Journal articles: 'Female detective'

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Devdiuk, Ivanna, and Tetiana Huliak. "TRANSFORMATION OF THE FEMALE DETECTIVE IMAGE IN THE19thAND 20thCENTURIES ENGLISH FEMALE DETECTIVE PROSE." Fìlologìčnì traktati 14, no. 1 (2022): 27–34. http://dx.doi.org/10.21272/ftrk.2022.14(1)-3.

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The article deals with the peculiarities of the image of the female detective in the English female detective prose of the 19thand 20thcenturies. We have traced the changes in theportrayal of the female detective in English literature and singled out the factors which influenced them. First of all, every writer’s experience and life conditions make an impact on the construction of their images. It is obvious that S.Hopley couldn’t but work secretly as her creator C.Crowe wrote detective using the other name. It was the trend of the nineteenth century. In the first part of the twentieth century, women started to obtain different professions alongside men. A.Christie and D.Sayers had an opportunity to be not only writers but even theoreticians of the genre. That is why Miss Marple and H.Vane were able to show their achievements together with men. And the second part of the twentieth century presented women with total freedom. So, we can read about Sharon McCone who is a successful private detective. The second important fact is the situation in the society which for sure is reflected in the realistic literary works and can be easily noticed in the behaviour of the characters. And the last efficient thing is the plot of the story because it dictates the actions which sometimes do not depend on the personality.The article analyzes the characteristic features of the female detectives belonging to three stages of detective development: detective classics(until the early twentieth century), detective modernism(1910–the 1970s), and detective postmodernism(after the1970s).The female detective of detective classics is clever and kind but lacks self-confidence and support. Detectivemodernism shows us an intelligent, smart, very brave, and attentive detective. The woman detective of the postmodern period is smart, courageous, emotional, and hard-working. Thus, we have suggested the canonic image of the female detective. She has a sharp mind, a very high level of knowledge, a sense of responsibility, a strong wish to work, and a little time for her personal life. This woman is pretty, careful, witty, and ready to investigate at any time

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McChesney, Anita. "The Female Poetics of Crime in E.T.A. Hoffmann's "Mademoiselle Scuderi"." Women in German Yearbook: Feminist Studies in German Literature & Culture 24, no. 1 (2008): 1–25. http://dx.doi.org/10.1353/fgs.2008.a254023.

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This paper explores the role of the female detective in E.T.A. Hoffmann's "Mademoiselle Scuderi" ("Das Fräulein von Scuderi") against the trope of the silent, passive, poetic woman associated with nineteenth-century detective stories. Focusing on Scuderi's character and methodology, my analysis shows how Scuderi successfully competes against her male counterparts by using logic and distinctly female-encoded qualities such as intuition, compassion, and imagination to function as a generative, poetic force. This reading counters the traditional view in Anglo-American studies on Edgar Allen Poe's Dupin as the first prototypical detective. It also challenges interpretations in German Studies by asserting that Hoffmann's text is the first modern detective story because of and not despite its female detective. This rereading of the detective Scuderi is contextualized within Hoffmann's ideas of poetic representation. The analysis also considers how the image of the active female detective and poet offers a larger commentary on the feminine poetic ideal in German Romanticism. (AM)

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Bubíková, Šárka, and Olga Roebuck. "Female Investigators:." American & British Studies Annual 15 (December 21, 2022): 89–99. http://dx.doi.org/10.46585/absa.2022.15.2432.

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While the crime genre may have seemed as purely masculine for the greater part of its history, feminist critics looking for the roots of female crime writing have found a rich history of both the woman crime writer as well as the woman detective. Since the 1980s there has been not only a pronounced resurgence of interest in crime fiction, but also a boom of female detectives created by female writers. Focusing on works by Robert Galbraith, Denise Mina, Linda Barnes, Dana Stabenow and S. J. Rozan, this article explores some of the ways the traditionally masculine private eye subgenre can be appropriated to accommodate a female protagonist. Comparing a variety of protagonists and narrative strategies, it further argues that, perhaps paradoxically, the originally dominantly masculine hardboiled PI tradition seems well accommodating to female (even feminist) appropriations.

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Coulthard, Lisa. "The Listening Detective: Thinking Music, Gender, and Transnational Crime’s Affective Turn." Television & New Media 19, no. 6 (April 27, 2018): 553–68. http://dx.doi.org/10.1177/1527476418768008.

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This essay argues that in extending the audiovisual convention of “thinking music” and focusing it on the traumatized mind of the female detective, crime series such as Top of the Lake (2013–), Marcella (2016–), and From Darkness (2015–) present female knowledge as fundamentally emotional, even irrational. In these series, the female detective is victimized, traumatized, troubled, and her thinking music is distorted, discordant, affectively charged. Arguing that the female detective’s “thinking” music moves away from the forensic mode’s “showing and telling” and toward “listening” as an investigatory model, this essay posits a sonic turn that recalibrates the genre’s engagement with the female victim along affective and emotional lines. Analyzing this trope, this essay connects the female detective’s sonically defined emotional investment to transnational crime drama’s self-reflexive strategies of affective legibility.

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Lapina, Evgeniia V., and Julio Villarroel Prado. "The Genre of Female Metaphysical Detective Novel: Tradition and Modernity." Вестник Пермского университета. Российская и зарубежная филология 15, no. 3 (2023): 105–14. http://dx.doi.org/10.17072/2073-6681-2023-3-105-114.

