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Journal articles on the topic 'Fiction, thrillers'
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1
Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (December 1, 2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.
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Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
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Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (November 2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
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The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
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FINCH, LAURA. "The Un-real Deal: Financial Fiction, Fictional Finance, and the Financial Crisis." Journal of American Studies 49, no. 4 (October 20, 2015): 731–53. http://dx.doi.org/10.1017/s0021875815001693.
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The credit crisis of 2007–8 prompted a Manichean discourse that labeled finance the flighty and unreal other of the solidity of the real economy. Almost overnight the “speculative finance” shifted from a descriptive term to an evaluative one, with freewheeling finance singled out as the main cause of the crisis. The fictionality of finance is, of course, a fiction itself. Not only is finance a part of the real economy but since the 1970s it has played an increasingly significant part in it. This essay aligns with recent work in critical finance studies that puts pressure on the idea that finance can be separated from the real economy. Supplementing the world-historical scale at which this work often remains, this essay theorizes the real abstraction of finance through its lived social experience. The year 1973 was replete with financial events: the end of the Bretton Woods agreement and the gold standard, the Middle East oil crisis, the creation of the Chicago options exchange, and the invention of the Black–Scholes equation governing derivatives. It also saw the birth of the financial thriller with Paul Erdman’sThe Billion Dollar Sure Thing. Seizing upon a formulaic genre and opening it up to a flood of real events from the trading floor, the financial thriller acts as a dynamic interface and sensitive seismograph for theorizing the fictionality of finance. This essay opens with a reading of Bret Easton Ellis’sAmerican Psycho(1991) as an example of a work that renders real abstraction in an explicitly social way. Rather than viewing the novel as a hyperbolically postmodern reflection of abstract financial maneuvers, I argue that it is thickly embedded within the historically specific financial cityscape of 1980s Manhattan. I then turn to a comparative reading of recent financial thrillers written in response to the twenty-first-century credit collapse. Unlike Ellis’s novel, these thrillers strive to keep the unreality of finance segregated from the real economy at the level of plot, while also making use of generic strategies to do so at the level of form, pushing financial data into footnotes, descriptive asides, and a different tonal register of narrative. By reading these thrillers alongsideAmerican Psycho, a book written before the shock of terminal economic crisis, I offer a more historically nuanced reading of their attempts to salvage a workable economy out of the mess of the twenty-first-century American economy.
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Martynuska, Małgorzata. "Karin Slaughter’s Crime Novel "Blindsighted" as a Southern Forensic Thriller." Tematy i Konteksty 18, no. 13 (December 28, 2023): 412–26. http://dx.doi.org/10.15584/tik.2023.26.
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The forensic thriller has emerged as a significant subgenre of crime fiction that depicts the work of medical examiners, coroners, forensic pathologists, and anthropologists who analyze scientific evidence. Forensic investigators do not engage directly in pursuing the criminal; instead, they interpret the physical evidence collected from the victim's body and the crime scene. The popularity of forensic fiction, film, and TV series has created the general assumption that criminalistics has become a routine police procedure. This article presents Karin Slaughter's novel Blindsighted as an example of the Southern forensic thriller. The American writer Karin Slaughter is the author of crime stories and thrillers set in the American South. Her Grant County series consists of six crime novels, beginning with Blindsighted and followed by Kisscut, A Faint Cold Fear, Indelible, Faithless, and Beyond Reach. The essay introduces the main qualities of a forensic thriller and highlights the novel's generic characteristics. Then, Blindsighted is analyzed within the paradigm of Southern regional literature, with its distinctive qualities and religious imagery.
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Czyżak, Agnieszka. "Polska literatura najnowsza i Holokaust – edukacyjny potencjał fikcji?" Narracje o Zagładzie, no. 6 (November 23, 2020): 372–88. http://dx.doi.org/10.31261/noz.2020.06.21.
