siebie. Jedzenie i seks, które konceptualnie łączą się ze sobą w postaci kanibala, są zagrożeniem i musz ą być unikane. Postać Marlowe’a cementuje wizję silnej białej męskości jako niemal ascetycznej, ograniczonej w potrzebach cielesnych i sceptycznej wobec jakiejkolwiek konsumpcji. Rozdział trzeci, “ Food is Child's Play: Masculine Consumption and Maturity in Leigh Brackett's No Good from a Corpse (1944)”, analizuje tekst, który łączy elementy czarnego kryminału i romansu. Kombinacja ta umożliwia inne rozłożenie akcentów silnej męskości. Odejście od modelu bohatera samotnego do kochanka mszczącego się za śmier ć ukochanej, sprawia że heteronormatywna seksualność Eda Clive’a nie musi być potwierdzana. W tym wcieleniu silna męskość sprzęga się z dojrzałością. Jedzenie staje się symbolem niedojrzałości, zaś odporność na działanie alkoholu dowodzi dorosłości, a zate m męskości. Detektyw Brackett po raz kolejny ilustruje też tezę, że męskość potrzebuje ciągłego umacniania, które w powieści osiąga się za pomocą wciąż powtarzających się komentarzy o tym, jak wytrzymały jest Clive. Pierwszym powojennym tekstem, omawianym w części drugiej, jest In a Lonely Place Dorothy B. Hughes łączące elementy kryminału i powieści o amerykańskich weteranach drugiej wojny światowej. Odzwierciedla radykalną zmianę w społeczeństwie amerykańskim, które nad ascetycznego samotnego prywatnego d etektywa przedkłada żonatego policjanta, postać społecznie zintegrowaną. W powojennej rzeczywistości, w której konsumpcja i akumulacja dóbr stają się elementem amerykańskiego snu, model samotnika ucieleśniany przez Dixa Steele’a zostaje ukazany jako szale ństwo i patologia. Choć powieść pochwala konsumpcję, to wyznacza dla akceptowalnej jej wersji bardzo wąskie ramy, zaś to, co w pracy nazwano “spektakularną konsumpcją” na pokaz, uważa za niedopuszczalną. Rozdział piąty, “ Cibi Interrupti and Other Meals of Lou Ford in Jim Thompson's The Killer Inside Me (1952)”, również mierzy się z przedwojennym modelem męskości, sugerując, że model ten stanowi zagrożenie dla społeczeństwa amerykańskiego. Zasadnicza różnica między tekstem Thompsona a Hughes leży jednak w ty m, że autorka uważała społeczeństwo za wartość, której należy chronić przed postaciami takimi jak Steele, natomiast Thompson uważa, że społeczeństwo jest opresyjne, a jego produktami stają się żarłoczni, niemal kanibalistyczni mordercy, tacy jak Lou Ford. Ponieważ akcja powieści rozgrywa się w małym miasteczku w Teksasie, a jej bohater jest lokalnym szeryfem, analiza umożliwia przyjrzenie się silnej męskości w wersji peryferyjnej, konsumującej inne niż kalifornijskie produkty. Jako pierwszoosobowy narrator, Ford wygłasza bardzo ostrą krytykę amerykańskiego konsumpcjonizmu, który bogactwem jest tylko pozornie, a tak naprawdę prowadzi wyłącznie do namnażania się odpadów. Ostatni rozdział, “For the Love of Food and Dislike of Murder: Nero Wolfe and Archie Good win in Rex Stout's Champagne for One (1958)”, analizuje dwóch detektywów: Nero Wolfe’a i Archie Goodwina. Powieść, jak i cała seria, jest swoistym pastiszem powieści kryminalnej, łączącym w sobie elementy tradycyjnej powieści detektywistycznej i czarnego k ryminału. Wolfe, otyły mizantrop o genialnym umyśle i wyrafinowanym podniebieniu ucieleśnia to, do czego może doprowadzić nieokiełznana konsumpcja, zwłaszcza gdy praktykuje ją obcokrajowiec. Goodwin, bohater i narrator, jest równie łakomy, jak jego szef, a le jego amerykańskość i sprawność rehabilitują go pomimo konsumpcji. Analiza pary bohaterów umożliwia pokazanie, w jakim stopniu kontekst homospołeczny w obliczu bogato opisywanej gastronomicznej konsumpcji wymaga odpowiedniego określenia seksualności opis anych mężczyzn. Gruby obcokrajowiec zostaje przedstawiony jako aseksualny, zaś jego pomocnik jako hiperseksualny niezależny awanturnik, który zawstydziłby nawet Sama Spade’a.

