Academic literature on the topic 'Detective novel/narrative'
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Journal articles on the topic "Detective novel/narrative"
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Mossman, Mark. "REPRESENTATIONS OF THE ABNORMAL BODY INTHE MOONSTONE." Victorian Literature and Culture 37, no. 2 (September 2009): 483–500. http://dx.doi.org/10.1017/s1060150309090305.
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Wilkie Collins'sThe Moonstoneis anovel constructed through the repeated representation of the abnormal body. ReadingThe Moonstonein critical terms has traditionally required a primary engagement with form. The work has been defined as a foundational narrative in the genre of crime and detection and at the same time read as a narrative located within the context of the immensely popular group of sensation novels that dominate the Victorian literary marketplace through the middle and the second half of the nineteenth century. T. S. Eliot is one of the first readers to define one end of this paradigm, reading the novel as an original text in the genre of detective fiction, and famously saying thatThe Moonstoneis “the first, the longest and the best of modern English detective novels” (xii). On the other end of the paradigm, the novel's formal workings are again often cited as a larger example, and even triumph, of Victorian sensation fiction – melodramatic narratives built, according to Winifred Hughes and the more recent Derridean readings by Patrick Brantlinger and others, around a discursive cross-fertilization of romanticism, gothicism, and realism.
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Tyers, Rhys William. "The Labyrinth and the Non-Solution: Murakami’s A Wild Sheep Chase and the Metaphysical Detective." Manusya: Journal of Humanities 22, no. 1 (July 15, 2019): 76–89. http://dx.doi.org/10.1163/26659077-02201004.
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Many of Murakami’s novels demonstrate his appropriation of the terminology, imagery and metaphor that are found in hardboiled detective fiction. The question of Haruki Murakami’s use of the tropes from hardboiled detective stories has been discussed by scholars such as Hantke (2007), Stretcher (2002) and Suter (2008), who argue that the writer uses these features as a way to organize his narratives and to pay homage to one of his literary heroes, Raymond Chandler. However, these arguments have not adequately addressed the fact that many of Murakami’s novels fit into the definition of the metaphysical detective story, which is “a text that parodies or subverts traditional detective-story conventions” (Merivale & Sweeney 1999:2). Using this definition as a guiding principle, this paper addresses the issue of the metaphysical detective features apparent in Murakami’s third novel, A Wild Sheep Chase, and, more specifically, looks at his use of the non-solution and labyrinth as narrative devices. The main argument, then, is that Murakami’s A Wild Sheep Chase fits in with the metaphysical detective novel and uses the familiar tropes of the labyrinth and the non-solution to highlight our impossible search for meaning.
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Klimek, Sonja. "Unzuverlässiges Erzählen als werkübergreifende Kategorie. Personale und impersonale Erzählinstanzen im phantastischen Kriminalroman." Journal of Literary Theory 12, no. 1 (March 26, 2018): 29–54. http://dx.doi.org/10.1515/jlt-2018-0003.
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Abstract This paper explores why unreliable narration should be considered as a concept not only applying to single works of fiction, but also to whole series of fiction, and why impersonal (›omniscient‹) narration can also be suspected of unreliability. Some literary genres show a great affinity to unreliable narration. In fantastic literature (in the narrower sense of the term), for instance, the reader’s »hesitation« towards which reality system rules within the fictive world often is due to the narration of an autodiegetic narrator whose credibility is not beyond doubt. Detective stories, in contrast, are usually set in a purely realistic world (in conflict with no other reality system) and typically do not foster any doubts regarding the reliability of their narrators. The only unreliable narrators we frequently meet in most detective stories are suspects who, in second level narrations, tell lies in order to misdirect the detective’s enquiries. Their untruthfulness is usually being uncovered at the end of the story, in the final resolution of the criminalistics riddle (›Whodunnit‹?), as part of the genre-typical ›narrative closure‹. As the new genre of detective novels emerged at the turn from the 19th to the 20th century, its specific genre conventions got more and more well-established. This made it possible for writers to playfully change some of these readers’ genre expectations – in order to better fulfil others. Agatha Christie, for example, in 1926 dared to undermine the »principle of charity« (Walton) that readers give to the reliability of first person narrators in detective stories – especially when such a narrator shows himself as being a close friend to the detective at work, as it was the case with Sir Arthur Conan Doyle’s famous Dr. Watson, friend to Sherlock Holmes. Christie dared to break this principle by establishing a first-person narrator who, at the end, turns out to be the murderer himself. Thus, she evades the »principle of charity«, but is not being penalised by readers and critics for having broken this one genre convention because she achieves a very astonishing resolution at the end of the case and thus reaches to fulfil another and even more crucial genre convention, that of a surprising ›narrative closure‹, in a very new and satisfying way. Fantastic literature and detective novels are usually two clearly distinct genres of narrative fiction with partly incommensurate genre conventions. Whereas in fantastic literature (in the narrower sense of the term), two reality systems collide, leaving the reader in uncertainty about which one of the two finally rules within the fictive world, detective novels usually are settled in a ›simply realistic‹ universe. Taking a closer look at a contemporary series of detective fiction, that is, the Dublin stories of Tana French (2007–), I will turn to an example in which the genre convention of ›intraserial coherence‹ provides evidence for the unreliability of the different narrators – whereas with regard only to each single volume of the series, each narrator could be perceived as being completely reliable. As soon as we have several narrators telling stories that take place within the same fictive world, unreliable narration can result from inconsistencies between the statements of the different narrators about what is fictionally true within this universe. Additionally, the Tana French example is of special interest for narratology because in one of the volumes, an impersonal and seemingly omniscient narrator appears. Omniscient narration is usually being regarded as incompatible with unreliability, but, as Janine Jacke has already shown, in fact is not: Also impersonal narration can mire in contradictions and thus turn out to be unreliable. With regard to Tana French’s novel, I would add that it can also be mistrusted because the utterances of this narration can conflict with those of other narrators in other volumes of the same series. So in the light of serial narration, the old question of whether impersonal narration (or an omniscient narrator) can be unreliable at all should be reconsidered. In the case of narrative seriality, the evidence for ascribing unreliability to one of its alternating narrators need not be found in the particular sequel narrated by her/him but in other sequels narrating about events within the same story world. Once again, narrative unreliability turns out to be a category rather of interpretation than of pure text analysis and description. Again, Tana French like previously Agatha Christie is not being penalised by readers and critics for having broken this one genre convention of letting her detective stories take place in a purely ›realistic‹ universe because today, genre conventions are merging more and more. Tana French achieves an even more tempting ›narrative tension‹ by keeping her readers in continuous uncertainty about whether a little bit of magic might be possible in the otherwise so quotidian world of her fictive detectives. Thus, the author metafictionally (and, later also overtly) flirts with the genre of »urban fantasy«, practicing a typical postmodern merging of well-established, hitherto distinct popular genres.