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This article investigates female metaphysical detective novel as a specific literary genre of crime fiction. The theoretical framework of the study includes several cross-fertilizing approaches such as the structuralist approach to the genre theory, the theory of postmodern anti-detective novel, and the feminist reading of the detective novel evolution. The nexus where these mutually correlated theoretical approaches overlap is the concept of female metaphysical detective novel.This subgenre of detective fiction intertwines several important elements of the postmodern aesthetics, i.e., self-reflexivity, intertextuality, and subver-siveness with emphasis on political, gender, and class issues. The specific character of female-authored de-tective stories is studied diachronically and synchronically. The evolution of the genre of female metaphysi-cal detective novel from the Golden Age until now is considered through the lens of metaphysical or hetero-topian settings that are featured in detective fiction writtenby women. First, it is shown that the construction of space in several Golden Age narratives provides grounds to consider them the precursors of contemporary female metaphysical novel. The conclusion is made that even before feminism was universally recognized as a literary theory, women had been trying to break out of the ‘locked room’ canon designated for them mainly by traditional literary criticism. Next, several new tendencies are pinpointed that have appeared in female-authored detective fiction onlyrecently. Finally, the set of generic features is identified that are characteristic of female metaphysical detective novel as a distinct genre of crime fiction. Most prominently, the novels epitomizing the genre foreground the evolution of the heroine’s identity depicted as a complex network of gendered spaces.

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Steere, Elizabeth. "“The mystery of the Myrtle Room”: Reading Wilkie Collins’ The Dead Secret as an Early Female Detective Novel." Victorian Popular Fictions Journal 5, no. 1 (July 3, 2023): 58–72. http://dx.doi.org/10.46911/yrrl8350.

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While Wilkie Collins’ novels The Moonstone (1868) and The Woman in White (1859-60) have long been accepted as part of the early mystery canon, Collins’ earlier novel The Dead Secret (1857) is rarely included. The Dead Secret is here reconsidered as one of the earliest English female detective novels, revealing its heretofore unrecognised significance to the genre of detective fiction and the evolution of the literary female detective. The Dead Secret’s protagonist, Rosamond, is almost Holmesian in her methodical collection of evidence and tactical lines of questioning to arrive at the solution of the mystery, but she also employs techniques more often attributed to female detectives, demonstrating the importance of emotion, intuition, surveillance, and proximity. In solving the mystery, Rosamond also disrupts the status quo, as is more typical of sleuthing heroines of sensation fiction. The Dead Secret demonstrates Collins’ innovations to the emerging genre of detective fiction, before its tropes become typified by Sherlock Holmes, and reveals the overlap of tropes that originate with sensation novels.

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Rajbanshi, Sagarika. "FROM PERIPHERY TO CENTRE: EXPLORING GENDERED NARRATIVES IN SELECT FICTIONS OF SUCHITRA BHATTACHARYA." ENSEMBLE 2, no. 2 (May 1, 2021): 11–17. http://dx.doi.org/10.37948/ensemble-2020-0202-a002.

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The issue of women empowerment breaking the boundaries of patriarchy is the locus of the narrative based on the female experience. The representation of the female perspective in a narrative constructs an alternative discursive narrative, different from that of the male narrative. And once, when the perspective is changed, the whole narrative got changed. Suchitra Bhattacharya's lady detective fiction based on detective Mitin aka Pragyaparamita Mukherjee introduces detective literature from female experience, quite unlike the conventional detective genre, exploring gendered experience in terms of intelligence and its relation with the discourse of power. These fictions encode female experience within the web of the narrative, opening the door of a new prospect towards detective literature. The lady detective literature, as it was developed, was resistance against the male narrative of the detective literature and the subverted female presentation of it. It brings forward the women agency that was previously denied by patriarchy and reconstitutes the ways of interpreting a text incorporating women in the center. The narrative establishes and celebrates the thinking capability of women negated in the male narrative. Henceforth, the argument is how and to what extent the female narrative achieves its hold over discursive power, and succeeds in bringing up a whole new thread by subverting the discursive narrative of the androgenous stratum.

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Mangham, Andrew. "The Detective Fiction of Female Adolescent Violence." Clues: A Journal of Detection 25, no. 1 (September 1, 2006): 70–80. http://dx.doi.org/10.3200/clus.25.1.70-80.

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He, Yingjie. "The Construction of Female Images in Zero Focus." Studies in Linguistics and Literature 8, no. 1 (December 29, 2023): p12. http://dx.doi.org/10.22158/sll.v8n1p12.

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Seicho Matsumoto is a famous Japanese detective fiction writer, and one of the three masters of detective fiction in the world. The subject of investigation was not just the crime but also the society affected. By reading his works, readers can feel as if they are immersed in the social context of that era. In terms of character setting, the role of the detective is usually not a professional such as a police officer or a lawyer, but an ordinary woman. Secondly, female criminals often appear in Matsumoto’s novels. Analyzing the construction of female images is of great significance for studying Matsumoto’s novels.This paper takes Zero Focus as the research object, focuses on the issue of female image construction, and makes a detailed interpretation of the three female images in Zero Focus, aiming to discover the light and shadow on them, and to summarize and analyze the causes of their female images.

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Samorodnitskaya, E. I. "Kestner, J. A. (2017). Sherlock’s sisters: The British female detective, 1864–1913. New York: Routledge." Voprosy literatury, no. 6 (December 28, 2020): 290–95. http://dx.doi.org/10.31425/0042-8795-2020-6-290-295.