The objective of this work is the overall analysis of imaging the literary figures of journalists who appear in contemporary detective and crime novels in North America. Result of work is the creation of basic typology of literary figures journalists - detectives (men), who dominates in these novels. In the first part the author deals with the problems of literary characters and its analysis. Author presents a basic overview of the most significant literary figures of journalists who appeared in the literature across the provenances and history. In the second chapter Helena Eliášová deals with the history and main characteristics of detective and crime fiction. The third chapter is focused on the position of journalists in North America and briefly outlines the North American media system and the dominant elements in it. The fourth chapter presents the basic typology of journalists - a man in the contemporary criminal detective novel of North America. In the fifth chapter, the author deals with the problem of creating and eliminating myths of journalist as a detective character. It focuses on displaying his physiognomy and abilities and characteristics. In the final chapter, the author focuses on the stereotypes that are associated with the figure of the classic journalists and shows the variations...

Text in English with abstracts and keywords in English, Afrikaans and Zulu
Beyond the African boundaries, the black body is marked with an othered identity that often leaves its bearer open to discrimination. Being black is considered a transgression because, presumably, it constitutes deviance from a particular skin pigmentation, spatial norm and cultural practice. This dissertation examines the depiction of people of colour, particularly blacks, as transgressive bodies and invaders of space. From a postcolonial perspective, it investigates the racial implications of blackness by reason of migration. This study draws on a critical analysis of Chimamanda Ngozi Adichie’s Americanah (2013) and Trevor Noah’s Born a Crime (2016) to investigate the intersection of identity, race and spatial zones as thematic concerns in both texts. I contend that despite the fact that race is a social construct, it continually has an impact on the individual living of blacks in the space they inhabit or where they exist. They are burdened by the negativities generated by their colour, consequently perceiving themselves as deviants from the norm. Unlike Adichie’s other novels, the theme of migration is more profound in Americanah to reflect the intense consequences of race for African migrants in the western world. Therefore, I seek to establish that the stereotyping of Africans owing to their racial and cultural differences forces them to alter their identity in order to be recognised and accepted. In the same regard, the study projects Trevor Noah’s holistic representation of displacement both within self and community. More insightful is the writer’s engagement of body politics as a propeller for socio-economic issues. These issues explored in both texts ultimately present a (re)imagining of people of colour within the othered zones.
Buite die Afrikagrense word die swart liggaam gemerk met 'n gemarginaliseerde (“anderste”) identiteit wat die draer dikwels ooplaat vir diskriminasie. Swartwees word as 'n oortreding beskou, want dit is vermoedelik 'n afwyking van 'n bepaalde velpigmentasie, ruimtelike norm en kulturele praktyk. Hierdie verhandeling ondersoek die uitbeelding van mense van kleur, veral swart mense, as oortredende liggame en indringers van die ruimte. Vanuit 'n postkoloniale perspektief ondersoek dit die rasse-implikasies van swartheid as gevolg van migrasie. Hierdie studie neem as uitgangspunt die kritiese analise van Chimamanda Ngozi Adichie se Americanah (2013) en Trevor Noah se Born a Crime (2016) om die interseksie van identiteit, ras en ruimtelike sones as tematiek in albei tekste te ondersoek. Ek beweer dat, ondanks die feit dat ras 'n sosiale konstruk is, dit voortdurend 'n impak het op die individuele leefwyse van swart mense in die ruimte waarin hulle woon of waar hulle bestaan. Gevolglik word hulle belemmer deur negatiewe aspekte wat deur hul kleur gegenereer word, en hulself gevolglik as afwykers van die norm beskou. Anders as haar ander romans, is Adichie se migrasieprobleme meer diepgaande in Americanah om die intense gevolge van rassekwessies vir Afrika-migrante in die Westerse wêreld te weerspieël. Daarom wil ek vasstel dat die stereotipering van Afrikane weens hul rasse- en kulturele verskille hulle dwing om hul identiteit te verander om erken en aanvaar te word. In dieselfde verband projekteer die studie Trevor Noah se holistiese voorstelling van verplasing binne die self en die gemeenskap. Meer insiggewend is die skrywer se betrokkenheid by liggaamspolitiek as 'n voorstuwer vir sosio-ekonomiese kwessies. Hierdie kwessies, wat in albei tekste ondersoek word, bied uiteindelik 'n (her)verbeelding van mense van kleur binne die “ander” sones.
