Dissertations / Theses: 'Fiction/Mystery stories'

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Wallis-Martin, Julia Wallis-Martin Julia. "Crime fiction and the publishing market /." St Andrews, 2008. http://hdl.handle.net/10023/710.

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Nuñez, Gabriela. "Investigating La Frontera : transnational space in contemporary Chicana/o and Mexican detective fiction /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2007. http://wwwlib.umi.com/cr/ucsd/fullcit?p3286241.

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Wallis-Martin, Julia. "Crime fiction and the publishing market." Thesis, University of St Andrews, 2008. http://hdl.handle.net/10023/710.

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The thesis is mainly a substantial part of a crime novel, the title of which is 6, Vermillion Crescent. In that novel, a girl of 14 is murdered by her foster brother. On his release from prison, the former foster child goes in search of his victim’s mother with the intention of murdering her for betraying and abandoning him. The idea for the novel was sparked by events that occurred over 18 years ago, and coincided with the publication of my first novel. There have been a number of changes within the publishing industry since then, and in the critical piece accompanying the novel extract, I explain the most significant of these changes. The critical piece includes a detailed synopsis of 6, Vermillion Crescent.

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Pendrill, Michael Laurie. "A guilty satisfaction : detective fiction and the reader." Thesis, University of Sussex, 2012. http://sro.sussex.ac.uk/id/eprint/40838/.

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The purpose of this thesis is to explore the reasons why readers choose to read detective fiction. Taking Thomas De Quincey's satirical identification of the aesthetic quality of murder, I look at Edgar Allan Poe's detective fiction to find a non-satiric version of the same argument that emphasises the balancing quality of the ethical to the aesthetic. W.H. Auden's essay “The Guilty Vicarage” offers an argument concerning the reader's position in relation to these opposite components. I explore the ways in which Auden's arguments build into Freud's understanding of guilt, daydreams, the moral conscience, jokes, the uncanny and the death drive, and how these can be applied to the genre to help illustrate the reader's experience. Concurrent to this I offer an analysis of how the parallel developments in literary theory, particularly those of Barthes and Shklovsky, can be incorporated to enrich the understanding of these Freudian positions within the modern reader's experience. It is my intention to open up a field of study within the genre that differs from the traditional Marxist approach. Particular emphasis is placed on the role of the experience of pleasure found when moments of commonality between the aesthetic and the ethical are reached– how these are often unsatisfactory– necessitating a repetition of the literary experience. It is my argument that such an approach to the reader's position within the genre has not been explored in such a detailed fashion, centring as it does upon the active role of guilt in pleasure felt by the reader as the motivation to repeat. To illustrate that this is an argument that is applicable to different historical phases of detective fiction the study undertakes analysis of the following authors: Arthur Conan Doyle, Wilkie Collins, Agatha Christie, Raymond Chandler, Graham Greene and John Fowles.

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Chino, Noriko. "Miyabe Miyuki's place in the development of Japanese mystery fiction." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1230340838.

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Cleveland, William. ""Why is Everyone So Interested in Texts?": The Shifting Role of the Reader in the Genre of Hard-boiled Fiction." Fogler Library, University of Maine, 2007. http://www.library.umaine.edu/theses/pdf/ClevelandW2007.pdf.

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Yuan, Honggeng. "From conventional to experimental : the making of Chinese metaphysical detective fiction /." Hong Kong : University of Hong Kong, 1999. http://sunzi.lib.hku.hk/hkuto/record.jsp?B21556398.

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Taylor, Leslie Charles. "The Greatest is Love." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3661.

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THE GREATEST IS LOVE is a collection of ten short stories showing the painful manifestations of romantic relationships in the lives of contemporary American characters from many walks of life. As in the stories of D.H. Lawrence, these characters are often driven towards what may be bad for them, finding that love overrides their rational thoughts. In “The Mechanic” a woman whose legal career has left her isolated becomes irresistibly attracted to her friend’s ex-husband. Three stories center on one character, Charles, whose early failures both in college and at work lead him to become a detective, only to be tempted to betray his new calling by a woman who leads him astray. As in Italo Calvino’s Difficult Loves, the stories in THE GREATEST IS LOVE combine the pain and comedy of passion. Even when it is challenging, love offers characters irresistible glimmers of hope.