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The monograph of the American scholar Joseph A. Kestner is devoted to Victorian novels and stories that feature a female detective protagonist. The author introduces a large volume of little studied texts written in the period from 1864 to 1913, which he explores to follow the process of the female detective character taking shape, noting its specific structural and sociocultural traits as well as features of narration. As a literary example and a starting point, the author considers the character of the amateur detective Sherlock Holmes: it is in comparison and polemic with him that the character of a female detective is formed in the subsequent literary tradition. In recognizing realistic prose as documentary evidence, the author painstakingly reconstructs the historical context, mostly in the area of gender issues. This enables him to shed a new light on the origins of English detective writing, while not without certain limitations.

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Huliak, T. M. "THE FEMINISTIC COMPONENT IN THEFEMALE DETECTIVE NOVEL: THE COMPARATIVE ASPECT (ON THE BASIS OF WORKS BY IRENE ROZDOBUDKO “THE DOUBLE GAME IN FOUR HANDS” AND “GAUDY NIGHT”BY DOROTHY SAYERS)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 470–76. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-470-476.

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The article deals with the feminist component in the detective novels «The Double Game in Four Hands» by I. Rozdobudko and «Gaudy Night» by D. Sayers. Its dominant features are distinguished: original female images and women's writing which is manifested through the detailing and usage of parenthetical constructions. The common and distinctive features of the use of the feminist component in the Ukrainian and English female detective discourse are described. The similarity and difference in the images of Musya Gurchyk and Harriet Vane who are the expressions of the creative method of detective writers are analyzed. The emotional and detailing functions of the parenthetical constructions are described. It is emphasized that the feminist component plays an important role in the creation of the genre of the female detective novel.

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McHugh, Kathleen. "The Female Detective, Neurodiversity, and Felt Knowledge in Engrenages and Bron/Broen." Television & New Media 19, no. 6 (April 27, 2018): 535–52. http://dx.doi.org/10.1177/1527476418767995.

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The neurodiverse female detective in transnational crime dramas embodies complex ways of seeing the gender-based violence these series frequently contain. This detective both orients and disrupts their narrative and visual fields with what I will argue is her surveilling yet troubled look. She inhabits the longstanding transnational tradition of the male defective detective and derives from two recent Anglo-European generic staples: female-led crime dramas and neurodiverse protagonists. In her, gender trouble in the look and its object meet up with the problem of the norm. Beginning with the example of Engrenages ( Spiral, 2005) and then focusing on autism spectrum detective Saga Norén (Sofia Helin) in Bron/Broen, this article considers how the generic familiars and innovations vested in this character alter the dynamics of the gaze, recast the significance of empathy and justice, and enable violence, gender, and everyday social norms to be unsettled in potentially feminist ways.

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Jung, Sandro. "Charlotte Brontë’sJane Eyre, the Female Detective and the ‘Crime’ of Female Selfhood." Brontë Studies 32, no. 1 (March 2007): 21–30. http://dx.doi.org/10.1179/147489307x157897.

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Horbach, N. "Modification of the Genre Matrix in N. Dolyak’s Ironic Detective ''Luxury Life in Wuppertal''." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 1(87) (May 13, 2018): 69–73. http://dx.doi.org/10.35433/philology.1(87).2018.69-73.

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Despite an almost two-hundred-year history of detective fiction and a great readers’ demand, this kind of literature is one of the least learnt spheres of the world study of literature. The problem of the modification of detective genre matrix with a reader’s change of genre expectations is especially debatable. Essential role in the deconstruction of mass stereotypes in modern detectives belongs to the irony, which allows creating an ironic detective as an individual genre modification. Therefore, the purpose of our research is to look at N. Dolyak’s book from the point of its genre matrix transformation and ironic narrative modus. The system approach was applied to analyze the text of the novel ''Luxury life in Wuppertal'' as an ironic detective. The main focus is on the ways and means of creating a comical effect in situations when the Ukrainian ad German cultures and ways of life are compared. Among the other aspects explored are forming of the feminine subjectivity of the main female character, the creation of secondary characters, intercultural interaction etc. Our results lead us to draw the conclusion that N. Dolyak demonstrates sensitivity to intra- and extraliterary causes of genre transformations, typical for the ironic detective, and also saves the genre code, i.e. the crime, the secret, the investigator. It is shown by the introduction of the character of an amateur female detective Zoya Kyrpych. She is the subject of a comical discourse in the book. The plot evolving also depends on the realization of the heroine’s love story, which likens an ironic detective to a romance novel. Although the plot of N. Dolyak’s novel is based on the three murders’ inquest, an easy narrative tone with a comical effect purpose is kept throughout the whole story.

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Suroiya, Himmatul Maratis. "Verbal Disagreeing Strategies in Detective Conan Movie Series." NOBEL: Journal of Literature and Language Teaching 8, no. 2 (September 3, 2017): 112–28. http://dx.doi.org/10.15642/nobel.2017.8.2.112-128.

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This study is meant to investigate the ways of male and female criminals express types of verbal disagreeing strategies in Detective Conan movie series. To collect the data, 30 criminals (15 males, 15 females) were selected among hundreds of criminals appeared in the movie. The criminals were expected to disagree with 6 chosen interlocutors when they do debate over the accusation pointed to the criminals. The types of disagreeing strategies which help the researcher to analyze the disagreeing strategies in criminals are based on Muntigl and Turnbull taxonomy (in Behnam&Niroomand, 2011:208). Qualitative content analysis is chosen to examine the criminals’ disagreeing strategies. The results show that male criminals performed more disagreeing strategies by applying 56 disagreements, and female criminals applied 48 disagreements. From those disagreements, it is found new types of disagreeing strategies in addition to the types from the taxonomy of Muntigl and Turnbull (in Behnam & Niroomand, 2011:208)

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Kosovets, M. V. "THE COMMUNICATIVE MEANS OF MANIPULATING A SUSPECT USED BY A WOMAN-DETECTIVE." Writings in Romance-Germanic Philology, no. 2(49) (January 16, 2023): 51–68. http://dx.doi.org/10.18524/2307-4604.2022.2(49).268196.