Nangaphandle kwemingcele ye-Afrika, imizimba yabantu abamnyama imakwe ngobuzazisi babanye, lokhu okuvama ukushiya lowo walowo mzimba omnyama esesimweni sokubandlululwa. Ukuba mnyama kuthathwa njengento eyisono neyeqe umngcele omukelekile ngoba, kuvanyiswe ukuthathwa njengokwehlukile kwibala elithile lesikhumba, indawo evamile kanye nezinkambiso zamasiko. Le dissertation ihlola ukuthathwa kwabantu abanebala, ikakhulukazi elimnyama, njengemizimba ewukweqa okuhle nokwamukelekile kanye neyabahlasela indawo. Ukusuka kwimibono yenkathi engemuva kobukoloni, iphenya ngemiphumela yombono webala elimnyama ngenxa yokuya kwamanye amazwe. Ucwaningo luthathela kuhlaziyo olunzulu lwemibhalo kaChinamanda Ngozi Adichie ye-Americanah (2013) kanye ne-Trevor Noah’s Born a Crime (2016) ukuphenya ngokuxhumana kobuzazisi, ukubuka izinto ngeso lebala kanye nezindawo njengezinto eziyizihloko zemibhalo. Ngibeka elokuthi noma udaba lwebala kuyinto eyenziwe ngabantu, kodwa inomphumela kumuntu ophila njengomuntu omnyama, ohlala endaweni ahlala kuyo noma lapho akhona. Ngenxa yalokho-ke, bathwele umthwalo omubi ngenxa yebala labo, ngalokho bazibona njengabahlukile kokujwayelekile nokufanele. Ngokwehluka namanye amanoveli, ukukhathazeka ngokuya kwamanye amazwe kubonakala kakhulu kwi-Americanah ukubheka kanzulu ngemiphumela ejulile yokubuka izinto ngokwebala kubantu ababuya eAfrika abaya kumazwe asentshonalanga. Ngakho ke, ngifuna ukuqaphela indlela abantu abangama-Afrika ababonwa ngayo ngendlela ethile embi nemi ndawonye (stereotyping) ngenxa yomehluko wabo ngokubona izinto ngokwebala kanye nomehluko ngokwezamasiko, ukushintsha ubuzazi babo ukuze bamukelwe nokumukeleka. Ngale ndlela, ucwaningo lubhekisa kwindlela ephelele kaTrevor Noah, yokuzibona eqhelilee nokwehluka ngobuyena ngaphakathi kuye kanye nasemphakathini. Ngokubona izinto ngeso elijulile ngokubheka ezepolitiki kombhali njengesisunduzi kwizinto ezibhekene nabantu kanye nezomnotho. Lezi zinto zicwaninga ngokombhalo kanye nokubeka kabusha ngombono nendlela entsha abantu bebala, emkhakheni wabanye.
Afrikaans and Theory of Literature
M.A. (Theory of Literature)

Bibliography: leaves 95-104
Text in English with summaries in English, isiZulu and Afrikaans
Beyond the African boundaries, the black body is marked with an othered identity that often leaves its bearer open to discrimination. Being black is considered a transgression because, presumably, it constitutes deviance from a particular skin pigmentation, spatial norm and cultural practice. This dissertation examines the depiction of people of colour, particularly blacks, as transgressive bodies and invaders of space. From a postcolonial perspective, it investigates the racial implications of blackness by reason of migration. This study draws on a critical analysis of Chimamanda Ngozi Adichie’s Americanah (2013) and Trevor Noah’s Born a Crime (2016) to investigate the intersection of identity, race and spatial zones as thematic concerns in both texts. I contend that despite the fact that race is a social construct, it continually has an impact on the individual living of blacks in the space they inhabit or where they exist. They are burdened by the negativities generated by their colour, consequently perceiving themselves as deviants from the norm. Unlike Adichie’s other novels, the theme of migration is more profound in Americanah to reflect the intense consequences of race for African migrants in the western world. Therefore, I seek to establish that the stereotyping of Africans owing to their racial and cultural differences forces them to alter their identity in order to be recognised and accepted. In the same regard, the study projects Trevor Noah’s holistic representation of displacement both within self and community. More insightful is the writer’s engagement of body politics as a propeller for socio-economic issues. These issues explored in both texts ultimately present a (re)imagining of people of colour within the othered zones.
