Relevant bibliographies by topics / Dashiell

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Academic literature on the topic 'Dashiell'

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Published: 4 June 2021
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Journal articles on the topic "Dashiell"

1

Marling, William. "DASHIELL HAMMETT." Resources for American Literary Study 16, no. 1 (January 1, 1989): 220–22. http://dx.doi.org/10.2307/26366365.

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Marling, William. "DASHIELL HAMMETT." Resources for American Literary Study 16, no. 1 (January 1, 1989): 220–22. http://dx.doi.org/10.2307/resoamerlitestud.16.1.0220.

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SLOSS, HENRY. "DASHIELL HAMMETT LIVED HERE." Yale Review 103, no. 1 (2015): 53. http://dx.doi.org/10.1353/tyr.2015.0071.

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SLOSS, HENRY. "DASHIELL HAMMETT LIVED HERE." Yale Review 103, no. 1 (December 9, 2014): 53. http://dx.doi.org/10.1111/yrev.12226.

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Yarbrough, Scott, and Christopher Metress. "The Critical Response to Dashiell Hammett." South Atlantic Review 61, no. 2 (1996): 180. http://dx.doi.org/10.2307/3201430.

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Whitley, John S., and Richard Layman. "Shadow Man: The Life of Dashiell Hammett." Yearbook of English Studies 15 (1985): 353. http://dx.doi.org/10.2307/3508628.

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Freedman, Carl, and Christopher Kendrick. "Forms of Labor in Dashiell Hammett's Red Harvest." PMLA 106, no. 2 (March 1991): 209. http://dx.doi.org/10.2307/462658.

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Zumoff, J. A. "Politics and the 1920s Writings of Dashiell Hammett." American Studies 52, no. 1 (2012): 77–98. http://dx.doi.org/10.1353/ams.2012.0012.

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dos Reis, Véra Lucia. "Clés du mensonge, copies de la vérité dans Copies conformes de Monique LaRue." Dossier 28, no. 2 (June 17, 2003): 61–72. http://dx.doi.org/10.7202/006596ar.

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Résumé Le présent article porte sur Copies conformes et s’intéresse à la représentation du réel, à partir de l’analyse des effets de mise en abyme provoqués par la réécriture du livre de Dashiell Hammett, Le faucon maltais. Le texte prend aussi en considération le récit d’énigme comme forme privilégiée de réflexion sur la fiction et sur le rapport entre mensonge et vérité.
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Malmgren, Carl D. "The Crime of the Sign: Dashiell Hammett's Detective Fiction." Twentieth Century Literature 45, no. 3 (1999): 371. http://dx.doi.org/10.2307/441925.

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Dissertations / Theses on the topic "Dashiell"

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Pardon, Simone. "L'écriture picturale de Dashiell Hammett." Orleans, 1997. http://www.theses.fr/2002ORLE1046.