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The article is devoted to the analysis of the communicative strategy of manipulation and communicative tactics, that manifest it. The research of communicative strategies and tactics instills the respect of wealthy domestic and foreign linguists. The topicality of the study of strategies and tactics is motivated by the various points of view on this issue which results in the ambiguity of the explanation. The article is an attempt to trace the mechanism of manipulation, applied by a woman-detective during the investigation. The analysis is based on the data from English detective novels. The object of the study is the characters’ speech: the woman detective’s interrogation of witnesses and suspects. The scope of the study is the communicative tactics applied by the woman detective to manipulate witnesses and suspects. The purpose is cognitive and pragmatic analysis of the communicative tactics applied by the female detective to manipulate the witnesses and suspects. The investigation is based on the general and special linguistic methods: synthesis and analysis, method of observation, descriptive method, pragmatic and linguistic method, cognitive method, analysis of contextual interpretation. The main results of the study. As a result of the carried out research, we can claim that one of the communicative strategies used by the female detective is the strategy of manipulation. It is explained by communicative tactics of provocation, warning, threats, blackmail, flattery, as well as tactics of false self-presentation. Each of these tactics is marked by certain lexical, syntactic and stylistic means of speech. The ability to control the communicative process and adjust one’s speech actions at individual stages of the dialogue can be considered key to achieving the communicative goal of a female detective. The prospect of further research is a versatile study of linguistic mechanisms of exerting a manipulative influence on the recipient in artistic discourse. The perspective for further research is seen in identifying prosodic means of manipulative impact on the recipient in film discourse.

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Fadhila, Alya Khoirunnisa, and Ida Rochani Adi. "Women Detectives in Detective Fiction: A Formula Analysis on Dublin Murder Squad Series." Lexicon 8, no. 1 (April 7, 2022): 1. http://dx.doi.org/10.22146/lexicon.v8i1.73421.

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

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Hateley, Erica. "Lady Macbeth in Detective Fiction: Criminalizing the Female Reader." Clues: A Journal of Detection 24, no. 4 (May 1, 2006): 31–48. http://dx.doi.org/10.3200/clus.24.4.31-48.

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Gates, Philippa. "The Maritorious Melodrama: Film Noir with a Female Detective." Journal of Film and Video 61, no. 3 (2009): 24–39. http://dx.doi.org/10.1353/jfv.0.0036.

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GATES, PHILIPPA. "The Maritorious Melodrama: Film Noir with a Female Detective." Journal of Film and Video 61, no. 3 (October 1, 2009): 24–39. http://dx.doi.org/10.2307/20688632.

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Mărășescu, Amalia. "Female Detectives in Romanian Literature: Vitoria Lipan and Minerva Tutovan." Caietele Echinox 43 (December 1, 2022): 117–33. http://dx.doi.org/10.24193/cechinox.2022.43.07.

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"The essay draws a parallel between two female detectives in Romanian literature: Mihail Sadoveanu’s Vitoria Lipan and Rodica Ojog-Brașoveanu’s Minerva Tutovan. While Vitoria Lipan is not commonly regarded as a detective, Minerva Tutovan is a professional State Security officer and investigator. Mention will be made of their marital status, profession, pets, moral qualities and others, in an attempt to show that although they differ in many respects including education, background, social status, historical epoch and purpose, they are equally skilful in finding criminals and bringing them to justice. They will also be analysed as mentors: Vitoria for her son Gheorghiță and Minerva for her subordinate, lieutenant Vasile Dobrescu."

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Knight, Stephen. "Detection and Gender in Early Crime Fiction: Mrs Bucket to Lady Molly." Crime Fiction Studies 3, no. 2 (September 2022): 89–105. http://dx.doi.org/10.3366/cfs.2022.0068.

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

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Has-Tokarz, Anita. "Kryminały (są) dla dziewczyn… — refleksje wokół cyklu detektywistycznego Karen Karbo o Minervie Clark." Literatura i Kultura Popularna 28 (October 6, 2022): 63–80. http://dx.doi.org/10.19195/0867-7441.28.5.

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In recent years, there has been a growing interest in detective literature among the youngest readers. The appeal of this type of literature is confirmed not only by a kind of “publication overproduction” observable in the segment of books for children and young adults, but also by reader rankings. The latter also show two significant trends: firstly — the declining age of the youngest readers who choose detective stories, secondly — girls are beginning to prevail among the young recipients of this literature. The goal of the article is to seek an answer to the question why young girls increasingly often choose detective literature and what makes it attractive from the reception perspective. The example which is the focus of attention is the mystery-type trilogy written by American author Karen Karbo about the adventures of an eccentric teenager Minerva Clark. The series consists of the following volumes: Minerva Clark Gets a Clue, Minerva Clark Goes to the Dogs, and Minerva Clark Gives Up the Ghost, all of which can be categorized as classical detective stories. The latest detective fiction for young girls, which readily utilizes gender and feminist topics, features more and more characters of brave and independent female amateur detectives. Minerva Clark has joined this colorful gallery of characters, who appeared in the twentieth-century literature thanks to Miss Marple novels authored by Agatha Christie. The literary character of Minerva Clark arouses associations with another fictional character meant for female teenage readers — Nancy Drew, the titular hero of American novels Nancy Drew Mystery Series, published in the USA since the 1930s. Minerva Clark has become part of the contemporary discourse on femininity and the role of gender in popular culture. The popularity of the trilogy in question as well as the whole trend of detective stories for girls can be explained in several ways. Apart from the feminine topic repertoire, the literary factors are of significance: suspense-keeping stories, captivating plots, young people’s slang, and most of all — humor, highly thought of by the young audience. In Karen Karbo’s series we are dealing with verbal-intellectual and situational comedy as well as that of characters. The content-related comedy-making factors in the trilogy about Minerva Clark also include humorous narration (play on words), situational scenes, and a happy ending. Books about female teenage detectives such as Minerva evoke a substantial response among their gender also because they are written with present-day girls and their needs in mind.