Buite die Afrikagrense word die swart liggaam gemerk met 'n gemarginaliseerde (“anderste”) identiteit wat die draer dikwels ooplaat vir diskriminasie. Swartwees word as 'n oortreding beskou, want dit is vermoedelik 'n afwyking van 'n bepaalde velpigmentasie, ruimtelike norm en kulturele praktyk. Hierdie verhandeling ondersoek die uitbeelding van mense van kleur, veral swart mense, as oortredende liggame en indringers van die ruimte. Vanuit 'n postkoloniale perspektief ondersoek dit die rasse-implikasies van swartheid as gevolg van migrasie. Hierdie studie neem as uitgangspunt die kritiese analise van Chimamanda Ngozi Adichie se Americanah (2013) en Trevor Noah se Born a Crime (2016) om die interseksie van identiteit, ras en ruimtelike sones as tematiek in albei tekste te ondersoek. Ek beweer dat, ondanks die feit dat ras 'n sosiale konstruk is, dit voortdurend 'n impak het op die individuele leefwyse van swart mense in die ruimte waarin hulle woon of waar hulle bestaan. Gevolglik word hulle belemmer deur negatiewe aspekte wat deur hul kleur gegenereer word, en hulself gevolglik as afwykers van die norm beskou. Anders as haar ander romans, is Adichie se migrasieprobleme meer diepgaande in Americanah om die intense gevolge van rassekwessies vir Afrika-migrante in die Westerse wêreld te weerspieël. Daarom wil ek vasstel dat die stereotipering van Afrikane weens hul rasse- en kulturele verskille hulle dwing om hul identiteit te verander om erken en aanvaar te word. In dieselfde verband projekteer die studie Trevor Noah se holistiese voorstelling van verplasing binne die self en die gemeenskap. Meer insiggewend is die skrywer se betrokkenheid by liggaamspolitiek as 'n voorstuwer vir sosio-ekonomiese kwessies. Hierdie kwessies, wat in albei tekste ondersoek word, bied uiteindelik 'n (her)verbeelding van mense van kleur binne die “ander” sones.
Nangaphandle kwemingcele ye-Afrika, imizimba yabantu abamnyama imakwe ngobuzazisi babanye, lokhu okuvama ukushiya lowo walowo mzimba omnyama esesimweni sokubandlululwa. Ukuba mnyama kuthathwa njengento eyisono neyeqe umngcele omukelekile ngoba, kuvanyiswe ukuthathwa njengokwehlukile kwibala elithile lesikhumba, indawo evamile kanye nezinkambiso zamasiko. Le dissertation ihlola ukuthathwa kwabantu abanebala, ikakhulukazi elimnyama, njengemizimba ewukweqa okuhle nokwamukelekile kanye neyabahlasela indawo. Ukusuka kwimibono yenkathi engemuva kobukoloni, iphenya ngemiphumela yombono webala elimnyama ngenxa yokuya kwamanye amazwe. Ucwaningo luthathela kuhlaziyo olunzulu lwemibhalo kaChinamanda Ngozi Adichie ye-Americanah (2013) kanye ne-Trevor Noah’s Born a Crime (2016) ukuphenya ngokuxhumana kobuzazisi, ukubuka izinto ngeso lebala kanye nezindawo njengezinto eziyizihloko zemibhalo. Ngibeka elokuthi noma udaba lwebala kuyinto eyenziwe ngabantu, kodwa inomphumela kumuntu ophila njengomuntu omnyama, ohlala endaweni ahlala kuyo noma lapho akhona. Ngenxa yalokho-ke, bathwele umthwalo omubi ngenxa yebala labo, ngalokho bazibona njengabahlukile kokujwayelekile nokufanele. Ngokwehluka namanye amanoveli, ukukhathazeka ngokuya kwamanye amazwe kubonakala kakhulu kwi-Americanah ukubheka kanzulu ngemiphumela ejulile yokubuka izinto ngokwebala kubantu ababuya eAfrika abaya kumazwe asentshonalanga. Ngakho ke, ngifuna ukuqaphela indlela abantu abangama-Afrika ababonwa ngayo ngendlela ethile embi nemi ndawonye (stereotyping) ngenxa yomehluko wabo ngokubona izinto ngokwebala kanye nomehluko ngokwezamasiko, ukushintsha ubuzazi babo ukuze bamukelwe nokumukeleka. Ngale ndlela, ucwaningo lubhekisa kwindlela ephelele kaTrevor Noah, yokuzibona eqhelilee nokwehluka ngobuyena ngaphakathi kuye kanye nasemphakathini. Ngokubona izinto ngeso elijulile ngokubheka ezepolitiki kombhali njengesisunduzi kwizinto ezibhekene nabantu kanye nezomnotho. Lezi zinto zicwaninga ngokombhalo kanye nokubeka kabusha ngombono nendlela entsha abantu bebala, emkhakheni wabanye.
Afrikaans and Theory of Literature
M.A. (Theory of Literature)