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1
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.
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González-Calderón, Julia. "The irrelevant mystery, the involuntary detective, the melting clue: notes on La pista de Hielo, a neopolicial by Roberto Bolaño." Alea: Estudos Neolatinos 20, no. 1 (January 2018): 125–41. http://dx.doi.org/10.1590/1517-106x/2018201125141.
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Abstract: This article analyzes La pista de hielo (The Skating Rink, 1993), the third novel by Roberto Bolaño, as an exponent of the Ibero-American neopolicial, focusing on how two of the main dramatic elements of the detective tale, the enigma and the detective figure, are decentralized through a series of narrative mechanisms that eventually dismantle traditional genre conventions. Furthermore, we will link La pista de hielo and its narrative key elements with the rest of the novelistic of the Chilean author, as well as with the main exponents of the neopolicial, such as Paco Ignacio Taibo II, Leonardo Padura or Ramón Díaz Eterovic.
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Weszczykowa, Ołena. "НАРАТИВНІ СТРАТЕГІЇ В РОМАНІ ІЛЛАРІОНА ПАВЛЮКА БІЛИЙ ПОПІЛ." Studia Ukrainica Posnaniensia 9, no. 1 (September 13, 2021): 121–30. http://dx.doi.org/10.14746/sup.2021.9.1.10.
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The article is devoted to the analysis of narrative strategies in the debut novel of Illarion Pavliuk White Ashes. Taking into consideration the author’s intention and tracking the influence of the textual indicia on the recipient, the article aims to find out how the narration is organized and what artistic effects the author was trying to achieve. The features of retrodetective and noir as “adrenaline” genres present in the novel are analyzed. The cinematic qualities of the work as a result of the author’s intention is marked. The leading narrative strategy used in the novel, the intertextuality, is highlighted, in particular, the intertextual interaction with the story of M. Hohol Vii, and the influence of intertextems on the reader’s interpretation of the text. The phenomenon of unreliable narration is considered on the basis of the selected material and it is proved that the homodiegetic narrator, private detective Taras Bilyi, is unreliable. The strategy of using prolepsis and provoking the reader’s hesitation which is realized through the formation of doubts about the nature of the artistic convention of the events described, is also examined.
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Amat, Víctor Manuel Sanchis. "El hombre de Montserrat: writings on violence in the latin american crime fiction." Alea: Estudos Neolatinos 20, no. 1 (January 2018): 142–60. http://dx.doi.org/10.1590/1517-106x/2018201142160.
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Abstract: The article adresses the novel El hombre de Montserrat, written by the Guatemalan writer Dante Liano and recognized within the genre of crime fiction, as a precursory model for a narrative that established a way of rewriting the history of violence in Central American countries in both fictional and theoretical terms. Dante Liano’s successful reception has turned the novel into a reference of the Central American literature of the nineties. This is due to the fact that his narrative is replete with mechanisms that were seen in the best works of the previous Latin American narrative, far from the great discourses, by a displaying genre hybridization, a parodic transgression or lexical localism. This article analyses the interweaving of genres and the subversion of the plot, the characters and the rewriting of the history against the postulates of the classic detective novel.
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Valente, Simão. "The end of the affair: Catholic plots and sinful detectives." Frontiers of Narrative Studies 6, no. 1 (July 1, 2020): 31–45. http://dx.doi.org/10.1515/fns-2020-0004.
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AbstractThe first paragraph of Greene’s The End of the Affair establishes a clear link between two of the major themes of the novel: storytelling and Catholicism. Maurice Bendrix, the first-person narrator, considers whether it is his craft as a professional writer that leads him to begin telling his story the way he does, or, were he a believer, whether the hand of God played a role in organizing the events that he retells. The order in which a story is told is pitted against the chronological order of the events depicted, this contrast in turn masking the one between human choice and divine intervention. The gist of the story is the affair Bendrix conducted with Sarah Miles, and its unexpected and unexplained end at her behest a year before the opening scene, at the height of the Blitz. That mystery is the crux of the plot, for Bendrix’s obsession with uncovering it leads him to hire a private detective, Parkis, whose exploits allow Greene to appropriate the narrative structure of detective fiction to frame his work, especially in what concerns what Franco Moretti called a “double system of meanings”, following Todorov’s work on detective fiction: the superficial level of investigation hides the deeper level of the crime which is only revealed at the end. My suggestion is that Greene’s novel operates under this system, superimposing it to his concerns with jealousy, religion, and how to tell it. The concern with God, however posits issues of authorship and narrative that go beyond the classical detective story. The interplay between narrative time and experienced time expressed in the novel’s initial paragraph is in this way rendered more complicated by a detective story’s reliance on its conclusion for it to “work”. Although the The End of the Affair opens by emphasizing its own opening, both title and structure point to the source of meaning: the end.
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Tang, Shi. "Theatricality in the postmodern novel “Quest” by B. Akunin." RUDN Journal of Studies in Literature and Journalism 24, no. 3 (December 15, 2019): 390–403. http://dx.doi.org/10.22363/2312-9220-2019-24-3-390-403.
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The article examines postmodern properties of the detective novel “Quest” by B. Akunin such as “epistemological and ontological doubt” in the view of world and the openness of the narrative. The aspects of theatricalization in the text of the novel are analyzed: the world order of masquerade, the theatricality of episodes, theatrical allusions, etc. The article demonstrates functioning of the game between author and reader in this novel, which serves a great example of Akunin’s literary game strategy. It also confirms that the theatricalization in this novel is in association with postmodern aesthetics and a important aspect in the poetics of “Quest”.
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Kyllönen, Vesa. "Maksimalistinen aivokartta. Metafyysinen salapoliisikertomus Jaakko Yli-Juonikkaan Neuromaanin tiedollisena työkaluna." AVAIN - Kirjallisuudentutkimuksen aikakauslehti, no. 1 (June 1, 2017): 24–38. http://dx.doi.org/10.30665/av.64260.
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A Maximalist Map of the Brain. The Metaphysical Detective Story as a Cognitive Tool for Jaakko YliJuonikas’ Neuromaani.