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Gracia, Dominique. "Back to bodies: female detectives and bodily tools and tells in Victorian detective fiction." Victorian Popular Fictions Journal 2, no. 1 (July 13, 2020): 56–68. http://dx.doi.org/10.46911/njqs6219.

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Haworth, C. "Detective Agency? Scoring the Amateur Female Investigator in 1940S Hollywood." Music and Letters 93, no. 4 (November 1, 2012): 543–73. http://dx.doi.org/10.1093/ml/gcs069.

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Young, Suzanne. "The Simple Art of Detection: The Female Detective in Victorian and Contemporary Mystery Novels." MFS Modern Fiction Studies 47, no. 2 (2001): 448–57. http://dx.doi.org/10.1353/mfs.2001.0056.

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Koplowitz-Breier, Anat. "North to South through a Post-Feminist Prism: Israeli Society as Reflected in Ora Shem-Ur’s Fictional Detective Novels." Humanities 11, no. 6 (October 27, 2022): 133. http://dx.doi.org/10.3390/h11060133.

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Ora Shem-Ur’s detective series starring Ali Honigsberg established her as one of the early female pioneers in the new wave of Israeli detective fiction writers. In line with the current trend in post-feminist criticism towards analyzing the place of women within popular culture by looking at fiction as an agent of social change, this article suggests that the series not only addresses gendered topics but also other tensions and social exploitations of power within Israeli society. Shem-Ur thus provides a fascinating portrait of Israeli society in the 1990s, reflecting the way in which female detective fiction developed from light reading material into a social mirror presenting and addressing social changes and shifts in gender conception. Reading the series through a post-feminist lens, the article seeks to demonstrate how its themes of the relations between men, women, and power, and of economic corruption and politics, shed light on contemporaneous Israeli social issues.

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Suh, Yong-Chu. "Why is Female Detective TV Series 〈Inspector Koo〉 Strange? -Crossing and Overthrow of Detective Genre, Cracking Gender Ideology-." Cartoon and Animation Studies 67 (June 30, 2022): 317–56. http://dx.doi.org/10.7230/koscas.2022.67.317.

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Seago, Karen. "“Philip Marlowe in drag?” – The construct of the hard-boiled detective in feminist appropriation and translation." Ars Aeterna 9, no. 2 (December 20, 2017): 39–52. http://dx.doi.org/10.1515/aa-2017-0008.

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Abstract Hard-nosed female investigators Sara Lund and Saga Norén from the extraordinarily successful Scandinavian TV crime series The Killing and The Bridge are the latest examples of female hard-boiled detectives - dysfunctional loners who solve crimes where no one else succeeds. This article looks at the character construct of the hard-boiled male detective, maps these tropes against social expectations of gender norms and then considers how Sara Paretsky constructs an explicitly feminist “tough guy” private eye in V.I. Warshawski. It then analyses how Paretsky’s negotiation and partial subversion of the tropes of the hard-boiled genre are handled in translation, drawing on the German translation of Indemnity Only.

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Kalifa, Dominique. "Joseph A. Kestner, Sherlock’s Sister. The British Female Detective, 1864-1913." Crime, Histoire & Sociétés 9, no. 2 (December 1, 2005): 151–52. http://dx.doi.org/10.4000/chs.342.

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Meldrum, Claire. "Yesterday's Women: The Female Presence in Neo-Victorian Television Detective Programs." Journal of Popular Film and Television 43, no. 4 (October 2, 2015): 201–11. http://dx.doi.org/10.1080/01956051.2015.1069728.

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Clapp-ltnyre, Alisa. "Joseph A. Kestner. Sherlock’s Sisters: The British Female Detective." Victorians Institute Journal 32 (December 1, 2004): 229–33. http://dx.doi.org/10.5325/victinstj.32.1.0229.

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López Ramírez, Manuela. "Gothic Noir Filmic Male Gaze: Gender Stereotyping in Margaret Atwood’s “The Freeze-Dried Groom”." Ambigua: Revista de Investigaciones sobre Género y Estudios Culturales, no. 8 (December 14, 2021): 119–36. http://dx.doi.org/10.46661/ambigua.5899.

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Stereotyping has been crucial in artistic representations, especially cinema, in the construction of gender paradigms. Males and females have been portrayed by means of simplified unrealistic clichés with the purpose of controlling and constraining them into patriarchal roles and conventions, promoting societal normative ideologies. Noir women are projections of male anxieties about female sexuality and female independence. In “The Freeze-Dried Groom,” Atwood unveils gender stereotyping through a typically film noir male gaze in three of its stock characters: the femme attrapée, the “detective” and the femme fatale. Hence, Atwood depicts a femme fatale to reflect not just on this character in film noir, but also on female identity, gender dynamics and feminism. She exposes and questions the marriage-family institution, and the patriarchal society as a whole.