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Auteur de 5 romans et de nombreuses nouvelles, Dashiell Hammett est connu pour la forme novatrice et féconde qu'il a donnée au roman policier américain : le roman "hard-boiled". Entre 1923 et 1934, il a utilisé son expérience professionnelle de détective de l'agence Pinkerton et sa connaissance pratique de la médiasphère contemporaine pour donner à la littérature et au cinéma des histoires qui ont rencontré un grand succès public. On connaît moins son ambition littéraire et la qualité picturale de son expression, confirmée par sa participation à l'élaboration de la bande dessinée "Secret Agent X-9". Cette thèse montre les moyens esthétiques mis par Hammett au service de la narration et de la caractérisation des personnages : une écriture picturale pour un langage poétique et dynamique, pour montrer l'espace, le temps et la condition humaine, dessiner des hommes à la recherche d'une identité dans l'Amérique urbanisée des années 30. Il y place l'action d'un homme en particulier, le "Privé", devenu grâce à lui le héros mythique des temps modernes luttant au service du Bien contre le Mal, dernier épigone des héros et demi-dieux qui rejouent sans cesse les drames intimes et les affrontements des sociétés humaines dont on retrouve la trace dans les arts premiers aussi bien que dans l'art moderne
Dashiell Hammett, who wrote 5 novels and numerous short stories, is best-known for the new and seminal form he gave to the American detective fiction: the "hard-boiled" style. Between 1923 and 1934, he used his personal professional experience as a detective for the Pinkerton agency and his knowledge of the contemporary mediasphere to give both literature and cinema stories which met with great success in the public. His literary ambition and the pictorial quality of his expression are not so well known, although it is possible to see in his participation of a comic strip, "Secret Agent X-9", a confirmation of his inclination towards such a style of expression. This thesis aims at showing the aesthetic means through which Hammett built his narration and portrayed the characters: a pictorial quality for a dynamic, poetic language, to show space and time and human condition, to draw out men in search of an identity in urban America in the 30's. There he sets the action of a particular man, the "Private Eye", who has become, thanks to him, the mythical hero of modern times fighting Evil in the name of Good, the latest version of the heroes ans demigods who enact again and again the private dramas and the conflicts of human societies the trace of which can be found in primitive art as well as in modern painting
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Lin, Shuchin. "Ross Macdonald's innovations in the hard-boiled tradition of Dashiell Hammett and Raymond Chandler." Thesis, University of Newcastle Upon Tyne, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250133.

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Go, Cassandra Lim. "The Game's Afoot! Game Theory in Dashiell Hammett's The Maltese Falcon and Red Harvest." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/835.

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Dashiell Hammett's The Maltese Falcon and Red Harvest are examples of iconic hard-boiled detective literature that reflect on the anxieties and tensions of the 1930s-1940s. With the Great Depression looming over these decades, the genre uses the hard-boiled detective as a way to communicate with and understand this time period. In our analysis of game theory, we look at how Dashiell Hammett's characters make decisions based on the actions of other players in the game, illustrating the influences of bargaining power and manipulation. With characters that oftentimes find themselves in situations where they must collude to reach maximum utility, the novels explore the various ways in which one player takes advantage of another, almost always leading towards the detective's best payoff. Game theory provides us with a unique method to looking at literature, hard-boiled fiction particularly, as a reflection of the historical period of its conception and prime.
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Benakli, Nathalie. "Le héros et son contexte dans l'oeuvre de Raymond Chandler et celle de Dashiell Hammett." Paris 3, 1990. http://www.theses.fr/1991PA030035.

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L'image du detective prive "dur-a-cuire" est tres differente de celle du protagoniste du roman de detection classique. Dashiell hammett fonda le genre "hard-boiled", creant des detectives professionnels mais aussi des heros non-detectives. Raymond chandler le suivit sur cette voie en choisissant cependant un personnafge unique. De cela il ressort l'archetype du "tough guy", sorte de chevalier des temps modernes qui suivit son (en)quete. Quelques reperes biographiques sont donnes en relation avec la representation du heros. Le contexte, c'est encore celui de la narration ; les travaux de gerard genette servent ici d'outil methodologique principal. Arme privilegiee du detective, le langage est ensuite evoque, puis aborde sous l'angle de l'humour et de l'argot. Les adaptations des romans a l'ecran sont brievement etudiees, cloturant ainsi la "mise en scene" du heros. La troisieme partie depeint le cadre spatial (urbain et rural) et le contexte humain (les differentes classes sociales et les ethnies auxquelles l'enqueteur se trouve confronte). De plus, le detective prive doit faire face a trois categories de femmes et entretient avec les hommes une relation ambigue. La symbolique de la violence est ensuite analysee. Enfin se pose la question de l'ideologie du roman noir dans le but d'apprecier comment le mythe du "tough guy" peut etre applique a l'image du detective concue par hammett et chandler
The image of the hard-boiled detective is very different from the one of the classical detective story protagonist. Dashiell hammett founded the hard-boiled tradition, creating professional detectives as well as non-detective heroes. Raymond chandler followed him with his unique private-eye character. From that rises the archetype of the "tough guy", the modern knight and his (in) quest. Some biographical landmarks are given in relation with the characterization of the hero. There is also the context of narration ; the works of gerard genette are the main methodological reference for its analysis. Language is seen as the privileged weapon of the hero, then from the angle of humor and slang. The novels adaptations for the screen are briefly examined. The third part depicts the setting (urban and rural) and the human context (the different social classes and ethnies with whom the hero is confronted). Moreover, the private detective has to deal with three kinds of women and he experiences an ambiguous relationship with men. The symbolic aspect of violence is then studied. At last the question of ideology is posed in order to understand how the myth of the tough guy can be applied to the image of the detective created by hammett and chandler
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Ananian, Francine. "Trois figures de détective à Hollywood : Sam Spade, Nick Charles et Dashiell Hammett - les enjeux du genre dans la construction du personnage." Thesis, Montpellier 3, 2018. http://www.theses.fr/2018MON30002/document.