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Narayan, Niketa G. "THE PERSISTENCE OF THE BRAHMIN PRIESTS IN WILKIE COLLINS'STHE MOONSTONE." Victorian Literature and Culture 45, no. 4 (November 8, 2017): 783–800. http://dx.doi.org/10.1017/s1060150317000213.
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When T. S. Eliotfamously called Wilkie Collins's 1868 novelThe Moonstone“the first, the longest, and the best of modern English detective novels” (The Moonstone1966, v), the implication, presumably, was that the “detectives” are the hero Franklin Blake and other English characters who carry out the detective function, such as the family lawyer, Mr. Bruff. In addition to a detective story, the novel has been read variously as imperialist, anti-imperialist, a narrative invested with economic undertones, and as an exploration of gift theory, among others. In all these iterations, however, the underlying assumption has been that the only real “detectives” in the novel are the English characters; it is they who solve the theft of the diamond and work to police it. The Brahmin priests, whose pursuit of the diamond parallels that of the English, have generally been viewed as peripheral to the main narrative; a marginal acknowledgement of the impact that India, in its various facets, had upon nineteenth-century English society. Vicki Corkran Willey calls the priests, tongue-in-cheek, “‘villains’. . . working in tandem with two other imported troublemakers – [John] Herncastle's stolen diamond and the drug, opium” (226). Timothy L. Carens describes them as practicing “dutiful self-renunciation” (246) in their search for the diamond, implying that passivity is inherent in such dutifulness, and Jenny Bourne Taylor suggests they are important only because of their use of “[c]lairvoyance [which] is projected on to them as a form of romantic fascination, [and] which they then internalize and represent” (193). Critics are in general agreement, then, that the priests are not central to the novel, and their involvement in the solving of the crime is minimal. The present essay will refute this perspective and argue that, in fact, the Brahmin priests are central to the narrative and far more active (and effective) policing agents than the English characters.
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Portilho, Carla. "A Japanese-American Sam Spade: The Metaphysical Detective in Death in Little Tokyo, by Dale Furutani." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 39–51. http://dx.doi.org/10.1515/abcsj-2017-0003.
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AbstractThe aim of this essay is to discuss the legacy of the roman noir in contemporary detective fiction produced outside the hegemonic center of power, here represented by the novel Death in Little Tokyo (1996), written by Japanese-American author Dale Furutani. Starting from the concept of the metaphysical detective (Haycraft 76; Holquist 153-156), characterized by deep questioning about narrative, interpretation, subjectivity, the nature of reality and the limits of knowledge, this article proposes a discussion about how these literary works, which at first sight represent a traditionally Anglo-American genre, constitute narratives that aim to rescue the memory, history and culture of marginalized communities. Typical of late modernity detective fiction, the metaphysical detective has none of the positivistic detective’s certainties, as he does not share in his Cartesian notion of totality, being presented instead as a successor of the hardboiled detective of the roman noir. In this article I intend to analyze the paths chosen by the author and discuss how his re-reading of the roman noir dialogues with the texts of hegemonic noire detective fiction, inscribing them in literary tradition and subverting them at the same time.
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Tekgül-Akın, Duygu. "Translating narratives and counter-narratives in Ahmet Ümit’s When Pera Trees Whisper." Translation and Interpreting Studies 15, no. 2 (February 4, 2020): 203–22. http://dx.doi.org/10.1075/tis.20001.tek.
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Abstract This study analyzes the translation of political narratives in Beyoğlu’nun En Güzel Abisi, a 2013 detective novel by the best-selling Turkish author Ahmet Ümit. Translated into English by Elke Dixon as When Pera Trees Whisper (2014), the novel addresses the events of 6–7 September 1955 that led to the exodus of non-Muslim communities from Istanbul as well as the Gezi Park protests in 2013. The source text reproduces the competing public narratives on issues including ethnic diversity in Turkey, the public mobilization at Gezi, and police intervention during the protests. These narratives play a crucial role, particularly in light of the framing of the protagonist, Chief Inspector Nevzat, as a “good cop” in previous installments of the detective series. In the target text, Elke Dixon translates narratives and counter-narratives for an international readership, conveying the variety of narrative perspectives and framing choices through explicitations, shifts, and other strategies.