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Smillie, Rachel Jane. "The lady vanishes : women writers and the development of detective fiction." Thesis, University of Aberdeen, 2014. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=225765.

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The history of detective fiction has frequently centred on three key figures: Edgar Allan Poe, Wilkie Collins and Arthur Conan Doyle. These writers hold a privileged place in the canon of detective fiction and represent key sites in a linear narrative of development which has often overlooked the complexity and variability of the detective genre. This dissertation explores the disappearance of female writers from the critical history of detective fiction. Focusing on the mystery and detective narratives of Mary Elizabeth Braddon, LT Meade, Baroness Emmuska Orczy and CL Pirkis, this project aims to restore these overlooked authors to critical view. As this dissertation will argue, the erasure of these writers (among others) from critical histories of detective fiction has led to studies of the genre being based on a limited data set. This unstable foundation has resulted in a number of problematic assumptions about the nascent detective genre; namely, that it is conservative, prescriptive and phallocentric. By exploring the work of overlooked and forgotten writers, this project aims to explore the paradigms which have governed their disappearance; at the same time, this dissertation will examine established critical models and interrogate entrenched assumptions and approaches to detective fiction. Chapter one explores the figure of the female servant as household spy in Braddon's novels and considers her role in opposition to Braddon's male detectives. Chapter two focuses on the collaboratively-authored crime fiction of LT Meade; in particular, it addresses the battle for narrative agency and control which occurs in her texts and examines the breakdown of gender and genre roles. Chapter three considers Orczy's work in the context of the anxiety of the author and explores the potentially restrictive nature of genre fiction. Finally, chapter four addresses CL Pirkis's detective fiction alongside her work in other genres and uses these texts to interrogate traditional models of detective fiction.

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Kindler, Jessica Claire. "Tokuya Higashigawa's After-Dinner Mysteries: Unusual Detectives in Contemporary Japanese Mystery Fiction." PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1011.

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The detective fiction (tantei shōsetsu) genre is one that came into Japan from the West around the time of the Meiji Restoration (1868), and soon became wildly popular. Again in recent years, detective fiction has experienced a popularity boom in Japan, and there has been an outpouring of new detective fiction books as well as various television and movie adaptations. It is not a revelation that the Japanese detective fiction genre, while rife with imitation and homage to Western works, took a dramatic turn somewhere along the line, away from celebrated models like Poe, Doyle, and Christie, and developed into a unique subgenre of Japanese prose. However, despite its popularity and innovation, Japanese detective fiction has often been categorized as popular literature (taishū bungaku), which is historically disregarded as vulgar and common. My thesis first consists of a brief introductory history oftantei shōsetsugenre in Japan. This includes a discussion of Japanese writers' anxiety concerning imitation of Western forms and their perception of themselves as imposters and imitators. Following this, I examine the ways in whichtantei shōsetsuwriters--particularly Edogawa Ranpo (1894 - 1965), the grandfather of the genre in Japan--began to deviate from the Western model in the 1920's. At the same time, I investigate the bias againsttantei shōsetsuas a vulgar or even pornographic genre. Through a discussion of literary critic Karatani Kōjin's ideas on the construction of depth in literature, I will demonstrate how Edogawa created, through his deviance from the West, a new kind of construction in detective fiction to bring a different sort of depth to what was generally considered merely a popular and shallow genre. This discussion includes a look at the ideas of Tsubouchi Shōyō on writing modern novels, and Japanese conceptions of "pure" (junsui) and "popular" (taishū) literature. Through an examination of several of Edogawa's works and his use of psychology in creating interiority in his characters, I propose that the depth configuration, put forth by Karatani in his critique of canonical modern Japanese literature, is also present in popular fiction, like Edogawa'stantei shōsetsu. When viewed through the lens of Karatani's depth paradigm, we discover how detective fiction and the vulgarity therein may actually have more in common with "pure" fiction created by those writers who followed Shōyō's prescriptions. In the final section of the introduction, I propose a definition of Japanese detective fiction that links Edogawa's works from the 1920's to the contemporary Japanese detective novel After-Dinner Mysteries (Nazotoki wa dinaa no ato de, 2010), by Higashigawa Tokuya. Thus we see that many of the themes and conventions present in Edogawa remain prevalent in contemporary writing. Finally, I present my translation of the first two chapters of After-Dinner Mysteries.