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Le Faucon maltais et L’Introuvable de Dashiell Hammett ont été portés avec succès au cinéma, faisant apparaître le personnage typiquement américain du détective privé avec les figures de Sam Spade et de Nick Charles.La dernière incarnation de Sam Spade, sous les traits de Humphrey Bogart dans le film de John Huston, en 1941, demeure l’une des figures les plus célèbres du film noir. Nick Charles, sous les traits de William Powell dans le film de Woody S. Van Dyke, en 1934, fut si populaire que l’acteur et le personnage, échappant à son auteur, furent exploités dans une suite de cinq films. Pourquoi le public français ne connaît-il guère que les premiers (personnage et acteur) et méconnaît-il les seconds ?Quelle place dans cette concurrence tient la figure de Dashiell Hammett, détective puis écrivain, devenu un personnage d’écrivain-détective dans Hammett, un film de Wim Wenders en 1982 ?L’examen de toutes les adaptations des romans de l’auteur, de 1931 à 1942, permet de comparer les diverses représentations de ses figures littéraires d’enquêteur. Celui des cinq films qui, de 1934 à 1947, ont repris le personnage de Nick Charles, montre la difficulté à conserver une cohérence au personnage.L’observation du changement du goût du public, de la Grande Dépression à l’après-Seconde Guerre Mondiale, et celle de l’évolution de la carrière d’Humphrey Bogart et de William Powell, permet de comprendre pourquoi le public français, si attaché à la notion de film noir, n’a retenu que le premier. Enfin, la constatation de l’intérêt éditorial, renouvelé en France au début du vingt-et-unième siècle, pour toute l’œuvre et la vie de Dashiell Hammett, conduit à considérer, temporairement peut-être, la figure de l’auteur comme un mythe moderne
The Maltese Falcon and The Thin Man by Dashiell Hammett, adapted successfully to the screen, revealed the typically American character of the private detective, with Sam Spade and Nick Charles.The last incarnation of Sam Spade by Humphrey Bogart in 1941 John Huston’s movie remains one of the most famous film noir figures. Nick Charles, with William Powell in Woody S. Van Dyke’s film in 1934, was so popular that both the character, escaping his creator, and the actor were reused in a succession of five films, until 1947.Why does the contemporary French public only know the first (character and actor) and why does it almost ignore the second ?Between them, what place does Dashiell Hammett hold, detective then writer, who became a character of detective writer in Hollywood Wim Wenders’s movie Hammett in 1982 ?The study of all Dashiell Hammett novels adaptations, from 1931 to 1942, enables to compare the various representations of his investigator characters. The study of the five movies reusing Nick Charles character allows to follow its lack of coherence.The observation of the change of the public taste, from the Great Depression until the post- Second World War years and the examination of the cinematographic careers of the two actors, explain the Bogart’s fame in France.Eventually, the French editorial revival of Dashiell Hammett at the beginning of the 21st century makes it possible to consider the author figure as a new myth
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Paradizzo, Felipe Vieira. "Mandrake e o hard-boiled: questões de masculinidade(s) entre Rubem Fonseca e a literatura policial norte-americana." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/3243.