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Mozzherina, Marina S. "Narrative category point of view in the novel «Stone maples» by L. Eltang." Current Issues in Philology and Pedagogical Linguistics, no. 2(2020) (June 25, 2020): 185–94. http://dx.doi.org/10.29025/2079-6021-2020-2-185-194.
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This article examines the narrative category point of view: it introduces theoretical remarks that reveal and clarify this concept in the framework of the modern theory of narrative, as well as an analysis of this category in Lena Eltang’s novel “Stone Maples”. In narratology, the point of view is one of the leading categories; it is synonymous with the concepts of “focalization”, “perspective” and “narrative modality” and is directly related to the narrator of the work. This article discusses various approaches to the interpretation of the concept of point of view, discusses the similarities and differences, different theoretical approaches to the terms “perspective”, “focalization”, “narrative modality.” An analysis of the theoretical works devoted to this problem also makes it possible to conclude that one of the leading roles in the construction of a narrative is given to the narrator. In L. Eltang’s novel “Stone Maples”, many different points of view (respectively, several narrators) are encountered: several subjects of speech and several different narrative lines are presented in the text. The main narrative and style principles, as well as the features of the narrative organization of the novel “Stone Maples” were examined. Integrated research methods allowed us to determine that in L. Eltang’s novel “Stone Maples” there are many different points of view: several subjects of speech and several different narrative lines are presented in the text; the communicative basis of the narrative work, the “mosaic” narrative, multilevel author puzzles and the detective story base of the novel activate the role of the reader of “Stone Maples”, who is given the function of one of the narrators of the work. The article emphasizes that a biased, false narrative is formed in the novel, destroying the principles of classical narration.
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Allen, Elizabeth. "The silent woman: the representation of sex trafficking in the contemporary British detective novel." Migration Letters 5, no. 2 (October 1, 2008): 167–76. http://dx.doi.org/10.33182/ml.v5i2.51.
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The British detective novel has moved from a smug middle-class parochialism to an engagement with the global narrative of human trafficking, particularly sex trafficking. The genre has been claimed as the literary form best suited to offer a narrative of migration to counter the simplifications and xenophobia of the popular media. The global ‘turn’ is, however, illusory as its structures are fatally constrained by generic expectations. The narrative produced erases the complexities of migration and offers little moral challenge to the reader.
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Baker, Timothy C. "‘Not at all afraid’: Queer Temporality and the School Detective Story." Crime Fiction Studies 2, no. 2 (September 2021): 137–53. http://dx.doi.org/10.3366/cfs.2021.0043.
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Kate Haffey has recently argued that if queer time can be seen as a turning away from narrative coherence, it suggests new possibilities for considering narrative structures more generally. Combining the narratively rigid structures of the school story and the detective novel, the four novels discussed in this article – Gladys Mitchell’s Laurels are Poison (1942), Josephine Tey’s Miss Pym Disposes (1946), Shirley Jackson’s Hangsaman (1951), and Joan Lindsay’s Picnic at Hanging Rock (1967) – disrupt conventional understandings of linear time. Depicting not only queer, or potentially queer, characters, but a queer phenomenological perspective, they challenge reader expectations with a focus on aporias and gaps, whether in terms of trauma (Jackson), the blurring of fact and fiction (Lindsay), or the prolonged delay of both crime and resolution (Tey). These novels draw attention to the insufficiency of texts to capture experience, and the inadequacy of textual authority. As such, they reveal the extent to which mid-twentieth-century women’s fiction was able to challenge the genres and narrative structures with which it was most closely associated.
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Gutiérrez, José Ismael. "Ross MacDonald y la "Hollywood novel"." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 29 (February 2, 2018): 435–54. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2018291702.
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La novela negra ha revelado una versatilidad que le ha permitido establecer una relación de ósmosis con otros géneros. Uno de ellos es la conocida como «novela de Hollywood». En la narrativa de Ross MacDonald, uno de los maestros de la novela negra norteamericana, se producen abundantes cruces entre las historias de detectives herederas de la ficción hard-boiled y la novela que utiliza el mundo de Hollywood como trasfondo o tema principal de las tramas. El presente artículo trata de mostrar cómo ese diálogo intergenérico se traduce en la incorporación al relato de imágenes de naturaleza cinematográfica o que enfatizan el aspecto fílmico de la realidad que representan. Asimismo, las novelas y cuentos de MacDonald perfilan un universo, unos ambientes y unos personajes vinculados o cercanos a la industria del cine americano dominados por la pérdida de valores éticos, la delincuencia y el crimen. The noir novel has generated a versatility that has allowed it to establish a relationship of osmosis with other genres, with one of these being the so-called «Hollywood novel». In narrative of Ross MacDonald, one of the masters of the American noir novel, we can find abundant overlaps between the detective stories deriving from the hard-boiled fiction tradition and those novels that use the world of Hollywood as their fictional background or as main element in their plots. The present article attempts to show how this intergeneric dialogue is achieved by the incorporation of cinematographic images in the story or by others that emphasize the filmic aspect of the reality they represent. Likewise, MacDonald's novels and short stories define a universe, settings and characters linked to or in reflection of the American film industry and dominated by the loss of ethical values, delinquency and crime.
Dissertations / Theses on the topic "Detective novel/narrative"
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Marques, Diego Souza. "O mistério noir do acontecimento : ensino de história e narrativa literária." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77234.