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The article contains considerations regarding memory of the Holocaust in Polish contemporary prose and analyses the arguments for and against fictitious representations of theShoah. The author discusses the changes in treating fiction which narrates the history of Jewish people during the Second World War – from works of fiction published after the war (e.g. Wielki Tydzień by Jerzy Andrzejewski) to popular thrillers written in the 21st century. The main part of this article is devoted to a novel Tworki written by Marek Bieńczyk in 1999, telling a story of young people – Poles and Jews – employed in a mental hospital during German occupation. The novel was at the centre stage of discussion about relationship between fiction and the Shoah theme, yet the author of the article argues that it may serve as an important stepping stone in exemplifying history. This literary vision of the Holocaust (defined as “pastoral thriller”) shows educational possibilities of fiction.
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Charpy, Jean-Pierre. "Medical Thrillers: Doctored Fiction for Future Doctors?" Journal of Medical Humanities 35, no. 4 (October 9, 2014): 423–34. http://dx.doi.org/10.1007/s10912-014-9305-5.
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Henderson, Heike. "Mapping the Future? Contemporary German-Language Techno Thrillers." Crime Fiction Studies 1, no. 1 (March 2020): 96–113. http://dx.doi.org/10.3366/cfs.2020.0009.
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Contemporary German-language techno thrillers by Tom Hillenbrand and Marc Elsberg invite readers to imagine a future marked by constant surveillance and predictive technology. New models of data mining and risk assessment are being used to inform decisions and trigger actions, but due to their complete reliance on digital data, they are open to being hacked and gamed. Lack of privacy, an elimination of boundaries between actual reality and the virtual world, and a blurring of the distinction between fact and fiction impacts both crime and detection; it has ramifications on the way we will solve crimes as well as on the types of crime that will be committed. Techno thrillers are uniquely positioned to explore moral grey areas in a security landscape affected by widespread globalisation and neoliberal privatisation, and to map possible developments in imaginative ways. They are today's globalised genre par excellence. These thrillers, that for linguistic reasons have escaped consideration in crime fiction scholarship, reflect and respond to crucial discussions about security, (virtual) reality, and artificial intelligence that are of utmost concern in our rapidly changing world.
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Prykhodchenko, O. O. "EMOTIONALITY IN THRILLERS." Writings in Romance-Germanic Philology, no. 2(49) (January 16, 2023): 130–44. http://dx.doi.org/10.18524/2307-4604.2022.2(49).268206.
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The article is dedicated to the studying of emotions and emotional states of thrillers’ heroes. Emotions play one of the main roles in the life of every person; show the inner state, emotional experiences, attitude towards the surrounding and other things. Negative emotions, in their turn, help to go through the horrific moments in life, as far as they are the reflection of everything unknown and uncertain, what the person can encounter during the lifetime. The most profound and vivid representations of the emotional sphere of obscure and strange are given in works of fiction. Namely in thrillers the atmosphere of unknown and incomprehensible is represented fully and thoroughly, because the main aim of these novels is to surprise the reader, to cause negative and terrific feelings. The purpose of this thesis is to denote means of creation of terrific and obscure atmosphere in thrillers. Based on the analysis it was determined that the main means of the achieving the goal, which lies in the intimidation of the reader and the unexpected ending of the novel, are different stylistic means and devices, such as epithet, metaphor, antithesis, personification. They intensify the effect of the reading of the novel, present the bright picture in the reader’s imagination. The general atmosphere also plays an important role in the establishing of the necessary emotional state. Its creation is accomplished with the help of the general terrific images, descriptions of the outer world, constant remindings about the battle between good and evil, light and darkness. The triumph of the light is always determined in the semantics of lexemes with positive meaning, with the help of which the hope for the better future is represented. It was identified that the main means of creation of the general horrifying emotional state in thrillers are antithesis and personifications, which give life to the scary and dreadful notions, make them active participants of the general picture of the novel.
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Eburne, Jonathan P. "The Transatlantic Mysteries of Paris: Chester Himes, Surrealism, and the Série noire." PMLA/Publications of the Modern Language Association of America 120, no. 3 (May 2005): 806–21. http://dx.doi.org/10.1632/003081205x63877.