The contemporary encyclopedic novel is a maximalist narrative form that is based on the excess of information. In this article I hold Jaakko YliJuonikas’ Neuromaani (2012) as its ambassador. This as a starting point, the article focuses on arguing that the genre of the metaphysical detective story is a key cognitive tool for the reading of YliJuonikas’ encyclopedic novel. The encyclopedic novel describes not only a storage of information but also a process of coming to know, whereupon the reader either follows a surrogate reader (that is, the detective), or has to arrange the data inde pendently. As regards Neuromaani, the first of these options is problematic, since the protagonist has a multiple personality disorder, and the reader follows his hallucinations inside the brain. Simultaneously, the reader is encouraged to investigate the crime that has taken place outside the protagonist’s mind. Along with the structure of the brain, Neuromaani is arranged in the forms of a dissertation and a gamebook. It is an ergodic novel that reserves an active role for the reader. But as I argue, the metaphysical detective story plays a leading role: Neuromaani exploits conventions such as a laby rinthine space of investigation, an unsolvable crime, and an excessive number of clues. Moreover, the reader begins the reading as a detective, but becomes a criminal.
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Gómez-de-Tejada, Jesús. "Parodia, intertextualidad y sátira en la narrativa policial de Lorenzo Lunar Cardedo." Studia Romanica Posnaniensia 47, no. 1 (March 15, 2020): 5–17. http://dx.doi.org/10.14746/strop.2020.471.001.
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Detective fiction as parodic reformulation of genre’s defining patterns has a long history in the Latin American tradition: Borges, Bioy Casares, Soriano, Levrero, Ibargüengoitia, etc. Besides, the evolution of Latin American detective genre has always been characterized by a progressive focalization in the social aspects over the detective story line which has served as a mask to depict in a critical way the flaws of the region’s societies and governments. In nowadays Cuba it could be highlighted the crime narrative of parodic slant by Lorenzo Lunar Cardedo. Among the major features of Lunar Cardedo’s style there are the marginal atmospheres, the stylization of popular speech, the intertextuality, the humor, the parody, and the social criticism. This article focuses on the parodic, intertextual and satiric aspects of his work, particularly discernible in the novel Proyecto en negro (2013), in which the author emphasizes – in opposition to the official discourse – the perpetuation of corrupt, chauvinist, racist, and homophobic behaviors in contemporary Cuba, while relaxing the genre formula limits in order to follow a much more irreverent path within the new Latin American detective fiction.
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Patchay, Sheena. "Not Just a Detective Novel: Trauma, Memory and Narrative Form inMiss Smilla's Feeling for Snow." Journal of Literary Studies 26, no. 4 (December 2010): 17–35. http://dx.doi.org/10.1080/02564718.2010.529311.
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Dornbach, Mária, and Arturo Pérez-Reverte. "Busca el libro! : la intervención de Sherlock Holmes y D'Artagnan en El Club Dumas de Arturo Pérez-Reverte." Acta Hispanica 13 (January 1, 2008): 41–47. http://dx.doi.org/10.14232/actahisp.2008.13.41-47.
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The essay examines Arturo Pérez-Reverte's novel The Dumas Club. The novel can be categorized as a literary crime story; it maintains the characteristics of traditional detective fiction, but, as the author points out, it also presents the use of refined and complex narrative techniques. Pérez Reverte offers a dizzying array of cultural, literary and historical references, which all carry a metaphoric layer of meaning and expand the narrative space and time of the novel into infinity. Similarly to the Greek tradition and the characteristics of the literature of adventure, defined by Bakhtin, the condensed time and space become the principal motivators for the action. The complex system of symbols, the chronotopical motives and the metatextual references offer different layers of possible interpretations and provide a complex character portrayal. Pérez-Reverte's characters embody Sherlock Holmes and other famous detectives; at the same time, they evoke the classic heroes of The Three Muskateers, and often bear similarities to the author himself, and to important literary predecessors. Each of the 16 chapters of the novel is preceded by a motto taken from a famous literary work of art; these quotations function as an incipit, advancing and, at the same time, reflecting to the most important elements of the chapter.
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Knepper, Wendy. "Remapping the Crime Novel in the Francophone Caribbean: The Case of Patrick Chamoiseau's Solibo Magnifique." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1431–46. http://dx.doi.org/10.1632/pmla.2007.122.5.1431.
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Shaped by a history of mobilities, displacements, and creolizing processes, the Caribbean is a significant testing ground for theories concerning the circulation and remapping of genre. Taking Patrick Chamoiseau's theory of generic wandering as my point of departure, I argue that his Solibo Magnifique exemplifies the principle of generic creolization. This is evident in the novel's intermixing of the detective novel, film noir, the spaghetti western, the comic book, the hard-boiled crime novel, and creole storytelling techniques. By manipulating the conventions by which the classical detective, the hard-boiled police officer, and the private investigator are characterized, Chamoiseau's narrative turns from an investigation into one man's death to an interrogation of Martinique, its history and the workings of its neocolonial psyche. Through the example of Solibo Magnifique and its radiating influence on other postcolonial crime writers, I conclude that this principle of creative creolization is increasingly relevant to understanding a world in which genre's radiating and rhizomic web of mobilities involves local and global confluences.
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Beyer, Charlotte. "“I Stand Out Like a Raven”: Depicting the Female Detective and Tudor History in Nancy Bilyeau’s The Crown." American, British and Canadian Studies Journal 28, no. 1 (June 27, 2017): 91–110. http://dx.doi.org/10.1515/abcsj-2017-0006.
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Abstract This article examines the portrayal of female identity and crime in the Tudor period in Nancy Bilyeau’s contemporary historical crime fiction novel, The Crown (2012). Featuring a female detective figure, Joanna Stafford, Bilyeau’s novel forms part of the wealth of contemporary fiction using Tudor history as context, reflecting a continued interest in and fascination with this period and its prominent figures. This article examines Bilyeau’s representation of the Tudor period in The Crown through the depiction of English society and culture from a contemporary perspective, employing genre fiction in order to highlight issues of criminality. My investigation of The Crown as crime fiction specifically involves analysing gender-political questions and their portrayal within the novel and its tumultuous historical context. This investigation furthermore explores the depiction of agency, individuality, religion, and politics. The article concludes that Bilyeau’s suspense-filled novel provides an imaginative representation of Tudor history through the prism of the crime fiction genre. Central to this project is its employment of a resourceful and complex female detective figure at the heart of the narrative.
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한상정. "Analysis of the narrative characteristic in of Kangful : Mistery Puzzle Game using the detective novel technique." Journal of Popular Narrative ll, no. 28 (December 2012): 363–86. http://dx.doi.org/10.18856/jpn.2012..28.012.
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JACQUELIN, ALICE. "Réalismes déclinistes du polar français contemporain : Nicolas Mathieu, Colin Niel, Antonin Varenne." Australian Journal of French Studies 58, no. 2 (July 1, 2021): 137–50. http://dx.doi.org/10.3828/ajfs.2021.12.
