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Literatura científica selecionada sobre o tema "Women detectives – England – Fiction"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Women detectives – England – Fiction"

1

Basu, Manisha. "Thick as Thieves: Mothers, Gypsies, & Criminals in Enola Holmes’ Victorian England". Victoriographies 14, n.º 1 (março de 2024): 1–19. http://dx.doi.org/10.3366/vic.2024.0515.

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In her 2006 Young Adult novel, The Case of the Missing Marquess, Nancy Springer narrativises Enola Holmes as Sherlock Holmes’ intrepid and extraordinarily intelligent sister, a young woman with the ability to challenge even that great detective's iconic deductive abilities. I suggest that this overtly feminist impulse in rewriting the Victorian world of Conan Doyle is supplemented in Springer's novel with a nod toward the politics of intersectionality which attends to the ways in which gendered, class-based, and racialised identities become relational in an axiomatics of capitalist-colonialism. Particularly in conversation with Conan Doyle's 1892 short story, ‘The Adventure of the Speckled Band’, Springer's narrative takes a meta-critical neo-Victorian stance in encouraging its young audience to do three important things: first, mine the subtext of Conan Doyle's detective fiction for the broad anxieties it points to in imperial Victorian culture; second, probe the conditions of colonial commerce under which identities based in gender, race, and class differentials intersect with one another; and third, ask how to develop a decolonial praxis that in exposing such intersections, can avoid isolationist critical proclivities, and embrace instead a transnational and comparative sensibility of reading that is alive to at once specific and interrelated disempowerments.

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Fadhila, Alya Khoirunnisa, e Ida Rochani Adi. "Women Detectives in Detective Fiction: A Formula Analysis on <em>Dublin Murder Squad</em> Series". Lexicon 8, n.º 1 (7 de abril de 2022): 1. http://dx.doi.org/10.22146/lexicon.v8i1.73421.

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This paper studies the formulation of two women detectives in Tana French’s work, Cassie Maddox and Antoinette Conway, in the Dublin Murder Squad Series by exploring the hard-boiled fiction conventions which underlie the formulation of Tana French’s two female detectives. The objective of this study is to determine how French innovates the hard-boiled fiction conventions in the formation of her women detective characters, Cassie Maddox and Antoinette Conway. By employing formula analysis as theorized by John G. Cawelti (1976), the results of this study show that French innovates the hard-boiled formula in four aspects. First, French innovates the hard-boiled formula by expanding the concept of marginality from economic class to gender and race. The second innovation is the substitution of the hard-boiled convention which emphasizes on masculine toughness with resistance to patriarchal control. Third, French re-established the relationship between the detective and the character femme fatale. Their similarity of female experiences and perspective with the femme fatale makes these women detectives not only reveal the femme fatale as a murderer, but also the motives and scenarios behind their acts. Finally, French also innovates the antithetical nature of the hard-boiled detective’s presentation by offering a ‘feminine’ path to justice. These observations show that French’s innovations on hard-boiled conventions on her women detectives are the extensions of the women investigators in the antecedent feminist revisions of the hard-boiled stories which are heavily influenced by the second-wave feminist values. However, Tana French also inserts her own commentary on the new variants of female character shaped by the new post-feminist discourse which separates her women detectives from those in the antecedent feminist hard-boiled revision series.

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3

Orr, David MR. "Dementia and detectives: Alzheimer’s disease in crime fiction". Dementia 19, n.º 3 (28 de maio de 2018): 560–73. http://dx.doi.org/10.1177/1471301218778398.

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Fictional representations of dementia have burgeoned in recent years, and scholars have amply explored their double-edged capacity to promote tragic perspectives or normalising images of ‘living well’ with the condition. Yet to date, there has been only sparse consideration of the treatment afforded dementia within the genre of crime fiction. Focusing on two novels, Emma Healey’s Elizabeth is Missing and Alice LaPlante’s Turn of Mind, this article considers what it means in relation to the ethics of representation that these authors choose to cast as their amateur detective narrators women who have dementia. Analysing how their narrative portrayals frame the experience of living with dementia, it becomes apparent that features of the crime genre inflect the meanings conveyed. While aspects of the novels may reinforce problem-based discourses around dementia, in other respects they may spur meaningful reflection about it among the large readership of this genre.

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Knight, Stephen. "Detection and Gender in Early Crime Fiction: Mrs Bucket to Lady Molly". Crime Fiction Studies 3, n.º 2 (setembro de 2022): 89–105. http://dx.doi.org/10.3366/cfs.2022.0068.