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Martella, Gianna María. "Spanish American detective and crime fiction : the question of the other /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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Dzirkalis, Anna M. "Investigating the female detective : gender paradoxes in popular British mystery fiction, 1864-1930 /." View abstract, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3287860.

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Barfoot, Nicola. "Frauenkrimi : generic expectations and the reception of recent French and German crime novels by women = Polar féminin /." Frankfurt am Main [u.a.] : Lang, 2007. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015744779&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA.

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Wigbers, Melanie. "Krimi-Orte im Wandel : Gestaltung und Funktionen der Handlungsschauplätze in Kriminalerzählungen von der Romantik bis in die Gegenwart." Würzburg Königshausen & Neumann, 2006. http://deposit.d-nb.de/cgi-bin/dokserv?id=2834149&prov=M&dokv̲ar=1&doke̲xt=htm.

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袁洪庚 and Honggeng Yuan. "From conventional to experimental: the makingof Chinese metaphysical detective fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1999. http://hub.hku.hk/bib/B43894422.

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Aguiar, Giselda. "Calle Panadero." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2324.

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This collection of nine short stories follows Adelia Villalobos and Isidoro Belmonte, two Cuban Americans solving crimes in present-day South Florida. The former best friends have grown apart during college, but when Adelia is drawn into a murder case, the outcome leads Isidoro to return home and the pair to found the unlicensed detective agency, Calle Panadero (Spanish for Baker Street). Their cases explore the underside of many facets of the community, including bigamy, fraud, and criminal organizations. Along the way, they deal with love, death, and family obligations, and arrive at a new understanding of how their destinies are linked. Influenced by Agatha Christie and Jennine Capó Crucet, CALLE PANADERO revolves around protagonists living in a predominantly Hispanic community and the ties that bind them to it and each other. Although each story is a separate narrative, together they depict Adelia and Isidoro’s changing relationship and their individual growth.

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Pallo, Vicki. "Quarantining the criminal isolation in early British literature of crime and detection /." Diss., Online access via UMI:, 2009.

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Schwartz, John Benjamin. "Breaking and Connecting in the Short Stories of Flannery O'Connor: "The Look of This Fiction is Going to be Wild" (Grace Minus Nature Equals Mystery)." Oberlin College Honors Theses / OhioLINK, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1396882030.

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Trotman, Tiffany Gagliardi, and n/a. "Eduardo Mendoza�s Ceferino series : spanish crime fiction and the carnivalesque." University of Otago. Department of Languages and Cultures, 2007. http://adt.otago.ac.nz./public/adt-NZDU20070613.114325.

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In the wake of Francisco Franco�s long dictatorship, various new forms of literature emerged in Spain. A new period of transformation, the so-called Spanish Transition, fostered an environment of experimentation and innovation free from the restrictive barriers of Franco�s regime. The Transition proved a period of great hopes and expectations as well as disillusionment and disappointment. This time, above all, provided an opportunity to reflect critically on the history and experience of the nation in the 20th century. Eduardo Mendoza is one among a generation of writers that experienced the early years of the Transition, the subsequent emergence of the Socialist Party and the reintroduction of Spain to Europe and, indeed, the rest of the world post 1975. This noted Catalan is one of several distinguished writers working within a new genre, the Spanish novela negra, or crime novel. In particular, he has written three novels El misterio de la cripta embrujada (1979), El laberinto de las aceitunas (1982) and La aventura del tocador de senoras (2001); each featuring an unlikely detective known as Ceferino. In this thesis, I examine Eduardo Mendoza�s three crime novels as a carnivalesque discourse. The work relies on the theory outlined by Mikhail Bakhtin in two of his foundational texts, Problems of Dostoevsky�s Poetics (1929) and Rabelais� World (1940). In 1929, Bakhtin sketched out the idea of "carnivalization" as the transposition of the spirit of carnival into art. It was not until his thesis (now known as Rabelais� World) was published in 1960 however that his vision of carnival was understood and the link between the carnivalized text and popular culture emerged. This research focuses on Bakhtin�s four 'categories of carnival': free and familiar contact, eccentricity, carnivalistic mesalliances, and profanation, in order to develop a critical framework by which a text may be defined as carnivalesque. Through a comprehensive examination of what each of these categories entails, Bakhtin�s paradigm is linked to Eduardo Mendoza�s crime trilogy and these texts are consequently defined as undeniably carnivalesque. The conclusion of the thesis suggests several possibilities as to why Eduardo Mendoza, as a contemporary Spanish crime fiction writer, employs a carnivalesque discourse to depict post-Franco culture. The Transition and the decade between 1982 and 1992 are defined as periods of rupture from the official order. These years are considered an ideal environment for the unleashing of a carnivalesque ambiance in Spain that inherently effected the aesthetic production of the period, and specifically the works of Eduardo Mendoza.