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The detective novel has long been described as a form of “authentic” realistic literature (Collovald et Neveu). However, this article analyzes how three contemporary French crime novels—Aux animaux la guerre by Nicolas Mathieu (2014), Seules les bêtes by Colin Niel (2017) and Battues by Antonin Varenne (2015)—challenge and reappropriate conventions of realism. The three country noir novels follow in the lineage of two important traditions of realism, nineteenth-century French classical realism (Dubois) and the social realism of the 1970s and 1980s “néo-polar” (Desnain). Yet rather than anchoring the novels in familiar territory, the authors blur topographical references, create a polyphonic narrative structure and set a horrific tone to provide symbolic and political commentary. The novels thus borrow from magic realism to depict a declining rural and working-class world.
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Körte, Mona. "Widerstand gegen die große Form. : Patrick Modianos Romane in Untergröße." Zeitschrift für Germanistik 30, no. 3 (January 1, 2020): 609–23. http://dx.doi.org/10.3726/92167_609.
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Abstract Zu erzählenden Großformen wie dem grand récit der französischen Okkupation gehen Patrick Modianos auffallend kurze Romane auf Distanz. Thema seiner rund 30 Bücher ist die Okkupationszeit unter Vichy und der Erinnerungsprozess, der, metonymisch von Spuren ausgehend, in Opposition zu einem Tableau oder Panorama der französischen Kollaboration, Résistance, des Antisemitismus und der Verfolgung steht. Durch ihren gemeinsamen Fluchtpunkt, den Verweisungszusammenhang untereinander und die detektivischen Erzähler entsteht eine Nähe zu seriellem Erzählen, die durch Interferenz, Iteration und Namensidentitäten befördert wird. Das hat die Kritik veranlasst, Modianos zahlreiche Romane als einen einzigen großen Roman zu lesen. Der Beitrag sondiert Modianos Skepsis gegenüber großen Formen und untersucht, inwieweit sich sein poetologisches Interesse auf den Überschuss von Großerzählungen richtet.Patrick Modiano’s remarkably short novels keep their distance from major, more extensive forms such as the grand narrative (or grand récit) of the French occupation. The theme of his approximately 30 books is the occupation under Vichy and the process of memory that, rather than painting a grand tableau or panorama of French collaboration, resistance, anti-Semitism, and persecution, proceeds metonymically from traces. However, his novels suggest seriality through their common vanishing point, the interrelationship of their references, and the recurring presence of detective narrators which is promoted by interference, iteration and name identities. This has led critics to read Modiano’s many novels as one single great novel. This article explores Modiano’s skepticism toward large narrative forms and examines the extent to which his poetic interest is focused on the surplus of grand narratives.
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Ilunina, Anna A. "Intertextual dialogue with Victorian literature in the novels by Sarah Ann Waters as a means of implementing feminist issues." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 141–46. http://dx.doi.org/10.34216/1998-0817-2021-27-1-141-146.
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The article presents an analysis of the implementation of the category of intertextuality in the novel «Affinity» (1999) by the British writer Sarah Ann Waters. The aim of the work was to trace how the intertextual dialogue with the Victorian literature contributes to the formation of the feminist issues of the work. It is revealed that the main pretexts when creating a novel for Waters were «Little Dorrit» by Charles John Huffam Dickens, «Aurora Leigh» by Elizabeth Barrett Browning, «The Turn of the Screw» by Henry James, and novels by William Wilkie Collins. «Affinity» has elements of Gothic narrative, a detective, a sensational novel, the Newgate novel, picaresque novel, contributing to the formation of women's issues. The dialogue with Victorianism allows Waters to raise issues of gender inequality in the past and present, the exploitation of women, and the rights of individuals to realise their sexual identity. For Waters, turning to Victorianism is a way to draw attention to issues that, according to the writer, are still topical in British culture, such as sexuality, class and gender.
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Kokot, Joanna. "A detective in a world of illusions: Stereotypes and the narrative voice in Murder is Easy by Agatha Christi." Literatura i Kultura Popularna 25 (July 28, 2020): 323–38. http://dx.doi.org/10.19195/0867-7441.25.18.
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Already the sensational novel writers of the second half of the nineteenth century renounced the stereotypical image of peaceful and idyllic provincial life, dominating in English culture at the time. This stereotype is recalled in a number of Agatha Christie’s novels, where the seemingly quiet countryside occurs to be a scene of the crime. The object of analysis in the paper is Murder is Easy (1938), one of Christie’s novels where the action of is set in the country. The narration here is carried almost exclusively from the protagonist’s point of view, who imposes various stereotypes — literary and cultural — on the observed reality (among others that of the peaceful countryside, but also its more sinister counterpart — that of country witches). The stereotypes and the clash with reality re-sult in a more complex vision of the world than that which is proposed in classical detective fiction where the crime is merely an intellectual problem.
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GUNDERSON, BRIAN J. "Language in the times of The Absent City: Competing for the Creation of the Master Narrative in Times of Repression in Buenos Aires." Michigan Academician 43, no. 3 (January 1, 2016): 366–79. http://dx.doi.org/10.7245/0026-2005-43.3.366.
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ABSTRACT The Absent City (2000), by Ricardo Piglia, is a detective novel that narrates the transition of Argentina from an authoritarian regime to a democracy. Piglia employs language as a major point of contention in the novel between the governing elite and a group of anarchists. The battle over cultural production and the creation of one Master Narrative versus multiple truths hinges upon “the Eva machine,” a device that transmits memories and re-produced texts to the Argentine masses telepathically. This paper studies language with aid from some of the major founding fathers of linguistics. It discusses theories put forth by Claude Lévi-Strauss, Ferdinand de Saussure, Friedrich Nietzsche, Jacques Lacan, among others. Through a linguistic study of Piglia's dystopian novel, this paper seeks to underscore how cultural agency determines what narrative(s) exists in the new Argentine democracy. This paper includes a discussion on relevant Nation-state and cultural studies theorists to underline how the life or death of the Eva machine shapes the national hegemonic discourse of past and present Argentina. The paper also studies the use of multiple genres and how they contribute to a linguistic reading of The Absent City.
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Obidič, Andrejka. "Margaret Atwood’s Postcolonial and Postmodern Feminist Novels with Psychological and Mythic Influences: The Archetypal Analysis of the Novel Surfacing." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 5–24. http://dx.doi.org/10.4312/an.50.1-2.5-24.