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Made available in DSpace on 2016-08-29T14:11:23Z (GMT). No. of bitstreams: 1 tese_4660_Felipe de Oliveira Fiuza.pdf: 369187 bytes, checksum: 96583c5175d693658068592c041f7efe (MD5) Previous issue date: 2011-03-28
Tendo em vista a importante contribuição dos estudos culturais e literários para o aprofundamento do debate sobre as narrativas policiais norte-americanas, este estudo pretende levantar singularidades, rupturas e questões de masculinidade(s) associadas à literatura hardboiled, de modo a fundamentar uma investigação de sua reverberação na obra de Rubem Fonseca. Para tal fim, parte-se, principalmente, dos estudos de masculinidade hegemônica empreendidos por R.W. Connell e seus comentadores, e da análise de três dos maiores expoentes fundadores do gênero, Dashiell Hammett, Raymond Chandler e Jim Thompson. Considerando essa fundação da literatura policial norte-americana, serão então analisadas quatro obras protagonizadas pelo personagem Mandrake, ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ e o romance A Grande Arte. Pretende-se, assim, observar como o autor se vale dessa tradição da literatura policial, e de suas implicações com questões de masculinidade(s), para criar uma obra de tamanha potência crítica, estilística e política.
Taking into consideration the important contribution of literary and cultural studies to the deepening of debate about North-American detective narratives, this study intends to assemble singularities, disconnections and contemporary masculinity issues associated with hard-boiled literature, aiming to substantiate an investigation of its influence in Rubem Fonseca‘s work. In order to do so, we take as a starting point the studies of hegemonic masculinities, by R.W. Connell and her commentators, and the analysis of three of the genre‘s founding fathers, Dashiell Hammett, Raymond Chandler and Jim Thompson. Considering the foundation of North-American detective novel, four works which has Mandrake as its main character will be analyzed : ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ and the novel A Grande Arte. Seeking to observe how the author utilizes the hard-boiled tradition and its implications in masculinities issues in order to create a work of enormous critical, stylistic and political potency.
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Jaber, Maysaa Husam. "Sirens in command: the criminal femme fatale in American hardboiled crime fiction." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/sirens-in-command-the-criminal-femme-fatale-in-american-hardboiled-crime-fiction(a6a35b81-665e-4f1a-9f3c-a8c286fe3796).html.

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This thesis challenges the traditional view of the 'femme fatale' as merely a dangerous and ravenous sexual predator who leads men into ruination. Critical, especially feminist, scholarship mostly regards the femme fatale as a sexist construction of a male fantasy and treats her as an expression of misogyny that ultimately serves to reaffirm male authority. But this thesis proposes alternative ways of viewing the femme fatale by showing how she can also serve as a figure for imagining female agency. As such, I focus on a particular character type that is distinct from the general archetype of the femme fatale because of the greater degree of agency she demonstrates. This 'criminal femme fatale' uses her sexual appeal and irresistible wiles both to manipulate men and to commit criminal acts, usually murder, in order to advance her goals with deliberate intent and full culpability. This thesis reveals and explains the agency of the criminal femme fatales in American Hardboiled crime fiction between the late 1920s and the end of World War II in the works of three authors: Dashiell Hammett, Raymond Chandler and James M. Cain. The criminal femme fatales in the narratives of these authors show a subversive power and an ability to act - even though, or perhaps only if, this action is a criminal one. I show that these criminal femme fatales exhibit agency through their efforts to challenge not only the 'masculine' genre and the criminal space that this genre represents, but also to undercut the male protagonist's role and prove his failure in asserting control and dominance. Hammett's narratives provide good examples of how the criminal femme fatales function on a par with male gangsters in an underworld of crime and corruption. Chandler's work demonstrates a different case of absent/present criminal women who are set against the detective and ultimately question his power and mastery. Cain's narratives show the agency of the criminal femme fatales in the convergence between their ambition for social mobility and their sexual power over the male characters. To explain how these female characters exhibit agency, I situate this body of literature alongside contemporaneous legal and medical discourses on female criminality. I argue that the literary female criminal is a fundamentally different portrayal because she breaks the 'mad-bad' woman dichotomy that dominates both legal and medical discourses on female criminality. I show that the criminal femme fatales' negotiations of female agency within hardboiled crime fiction fluctuate and shift between the two poles of the criminalized and the medicalized women. These criminal femme fatales exhibit culpability in their actions that bring them into an encounter with the criminal justice system and resist being pathologized as women who suffer from a psychological ailment that affect their control. The thesis concludes that the ways in which the criminal femme fatales trouble normative socio-cultural conceptions relating to docile femininity and passive sexuality, not only destabilize the totality and fixity of the stereotype of the femme fatale in hardboiled crime fiction, but also open up broader debates about the representation of women in popular culture and the intersections between genre and gender.
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Nissi, Maria C. "Silent cowboys and verbose detectives masculinity as rhetoric in Wister, Hammett, and Chandler /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05082007-102002/.