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This essay examines Chester Himes's transformation, in 1957, from a writer of African American social protest fiction into a “French” writer of Harlem crime thrillers. Instead of representing the exhaustion of his political commitment, Himes's transformation from a “serious” writer of didactic fiction into an exiled crime novelist represents a radical change in political and literary tactics. In dialogue with the editor and former surrealist Marcel Duhamel, Himes's crime fiction, beginning with La reine des pommes (now A Rage in Harlem), invents a darkly comic fictional universe that shares an affinity with the surrealist notion of black humor in its vehement denial of epistemological and ethical certainty. Rejecting the efforts of Richard Wright and the existentialists to adopt an engaged form of political writing, Himes's crime fiction instead forges a kind of vernacular surrealism, one independent of the surrealist movement but nevertheless sharing surrealism's insistence on the volatility of written and political expression.
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Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Actiоn movies and fiction (Part II)." Post-Soviet Issues 10, no. 3 (November 24, 2023): 290–309. http://dx.doi.org/10.24975/2313-8920-2023-10-3-290-309.
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The article examines Arctic thrillers, action films and fantasy films. Presented kaleidoscope of horror, drama, thriller, science fiction and action films, with all its plot differences, is united by almost a single location, the Arctic north. Against his background, all maginable and unimaginable events occur. It enhances or weakens the role of what is happening with its whiteness, making the viewer’s screen even whiter. This is an artistic space in which characters are placed and actions, are performed. The silence of the Arctic is its action. The films reviewed are extremely different, responding to the spirit of the time when they were filmed. Their placement about genres is conditional since they all have a cinematic hybridity. Each tape combines all kinds of genres under consideration. We tried to correlate a number of films with temporary political-social processes.
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Nair A S, Aswathy, and LaxmiDhar Dwivedi. "Modern Horror Thrillers: A Traumatic and Linguistic Study of the Movies The Little Stranger and The Boy." World Journal of English Language 13, no. 8 (September 4, 2023): 76. http://dx.doi.org/10.5430/wjel.v13n8p76.
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Emerging as an exhilarating genre in the current film industry, horror thrillers are a new genre alongside science fiction. These genre forms captivate the audience because they offer a brief but exhilarating break from daily life and serve as an escape from reality. In these films, William Brent Bell and Lenny Abrahamson, directors of The Boy and The Little Stranger, respectively, demonstrated the modern horror thriller technique. This research intends to demonstrate how splendidly traumatic events are utilised in contemporary films, along with the ideal discourse change in those people who are suffering from mental trauma, which has inspired the current interest in horror thrillers. This study was based on two perspectives: the first was the destructive power of trauma and its impact on one’s language, which can ruin or bring about disaster in one's life, and the second was how the film industry makes use of this trauma for the commercial success of horror films. In both of these films, horror is portrayed through unusual settings and occurrences. Through discourse analysis and descriptive methods, this study can conclude with the idea that conventional belief in spirits and other supernatural beings was irreparably damaged in today’s films. These films may be compelled to depict the reality that each individual's suffering induces fear, resulting in the emergence of fantastical, eerie concepts and a change in their language.
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Zonn, I. S. "Arctic cinema: from horror through dramas and thrillers To Action movies and fiction (Part I)." Post-Soviet Issues 10, no. 2 (September 5, 2023): 185–210. http://dx.doi.org/10.24975/2313-8920-2023-10-2-185-210.