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Crime fiction is often mistakenly held to be based on books and male detection. In fact, in the nineteenth century periodicals were a major mode of publication and from the mid-century on women inquirers played a recurring role in the developing genre, while most early male detectives were, by later standards, distinctly under-gendered. Chambers’s Edinburgh Journal was a major early source; by the 1860s, female detectives were being created by male writers and in Bleak House (1852–53), Dickens gave Inspector Bucket’s wife distinct inquiring capacities. The major Australian author Mary Fortune – with more than four hundred stories in magazines over forty years from the 1860s – developed female inquirers over time. By the 1890s, professional English woman detectives were created, Loveday Brooke by C.L. Pirkis and Florence Cusack by L.T. Meade, while Baroness Orczy created as well as her best-selling ‘Scarlet Pimpernel’ the leading police detective Lady Molly, like the others first appearing in magazines.

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David, Alison Matthews. "First Impressions: Footprints as Forensic Evidence in Crime in Fact and Fiction". Costume 53, n.º 1 (março de 2019): 43–66. http://dx.doi.org/10.3366/cost.2019.0095.

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As skilled ‘detectives’, dress historians are experts in closely reading surviving artefacts and using them to glean evidence of the lives of those who made and wore them. With shoes and footwear, this rich, object-based approach can yield new information that challenges established histories. This article turns traditional object analysis on its head by interrogating instead the impressions and traces that objects leave behind, taking a forensic approach to footwear. It examines the rise of scientific policing and the history of footprints as a key form of evidence in crime fact and fiction. Five key British and Francophone stories and novels written between 1833 and 1931 provide a barometer of how narratives of the capital offence of murder and footwear evidence shifted during this century. These are interwoven with contemporary forensic science texts, police handbooks, newspaper articles and trial transcripts from the Central Criminal Court of England and Wales, commonly known as the Old Bailey. This article charts the shift in perceptions that occurred between 1830 and 1890, which I call the ‘Age of Conviction’, a period where there was a widespread belief in the veracity of prints, to an ‘Age of Suspicion’ from 1890 to 1930, as more scientific and critical methods of examination and recording made detectives and the public sceptical and wary of deception.

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Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English". Zeitschrift für Anglistik und Amerikanistik 66, n.º 1 (28 de março de 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.

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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.

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Delafield, Catherine. "Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre". English Studies 94, n.º 2 (abril de 2013): 245–46. http://dx.doi.org/10.1080/0013838x.2013.765220.

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Kelly, Gary, e Edward Copeland. "Women Writing about Money: Women's Fiction in England, 1750-1820". Studies in Romanticism 37, n.º 2 (1998): 279. http://dx.doi.org/10.2307/25601289.

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Shuttleton, David E., e Edward Copeland. "Women Writing about Money: Women's Fiction in England 1700-1820". Yearbook of English Studies 27 (1997): 258. http://dx.doi.org/10.2307/3509166.

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Fasselt, Rebecca. "Crossing genre boundaries: H. J. Golakai's Afropolitan chick-lit mysteries". Feminist Theory 20, n.º 2 (25 de fevereiro de 2019): 185–200. http://dx.doi.org/10.1177/1464700119831538.

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Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others.

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Teses / dissertações sobre o assunto "Women detectives – England – Fiction"

1

Gupta, Abhijit. "The publishing history of novels by women in late nineteenth and early twentieth century England". Thesis, University of Cambridge, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362575.

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

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

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3

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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4

Roupakia, Lydia Efthymia. "Multicultural Questions, Family Matters : Gender, Generation and Ethics in some Contemporary Fiction by Women in Canada and England". Thesis, University of Oxford, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508685.

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Phillips, Jennifer K. "Anne Brontë's New Women: Agnes Grey and The Tenant of Wildfell Hall as Precursors of New Woman Fiction". Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2834/.