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Crosier, Erik R. "Character development through non-linear story format : its creation, use, and applications." Virtual Press, 2008. http://liblink.bsu.edu/uhtbin/catkey/1390655.

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The purpose of this creative project is to explore the concept of character development as it appears in non-linear story formats. These formats are those of relatively recent technological advances that have paved the way for stories to be related to an audience in ways that are completely unique to each individual audience member. This project specifically is a murder mystery story, told in such a non-linear fashion. The story is capable of being viewed in a completely unique manner by each individual audience member. From this story, viewer's opinions have been examined, and conclusions have been drawn of the value and significance of non-linear story formats in relation to character development.
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Massey, Susan. "The uncocked gun? : representations of masculinity in contemporary crime fiction." Thesis, St Andrews, 2010. http://hdl.handle.net/10023/898.

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Hoffman, Megan. "Women writing women : gender and representation in British 'Golden Age' crime fiction." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/11910.

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In this thesis, I examine representations of women and gender in British ‘Golden Age' crime fiction by writers including Margery Allingham, Christianna Brand, Agatha Christie, Ngaio Marsh, Dorothy L. Sayers, Josephine Tey and Patricia Wentworth. I argue that portrayals of women in these narratives are ambivalent, both advocating a modern, active model of femininity, while also displaying with their resolutions an emphasis on domesticity and on maintaining a heteronormative order, and that this ambivalence provides a means to deal with anxieties about women's place in society. This thesis is divided thematically, beginning with a chapter on historical context which provides an overview of the period's key social tensions. Chapter II explores depictions of women who do not conform to the heteronormative order, such as spinsters, lesbians and ‘fallen' women. Chapter III looks at the ways in which the courtships and marriages of detective couples attempt to negotiate the ideal of companionate marriage and the pressures of a ‘cult of domesticity'. Chapter IV considers the ways in which depictions of women in schools, universities and the workplace are used to explore the tensions between an expanding role in the public sphere and the demand to inhabit traditionally domestic roles. The thesis concludes with a discussion of the image of female victims' and female killers' bodies and the ways in which such depictions can be seen to expose issues of gender, class and identity. Through its examination of a wide variety of texts and writers in the period 1920 to the late 1940s, this thesis investigates the ambivalent nature of modes of femininity depicted in Golden Age crime fiction written by women, and argues that seemingly conservative resolutions are often attempts to provide a ‘modern-yet-safe' solution to the conflicts raised in the texts.

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Leps, Marie-Christine. "The apprehension of criminal man, 1876-1913 : an intertextual analysis of knowledge production." Thesis, McGill University, 1985. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=76904.

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Mäntymäki, Tiina. "Hard & soft : the male detective's body in contemporary European crime fiction /." Linköping : Dept. of Language and Culture, Univ, 2004. http://www.bibl.liu.se/liupubl/disp/disp2004/slc4s.pdf.

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Singh, Anirood. "Road to redemption." Thesis, Rhodes University, 2014. http://hdl.handle.net/10962/d1013035.