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O passado como um grande mistério. O professor de história como um investigador. Aquilo que se passou como um acontecimento, com Deleuze, a fissura em qualquer percepção que busca extrair um sentido dele mesmo. A narrativa literária como expressão de falar com os romances, e não sobre eles. A leitura e a escrita, simultaneamente, como procedimento de pesquisa. As tipologias históricas como composição de personagens. O problema de pesquisa que incita o drama. A presente dissertação busca produzir, na superfície da própria escrita, aquilo que propõe como tema. Por isso, a narrativa do ensino de história é expressa como um romance policial: as revisões bibliográficas como flashbacks, as problemáticas como reviravoltas e as conclusões como clímax (ou a espera por ele). Romance noir; onde a verdade é mais negociável e depende mais das paixões de quem a busca do que pelo comprometimento com o conhecimento; o acaso tem sua função; e um mistério leva a outro, e assim por diante. No assassinato que impulsiona a trama, não mais um fato, onde as perguntas do mistério de enigma seriam quem, como ou por que; mas sim o acontecimento, onde os efeitos se expandem pelo vazio deixado por ele.The past as a great mystery. The history teacher as an investigator. What happened as an event, with Deleuze, the perception that any fissure in search extract a sense of himself. The literary narrative as an expression to speak to the novels, and not about them. Reading and writing simultaneously as a research procedure. The historical typologies as composite characters. The research problem that incites the drama. This dissertation seeks to produce, on the surface of the writing itself, what it proposes as theme. Therefore, the narrative of history teaching is expressed as a detective story: the literature reviews as flashbacks, problems such as turns and conclusions climax (or wait for it). Romance noir, where the truth is negotiable and depends more on the passions of those who search for their commitment to knowledge; chance has its function, and a mystery leads to another, and so on. In murder that drives the plot, not one more fact, which questions the mystery of who would riddle, how or why, but the event, where the effects expand the void left by him.
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Vervel, Marc. "Mystère et jouissance narrative : enjeux de dramatisation dans la fiction policière émergente." Thesis, Valenciennes, Université Polytechnique Hauts-de-France, 2020. http://www.theses.fr/2020UPHF0019.
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Ce travail de recherche vise à interroger la puissance d’évocation du mot « mystère » dans le cadre de la littérature narrative. Le mot, fréquemment associé au fantastique, semble concerner plus largement une littérature qui, alors que la société médiatique prend son essor, se centre sur la figure du récepteur. Pour étudier la puissance et le rôle du mystère dans le cadre de la littérature narrative, on a pris pour objet ses relations à la fiction policière émergente. L’étude porte pour commencer sur la manière dont le terme s’est chargé au cours de son histoire de connotations qui lui ont conféré un profil propre, en résonance avec le jeu de critiques qui s’est progressivement constitué à l’égard du roman. C’est avec le roman gothique et le roman populaire qu’il entre véritablement en littérature narrative. S’il passe en littérature fantastique, le mystère ne cesse cependant d’entretenir des liens avec les récits d’élucidation criminelle au fur et à mesure que ceux-ci envahissent le territoire de la fiction. L’étude du mystère apporte un éclairage sur la diversité des projets narratifs à l’oeuvre, dans des textes visant massivement à intriguer et à intéresser le lecteur. Elle montre les limites d’une conception restreinte de la fiction policière entendue comme jeu pour l’esprit. Elle amène alors à s’intéresser à la portée pragmatique du mystère : le texte policier qui en passe par le mystère paraît en effet viser à jouer avec les attentes du lecteur et lui proposer un récit en perpétuelle transformation, de manière à lui faire éprouver la jouissance d’une perte de maîtrise à l’égard d’un jeu narratif essentiellement trompeurThis research aims to question the evocative power of the word "mystery" in narrative literature. This word, frequently associated with the fantastic genre, seems to relate more broadly to a literature which centers on the reader at the moment when the media society takes off. To study the power and role of mystery in narrative literature, we focused on its relations to emerging detective fiction. The study begins with the way in which the term has been loaded throughout its history with connotations which have given it a specific profile, in resonance with the set of critics which has gradually developed with regard to the novel. It really enters into narrative literature with the Gothic novel and the popular novel. If it goes from there to fictions affiliated to the fantastic genre, the mystery also takes place in novels dedicated to the elucidation of crime which appear at the time. The study of the mystery sheds light on the diversity of the narrative projects at work, in texts that aim massively to intrigue and interest the reader. It shows the limits of a limited conception of detective fiction considered as a sheer game for the mind. It leads to take an interest in the pragmatic scope of the mystery: the detective fiction which appeals to the mystery seems to aim to play with the expectations of the reader and offer him a narrative in perpetual transformation, so as to make him experience the enjoyment of a loss of control over an essentially deceptive narrative game
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Lucas, Jeane. "A subversão do gênero em Leopardso de Kafka." Universidade Presbiteriana Mackenzie, 2010. http://tede.mackenzie.br/jspui/handle/tede/2322.
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Previous issue date: 2010-12-06Literary production of the nineties and the early years of the twenty-first century is characterized the release of some literary genres, specifically what Literary Theory defined as being a novel, which do not fit the standards of Classical Literature or the peculiarities of the so-called Best Sellers. Therefore, this thesis has as its object of study the book Leopardos de Kafka, by Moacyr Scliar, which is part of the collection of detective novels Literature and Death, released by the publisher Companhia das Letras. This study aims to show the narrative resources and how they were used in the novel aforementioned, so that we can show that they break the existing boundaries between Classical Literature and Best Sellers and the standards of the traditional detective novel. For this objective to be achieved, the theoretical foundation of this thesis was based, mainly, on studies of the detective novel, done by Boileau and Narcejac (1991), Albuquerque (1979), Reimão (1983, 2005) and others; in researches on Best Sellers, done by Sodré (1978), Caldas (2000) among others and on studies of Historiographic Metafiction, postmodernism and narcissistic narrative, made by Hutcheon (1984, 2002).