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The article considers a number of genres of Arctic films in the world cinema. Among them, some of the most common are horror films (horror), thrillers (part I), dramas, science fiction and action films (part II). The socio-political climate of the times determined the evolution of genres and influenced their semantic content and structure. Their formation and production flow has a calendar milestone. In the second half of the twentieth century, after the end of the Great Patriotic War, a cold war began between two blocs of states with different socio-economic systems led by the USSR and the USA. It was she who strengthened the militaristic role of the Arctic not only in the military-industrial sphere, but also in the cinematographic one. Hollywood, as part of the political and ideological machine of the United States, immediately responded with its films. The screen was politicized in the general range of Cold War sentiments. Conducting atomic tests, the appearance of the atomic bomb in the USA in 1945 and in the USSR in 1949, “flying saucers” from space, noted in 1947, brought to life horror films, science fiction and drama. The heroes of the films were monsters that descended to earth from outer space or rose from the depths of the ocean, all kinds of mechanical and biological monsters awakened by nuclear tests. In parallel, western cinema constructed models of anti-Soviet orientation. The purpose of the films was to amuse and captivate the viewer into an illusory world and at the same time, to shock, amaze, terrify and excite him with scientific or pseudoscientific fiction. This goal remains the main one for most fantastic horror and thrillers. Some of them preached violence, cruelty, conflict, degradation of the human personality. Aggressiveness, programmed in the person himself, is increasingly, manifested in Arctic thrillers and action film.
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Connolly, Andrew. "Masculinity, Political Action, and Spiritual Warfare in the Fictional Ministry of Frank E. Peretti." Christianity & Literature 69, no. 1 (March 2020): 53–72. http://dx.doi.org/10.1353/chy.2020.0003.
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Abstract: Like many evangelical authors, Frank E. Peretti claims that his writing is a ministry. While critics and reviewers have noted the way he popularized supernatural thrillers in the evangelical market and enjoyed unprecedented financial success for an evangelical author, they fail to recognize that the specific kind of ministry that Peretti engages in through fiction is new in three key ways: it is masculine, it is political, and it is sectarian. As a result, this paper argues that Peretti is responsible for changing the relationship between fiction authors and their audience within the evangelical market.
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Ross, Cheri Louise. "Louisa May Alcott's (Con)Temporary Periodical Fiction: The Thrillers Live On." Journal of Popular Culture 38, no. 5 (August 2005): 911–23. http://dx.doi.org/10.1111/j.0022-3840.2005.00147.x.
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Bydder, Jillene. "Fact and Fiction in English-Language Thrillers with Russian Characters: The 1930s." Library History 24, no. 4 (December 2008): 253–61. http://dx.doi.org/10.1179/174581608x381549.
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Ihidero, Victor Osae. "Terror thrillers and tradition: a postcolonial reading of selected African cinema." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (April 15, 2020): 153–68. http://dx.doi.org/10.4314/ejotmas.v7i1-2.10.
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Nigeria, Kenya and Somalia are few of the countries in Africa faced with terrorism and militancy. The rise and expansion of terrorist groups such as Al-Shabaab, Boko Haram, the Niger-Delta Volunteer Force, the Islamic State West Africa Province (ISWAP) and recently, the Avengers, has risen to vent terror on the peoples of Nigeria, Kenya and Somalia. Whilst each of these countries has its own distinct challenges that led to the formation of such terrorist groups, the emergence of terrorism in Nigeria remains complex. One of the ways an explicit explanation has been given to these complexes in Nigeria is through thriller fiction. Nollywood as well as other film industries in Africa has produced several thriller fictions that attempt to explicate the reasons behind militancy and terrorism in Africa. October 1 and Eye in the Sky are two examples of African cinema that have attempted to film the recent rise of terrorism in Nigeria and Kenya. Within the lens of October 1, terrorism in Nigeria, and by extension Africa, is rooted on ethnic and religious divide fuelled by external contact with other cultures; in this case, the culture of imperial England. This study, using the premise of postcolonial reading, examined Kunle Afolayan's award winning terror thriller, October 1 and attempted to bring out the powercultural interplay that bred terrorism in Nigeria. The study found out that the ideology of Boko Haram ("Western education is a sin") terrorist group, as bad as it seems, is a postcolonial stance against [neo]colonialism. However, the ideology lost its steam because it failed to reassert the Nigerian humanity or show any humanist tendencies to reclaiming the African glorious past.