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Howard, David G. "The hard-boiled detective personal relationships and the pursuit of redemption /." Connect to resource online, 2010. http://hdl.handle.net/1805/2189.

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Robert Rebein, Jonathan Eller, William Touponce. Includes vitae. Includes bibliographical references (leaves 84-86).
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Wattez, Hervé. "Le personnage du privé dans les oeuvres de Dashiel Hammett et de Raymond Chandler." Limoges, 1986. http://www.theses.fr/1986LIMO0501.

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Le mythe du prive occulte le personnage tel qu'il a ete cree par les fondateurs du roman dit "noir": hammett et chandler. Ce personnage a une double origine : il tient a la fois de sherlock holmes et de nick carter. Ses methodes s'opposent a celles des heros du roman de deduction. La raison n'est plus l'arme privilegiee du detective. Elle cede la place a l'action et a l'intuition du joueur de poker. L'intrigue n'est plus l'essentiel. Il n'y a plus de "solution" et l'on debouche sur une "ethique de l'absurde". Le portrait du prive met en valeur son cote anti-heros, sa facade cynique ainsi que l'idealisme profond que dissimule cette facade. Il se rapproche du tough guy d'hemingway dont il partage la misogynie. Son role social est clairement reactionnaire : il contribue a maintenir le statu quo social en preservant la respectabilite des classes aisees. C'est une vision "realiste" de la societe que nous proposent hammett et chandler. En ce sens, ils sortent des limites du genre policier pour penetrer dans un domaine jusque-la reserve a la litterature dite "serieuse". La qualite de leur ecriture les faisait egalement sortir des limites de la "souslitterature". Hammett est le createur d'un style depouille a l'extreme. Il inaugurait l'esthetique du proces-verbal. Influence par le behaviorisme, hammett nous decrit des comportements et utilise une technique dite "exterieure". Chandler commence par s'engager dans ses traces puis se degage peu a peu de son influence, en revenant a une technique romanesque plus traditionnelle, plus conforme a ses ambitions. En effet, le personnage a evolue du continental op a philip marlowe. Cette evolution s'explique par la personnalite de chandler et aussi par l'evolution des conditions economiques et sociales. Hammett est l'ecrivain de la prohibition et de la prosperite, chandler est l'ecrivain de la grande crise. Au continental op, cynique, brutal, ne croyant qu'au chacun pour soi, a succede l'altruiste et chevaleresque marlowe. Une semblable evolution peut etre notee chez hemingway
The myth of the private eye tends to distort our view of the character that was created by hammett and chandler, the founders of the "hard-boiled" detective story. The private eye has a double origin : he is both sherlock holmes and nick carter. His methods have nothing to do with the traditional detective's in so far as reason and logic are no longer his favourite weapons. He resorts to action and to the poker-player's intuition. The plot is no longer essential. No "solution" can be found in hammett's and chandler's novels. The portrait of the private eye brings into light both his "anti-hero" aspect, his cynical pose and the idealism that the pose is meant to hide. He resembles hemingway's tough guy whose misogyny he shares. His social role is unequivocally reactionary since he contributes to maintaining the social status quo by preserving the ruling classes' respectability. Hammett and chandler provide us with a "realistic" vision of american society. Consequently, they broach themes which used to be reserved for "serious" literature. The quality of their style set them apart from the writers of escape literature. Hammett created a style whose main feature was baldness. Influenced by behaviorism, hammett describes behaviours and resorts to an "external" technique. For a time, chandler was his "disciple" but gradually he abandoned hammett's technique which no longer suited him. For the character of the private eye has evolved from the continental op to philip marlowe. Such an evolution can be accounted for by chandler's background and personality but the evolution of economic and social conditions must also be taken into account. Hammett wrote most of his books during the prosperity whereas chandler wrote his after the great depression. The chivalrous and altruistic marlowe succeeded to the cynical continental op. A similar evolution is to be found in hemingway's tough guys
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Books on the topic "Dashiell"