O panorama da produção literária da década de noventa e dos primeiros anos do século XXI é marcado pelo lançamento de alguns gêneros literários, especificamente o que a Teoria Literária definiu como sendo romance, que não se ajustam nem às regras da Literatura Culta nem às peculiaridades do que se convencionou chamar de Literatura de Massa. Por isso, esta tese tem como objeto de estudo o livro Leopardos de Kafka, de Moacyr Scliar, pertencente à coleção de romances policiais Literatura ou Morte, lançada pela editora Companhia das Letras. O presente estudo objetiva mostrar os recursos narrativos e o modo como estes foram empregados, no romance citado, a fim de que se possa evidenciar que eles rompem com as fronteiras existentes entre a Literatura Culta e a Literatura de Massa e com as regras do romance policial tradicional. Para que esse objetivo fosse alcançado, a fundamentação teórica desta tese foi baseada, principalmente, nos estudos sobre o romance policial, feitos por Narcejac (1991), Albuquerque (1979), Reimão (1983, 2005) e outros; nas pesquisas sobre Literatura de Massa, realizadas por Sodré (1978), Caldas (2000) e outros e nos estudos sobre Metaficção Historiográfica, pós-modernismo e narrativa narcísica, realizados por Hutcheon (1984, 2002).
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Mullen, Anne W. "Historical and fictional narratives in Sciascia." Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297880.
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Mansfield, Charles. "The role of literary texts in tourism destination management, place creation and marketing : a case study on Concarneau in Finistère, Brittany, and the Simenon Novel, The Yellow Dog." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/4785.
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This doctoral thesis approaches literary tourism initially from an historical perspective in order to define the phenomenon through a review of the existing academic literature in the field. The forms of literary tourism are analysed to provide a typology and from this the value of literary tourism is explained both from the visitor's point of view and the destination manager's. Current theories underpinning the existing literature on literary tourism, including Bourdieu's concept of cultural capital are reviewed. To extend the current state of research and to answer the research questions a case study of successful urban literary tourism is identified, in this case in Brittany, France. The uses of French literature in literary tourism are reviewed to provide a sound basis on which to examine French texts and tourist destinations. Novel methods of field research are developed to formalise and to make reproducible the methodology for this study and for future work drawing on, and seeking to combine both literary theory and ethnography. Following a pilot study on the French Riviera the full discovery instruments are designed and applied in fieldwork on the case destination, Concarneau, using the detective novel, The Yellow Dog, which is set in Concarneau. Analysis of the findings from this provide a new contribution to the field of literary theory, in the area of reader interpellation, and answer the research questions in the form of a new set of recommendations for DMOs and tourism stakeholders. From the empirical study that used Web 2.0 social media, only available since 2013, an analysis of which novels do stimulate literary tourism is presented for the first time. Out of the research process new methods have been evolved, and are presented in the conclusion, for the DMO to synthesise and leverage digital resources. This provides DMOs with interpretation processes for its managed heritage to use with its local stakeholders in hotels and in tourism businesses. Finally, an innovative conceptualisation of what constitutes tourism knowledge is proposed.
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Mendes, Fábio Marques. "A trajetória dramática do herói e a experiência com a forma do romance policial nas narrativas de Marçal Aquino /." São José do Rio Preto, 2019. http://hdl.handle.net/11449/191262.
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Orientador: Márcio ScheelResumo: Esta tese apresenta uma análise crítica dos romances de Marçal Aquino, a saber, O invasor (2002), Cabeça a prêmio (2003) e Eu receberia as piores notícias dos seus lindos lábios (2005), tendo por objetivo ressaltar como a trajetória dos heróis Ivan, Brito e Cauby contribuem para a experiência da forma do gênero policial. Para tal percepção, incluímos uma análise do conto “Matadores”, do mesmo autor, que servirá como matriz interpretativa dos romances. Argumentamos que os romances de Marçal Aquino são organizados em torno do ponto de vista de um herói que está inserido no mundo da pistolagem brasileira, contexto onde a violência é racionalizada e tornada matéria-prima do capital. Diante disso, os romances do autor não apenas dão certa continuidade, mas também realizam uma experiência com a forma tradicional da ficção policial, já que os heróis de Aquino, movidos principalmente pelo ressentimento, transitam entre os três elementos fundamentais do gênero, a saber, o detetive, o criminoso e a vítima. Sendo assim, os protagonistas de Aquino são uma espécie de síntese entre as três categorias do romance policial tradicional e o que eles vão fazer é mostrar que em termos de modelo narrativo há uma experiência da forma que problematiza aspectos da sociedade brasileira. Estes heróis tomam parte em um contexto histórico e político demarcado pela intersecção entre lei e ordem, por um Estado que agencia o crime e por matadores ajustados à lógica do trabalho e às leis do mercado, estando ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This thesis presents a critical analysis of Marçal Aquino’s novels, namely O invasor (2002), Cabeça a prêmio (2003), and Eu receberia as piores notícias dos seus lindos lábios (2005), with the objective to highlighting how the stories of the heroes Ivan, Brito and Cauby contribute to experimenting with the detective genre form. In order to do so, we have included an analysis of the short story “Matadores”, by the same author, which will function as an interpretative matrix for the novels. We argue that the novels by Marçal Aquino are organized around the point of view of a hero who is immersed in the world of Brazilian pistolagem (banditry), a context where violence is rationalized and turned into raw material for capital. Considering this, the author’s novels not only develop the traditional form of the detective novel, but also experiment on it, since Aquinian heroes, propelled mainly by resentment, vary among the genre’s three fundamental elements: detective, criminal, and victim. In this way, Aquino’s protagonists are a kind of synthesis of the traditional detective novel’s three categories, and what they do is show that, in terms of the narrative model, there is experimentation with the novel’s form which questions and discusses some aspects of Brazilian society. These heroes take part in a historical and political context branded by the intersection between law and order, by a State that administers crime, and by hitmen adjusted to the logic of labor and market laws, vi... (Complete abstract click electronic access below)
Doutor
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Pereira, Edson Salviano Nery. "Fantasmas que investigam: nação, masculinidades, violência em A Varanda do Frangipani e O Filho da Mãe." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-06082018-182711/.