Keywords: Terror thriller, Traditionality, African cinema, Postcoloniality, Terrorism
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Avanzas Álvarez, Elena. "Form and Diversity in American Crime Fiction:The Southern Forensic Thriller." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 309–19. http://dx.doi.org/10.7311/pjas.13/2/2019.11.
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The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too. Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.
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Frenkel, Ronit. "Pleasure as genre: popular fiction, South African chick-lit and Nthikeng Mohlele's Pleasure." Feminist Theory 20, no. 2 (February 21, 2019): 171–84. http://dx.doi.org/10.1177/1464700119831537.
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The success of popular women's fiction requires a mode of analysis that is able to reveal the patterns across this category in order to better understand the appeal of these books. Popular fiction, like chick-lit, can be contradictorily framed as simultaneously constituting one, as well as many genres, if a genre is the codification of discursive properties. It may consist of romances, thrillers, romantic suspense and so forth in terms of its discursive properties, but popular women's fiction will also have a pattern of similarity that cuts across these forms – that similarity, I will suggest, lies in the idea of pleasure as a genre of affect that ties various popular fictions together, thereby acting as a type of imperial genre. Pleasure is so ubiquitous and so diverse across the multiple forms that constitute popular women's fiction that I argue it has become a genre in itself. This is, however, not a genre that limits itself to one particular stylistic form, but rather, as a dynamic social construct, it has become a genre of affect that invokes feelings of pleasure. Nthikeng Mohlele's most recent novel, Pleasure, exemplifies the applicability and plasticity of the concept of pleasure, allowing me to examine this work as a type of fictionalised theory which I then apply to South African chick-lit texts: the Trinity series by Fiona Snyckers and Happiness Is a Four-Letter Word by Cynthia Jele. Mohiele's expansive theorisation of pleasure is inherently local in that it is depicted at the level of experience and imagination; yet it is simultaneously macro and global in the connections made to deeply political circuits of identity-based oppressions and structural inequalities. Mohlele reveals the mobility of pleasure as a genre that offers an opportunity to think through the circuits that connect popular fiction through the lens of African literature.
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Möldre, Aile. "Serijinės literatūros vertimai Estijos laikraščiuose XX a. pradžioje (1900–1940 m.)." Knygotyra 82 (July 16, 2024): 115–42. http://dx.doi.org/10.15388/knygotyra.2024.82.5.
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The paper explores the serialised novels and stories in the two leading Estonian daily newspapers, Päewaleht and Postimees, the majority of which were translations. The approach, combining book and translation history, is driven by the two issues debated in the media in 1900–1940: the desire to distance from the dominant German and Russian cultural influences and search for a new orientation; the categories of literature serialised in newspapers including the proportion of popular literature (genres like mystery, thrillers, romance, etc.) and the concern of intellectuals about its growth. The study uses the years 1906–1911 and 1928–1933 as a sample for content analysis of the feuilleton sections of the two newspapers in order to examine the changes in source literatures and the category of literature. The results demonstrate that German literature still dominated the serialised fiction translations at the beginning of the century, although many other literatures were used as sources. In the independent Republic of Estonia, in the 1920s and 1930s, Anglo-American literature occupied the leading position in accordance with the general cultural orientation. Still, German had not become marginal, and the range of other source literatures was quite diverse. The proportion of popular literature, mystery novels, and romance above all, started to increase in Päewaleht since 1906, becoming dominant in the 1920s and 1930s. Postimees also started to include some mystery and thriller novels in the selection, but in general, remained true to its preference for literary fiction. Thus, the agency of the Editors-in-Chief and editorial boards can be seen in the choice of works. The overall abundance of translated popular fiction in the book market and periodicals caused the protests of writers and educational circles that culminated with the suggestion to introduce a translation tax, which was, however, abandoned.
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Saunders, Robert A. "Landscape, Geopolitics, and National Identity in the Norwegian Thrillers Occupied and Nobel." Nordicom Review 41, s1 (September 10, 2020): 63–83. http://dx.doi.org/10.2478/nor-2020-0006.