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Symons, Julian. Dashiell Hammett. San Diego: Harcourt Brace Jovanovich, 1985.

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Symons, Julian. Dashiell Hammett. San Diego: Harcourt Brace Jovanovich, 1985.

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Herron, Don. The Dashiell Hammett tour. San Francisco: City Lights Books, 1991.

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L, Gale Robert. A Dashiell Hammett companion. Westport, Conn: Greenwood Press, 2000.

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Deloux, Jean-Pierre. Dashiell Hammett, underworld USA. [Monaco]: Editions du Rocher, 1994.

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Hammett, Dashiell. Dashiell Hammett: Five complete novels. New York: Chatham River Press, 1986.

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Christopher, Metress, ed. The critical response to Dashiell Hammett. Westport, Conn: Greenwood Press, 1994.

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Sams, Ed. Dashiell Hammett's San Francisco: A pictorial guide. Edited by Botelho Ric. Ben Lomond, Calif: Yellow Tulip Press, 1999.

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Thomas-Hicks, Molly. Dashiell Hammett's The Maltese falcon: Teacher's guide. Washington, D.C: National Endowment for the Arts, 2008.

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Hammett, Dashiell. Selected letters of Dashiell Hammett 1921-1960. Washington, D.C: Counterpoint, 2001.

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Book chapters on the topic "Dashiell"

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Hamilton, Cynthia S. "Dashiell Hammett." In Western and Hard-Boiled Detective Fiction in America, 120–45. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08390-9_7.

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Kelleter, Frank. "Hammett, Dashiell." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5421-1.

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von Gebsattel, Jerôme, and Frank Kelleter. "Dashiell Hammett." In Kindler Kompakt Kriminalliteratur, 102–3. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05537-8_23.

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Fischer, Katrin. "Hammett, [Samuel] Dashiell." In Englischsprachige Autoren, 122–23. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_49.

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Hall, Jasmine Yong. "Dashiell Hammett (1894-1961)." In A Companion to Crime Fiction, 450–61. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444317916.ch36.

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Gebsattel, Jerôme von, and Frank Kelleter. "Hammett, Dashiell: The Maltese Falcon." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5422-1.

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Bentley, Christopher. "Radical Anger: Dashiell Hammett’s Red Harvest." In American Crime Fiction, 54–70. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_5.

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Swirski, Peter. "Briefcases for Hire: Dashiell Hammett and John Grisham." In American Crime Fiction, 29–60. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-30108-2_2.

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9

Usiekniewicz, Marta. "Criminal Consumption in Dashiell Hammett’s The Maltese Falcon (1929)." In Food, Consumption, and Masculinity in American Hardboiled Fiction, 31–67. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-29160-9_2.

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10

Mooney, William H. "From Dashiell Hammett to the Coen Brothers’ Miller’s Crossing (1990)." In Palgrave Studies in Adaptation and Visual Culture, 207–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-62934-2_8.

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Reports on the topic "Dashiell"

1

Ramírez, Sergio. True Lies on the Subject of Literary Creation. Inter-American Development Bank, May 1999. http://dx.doi.org/10.18235/0007935.

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