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Esta dissertação apresenta um estudo comparativo tendo como objetos de investigação os romances A varanda do frangipani (2007), de Mia Couto, e O filho da mãe (2009), de Bernardo Carvalho. Considerando que os dois romances se apresentam como narrativas ligadas ao gênero literário romance policial, buscou-se analisar de que maneiras tais romances apresentam modalizações e reformulações em relação aos aspectos formais e estruturais deste gênero. A partir destas constatações, a investigação debruça-se sobre os conflitos gerados pelas relações de gênero, enfatizando os encontrados na elaboração das identidades masculinas. Por fim, avalia-se de que maneira a violência se apresenta nas narrativas, tendo como princípio que nelas o crime fora suplantado por outras demandas.This dissertation presents a comparative study that has as its main subject the novels \"A varanda do frangipani\" (2007), by Mia Couto, and \"O filho da mãe\" (2009), by Bernardo de Carvalho. Taking into account that both novels present themselves as narratives pertaining to the crime romance literary genre, the study analyses in which manner these romances present modalization and reestructuring in respect to the formal and structural aspects of the genre. From these findings, the investigation delves into the conflicts created by gender relations, emphasizing those found in the elaboration of masculine identities. At last, it is assessed in which manners violence is presented in these narratives, having as a principle that in them crime has been superseded by other demands.
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Leavitt, Joshua. "By the Book: American Novels about the Police, 1880-1905." The Ohio State University, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=osu1598175125397595.
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Chen, Chin-Tsung, and 陳智聰. "From"Gong''an"Nowel to Detective Story:the turning on narrative modes of"Gong''an"Novel at the turn of the 20th century." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/33375911971422191472.
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碩士淡江大學
中國文學系
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This thesis attempts to study and research the turning about the narrative modes of the "Gong'an"(公案)novels and the influence of the detective stories at the turn of the 20th century in China. Both "Gong'an" novels and detective stories reflect the thoughts and actions of esthetics and ideologies.My study is divided into six chapters as follows:ぇThe first chapter delineates a general outline of my motives and fundamental approaches for my study.えThe second chapter attempts to outline the formula of the narrative modes in Chinese traditional "Gong' an" novels,including viewpoint, structure, role, plot, and so on, inorder to understand the common formula of the"Gong'an" novels before the late Ching Dynasty.ぉThe third chapter begins to describe the causes and phenomenons regarding to the turning of the "Gong'an"novels at the turn of the 20th century in China. I will analyze what cause to happen this turning. Those reasons include the reformation of traditional laws,the spread of the western thoughts like human rights, jurisdiction,science, andthe employment of the new mediums. Next I will show three types of the "Gong'an"novels at the late Ching Dynasty from following established rules to criticizing theobsolete fomula or creating a innovative form.おThe fourth chapter probes the import of the western dedective stories, then searches for their effect that consists of Chinese analogy and imitation, besides many men's reviews were raised.かThe fifth chapter examines the concepts about social justice of those "Gong'an "and detective works. First, I show the ideas of the laws and regulations in the traditional novels, then analyze the opinions of thenovelists at the late Ching Dynasty aiming directly at the human sympathy, moral, and lawthat regard to keep thesociety in order.The conclusion in the sixth chapter offers my explanations about the backgroud of the novelists, critics,readers, mediums. Finally, I provide some suggestion for the future studies.
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Freytag, Aurélie. "La figure de l'En-Quête : l'inscription du savoir dans les romans policiers." Thèse, 2016. http://hdl.handle.net/1866/18451.
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Cette thèse examine l’importance de la figuration dans le récit policier et ce sous le signe de l’En-Quête – figure centrale de cette étude – qui se développe en deux parties, chacune divisée en trois chapitres. La première partie se penche sur le roman policier en tant que genre et analyse la pertinence, voire la nécessité de s'en extraire afin de saisir l'importante charge des récits policiers. La deuxième partie reprend les éléments soulevés dans la première en plongeant cette fois dans les récits, dans les textes, dans le littéraire. La division en chapitres, quant à elle, permet d'identifier les engrenages de cette pensée en construction, de placer les bornes importantes au déploiement de l'argument.