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Lurching from day-today in the months before South Africa becomes a republic, booze-befuddled Indian private investigator Rohit Biswas does not ponder how he can secure his daughter's future after he became a widower and lost his job as police detective when he killed a man who fatally stabbed his wife. Salvation appears when a rich client hires the PI to find evidence proving his son did not rape and murder a white socialite. Fighting against seeming impossible odds in colonial-apartheid Durban and a sanctions-busting conspiracy, Biswas secures his client's acquittal. In the process he defies karma and redeems himself.

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Griswold, Amy Herring. "Detecting Masculinity: The Positive Masculine Qualities of Fictional Detectives." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3971/.

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Detective fiction highlights those qualities of masculinity that are most valuable to a contemporary culture. In mysteries a cultural context is more thoroughly revealed than in any other genre of literature. Through the crimes, an audience can understand not only the fears of a particular society but also the level of calumny that society assigns to a crime. As each generation has needed a particular set of qualities in its defense, so the detective has provided them. Through the detective's response to particular crimes, the reader can learn the delineation of forgivable and unforgivable acts. These detectives illustrate positive masculinity, proving that fiction has more uses than mere entertainment. In this paper, I trace four detectives, each from a different era. Sherlock Holmes lives to solve problems. His primary function is to solve a riddle. Lord Peter Wimsey takes on the moral question of why anyone should detect at all. His stories involve the difficulty of justifying putting oneself in the morally superior position of judge. The Mike Hammer stories treat the difficulty of dealing with criminals who use the law to protect themselves. They have perverted the protections of society, and Hammer must find a way to bring them to justice outside of the law. The Kate Martinelli stories focus more on the victims of crime than on the criminals. Martinelli discovers the motivations that draw a criminal toward a specific victim and explains what it is about certain victims that makes villains want to harm them. All of these detectives display the traditional traits of the Western male. They are hunters; they protect society as a whole. Yet each detective fulfills a certain cultural role that speaks to the specific problems of his or her era, proving that masculinity is a more fluid role than many have previously credited.

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Trainin, Sarah Jean. "The rise of mass culture theory and its effect on golden age detective fiction." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2255.

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

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Thesis (M.A.)--Indiana University, 2010.
Title from screen (viewed on July 19, 2010). Department of English, Indiana University-Purdue University Indianapolis (IUPUI). Advisor(s): Robert Rebein, Jonathan Eller, William Touponce. Includes vitae. Includes bibliographical references (leaves 84-86).

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Hill, Lorna. "Bloody women : a critical-creative examination of how female protagonists have transformed contemporary Scottish and Nordic crime fiction." Thesis, University of Stirling, 2017. http://hdl.handle.net/1893/27352.

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This study will explore the role of female authors and their female protagonists in contemporary Scottish and Nordic crime fiction. Authors including Val McDermid, Denise Mina, Lin Anderson and Liza Marklund are just a few of the women who have challenged the expectation of gender in the crime fiction genre. By setting their novels in contemporary society, they reflect a range of social and political issues through the lens of a female protagonist. By closely examining the female characters, all journalists, in Val McDermid’s Lindsay Gordon series; Denise Mina’s Paddy Meehan series; Anna Smith’s books about Rosie Gilmour; and Liza Marklund’s books about Annika Bengzton, I explore the issue of gender through these writers’ perspectives and also draw parallels between their societies. I document the influence of these writers on my own practice-based research, a novel, The Invisible Chains, set in post-Referendum Scotland. The thesis will examine and define the role of the female protagonist, offer a feminist reading of contemporary crime fiction, and investigate how the rise of human trafficking, the problem of domestic abuse in Scotland and society’s changing attitudes and values are reflected in contemporary crime novels, before discussing the narrative structures and techniques employed in the writing of The Invisible Chains. This novel allows us to consider the role of women in a contemporary and progressive society where women hold many senior positions in public life and examine whether they manage successfully to challenge traditional patriarchal hierarchies. The narrative is split between journalist Megan Ross, The Girl, a victim of human trafficking, and Trudy, who is being domestically abused, thus pulling together the themes of the critical genesis in the creative work. By focusing on the protagonist, the victims and raising awareness of human trafficking and domestic abuse, The Invisible Chains, an original creative work, reflects a contemporary society’s changing attitudes, problems and values.