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The paper analyzes Margaret Atwood’s postcolonial and postmodern feminist novels from the psychological perspective of Carl Gustav Jung’s theory of archetypes and from the perspective of Robert Graves’s mythological figures of the triple goddess presented in his work The White Goddess: A Historical Grammar of Poetic Myth (1997). In this regard, the paper focuses on the mythic and psychological roles embodied and played by Atwood’s victimized female protagonists who actively seek their identity and professional self-realization on their path towards personal evolution in the North American patriarchal society of the twentieth century. Thus, they are no longer passive as female characters of the nineteenth-century colonial novels which are centered on the male hero and his colonial adventures. In her postcolonial and postmodern feminist novels, Atwood further introduces elements of folk tales, fairy tales, legends, myths and revives different literary genres, such as a detective story, a crime and historical novel, a gothic romance, a comedy, science fiction, etc. Moreover, she often abuses the conventions of the existing genre and mixes several genres in the same narrative. For instance, her narrative The Penelopiad (2005) is a genre-hybrid novella in which she parodies the Grecian myth of the adventurer Odysseus and his faithful wife Penelope by subverting Homer’s serious epic poem into a witty satire. In addition, the last part of the paper analyzes the author’s cult novel Surfacing (1972 (1984)) according to Joseph Campbell’s and Northrop Frye’s archetypal/myth criticism and it demonstrates that Atwood revises the biblical myth of the hero’s quest and the idealized world of medieval grail romances from the ironic prospective of the twentieth century, as it is typical of postmodernism.
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Rössel, Raphael. "Das Lesen der Schundkämpfer." Internationales Archiv für Sozialgeschichte der deutschen Literatur 44, no. 1 (June 4, 2019): 39–65. http://dx.doi.org/10.1515/iasl-2019-0003.
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Abstract In contrast to former research, this paper argues that moral crusaders strategically focused on the plot level of (historical) popular literature. This article asserts that text and reception need to be combined when analysing moral panicking about textual popular culture. This approach is presented by contextualising the public denigration of two distinct narrative elements of the imported dime novel series Nick Carter in Imperial Germany, namely its urban setting and its hands-on detective hero, with changes in the perception of city life and in criminological epistemology. Departing from this example, this contribution reflects on the general benefits of such an approach for reception-oriented criticism.
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Ibadova, Narmina E., and Michail M. Golubkov. "Problematics and genre originality of Y. Polyakov’s novel “Gypsum Trumpeter”." RUDN Journal of Studies in Literature and Journalism 25, no. 1 (December 15, 2020): 46–57. http://dx.doi.org/10.22363/2312-9220-2020-25-1-46-57.
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The article is devoted to the analysis of problems and genre originality of Y. Polyakov's three-part novel “Gypsum trumpeter”. The novel, written in the style of grotesque realism, is multifaceted, it contains many insert stories of historical, detective, and lyrical nature. Such a genre form serves the writer's intention to expose the vicious phenomena of the surrounding reality. The same goal is served by a wide arsenal of skillfully used poetic devices: occasional words and phrases, author's neologisms, detailed hyperbolas and litotes, unexpected comparisons. The novel abounds in aphorisms. The precedent-setting phenomenon is used in the titles of most chapters of the work. The author's attitude to the characters is shown in the “talking” surnames, bright portrait sketches. Subject-household details, epigrams give vivacity to the narrative. The novel is devoted to creative people, and in the text a lot of space is occupied by reflections and disputes about the purpose of art, about what real art should be. Paying tribute to the servants of the Muse, the author tells about inspiration, hard creative work and the torments of creation.
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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.
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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.
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Joseph-Vilain, Mélanie. "Cartographies génériques, spatiales et identitaires en Afrique du Sud : Margie Orford, Lauren Beukes, Henrietta Rose-Innes." Études littéraires africaines, no. 38 (February 16, 2015): 69–82. http://dx.doi.org/10.7202/1028675ar.
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This article examines how three South African novelists, Margie Orford, Lauren Beukes and Henrietta Rose-Innes, use crime fiction to write their country. After a brief survey of the rapid development of crime fiction in South Africa and of the critical response it received, the article proposes a reading of Like Clockwork, Zoo City and Nineveh, whereby their respective contribution to crime fiction displays three major features : first, Orford’s novel chimes in with generic conventions ; second, Beukes’s novel combines features borrowed from both crime fiction and science fiction ; and last, Rose-Innes’s novel displaces the detective story narrative into a context where « murder » is invested with a symbolic meaning. By handling the investigation theme in a variety of ways, the three novelists adapt it to the South African context and besides show that the feminine body fits in more or less problematically within the space of the city and of the nation.
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Нalуch, Оlexander. "Feasures of Fandorin’s Quasi-biography: Postmodern Experiment." LITERARY PROCESS: methodology, names, trends, no. 16 (2020): 84–89. http://dx.doi.org/10.28925/2412-2475.2020.16.12.
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More than two decades ago, the newest Russian writer B. Akunin began a series of multi-genre novels, the main character of which was Erast Petrovich Fandorin, who quickly made a detective career, has become famous not only in Russia, but far beyond its borders. Firstly appeared in the fiction novel «Azazel», Fandorin later quickly began to acquire the features of a real historical personality that affects the course of historical events. Fandorin’s quasi-biography was supplemented by works whose heroes were his ancestors and descendants. One of these novels is «F. M.», the annexes and additions to which testify to the author’s postmodern experiment, which, leaving only the margin of the explanation necessary for understanding the plot, introduced marginal noncanonical texts and genres (short story, essay, fragment), thereby deciding to expand and clarify its meaning. Literary additions, such as the mini-glossary of drug jargon, or the Zen koan, are included to the literary text. Fragments, essays, short stories, different additions and clarifications, visions and dreams, at first glance, destroy the integrity of the novel of the writer, but in fact expand its narrative capabilities, extend the temporal and spatial characteristics, significantly enrich the main storylines, illuminate the motivation of the heroes , show them in an unusual perspective.
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Deveny, Thomas. "El paraíso perdido: La adaptación a la pantalla de Las viudas de los jueves." Image and Storytelling: New Approaches to Hispanic Cinema and Literature 1, no. 2 (October 31, 2020): 265–84. http://dx.doi.org/10.5399/uo/peripherica.1.2.12.
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In 2005, Claudia Piñeiro published Las viudas de los jueves, a novel about the life in “countries” (gated neighborhoods) in the greater Buenos Aires, and in 2009, Marcelo Piñeyro adapted it to the screen. Athough Mavi, a real estate agent, describes life there as a paradise, we see that problems and hypocrisy dominate throughout the film. Piñeyro utilizes various cinematographic techniques to underscore the economic dichotomy between the “inside” and the “outside” and to emphasize the themes of sex and death. Dudley Andrew emphasizes the importance of “the sociology and aesthetics of adaptation,” and Piñeyro’s film, just like the original novel, reflects what sociological studies by Svampa and Castelo reveal about life in the “countries.” In addition, the film is made in a moment in which Argentina’s economic problems continue. Although Piñeiro’s work is not a detective novel, the structure of the two texts have elements in common with that genre. Although the film version does not have the moral weight of the original narrative, the film makes us see that life in the “countries” can be paradise lost.