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AbstractFocusing on the use of landscape in the Norwegian series Occupied (2015–2020) and Nobel (2016), this article examines the ways in which cityscapes and panoramas of the natural environment are employed as affective, as well as aesthetic tools for storytelling within a geopolitically inflected framework. Drawing on literature from popular geopolitics, geocriticism, and visual politics, my analysis interrogates the ways in which geopolitical codes and visions manifest via televisual fiction, reflecting a variety of insecurities associated with Norway's current position in world affairs, as well as contemporary challenges to Norwegian national identity. This article also discusses how these two series have adapted key geovisual elements of the what I deem the “near Nordic Noir” style to focus more explicitly on geopolitical questions, linking Occupied and Nobel to other geopolitically inflected series from Nordic Europe.
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Abdulridha, Sabrina Abdulkadhom, and Amany Abdulkadhom Abdulridha. "Symbolic Artistry in Dan Brown’s Angels and Demons." JOURNAL OF LANGUAGE STUDIES 4, no. 2 (December 27, 2023): 8–17. http://dx.doi.org/10.25130/jls.4.2.2.
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In a quest of exploring his potentials and developing his personal interests, the young Dan Brown decided to direct his sails toward the world of fiction. After penning several literary pieces, such as Digital Fortress (1998), Angels and Demons (2000) and Deception Point (2001), he succeeded in publishing his groundbreaking thriller The Da Vinci Code in 2003, which quickly captured the eye of many readers around the world. Whether admirers or critics of this famous literary piece, over two hundred million copies were sold out globally for its “twisty adrenaline-fueled yet cerebral” plot (Alter, 2020). He owns a book collection of five thrillers that are labelled as ‘The Robert Langdon Series.’ The first book of this collection is Angels and Demons. It follows up the journey of a Harvard professor named Robert Langdon, who is summoned to unlock the mystery of four missing cardinals who disappeared just before the election of a new Pope in Vatican City was about to take place. With the help of Vittoria Vetra, the daughter of the anti-matter scientist Leonardo Vetra at CERN, Langdon attempts to save their lives. It requires the encryption of symbols and other forms of art to successfully reach the final whereabouts of the cardinals. Their search also implicitly reveals that there is more to
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Novaković, Nikola. "To Laugh or to Cry? Ambiguity and Humour in Jason's Graphic Novels." Libri et liberi 11, no. 1 (September 23, 2022): 51–78. http://dx.doi.org/10.21066/carcl.libri.11.1.3.
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The paper offers a reading of Jason’s use of sparsity, seriousness, and reduction as a concealment of a technique that is based on multifaceted ambiguity involving the blending of genres, a playfully intertextual attitude, and surprising emotional depth of character and story. It discusses the connection between humour and visual, textual, and structural ambiguity in Jason’s works, as well as ambivalence in the reader’s response, illustrates Jason’s combination of incongruous genres and simultaneous employment of motifs from children’s literature and various genre movies (such as science fiction, crime thrillers, heist movies, and horrors), and explores Jason’s technique of subverting expectations of comic relief by withholding certain structural parts of a joke (typically a punchline) or inserting an unexpected element (such as psychological depth).
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Otto, Eric C. "“From a certain angle”: Ecothriller Reading and Science Fiction Reading The Swarm and The Rapture." Ecozon@: European Journal of Literature, Culture and Environment 3, no. 2 (October 6, 2012): 106–21. http://dx.doi.org/10.37536/ecozona.2012.3.2.475.