C'est en créant, en plaçant au centre de la pensée la figure de l'En-Quête, que j'invente petit à petit au fil de la réflexion, que j'aborde les récits policiers en tant que textes mettant en scène la quête du savoir par la mise en mots, la mise en figures de la pensée. En commençant par l’analyse des textes policiers classiques, pour ensuite me diriger vers ceux de la modernité, il s’agit de réfléchir sur la figure de l’En-Quête et la manière dont elle se place comme un potentiel de création dans ces textes – abordés d’abord et avant tout comme des récits –, opérant comme une sorte d’auteure dans le texte qui, par les figures qu'elle crée, invente ou découvre, réfléchit à l'objet même qui la fait advenir, soit le littéraire, en tant qu'accès aux savoirs.
Cette réflexion permet de voir combien riches sont ces textes souvent ignorés par l'institution, combien importantes sont les réflexions présentées sous la forme de personnages, de mises en scène, puisque celles-ci donnent accès à un langage riche, une mise en mots toujours nouvelle, qui réfléchit le pouvoir du littéraire dans les figures. La figure de l'En-Quête, figure génératrice de figures, d'un savoir indissociable de la rhétorique, permet quant à elle de voir ce qui unit les textes dits policiers tout en déplaçant le focus pour insister non plus sur les thèmes, mais bien sur la construction des savoirs dans le littéraire et, par la mise en scène, la mise en figure justement.This dissertation examines the importance of figuration in crime fiction, under the sign of the In-Quest, the central figure of this study which is developed into two parts, each one divided in three chapters. The first part looks into the notion of “detective novel” understood as a genre and analyses the relevance, and even the necessity of thinking outside of this category in order to grasp the full significance of this kind of fiction. The second part revisits these observations, this time diving into the texts and stories and into their literary components. The division in chapters enables us to get a glimpse of the key elements of this thought-in-process and to set the conceptual groundwork needed for deploying the argument. Focusing my reflection on the In-Quest figure, which I invent and create progressively through the course of the essay, I address crime fiction as texts that stage a quest for knowledge in their recourse to words and figures of thought. I begin by analysing classic detective tales and continue with more modern texts in order to observe how the In-Quest figure places itself as a potential of creation within those narratives, working through the literary device it is creating as a sort of author in the text reflecting upon the object from which it arises, namely the literary as a way of knowing. This conceptual drive allows us to see the richness of these texts frequently ignored by the institution and the importance of the reflections they embody in the form of characters and mises-en-scène; these elements give access to a diversity of language that creates renewed forms of writing showcasing the power of the literary, in and through figuration. Thus, the In-Quest as a figure of figuration, of knowledge that is inseparable from rhetoric, enables us to see what unifies the texts known as “detective novels” by changing the focus and insisting not on the themes, but on the construction of knowledge within their literary form, through figures of speech and their particular mises-en-scène.
Books on the topic "Detective novel/narrative"
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King, Stephen. The Green Mile: The Complete Serial Novel. New York, USA: Pocket Books, 1999.
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King, Stephen. The Green Mile: The Complete Serial Novel. New York, USA: Pocket Books, 1999.
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King, Stephen. The Green Mile: A Novel in Six Parts. New York, N.Y., U.S.A: Plume, 1997.
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King, Stephen. The Green Mile: A Novel in Six Parts. New York, USA: Plume Books, 1997.
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King, Stephen, and Frank Muller. The Green Mile: The Complete Serial Novel. Simon & Schuster Audio, 1999.
Find full textBook chapters on the topic "Detective novel/narrative"
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Roy, Shampa. "Detection and Desire: Male Goyendas and Their Female Bête-Noires in the Early Bangla Detective Novels." In Gender and Criminality in Bangla Crime Narratives, 185–225. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-51598-8_5.
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Fiore, Teresa. "Displaced Italies and Immigrant “Delinquent” Spaces in Pariani’s Argentinian Conventillos and Lakhous’s Roman Palazzo." In Pre-Occupied Spaces. Fordham University Press, 2017. http://dx.doi.org/10.5422/fordham/9780823274321.003.0006.
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In addressing residential spaces through the lens of de Certeau’s concept of “delinquent space,” that is, a space that creatively defies social norms and stereotypes, Chapter 3 looks at the conventillos as described by Laura Pariani in her novel Dio non ama i bambini (2007) and at a residential building (palazzo) inhabited by locals and immigrants in the same Vittorio Square, as depicted by Amara Lakhous in his novel Clash of Civilizations Over an Elevator in Piazza Vittorio (2006). Despite the different locations of these buildings and the different time periods of the stories (turn-of-the-century Buenos Aires versus contemporary Rome), the two novels successfully render the challenges and possibilities presented by the co-existence of people from different backgrounds. In part for their captivating employment of the detective genre, in part for their innovative narrative structure, the novels suggest the need to investigate immigrant societies with new questions in order to find new answers that challenge the norm.
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De Boever, Arne. "Michel Houellebecq, Finance Novelist." In Finance Fictions. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279166.003.0006.
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From his very first novel Whatever, Houellebecq has taken on the representation of the contemporary economy and asked in particular whether it still allows for a novelistic realism. Those concerns are continued in Houellebecq’s much more recent The Map and the Territory, which once again develops the question of realism in parallel to an investigation into economic value. Exploring this question across visual art (photography and painting) and literature (the novel), and with an emphatic interest in work, industrial objects, and those who produce those objects, The Map and the Territory ultimately reveals itself to be a detective novel that follows the deductive logic of the genre while simultaneously challenging that logic—a challenge that, in the novel, is explicitly formulated in economic terms as well, in other words as a challenge about the predictability of the markets. Thus, The Map and the Territory opens up onto the question of narrative in Meillassoux’s philosophy as discussed in Chapter Four.