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Dillane, Fionnuala. "Breaking Memory Modes: Anne Enright's and Tana French's Silent Interruptions." Irish University Review 47, no. 1 (May 2017): 143–64. http://dx.doi.org/10.3366/iur.2017.0262.
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Anne Enright's trauma novel, The Gathering (2007), and Tana French's crime novel, The Secret Place (2014), can be seen to operate purposefully within the familiar codes of their respective genres to a degree that draws attention to the processes of emotional and cognitive recognition that give such codified works their emotional power: repetitive, affective, recognisable framing patterns. Both authors, however, also deploy what I call, following Marianne Hirsch, an aesthetics of interruption: this is an affective, political resistance to the gratifying dispensations that characterise most memory modes and that feature in closure-driven detective fictions in particular. Both novelists exceed genre parameters to make us think about genre frames and what exceeds both the frame and its contained, comprehensible narrative. The aesthetic interruptions in both texts force us to think about the silences that obtain around community collusion in criminal actions and unrelenting structural oppression, and that produce, facilitate and sustain asymmetrical relations of power.
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Bochkareva, Nina S., Inga V. Suslova, and Alexander D. Bazhanov. "‘SO YOU DON’T GET LOST IN THE NEIGHBORHOOD’ BY PATRICK MODIANO: POETICS OF THE ‘NOVEL ABOUT A NOVEL’." Вестник Пермского университета. Российская и зарубежная филология 12, no. 2 (2020): 81–89. http://dx.doi.org/10.17072/2073-6681-2020-2-81-89.
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The article analyzes the novel by the modern French writer Patrick Modiano So You Don’t Get Lost in the Neighborhood (‘Pour que tu ne te perdes pas dans le quartier’, 2014) in terms of the genre poetics of the ‘novel about a novel’. The paper explains the use of the terms ‘novel about a novel’, ‘metanovel’, etc. in modern literary criticism. As part of research, there was studied the writer’s Nobel Lecture, read by him in the year of the novel’s publication, and the works of Modiano’s researchers from different countries. The conclusion is drawn about the game structure of the ‘novel about a novel’, which is architecturally connected with the French modernist tradition (M. Proust, A. Gide, and others). Throughout the novel, the herowriter Jean Daragane dreams of his own life, combining memories and imagination (the process of creative work, according to Modiano). Plunging into the past, Jean Daragane discovers in childhood a source of his loneliness (loneliness is a condition of the writer’s work and the theme of the ‘novel about a novel’). Recorded in a multitude of overlapping texts belonging to different genres (fake passport, business card, note book, phone book, article, letter, police report, dossier, brochure, novel, poems, etc.), the palimpsest novel creates a communicative space of dialogue, which is the only possible way out of loneliness for the writer. Inside the ‘self-begetting novel’ is the story of the creation of the hero’s first novel The Black Color of Summer (‘Le Noir de l'été’) as one of the intersecting storylines. Among the different intertextual references, Natural History by the French naturalist of the 18th century Buffon and the collection of poems by the eight-year-old girl Minou Drouet Tree, My Friend (‘Arbre, mon ami’) (1957) constitute the immediate context of the novel created in the process of reading and testify to its lyrical and philosophical character. Thus, Modiano’s work draws closer to the lyrical type of Proust’s ‘novel about a novel’, although the detective component and third-person narrative reveal the influence of A. Gide. The reference to the tradition of the modernist ‘novel about a novel’ emphasizes the author’s belonging to the ‘intermediate generation’ of writers who represent the difference between monumental novels of the past and fragmentary works of the present as self-reflection of the genre.
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Марущак, Н. А. "NARRATIVE PERSPECTIVE IN EDGAR POЕ’S POETICS: A LINGUISTIC ASPECT." Studia Philologica, no. 12 (2019): 84–91. http://dx.doi.org/10.28925/2311-2425.2019.12.12.
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Edgar Allan Poe is an American poet, prose writer, essayist, literary editor and critic. The author’s works are mainly looked at from the perspective of literary criticism when studies, among other aspects, are aimed at exploring the aesthetic views of the author, the influence of his works on formation of symbolism in late 19 — early 20 centuries as well as the diversity of structural elements of the detective novel genre. Additionally, the philosophy of Poe’s consciousness is explored, and biographical facts of the author’s life are carefully analysed. In its turn, this article systematizes the existing approaches to the study of poetics aiming at outlining specific features of poetics of Poe. A focus is made on the use of combined methodology that includes both stylistic analysis and empirical research methods. In this article poetics is treated as a system of the author’s linguistic and conceptual preferences together with the ways of expressing the content of the text. This approach is applied to the study of both poetry and prose, and the research of the author’s poetics is understood as a detailed analysis of not only poetry or prose separately, but as a view of a comprehensive system of texts that consist of a plot, a narrator, characters, specific settings, etc. In this research the nature of interaction of specific elements of Poe’s poetics as well as the peculiarities of narrative perspective in the author’s works are examined. In doing so, its components, specifically the author’s idiolect and idiostyle, are comprehensively considered by way of integration of various methods and approaches. The conclusion is made about narrative character of Poe’s poetic texts as their important feature. Narrative perspective is understood as the connection between the character and his relations with social surroundings described in the text. The factors that influence narrative difference between literary texts are outlined. Such notions as shift of perspective and focalization are clarified.
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Hamilton, Scott Eric. "The Murphy Murder Mystery: An Irish “post-mortem situation”." Estudios Irlandeses, no. 16 (March 17, 2021): 139–52. http://dx.doi.org/10.24162/ei2021-9987.
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This paper will propose that Beckett’s affinity for crime and mystery fiction also contributes to Murphy. The novel will be examined on the proposed hypothesis that Murphy’s death, so-called, is conspicuously left ambiguous to a certain degree, rendering it a type of mystery narrative. Approaching the mysterious death as something like a detective fiction “cold case”, the events of Murphy, and clues left by Beckett throughout the prose that follows, I will investigate whether or not Murphy does actually die toward the end of the book. Although Beckett does not present these aspects in the traditional form of “thriller” fiction, he does use them to create a modernist aesthetic which challenges traditions, identifications of being, identity, representation and space regarding both the individual and the social context of the Irish “postmortem situation” depicted in Murphy.