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Wielgus, Alison. "“The Harder I Swim, the Faster I Sink”." Camera Obscura: Feminism, Culture, and Media Studies 34, no. 2 (September 1, 2019): 71–101. http://dx.doi.org/10.1215/02705346-7584916.

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This essay considers the role that Jane Campion’s Top of the Lake (BBC/SundanceTV, 2013) and Top of the Lake: China Girl (BBC/SundanceTV, 2017) play in the post-network television landscape. Situating the series among the globalized genre of serialized post-network crime shows that feature female detectives, this essay argues that Campion reworks the genre’s fascination with victimized women from her auteurist and Antipodean perspective. While the characterization and actions of the female detective resonate with other programs’ protagonists, Campion challenges dominant discourses of victimized women by intervening in the global circulation of women’s bodies on television. By drawing on Zoë Sofia’s work on female bodies and container technologies, this essay argues that Campion’s use of pregnant victims and her exploration of a female detective’s history as a survivor of sexual assault allow her to interrogate the typical treatment of female corpses within crime television. Through circuitous investigations that leave enough narrative space for detours like the settling of Paradise, where women transform shipping containers into domestic spaces for struggling women, Campion provides a countermodel to crime television focused on forensic progress through a case. Campion similarly takes the container of serialized crime drama that circulates the globe in a post-network television landscape and creates space for women’s stories from the Antipodes. Pausing the narrative to indict the treatment of female victims, Campion also unearths the melodramatic underpinnings of serialized crime dramas that resonate with her own filmography.

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Dewi, Anggita Riana, Yulistiyanti, and Katharina Rustipa. "Women Empowerment in Netflix Series Unbelievable." Metathesis: Journal of English Language, Literature, and Teaching 6, no. 1 (May 23, 2022): 50–72. http://dx.doi.org/10.31002/metathesis.v6i1.143.

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This research aims to reveal how Unbelievable portrays the differences between male and female detectives handling rape cases, to find out Duvall’s, the female detective, factors, and motivation in helping women victims, and to find out the values of women empowerment in Unbelievable. The research used qualitative method. Reader response, subjective criticism, and women empowerment were the bases theories used in the research. The data are sentences and conversations that show differences in treatment, mindset, factors and motivation, as well as the empowerment of the female main character. There are three results of this study; (1) three differences covering the victim treatment, investigation model, and the mindset between male and female detectives handling rape cases; sensitivity to the mental condition of the victim, clarity of providing investigative information, the efficiency of the investigation system, and assessment of the case and rape victims. (2) Duvall's factors and motivation include self-confidence, empathy, protestant work ethic, and Christian faith. (3) Duvall's success in bringing justice has given strength to victims and other values such as economic independence, freedom to get an education and career paths, balance roles at home and at work, are a reflection of women empowerment.

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Cline, Emily. "‘The bloody fingers … bear witness’: Sign Language and the Mute Detective in Susan Hopley and The Trail of the Serpent." Crime Fiction Studies 5, no. 1 (March 2024): 1–17. http://dx.doi.org/10.3366/cfs.2024.0107.

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In her examination of signing characters in works of Charles Dickens and Wilkie Collins, Jennifer Esmail highlights deaf characters’ absence in Victorian fiction. Mutism is more common, for example, in the character of Mary Elizabeth Braddon's working-class, fingerspelling Detective Peters (70, 10n24). Even so, sign language – seen as ‘primitive’ and ‘lacking [in] intellectual […] rigor’ – was rarely represented (Esmail 3). Dickens, Collins and Braddon, proto-detective novelists themselves, were preceded by Catherine Crowe, whose 1841 novel Susan Hopley features Julie le Moine, a female, cross-dressing sleuth whose mutism does not prevent her from testifying using ‘signs’ and ‘the finger alphabet’ (III.100, 125). Julie's undercover work not only crosses class, gender, and genre boundaries, but her non-verbal evidence challenges women's exclusion from ‘“masculine” systems of representation’ symbolised by legal parlance (Irigaray 85). When detective fiction pits the private eye against traditional jurisprudential structures, the courtroom becomes a space where classed and gendered hierarchies inform testimonial evidence, reinforcing exclusionary principles that disenfranchise the ‘Other’. The sign language, fingerspelling and lip-reading of Julie le Moine, Joseph Peters and Richard Marsh's Judith Lee expose ableist and sexist barriers that seek to expunge the detectives from the legal record by excluding them from public speech.

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Potter, Polyxeni. "Adventures of a Female Medical Detective: In Pursuit of Smallpox and AIDS." Emerging Infectious Diseases 22, no. 8 (August 2016): 1523. http://dx.doi.org/10.3201/eid2208.160532.

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Blaschke, Anne J. "Adventures of a Female Medical Detective: In Pursuit of Smallpox and AIDS." Clinical Infectious Diseases 63, no. 7 (July 8, 2016): 997. http://dx.doi.org/10.1093/cid/ciw453.

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Plumly, Vanessa D. "Auf den Spuren ihrer Geschichte: Black German Detectives and the Cases of Anäis Schmitz and Fatou Fall." Seminar: A Journal of Germanic Studies 57, no. 4 (November 1, 2021): 402–23. http://dx.doi.org/10.3138/seminar.57.4.4.