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Bailey, James. "‘A study, in a way, of self-destruction’: The Driver’s Seat and the Impotent Gaze." In Muriel Spark's Early Fiction, 142–70. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474475969.003.0005.
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This chapter extends the preceding chapter’s discussion of The Driver’s Seat to offer a thorough reassessment of its largely one-sided critical reception, as well as its nuanced approach to the inextricable relationship between gender, narrative perspective and epistemological power. It argues that the novel – which has been read predominantly as Spark’s most starkly drawn parable of human fallibility versus divine omniscience – is concerned instead with that which escapes and thus destabilises the exacting, investigative and emphatically male gaze of its narrator. Through a critical framework which combines critical commentary on the nouveau roman, previously unexamined archival material, studies of metaphysical detective fiction, and theory related to narrative point of view, the chapter shifts focus from existing readings of the protagonist, Lise, as the hopeless object of a godlike narrative viewpoint, and considers her instead as a captivating figure who, even after death, confronts and commands the epistemologically limited perspective of her hopelessly fascinated narrator-voyeur. Spark’s description of The Driver’s Seat as ‘a study, in a way, of self-destruction’ can thus be seen to relate not only to Lise’s determined drive to death, but to the subversive unravelling of the narrating ‘self,’ tormented and undone by the novel’s perennially unknowable subject.
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Kawakami, Akane. "Disorderly Narratives: The Order of Narration." In Patrick Modiano, 25–48. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781382745.003.0003.
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This chapter examines the order in which events are related in Modiano’s novels; based on Genette’s narratological categories, the analysis shows how Modiano’s narratives are organized around an order based on the psychology of the narrator, rather than chronology or narrative logic. This is why the apparent resemblance of some of his novels to detective stories is, in the final analysis, illusory; it is also why they have an interestingly contrastive relationship to histories, biographies and autobiographies. The chapter ends by suggesting that Modiano’s ‘disorderly’ narration subverts our notions of chronological or historical order, preferring instead the ‘disorders’ of affective or psychological organisations of reality.
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Valentini, Francesca. "La Habana Negra: le minoranze nella narrativa di Padura Fuentes." In America: il racconto di un continente | América: el relato de un continente. Venice: Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-319-9/025.
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The narrative of Padura Fuentes outlines the ‘other’ side of La Habana, away from immaculate beaches and fine cigars. Master of Cuban detective stories, Padura explores dark corners of the city, representing the violence which is consumed in the suburban neighborhoods but not only: the writer offers a picture of the city unspoken, that of minorities. From Máscaras to La cola de la serpiente, the novels of Padura can be read as enigmas, but also as sociological material: the author uses the detection to present the city of Havana in all its shapes, even those which are forced to edges.
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Zappe, Florian. "“And from this moment on, we know nothing” – Ellipsis, Epistemology, and the Anti-Detective Novel." In Narrating Surveillance - Überwachen erzählen, 211–24. Ergon Verlag, 2019. http://dx.doi.org/10.5771/9783956505959-211.
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Sakyi, Kwesi Atta. "Intelligent Cities." In Developing and Monitoring Smart Environments for Intelligent Cities, 216–50. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-5062-5.ch009.
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This chapter focuses on a systematic and integrated approach to managing cities using multidisciplinary and technology-based approach and drawing on integrated knowledge from different fields. The chapter aims to discuss and analyse issues in an organic and holistic approach. It explores theory and combines praxis, applications, and futuristic conjectures. Emphasis is placed on issues of ethics, human rights, environmental friendliness, sustainability, and compliance with the 17 UN Sustainable Development Goals (SDGs). While the chapter has considerable input from existing scholarship, it adopts a narrative that is innovative and creative and engages with novel ideas and propositions for future progress. It also charts the breakthrough in transportation, commerce, medicine, education, the world of work, and contemporary health, with particular emphasis on issues relating to safety, confidentiality, privacy, facial recognition, city policing, crime detection, monitoring and evaluation, forecasting, and future of AI.
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Hatmaker, Elizabeth A. "Noir Pedagogy: The Problem of Student Masochism in the Classroom Economy." In Noir Affect, 99–121. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823287802.003.0005.
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In “Noir Pedagogy,” Hatmaker draws on a range of different noir novels and films as well as Jacques Lacan’s conception of the four discourses, and Gilles Deleuze’s and Jean Laplanche’s differing accounts of sadism and masochism to theorize power and transference in the contemporary classroom. The chapter begins with the problem of the student who, in various ways, colludes with their own failure. Such a narrative of failure is classically noir. The chapter examines this dynamic as it plays out in the unequally structured classroom. It goes on to theorize different versions of noir affect in the classroom, including students who embody the sadistic masculine position (the detective or dick), the sadistic hysteric position (the femme fatale), and the masochistic feminine position (the corpse). The chapter concludes by pointing toward a collective praxis of working through trauma that can move the classroom out of the shadow of noir and transform it into a more affirmative and just environment.
Conference papers on the topic "Detective novel/narrative"
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Murti, Bayu Dewa, M. R. Nababan, Riyadi Santosa, and Tri Wiratno. "The Role of Ergative Clauses in Developing Narrative Genre: A Case Study of A Detective Novel Entitled Angels and Demons by Dan Brown." In Fourth Prasasti International Seminar on Linguistics (Prasasti 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/prasasti-18.2018.9.
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