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Griswold, Amy Herring Simpkins Scott. "Detecting masculinity the positive masculine qualities of fictional detectives /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3971.

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Cannon, Ammie Sorensen. "Controversial politics, conservative genre : Rex Stout's Archie-Wolfe duo and detective fiction's conventional form /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1340.pdf.

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Pillainayagam, Priyanthan A. "The After Effects of Colonialism in the Postmodern Era: Competing Narratives and Celebrating the Local in Michael Ondaatje’s Anil’s Ghost." Cleveland State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=csu1337874544.

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Saito, Satomi. "Culture and authenticity the discursive space of Japanese detective fiction and the formation of the natrional imaginary /." 2007. http://ir.uiowa.edu/etd/145.

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Seaman, Amanda Catherine. "Bodies of evidence : Women, society, and detective fiction in contemporary Japan /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3006552.

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Herzog, Harold R. "Criminalistic fantasy : imagining crime in Weimar Germany /." 2001. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3000415.

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Baraban, Elena V. "Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990s." Thesis, 2003. http://hdl.handle.net/2429/15156.

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The subject matter of my study is representations of Russia in Anglo-American and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable for representing the world split between good and evil, these genres played a prominent role in constructing the image of the other during the Cold War. Crime fiction then is an important source for grasping the changes in representing Russia after the Cold War. My hypothesis is that despite the changes in the political roles of Russia and the United States, the end of the Cold War and the demise of the Soviet Union continued to have a significant impact on popular fiction about Russia in the 1990s. A comparative perspective on depictions of Russia in the 1990s is particularly suitable in regard to American and Russian popular cultures because during the Cold War, Soviet and American identities were formed in view of the other. A comparative approach to the study of Russian popular fiction is additionally justified by the role that the idea of the West had played in Russian cultural history starting from the early eighteenth century. Reflection on depictions of Russia in crime fiction by writers coming from the two formerly antagonistic cultures poses the problem of representation in its relationship to time, history, politics, popular culture, and genre. The methods used in this dissertation derive from the field of cultural studies, history, and structuralist poetics. A combination of structuralist readings and social theory allows me to uncover the ways in which popular detective genres changed in response to the sentiments of nostalgia and anxiety about repressed or lost identities, the sentiments that were typical of the 1990s. My study of Anglo-American and Russian spy novels, mysteries, and action thrillers contributes to our understanding of the ways American and Russian cultures invent and reinvent themselves after a significant historical rupture, how they mobilize the past for making sense of the present. Drawing on readings of literature and culture by such scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen, Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and Russian representations of Russia are a result of cultural asymmetries and cultural chronotopes in the United States and in Russia. I argue that Russian and American crime fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and historical sensibilities after the end of the Cold War and the fall of the Soviet Union. Memories of the Cold War and coming to terms with the end of the Cold War played a defining role in depicting Russia by Anglo-American detective authors of the 1990s; this role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly, reconsideration of Russian history became an essential characteristic in the development of the new Russian detektiv.

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Erickson, Paul Joseph Goetzmann William H. "Welcome to Sodom : the cultural work of city-mysteries fiction in antebellum America /." 2005. http://wwwlib.umi.com/cr/utexas/fullcit?p3174440.

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Erickson, Paul Joseph. "Welcome to Sodom: the cultural work of city-mysteries fiction in antebellum America." Thesis, 2005. http://hdl.handle.net/2152/1543.

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Trelles, Paz Diego 1977. "La novela policial alternativa en hispanoamérica : detectives perdidos, asesinos ausentes y enigmas sin respuesta." 2008. http://hdl.handle.net/2152/18788.