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Gatarik, Eva, and Rainer Born. "Re-creating the engagement in managerial learning." Human Affairs 28, no. 1 (January 26, 2018): 3–16. http://dx.doi.org/10.1515/humaff-2018-0001.
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AbstractWhen defending his doctoral dissertation, Umberto Eco was accused of narrative fallacy because he presented his research as if it were a detective novel. He should have presented only his conclusions. However, this criticism inspired Eco to claim that “[e]very scientific book should be ... the report of a quest for some Holy Grail” (Eco, 2011, p. 7). Aquestpresupposes engagement on both sides of the knowledge exchange. Building upon our own research, we have produced a model-theoretic scheme for management studies in support of the practicability of Eco’s claim. The idea is to re-create the engagement when establishing problem-solving competence in managerial learning: We start with an analysis of real-life cases of successful managerial problem solving (“best practices”). Next, we attempt to find the common denominator of those successful solutions. Lastly, we instantiate the principles found in the previous step in new problem situations, and thus provide new uses for them.
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Parkinson, Gavin. "The Delvaux Mystery: Painting, the Nouveau Roman, and Art History." Nottingham French Studies 51, no. 3 (December 2012): 298–313. http://dx.doi.org/10.3366/nfs.2012.0029.
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Meant to signal in its parodic title both the causal, deductive conventions of academic art history and those of the detective story, this essay looks at the work of the Belgian artist Paul Delvaux (1897–1994), and discusses the uses to which that œuvre has been put by several of the pioneers of the twentieth-century novel, such as Michel Butor, Alain Robbe-Grillet, Claude Simon, Julio Cortázar, and J.G. Ballard. It goes on to speculate as to why so many French novelists from the 1950s who interrogated specifically narrative form, together with those inspired by their example, responded to Delvaux's work in their writing. Asking whether any gain can be made in art history's knowledge and understanding of art by viewing it back through the fiction or poetry generated by it, the essay suggests that fiction and poetry might inflect academic art history at the level of style, asking what the genre implications of such writing might be for a discipline in which writing and style have had such well-defined boundaries and limitations.
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Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.
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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessly fusing reality and fiction, historical and imaginative truths, these hybrid products bring together the characteristics of literary and genre fiction. The article also focuses on the generic aspect of Thieves, which “sells” a scholarly literary background by using a commercial format that borrows features from popular genres such as love stories, thrillers, mystery and detective novels. The result is a multi-layered story endowed with great narrative virtuosity and variety, with leaps in time and space and with parallel stories that finally intersect. The article ultimately concludes with more general considerations on how such biofictions recreating the myth of iconic figures have proved to be a flourishing literary genre on the current book market. This article was submitted to the EJLW on 28 November 2013 and published on 14 October 2014.
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Mushtanova, O. Yu. "Interpretation of Historical Facts in Modern Italian Literature by the Example of Umberto Eco’s Novel “Baudolino”." MGIMO Review of International Relations, no. 1(40) (February 28, 2015): 251–56. http://dx.doi.org/10.24833/2071-8160-2015-1-40-251-256.
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The article is devoted to interpretation of historical facts in Umberto Eco's novel " Baudolino ". The subject of interpretation in the novel is medieval history, in particular, the reign of the emperor Frederick Barbarossa. Eco uses the typical for the historical novel method, which is the combination of facts from chronicles and fictional elements; the events are shown by the eyes of an invented character Baudolino. Emphasizing the connection between history and modernity, Eco proposes to revise the stereotypes associated with the mentioned historical period. The portraits of historical figures are borrowed from the chronicles, however in the novel they get more emotional in the perception of the protagonist, typical cliches are replaced by individuality. The opposition of italian communes to the government of Frederick also becomes a part of Baudolino's personal history. The interpretation of many events is based on legendary sources, including local tales of the italian city Alessandria, the legends of Grail and of Prester John. The legendary material fills in the gaps in medieval history. Many events (in particular, the participation of Barbarossa in the Third Crusade) correspond to the chronicles in the descriptive part, however they acquire a fictional motivation. The mystery of the emperor's death is solved in a detective key. The novel presents various doctrines elaborated in the imperial office of Frederick, their authorship is attributed to Baudolino. In the novel «Baudolino» Umberto Eco not only interprets creatively certain facts of the past, but he also practices the postmodern concept of history, according to which the past is unknowable as objective and ultimate truth and therefore it exists only in the form of a narrative. The past and the present have no fundamental difference, the history is always interpreted from the perspective of the present.
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Chekalov, Kirill A. "“Don Luis had never been up in an aeroplane” (Maurice Marie Émile Leblanc before 1905)." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 110–16. http://dx.doi.org/10.34216/1998-0817-2021-27-1-110-116.
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Some of the works of Maurice Leblanc are considered in the article, who is one of the creators of the French classic detective, written between 1890 and 1905 (before the publication of the first novel about the adventures of "gentleman-cambrioleur" by Arsène Lupin). The influence of Henri René Albert Guy de Maupassant and Gustave Flaubert is combined with an appeal to Breton legends and erotic motives popular in the “Belle Époque”. The image of a bicycle, a car and the cult of speed associated with them, anticipating the plot dynamics of Lupinian in these works is analysed. On the example of Leblanc's short stories, published in a number of newspapers in the mid-1890s to early 1900s, the gradual maturation of criminal narrative in his work is shown. Among the problems raised in the article – Leblanc's reaction to the ideas of anarchism and the potential influence on the image of Arsène Lupin of the personality of the famous anarchist Marius Jacob as well as the influence of the work of Ernest William Hornung (the creator of the character of A. J. Raffles, the "Amateur Cracksman").
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Ivanshina, E. A. "FABULA WHEEL AND PLOT MOVEMENT: HOW THE MOTIVIC COMPLEX WORKS IN A.P. CHEKHOV." Bulletin of Udmurt University. Series History and Philology 31, no. 3 (July 13, 2021): 543–50. http://dx.doi.org/10.35634/2412-9534-2021-31-3-543-550.
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The article considers the plot-forming potential of the invariant Chekhov pattern, which involves paired characters - the doctor and the investigator. Using the example of several texts ("Perpetuum mobile", "On Official Duty", "Drama on the hunt", "Investigator", "Ward No. 6"), we can see how this template works in different genre contexts (romantic novel, Christmas story, detective story) and how these contexts intersect with each other. Common to consider situational template are the motives of feeling and the vicious circle, which charged a mixed modality and intersect with the motive of theatricality, which, in turn, is associated with professional reflection, combining the figures of doctor, investigator and writer. Special attention is paid to the story "Drama on the Hunt", which is updated as a metatext, in which - against the background of the doubling of the character system - an additional semantic dimension of hunting as a narrative strategy is formed. The final texts of the group under consideration can be considered the stories "On Official Duty" and "Ward No. 6", in which a sense of duty and professional guilt is comprehended through an updated motivational complex.