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Read as apocalyptic ecothrillers, Frank Schätzing’s The Swarm and Liz Jensen’s The Rapture do not offer much in the way of critical reflection on the ecocatastrophes they stage. The Swarm’s focus on the feat of confronting the violent efforts of a superintelligent, deep-sea species to protect its ocean habitat against continued human exploitation and The Rapture’s focus on the feat of locating on time the psychically-predicted disaster zone of an impending undersea calamity overshadow their more than occasional spotlighting of, for example, the dangers of methane hydrate mining. Science fiction, however, requires readers to be attentive to those narrative moments when incongruities between the known world and the extrapolated world of the text emerge with critical, not just plot-supporting, purpose. Fundamental to the reading and interpretation of science fiction is the reader’s awareness of the genre’s extrapolative practice, which connects the now with the imagined then and therefore instigates critical thinking about present human practices. Read as extrapolative science fiction, The Swarm and The Rapture gain merit as ecopolitical works, for “science fiction reading” mobilizes the latent ecopolitics of ecothrillers, ecopolitics that “ecothriller reading” would otherwise diminish or fail to notice. Resumen Considerados ecothrillers apocalípticos, The Swarm de Frank Schätzing y The Rapture de Liz Jensen no ofrecen mucha reflexión crítica sobre las eco-catástrofes que presentan. The Swarm se centra en los violentos esfuerzos de una especie superinteligente que habita las profundidades para proteger su hábitat marino frente a la continua explotación humana. Por su parte, al centrarse The Rapture en la hazaña de ubicar en el tiempo la zona catastrófica de un desastre submarino inminente que ha sido predicho psicológicamente, se eclipsan las más que ocasionales referencias a, por ejemplo, los peligros de la minería de hidrato de metano. La ciencia ficción, sin embargo, requiere que los lectores estén atentos a esos momentos narrativos en los que las incongruencias entre el mundo conocido y el mundo extrapolado del texto surjan con objetivo crítico, y no sólo para respaldar el argumento. Es fundamental para la lectura y la interpretación de la ciencia ficción la conciencia por parte del lector de la práctica extrapolativa del género, que conecta el ahora con el entonces imaginado, incitando así a reflexionar críticamente sobre el comportamiento humano en la actualidad. Considerados ciencia ficción extrapolativa, The Swarm y The Rapture ganan mérito como obras eco-políticas, porque "la lectura de ciencia ficción" moviliza la eco-política latente de los eco-thrillers – eco-política que en "la lectura de eco-thrillers" de otra forma pasaría desapercibida.
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Jacobs, Andrew S. ""This Piece of Parchment Will Shake the World": The Mystery of Mar Saba and the Evangelical Prototype of a Secular Fiction Genre." Christianity & Literature 69, no. 1 (March 2020): 91–106. http://dx.doi.org/10.1353/chy.2020.0005.
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Abstract: The 1940 evangelical novel The Mystery of Mar Saba by James H. Hunter shares with a later, secular genre of novels I call gospel thrillers a common plot (the discovery of a new gospel from the first century and a race to prove or disprove its authenticity) but also common anxieties about biblical authority mapped onto geopolitical, theological, and personal registers. I triangulate these themes with the modern professional study of the Bible, which has also produced a vulnerable yet authoritative biblical text and which has, in surprising fashion, resurrected for its own purposes The Mystery of Mar Saba .
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Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.
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The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.
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Spychala, Mareike. "Nostalgia, Masculinity, and Real Person Fiction: The Obama Biden and Bernie Sanders Mysteries." Crime Fiction Studies 5, no. 1 (March 2024): 98–111. http://dx.doi.org/10.3366/cfs.2024.0113.
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Published in 2018, 2019, and 2022 respectively, Hope Never Dies and Hope Rides Again, subtitled An Obama Biden Mystery, and Feel the Bern: A Bernie Sanders Mystery by Andrew Shaffer offer crime stories that feature the former President and Vice-President and, analogously, Senator Bernie Sanders as amateur investigators. Described as ‘[e]vocative of noir thrillers and bromantic buddy-cop movies’ on Penguin Random House’s website, the novels rest on a premise that, this paper argues, is carried not only by a liberal nostalgia for the Obama presidency and, in the case of Feel the Bern, small town life, but also by certain stereotypes about gender and race (‘Obama Biden Mysteries Series’). Thus, this paper asks how nostalgia, masculinity, and especially a certain kind of liberal white masculinity, and race interact with the depiction of crime in this series. Furthermore, it traces how all of these aspects are influenced by and contingent on the conventions of the (sub-)genre of real person fiction.