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The various types of detective work that Black individuals and communities undertake enables them to collect evidence and knowledge and disseminate tactics for resistance. I first contextualize the advent of Black German detection in real life and then turn to fictional Black German detectives in literature and on television. In doing so, I explore the interconnectedness of Black German belonging—both real and imagined—through the act and art of detection. The earliest official, fictional Black German female detectives within these media, Anäis Schmitz and Fatou Fall, allow for an exploration of the intersectionality of race, cisgender, and heteronormative reproduction. Their introduction to this genre overlaps in the timing of their debut appearances (2019), but the characters contrast in terms of representation, due in part to the medium employed and to the racial positionality of their creators. Thus, I investigate how crime novels and crime television shows shift the representation and recognition of Black Germans but remain attuned to how institutional and historically anchored racist structures “frame” Black German belonging.

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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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Mengxin, Li. "Study on the Translation of Culture-loaded Words in The File No.113." International Journal of English Language Studies 6, no. 1 (January 1, 2024): 08–14. http://dx.doi.org/10.32996/ijels.2024.6.1.2.

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All nations in the world have generated many culture-loaded words full of cultural origin and emotional attachment in the evolution of social life. Due to the huge differences between Chinese and Western cultures, it is difficult for translators to find the equivalent expression when translating culture-loaded words. Chen Hongbi is an outstanding female translator in modern times, and her translation of the English detective novel Le Dossier No.113 was very popular in the late Qing Dynasty. From the perspective of eco-translatology, this study takes Chen Hongbi's The File No.113(《第一百十三案》) as an example and analyzes the translation of culture-loaded words in the text. In the late Qing Dynasty, the social demand for female intellectuals, the academic demand for detective novels and the interest demand of publishing houses formed a sound ecological environment for Chen's translation of foreign detective novels. Chen adapted himself to this ecological environment with his translation ability and love for detective novels, thus choosing to translate Le Dossier No.113. In the process of translation, Chen reaches the adaptation and transformation of culture-loaded words from three dimensions linguistic dimension, cultural dimension and communicative dimension. This study describes how Chen Hongbi accurately conveys the meaning of culture-loaded words to the target readers based on the ecological environment of translation through the mechanism of "selection" and "adaptation", which is helpful to understand and explain the choices made by the translators in order to realize the communicative intention and adapt to the context of the late Qing Dynasty. By analyzing Chen's successful translation of the detective novel, this study hopes to make readers realize the value of her translation as well as her adaptation and selection in translation so as to provide references for future translators to consider deep adaptation and selection when translating culture-loaded words.

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Mazur, Zbigniew. "Female Detectives and the Moral Crisis in America: Women in the New TV Crime Drama." Roczniki Humanistyczne 72, no. 11 Zeszyt specjalny (June 6, 2024): 59–70. http://dx.doi.org/10.18290/rh247211.5s.

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The paper investigates recent American TV crime drama in which prominent roles are given to female protagonists. The TV miniseries Unbelievable (2019) and Mare of Easttown (2021) place women in central roles and, by going beyond the classic formula of crime drama, reshape the format of the genre. They address significant social and economic issues, often ignored by conventional crime drama narratives. The paper offers a brief investigation of the figures of female police detectives in older American TV crime drama, and in Scandinavian TV noir, arguing, that the evolution of the character of the female detective is a transnational phenomenon. The female detectives in Unbelievable and Mare of Easttown are excellent investigators, but they also display a strong moral integrity and deep emotional response to the injustice brought by crime. The two crime dramas focus not just on the investigations, but explore the social causes of crime and point, among other things, to gender, class and race inequalities, instability of the family, corruption, inefficiency of government institutions, and inadequacy of health and social care as sources of disintegration of American society. The stories offer some hope and reassurance to the viewer by showing that the detectives can combat crime and bring temporary order to the affected communities, but express lack of confidence in the permanence of core American values.

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Miller, Elizabeth Carolyn. "TROUBLE WITH SHE-DICKS: PRIVATE EYES AND PUBLIC WOMEN INTHE ADVENTURES OF LOVEDAY BROOKE, LADY DETECTIVE." Victorian Literature and Culture 33, no. 1 (March 2005): 47–65. http://dx.doi.org/10.1017/s1060150305000720.

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C. L. (CATHERINE LOUISA)PIRKIS'S“The Murder at Troyte's Hill,” second in her series of stories about Detective Loveday Brooke, begins with Brooke's boss debriefing her on a case: “Griffiths, of the Newcastle Constabulary, has the case in hand…. Those Newcastle men are keen-witted, shrewd fellows, and very jealous of outside interference. They only sent to me under protest, as it were, because they wanted your sharp wits at work inside the house” (528). This is a typical beginning for one of Brooke's adventures, which were published in the London magazineLudgate Monthlyin 1893 and 1894. As one of the earliest professional female detectives in English literary history, Brooke's career was marked by conflicts with territorial male officers and the ever-present pressure to keep her detective work “inside the house.” Emerging at a historical moment when understandings of women, criminality, and law enforcement were rapidly changing in Britain, Pirkis's stories offer an interpretation of these intersecting cultural shifts that is surprisingly different from her contemporaries. In a decade rife with scientific interrogation into the nature of criminality, such as in the work of Havelock Ellis and Francis Galton, detective fiction of the 1890s tended to mimic scientific discourse in its representations of criminals. The Brooke stories, however, challenge such conceptions of deviance and reveal the poverty of their underlying understandings of crime as well as gender.