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Gereikhanova, Kamilla Fezameddinovna, and Oksana Vasilevna Afanaseva. "To the problem of intertextuality of “Fandorin corpus” by B. Akunin “Planet Water” and “Froth on the Daydream” by Boris Vian." Litera, no. 5 (May 2021): 25–32. http://dx.doi.org/10.25136/2409-8698.2021.5.35541.
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This article is dedicated to the questions of intertextual dialogue in modern Russian literature on the example of allusions to the novel “Froth on the Daydream” by Boris Vian in the novel “Planet Water” by B. Akunin. The object of this research is the game with audience used by B. Akunin, which allows broadening the context of perception of the novel through intertextual links. The subject of this research is the forms and ways of manifestation of intertextual dialogue of the two works – “Planet Water” and “Froth on the Daydream”, as well as their interaction through the literary works of antiquity and Japanese legends. The authors examine the references to B. Vian’s novel, describing their role in text of the narrative. The article employs comparative, contextual,l and hermeneutical analysis. The interaction of the corpus of texts about Fandorin with the works of Russian, English and Japanese literature is subject to detailed analysis. The texts of B. Akunin about Erast Fandorin abound with various references to the Russian and foreign literary works. The scientific novelty is define by the fact that this article is first to draw parallels with the French literature. The article determines and substabtiates intertextual links of “Planet Water” with “Froth on the Daydream”, which manifest through the key images and onomastic system of the novel. These links should attributed to hidden, encrypted intertext, cryptotext; in order to grasp such text, the reader must be familiar with the primary source. The presence of intertextual dialogue broadens the context of perception of the detective story and associate it with the genre of dystopia and parody.
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Stoecklein, Mary. "Native Narratives, Mystery Writing, and the Osage Oil Murders: Examining Mean Spirit and The Osage Rose." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 137–54. http://dx.doi.org/10.17953/aicrj.42.3.stoecklein.
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Through analysis of two debut novels, Linda Hogan's Pulitzer-Prize-nominated murdermystery Mean Spirit 1990 and Tom Holm's private eye detective story The Osage Rose 2008, this article considers what Native-authored mystery fiction has to offer in terms of self-representation of Indigenous history and culture. Paying particular attention to detective fiction genre elements—such as the novels' openings, the detectives, the forms of detection, and the resolution—shows how Hogan and Holm employ the mystery genre to present Native narratives about the Osage oil murders, and, given their ability to reach wide audiences, how such narratives ultimately provide broader understandings of Indigenous history and culture.
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Lakhina, Yana V., and Alexey E. Kozlov. "Vladimir Korolenko as Dickens Reader: Fiction and Metafiction." Studies in Theory of Literary Plot and Narratology 14, no. 2 (2019): 33–40. http://dx.doi.org/10.25205/2410-7883-2019-2-33-40.
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The article is devoted to interpretation a figure of explicit reader in Vladimir Korolenko’s “Story of my Contemporary” (chapter “My first Acquaintance with Dickens”). Short story moderated the trajectory of reading at distinguishing between narrative and perception modes. Representing the world of the Zhytomyr province, the writer shows reading as a specific activity that is part of the daily routine for inhabitants. The story of reading a little hero – from the “colorful” and “spicy” reading adventurous and detective novels to meaningful reading of Dickens’ book – demonstrates specific changes in the psychology of the little hero (from Oliver Twist to David Copperfield). A specific feature of this text is the reflection of the young reader on everything what is happening in the book in particular and on the nature of one’s own reading in general. At the beginning of the story, the main feature of the reading of the hero is noted, his abruptness, episodic, covering only the surface of the plot. Central motive of the struggle of two brothers, having as a biographical and mythopoetic sense. That is closely connected with a qualitative transformation Reader becoming a Writer. In addition, the older brother was an authority for the youngest, including in reading, therefore, in addition to the “episodicity” of reading, it was also secondary and in his perception of certain works the young the reader relied on the experience of his older brother, who does not mark the image of the ideal the reader, dividing everything into so-called κῶμος and τράγεος. Despite the fact that the main character is experiencing the text of Dickens as Revelation, experience reading his novel practically did not differ from previous reading experience. So the novel was without a name, also remained an unread hero and was not even understood by him until the end. And it is the figure of the elder brother-authority that changes the main trajectory “Anonymity” of children's reading, the first time calling the last name of the writer Dickens. In conclusion hypothesis about the specific metatext character of the fragment under consideration is presented. That allows to consider it as an auto-commentary on other works of the author, in particular, his story “In a Bad Society”.
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Löwe, Matthias. "Unzuverlässigkeit bei heterodiegetischen Erzählern: Konturierung eines Konzepts an Beispielen von Thomas Mann und Goethe." Journal of Literary Theory 12, no. 1 (March 26, 2018): 77–92. http://dx.doi.org/10.1515/jlt-2018-0005.