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Despite the great popularity and increased prestige of classic detective fiction, as well as the American hard-boiled novel, since their introduction in the nineteenth century many readers and authors have perceived them as genres incompatible with Latin American realities. The inherent conventions of the whodunit, the presence of a detective whose legitimacy is never in doubt, and its conservative ideology, which presupposed the punishment of criminality and the reestablishment of the status quo, were incongruous in societies in which people had no faith in justice. The genre, then, was regarded as unrealistic for third world countries. In this way, in order to be plausible, the detective novel in Latin America needed a different approach. In broad terms, these pages propose the emergence of a new genre that can be observed in the works of contemporary authors such as Vicente Leñero's Los albañiles (1963), Ricardo Piglia's Nombre falso (1975), Jorge Ibargüengoitia's Las muertas (1977) and, most notably, in Roberto Bolaño's Los detectives salvajes (1998), which I consider the most prominent and complex example of this type. The present study examines how this innovative Spanish American detective fiction incorporates and restates some of the structures and conventions of the hard-boiled novel and shares some features of contemporary Spanish American fiction, while developing its own characteristics in contrast with both detective fiction schools. Due to the necessity of the native writers to adopt, formally and thematically, alternative approaches when creating credible detective stories, I have named this emergent genre: Spanish American alternative detective fiction.
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Chigidi, Willie L. "The emergence and development of the Shona detective story as a fictional genre in Zimbabwean literature." Diss., 1997. http://hdl.handle.net/10500/16468.

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This study b·aces the development of the Shona clctective story as a genre different from rhe mainstream Shona novel. The Shona detective story emerges from the non-detective traditional folktale and develops into rhree types, namely, the rudimentary form. the pure 'whoduniC, and the detectivethriller. An attempt is made to show that when the Shona detective story first appeared it was quite elementary and showed signs of me influence of Shona traditional folklore. But later on authors developed the detective narrative into pure 'whodunits' and detective-mrillers which showed influence of Western ftlms and English detective stories. The study ends with the argument that although at its highest level of development the Shona detective story manifests characteristics that make it a unique genre different from other Shona novels its treatment of female characters is not very different from their treatment in the mainstream Shona novel.
African Languages
M.A. (African Languages)

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41

"The multiplicity of the detective thriller as literary genre." 2003. http://library.cuhk.edu.hk/record=b5896108.

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Kwok Sze-Ki.
Thesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 131-138).
Abstracts in English and Chinese.
Abstract --- p.i
摘要 --- p.iii
Acknowledgements --- p.v
Introduction The Genre of Detective Thriller --- p.1
Chapter Chapter One --- The Figure in the Carpet: Agatha Christie's The Murder of Roger Ackroyd --- p.33
Chapter Chapter Two --- """Thrillers are like life´ؤmore like life than you are"": Graham Greene's The Ministry of Fear" --- p.68
Chapter Chapter Three --- "Cultural and Metaphysical Mysteries: Paul Bowles's ""The Eye"" and Jorge Luis Borges's ""The Garden of Forking Paths""" --- p.99
Concluding Remarks --- p.127
Bibliography --- p.131

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Howard, David George. "THE HARD-BOILED DETECTIVE: PERSONAL RELATIONSHIPS AND THE PURSUIT OF REDEMPTION." Thesis, 2010. http://hdl.handle.net/1805/2189.

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Indiana University-Purdue University Indianapolis (IUPUI)
By start of the 1920s, the United States had seen nearly forty years of vast accumulations of wealth by a small group of people, substantial financial speculation and a mass change in the economic base from agricultural to industrial. All of this ended in 1929 in a crushing depression that spread not only across the country, but also around the world. Hard-Boiled detective fiction first reached the reading public early in the decade initially as adventure stories, but quickly became a way for authors to express the stresses these changes were causing on people and society. The detective is the center of the story with the task of reestablishing a certain degree of order or redemption. An important character hallmark of this genre is that he is seldom able to do this, or that the cost is so high a terrible burden remains. His decisions and judgments in this attempt are formed by his relationship with the people or community around him. The goal of this thesis is to look at the issues raised in the context of how the detective relates to a person or community in the story. For analysis, six books were chosen arranged from least level of personal relationship by the detective to the most intimate. The books are Red Harvest, by Dashiell Hammett, The Big Sleep, by Raymond Chandler, The Galton Case, by Ross MacDonald, Cotton Comes to Harlem, by Chester Himes, Devil in a Blue Dress, by Walter Mosley, and I, the Jury, by Mickey Spillane. In the study of these books, a wide range of topics are presented including political ideologies, corruption, racial discrimination and family strife. Each book provided a wealth of views on these and other subjects that are as relevant today as when they were written.

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Dissertations / Theses on the topic 'Fiction/Mystery stories'

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