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Schwartz, Camilla, and E. Ann Kaplan. "The female detective as the child who needs to know. Saga Norén as an example of potent yet dysfunctional female detectives in contemporary Nordic Noir." European Journal of Scandinavian Studies 48, no. 2 (October 25, 2018): 213–30. http://dx.doi.org/10.1515/ejss-2018-0017.

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Abstract The global popularity of Nordic Noir, such as the Danish/Swedish production Broen, The Danish production Forbrydelsen, its U.S. and U.K. remakes, the Danish/Swedish production The Millennium Trilogy seems to depend on its insistent interest in a set of maladjusted female detectives. The by now seven seasons of the U.S production Homeland have a similar focus. In this essay, we argue that the struggle these female protagonists endure between extreme potency on the one hand and shameful psychic problems on the other is linked to how these female detectives represent the female position in film in general. Turning to traditional and ongoing discussions in feminist film theory, and combining queer studies and sociological and psychoanalytic perspectives with recognition theory (Felski/Coplan), we ask how we as spectators relate to these women in terms of recognition. In line with that, we ask whether these female detectives should be considered feminist icons who challenge traditional gendered poses on film, or whether, due to their dysfunctionalities, they came to represent some kind of otherness that we sympathize with but also fail to identify with.

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Salah, Christiana. "Mary Barton as Detective Fiction: Class Struggle and the Female Sleuth." Victorians Institute Journal 47, no. 1 (December 1, 2020): 93–114. http://dx.doi.org/10.5325/victinstj.47.2019-20.0093.

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Hendrey-Seabrook, Therie. "Reclassifying the Female Detective of the fin de siècle: Loveday Brooke, Vocation, and Vocality." Clues: A Journal of Detection 26, no. 1 (September 1, 2007): 75–88. http://dx.doi.org/10.3172/clu.26.1.75.

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Abarca, Meredith E. "A Review of “A Critical Study of Female Culinary Detective Stories: Murder by Cookbook”." Food and Foodways 19, no. 3 (July 2011): 248–50. http://dx.doi.org/10.1080/07409710.2011.600139.

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Gutiérrez, José Ismael. "Hollywood en los relatos pulp de Robert Leslie Bellem = Hollywood in Robert Leslie Bellem’s pulp stories." Estudios Humanísticos. Filología, no. 40 (December 19, 2018): 329. http://dx.doi.org/10.18002/ehf.v0i40.5117.

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Todas las acciones de los cuentos sobre Dan Turner, escritos por Robert Leslie Bellem para las revistas pulp, transcurren en el contexto de la industria cinematográfica hollywoodense. Este artículo indaga en las diversas situaciones criminales y en los tipos de personajes que aparecen en esta serie detectivesca: estrellas de cine, dobles, productores, agentes, extras, una infinidad de glamurosas starlets…, de los que el narrador autodiegético (es decir, el detective protagonista) proyecta una imagen nada idealizada.This article examines some characteristics of the series about Dan Turner written Robert Leslie Bellem. In these short stories, crime, intrigue, detective investigation, sexual content and satire are mixed with a colorful and colloquial linguistic style. All their actions take place in the context of the Hollywood film industry (of which Bellem had personal knowledge). So this irreverent detective’s mysteries are also linked to the genre category which we call "Hollywood narrative", which emerges over the course of the silent film era. In this sense, the work researches the types of characters that appear in these short stories -film stars, stuntmen, producers, agents, extras, an endless array of glamorous female starlets…-, all of whom are depicted by an autodiegetic narrator (that is, the detective-protagonist) in a clearly non-idealized and funny fashion.

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Bubíková, Šárka. "Ethnicity and Social Critique in Tony Hilleman’s Crime Fiction." Prague Journal of English Studies 5, no. 1 (July 1, 2016): 141–58. http://dx.doi.org/10.1515/pjes-2016-0008.

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Abstract American mystery writer Tony Hillerman (1925-2008) achieved wide readership both within the United States and abroad, and, significantly, within the US both among white Americans and Native Americans. This article discusses Hillerman’s detective fiction firstly within the tradition of the genre and then focuses on particular themes and literary means the writer employs in order to disseminate knowledge about the Southwestern nations (tribes) among his readers using the framework of mystery (crime) fiction. Hillerman’s two literary detectives Lieutenant Joe Leaphorn and Sergeant Jim Chee, both of the Navajo Tribal Police, are analyzed and contrasted with female characters. Finally, the article analyzes the ways in which Hillerman makes the detectives’ intimate knowledge of the traditions, beliefs and rituals of the southwestern tribes and of the rough beauty of the landscape central to the novels’ plots, and how he presents cultural information.

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Andreyev, Sergey. "Noun Adnominal Valency in Female and Male Authors Fiction." Izvestia of Smolensk State University, no. 3 (51) (November 2, 2020): 103–16. http://dx.doi.org/10.35785/2072-9464-2020-51-3-103-116.

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The article is devoted to the quantitative analysis of the literary world fictional description in the works, written by female and male authors. The study focuses on the comparison of adnominal (attributive) valency which is defined as the implementation of noun potential collocability with the syntactic position of adnominal. The valency is measured by the number of adnominals, modifying the given noun. The data-base of the study includes samples from 18 novels and stories, belonging to detective-story genre and written by female and male authors. The comparison of the adnominal features of two genders is carried out by counting the frequencies of different types of adnominal valencies and analyzing their distribution in the text. The research demonstrated that Lorentzian and power functions are a very good fit for the adnominal valencies distribution in all the texts. It has been found that female authors do not differ from male writers either in the number of adnominal valencies or their distribution which demonstrates some hidden regularity.

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Journal articles on the topic 'Female detective'

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