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Anne Brontë's Agnes Grey and The Tenant of Wildfell Hall were published more than forty years before the appearance of the feminist type that the Victorians called the “New Woman;” yet, both novels contain characteristics of New Woman fiction. By considering how Brontë's novels foreshadow New Woman fiction, the reader of these novels can re-enact the “gentlest” Brontë as an influential feminist whose ideology informed the construction of the radical New Woman. Brontë, like the New Woman writers, incorporated autobiographical dilemmas into her fiction. By using her own experiences as a governess, Brontë constructs Agnes Grey's incongruent social status and a morally corrupt gentry and aristocracy through her depiction of not only Agnes's second employers, the Murrays, but also the morally debauched world that Helen enters upon her marriage to Arthur Huntingdon in The Tenant of Wildfell Hall. Moreover, Brontë incorporates her observations of Branwell's alcoholism and her own religious beliefs into The Tenant of Wildfell Hall. Although Brontë's novels contain autobiographical material, her heroines are fictional constructions that she uses to engage her readers with the woman question. Brontë accomplishes this engagement through her heroines' narrative re-enactments of fictional autobiographical dilemmas. Helen's diary and Agnes's diary-based narrative produce the pattern of development of the Bildungsroman and foreshadow the New Woman novelists' Kunstlerromans. Brontë's heroines anticipate the female artist as the protagonist of the New Woman Kunstlerromans. Agnes and Helen both invade the masculine domain of economic motive and are feminists who profess gender definitions that conflict with dominant Victorian ideology. Agnes questions her own femininity by internalizing the governess's status incongruence, and Helen's femininity is questioned by those around her. The paradoxical position of both heroines anticipates the debate about the nature and function of art in which the New Woman writers engaged. Through her reconciliation of the aesthetic and the political, Brontë, like the New Woman novelists who will follow, explores the contradiction between art and activism.

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6

Light, Alison. "Forever England : femininity, literature, and conservatism between the wars /". London ; New York : Routledge, 1991. http://www.loc.gov/catdir/enhancements/fy0648/91000587-d.html.

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7

Volz, Jessica A. "Vision, fiction and depiction : the forms and functions of visuality in the novels of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney". Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4438.

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There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.

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8

Wakeling, Christina. "Femininity under construction: traditional femininity and the new woman in Victorian fiction". 2011. http://hdl.handle.net/1993/4840.

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The Victorian period was an incredibly volatile time for the issues of women and work. The population imbalance between men and women meant that many middle-class women would not be able to marry and instead were forced to rely on work for financial support. This paper explores the entry of middle-class women into the working world and the way in which traditional femininity became incorporated into the concept of the working woman. As the period progressed, and new types of labour became available to women, representations of the working woman changed and the image of the New Woman emerged. Fictional representations of women and work in the Victorian period reveal a tense struggle to blend traditional idealism with a newer, more modern type of femininity.

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9

Rickard, Suzanne. "On the shelf : women writers, publishing and philanthropy in mid-nineteenth-century England". Phd thesis, 1995. http://hdl.handle.net/1885/139147.

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Banerjee, Lopa. "New heroines of the diaspora : reading gender identity in South Asian diasporic fiction". Diss., 2011. http://hdl.handle.net/10500/4692.

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This thesis looks at literature by two South Asian, diasporic writers, Jhumpa Lahiri and Monica Ali, as a space where creative, cross-cultural and independent identities for diasporic women might be created. The central claim of the thesis is that diasporic migration affects South Asian women in particular ways. The most positive outcome is that these women adopt new trans-border identities but that these remain shaped by class, culture and gender. Hence a working class milieu such as the one depicted by Monica Ali, leads to an immigrant, ghetto-ised, community-based identity, located solely in the land of adoption, with return or travel to the homeland no longer possible. However, the milieu imagined in Jhumpa Lahiri’s text, a middle-class, suburban environment, creates a solitary, transnational identity, lived between countries, where travel between the land of birth and the land of adoption remains accessible.
English
M.A. (English)

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Livros sobre o assunto "Women detectives – England – Fiction"

1

Peterson, Audrey. Shroud for a scholar. New York: Pocket Books, 1995.

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2

Chesney, Marion. Hasty death: [an Edwardian murder mystery]. New York: St. Martin's Paperbacks, 2005.

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3

Cody, Liza. Musclebound. New York, NY: Mysterious Press, 1997.

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4

Mitchell, Gladys. Printer's error. [Watford, England?]: Minnow Press, 2008.

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5

Mitchell, Gladys. Printer's error. [Watford, England?]: Minnow Press, 2008.

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6

Howard, Alex. Cold Revenge. London: Head of Zeus, 2015.

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7

Holt, Hazel. Mrs. Malory, detective in residence. Thorndike, Me: Thorndike Press, 1995.

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8

Simon, Brett. Mrs Pargeter's package. Long Preston: Magna, 1991.

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9

Simon, Brett. Mrs. Pargeter's package. New York: Scribner's, 1991.

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10

Simon, Brett. Wimie przyjaźni. Warszawa: Czytelnik, 1993.

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Capítulos de livros sobre o assunto "Women detectives – England – Fiction"

1

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

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

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

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

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

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

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

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

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

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

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