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Abstract Heterodiegetic narrators are not present in the story they tell. That is how Gérard Genette has defined heterodiegesis. But this definition of heterodiegesis leaves open what ›absence‹ of the narrator really means: If a friend of the protagonist tells the story but does not appear in it, is he therefore heterodiegetic? Or if a narrator tells something that happened before his lifetime, is he therefore heterodiegetic? These open questions reveal the vagueness of Genette’s definition. However, Simone Elisabeth Lang has recently made a clearer proposal to define heterodiegesis. She argues that narrators should be called heterodiegetic only if they are fundamentally distinguished from the ontological status of the fictional characters: Heterodiegetic narrators are not part of the story for logical reasons, because they are presented as inventors of the story. This is, for example, the case in Johann Wolfgang Goethe’s novel Elective Affinities (1809): In the beginning of this novel the narrator presents himself as inventor of the character’s names (»Edward – so we shall call a wealthy nobleman in the prime of life – had been spending several hours of a fine April morning in his nursery-garden«). Based on that recent definition of heterodiegesis my article deals with the question whether such heterodiegetic narrators can be unreliable. My question is: How could you indicate that the inventor of a fictitious story tells something which is not correct or incomplete? In answering this question, I refer to some proposals of Janina Jacke’s article in this journal. Jacke shows that the distinction between homodiegetic and heterodiegetic narrators should not be confused with the distinction between personal and non-personal narrators or with the distinction between restricted and all-knowing narrators. If you make such differentiations, then of course heterodiegetic narrators can be unreliable: They can omit some essential information or interpret the story inappropriately. Heterodiegetic narrators of an invented story can even lie to the reader or deceive themselves about some elements of the invention. That means: A heterodiegetic narration cannot only be value-related unreliable (›discordant narration‹), but also fact-related unreliable. My article delves especially into this type of unreliability and shows that heterodiegetic narrators of a fictitious story can be fact-related unreliable, if they tell something which was not invented by themselves. In that case, the narrator himself sometimes does not really know whether he tells a true or a fictitious story. Such narrators are unreliable if they assert that the story is true, although they are suggesting at the same time that it is not. I call this type of unreliable narrator a ›fabulating chronicler‹ (›fabulierender Chronist‹): On the one hand, such narrators present themselves as chroniclers of historical facts but, on the other hand, they seem to be fabulists who tell a fairy tale. This type of unreliability occurs especially if a narrator tells a legend or a story from the Bible. My article demonstrates this case in detail with two examples, namely two novels by Thomas Mann: The Holy Sinner (1951) and Joseph and His Brothers (1933–1943). My article also discusses some cases where it is not appropriate or counter-intuitive to call a heterodiegetic narrator ›unreliable‹: i. e. the narrator of Thomas Mann’s novel The Magic Mountain (1924) and the narrator of Johann Wolfgang Goethe’s novel Wilhelm Meister’s Apprenticeship (1795/1796). On the one hand, these narrators show some characteristics of unreliability, because they omit essential pieces of information. On the other hand, these narrators are barely shaped as characters, they are nearly non-personal. However, in order to describe a narrator as unreliable, it is – in my opinion – indispensable to refer to some traces of a narrative personality: Figural traits of a narrator provoke the reader to identify all depicting, describing and commenting sentences of a narration as utterances of one and the same ›psychic system‹ (Niklas Luhmann). Only narrators who can be interpreted as such a ›psychic system‹, provoke the reader to assume the role of an analyst or ›detective‹, who perhaps identifies the narrator’s discordance or unreliability. In my article the unreliability of a narration is understood as part of the composition and meaning of a literary work. I argue that a narrator cannot be described as unreliable without designating a semantic motivation for this composition by an act of interpretation. Therefore, my suggestion is that a narration should be merely called unreliable if it encourages the reader not only to imagine the told story, but also to imagine a discordant or unreliable storyteller.
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Zavertaluk, Ninel. "Terra incognita: Ukrainian adventure prose of the first third of the 20th century. Review of the Monograph by Lyudmila Kulakevych «Genre Strategies of Ukrainian Adventure Prose of the First Third of the 20th Century» (Dnipro, 2020)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 99–102. http://dx.doi.org/10.34079/2226-3055-2020-13-22-99-102.
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The paper reviews the monograph by L. Kulakevych, states the relevance of studies in the field of Ukrainian adventure literature of the first third of the 20th century. The review emphasizes that the monograph is devoted to a virtually unknown but powerful layer of Ukrainian adventure literature of the first third of the twentieth century. Some of the works studied in the monograph are only mentioned in the general reviews of the writers’ literary legacies while the other works remained unknown for the literary critics for almost a century. For instance, such works as «Opovidannia pro Sofochku y Dzhyma» (The Story of Sofochka and Jim) by D. Buzko, «Zaradynei» («For Her Sake») by I. Dniprovskyi, «Vurkahan» («Criminal») by Y. Miakota, «Viter z hir» («Wind from the Mountains») by S. Skliarenko, and «KniazBartsila» (Prince Bartsila) by O. Slisarenko. The importance of the monograph lies in the study of the works against the background of global cultural processes. The first section «The Nature of Genre in Adventure Literature: The Theoretical Aspect» pays special attention to the introduction of the contemporary Ukrainian literary processes into the global trends. In particular, it highlights the increased interest in adventure works, which, according to the literary critics of different countries, remained unnoticed due to colonial and gender discourses, demonstrating, to put it mildly, the «unattractive» side of European cultural expansion. This section also contains a detailed analysis of the existing definitions of «adventure» literature, the author of the monograph works on the disambiguation of the terms concerning «adventure» and providesmore clear and precise definitions. In the second chapter, L. Kulakevych analyzes the novels which, according to her, are the examples of the new genres in Ukrainian literature: frontier, western / eastern, robinsonade, roxolania. In the third section, the author studies the texts-representatives of the printed series, travelogue, and action genres. While analyzing the texts, L. Kulakevich points out the artistic components that serve as markers to attribute the texts to a certain genre. The fourth chapter is dedicated to the innovative quest of Ukrainian writers of the 20-30s of the 20th century, in particular, the development of the new genres in Ukrainian adventure discourse – noir novel, horror, detective, spy narrative, novel-quest. While substantiating the affiliation of the work to a particular genre, the researcher uses the theses of modern foreign experts in the field of literature and cinema to support her ideas. In the fifth chapter, L. Kulakevich investigates the texts, whichcontributedto the Ukrainian fiction with the new genres of chrono-travel, thriller, and alternative history. It is evident, that in the research of L. Kulakevych the Ukrainian adventure literature of the first third of the 20th century appears as an extraordinary and multidimensional phenomenon that synthesized the achievements of world culture and innovations of Ukrainian writers. In general, the monograph is highly praised for up to date factual basis, original approach to the analysis of literary works, and informative presentation.
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Schneider, Ana-Karina. "Reading Kazuo Ishiguro’s “Bewilderment Trilogy” as Bildungsromane." American, British and Canadian Studies 31, no. 1 (December 1, 2018): 27–46. http://dx.doi.org/10.2478/abcsj-2018-0015.
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Abstract In this essay, Kazuo Ishiguro’s “Bewilderment Trilogy” is read as a series of Bildungsromane that test the limits of that genre. In these thematically unrelated novels, characters reach critical points in their lives when they are confronted with the ways in which their respective childhoods have shaped their grownup expectations and professional careers. In each, the protagonist has a successful career, whether as a musician (The Unconsoled), a detective (When We Were Orphans), or a carer (Never Let Me Go), but finds it difficult to overcome childhood trauma. Ishiguro’s treatment of childhood in these novels foregrounds the tension between individual subjectivity and the formal strictures and moral rigors of socialisation. In this respect, he comes close to modernist narratives of becoming, particularly James Joyce’s A Portrait of the Artist as a Young Man. Narrative strategies such as epiphanies and the control of distance and tropes such as boarding schools and journeys to foreign lands provide the analytical coordinates of my comparative study. While raising the customary questions of the Bildungsroman concerning socialisation and morality, I argue, Ishiguro manipulates narration very carefully in order to maintain a non-standard yet meaningful gap between his protagonists’ understanding of their lives and the reader’s.