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Kulikova, A. A. "Chinese Female Writer Zhang Yueran and Fictional Features of Her Prose." Vestnik NSU. Series: History and Philology 23, no. 4 (May 6, 2024): 32–42. http://dx.doi.org/10.25205/1818-7919-2024-23-4-32-42.
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In this paper, the author analyzes the fiction of contemporary Chinese female writer Zhang Yueran (b. 1982). As a radiant and influential representative of the post-1980s generation in contemporary Chinese literature, Zhang Yueran is considered to be one of most talented and strong young writers. Post-1980s Chinese writers are known by depiction of young people’s lives in big cities with elements of magical realism, however, unlike the most Post-1980s Chinese writers, Zhang Yueran focuses more on the characters’ subjectivity and their pursuit of love (parental and romantic). Her complex characters thrive for love and happiness, but also suffer from loneliness and lack of parental attention. Zhang Yueran’s writing is visceral and almost poetic in its use of metaphor. The development of Zhang Yueran’s prose can be divided two key periods. Her early works are aesthetic psychological thrillers about unhealthy love, inspired by classical fairytales that end with a character’s death and self-destruction: while the language is beautiful and almost poetic, but there is a lack of narrative depth. In her second era, Zhang Yueran returns to realism and successfully combines style and deep narrative by contrasting scenes of cruelty and mercy. At the moment her latest novel “Cocoon” embodies all significant fictional features from the perspective of both style and narrative.
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Boot, Peter, and Marijn Koolen. "Captivating, splendid or instructive?" Scientific Study of Literature 10, no. 1 (December 9, 2020): 66–93. http://dx.doi.org/10.1075/ssol.20003.boo.
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Abstract What is the impact of reading fiction? We analyze online Dutch book reviews to detect overall affective impact, narrative feelings, response to style and reflection. We create a set of rules that analyze the reviews and detect the impact aspects. We evaluate the detection by asking raters about the presence of these aspects in reviews and comparing these ratings to our detection. Interrater agreements are weak to moderate; however, there is a significant correlation between the model’s predictions for all impact aspects except reflection. The detected impact correlates with book genres in the way one would expect: Narrative feelings are highest for thrillers, and stylistic response is highest for literary books. We can thus estimate some aspects of the response books evoke in readers. Initial results suggest that the appreciation of style is linked to reflection in the reader. However, the concepts underlying the impact categories need further exploration.
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Edwards, Makayla. "Taking the "Psycho" out of "Psycho-Killer"." Digital Literature Review 10, no. 1 (April 18, 2023): 37–49. http://dx.doi.org/10.33043/dlr.10.1.37-49.
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“Psycho”, “maniac”, and “madman” are all words that are found to be synonymous with serial killers and criminal activity. For decades, the media has perpetuated an extremely harmful image that those suffering from mental illness are violent and dangerous. These portrayals can be found across mediums from fictional books and movies to docuseries and podcasts. In the realm of fiction, specifically, some of the most harmful depictions can be found in horror films. These films tend to paint their villains to be caricatures of various psychiatric disorders including schizophrenia, bipolar disorder, dissociative identity disorder (formerly known as multiple personality disorder), and narcissistic personality disorder. These misrepresentations are not only grossly exaggerated but also highly inaccurate. In this piece, I will explore and expose the negative distortions of mental illness in various horror films. The scope will focus on two of the most influential psychological thrillers in the industry: Psycho and The Shining. These films each depict an antagonist who displays exaggerated traits indicative of mental illness. By deconstructing and comparing these traits with modern research on the mental illnesses they are meant to represent, I will expose the inaccuracies of these portrayals. Furthermore, I will outline the lasting impacts of these inaccuracies on both the public perceptions of mental illness, as well as help-seeking among individuals suffering from psychological disorders. Even if the characters in these popular films are fictional, the stigma they direct toward mental illness is very real and must be addressed.
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Morales-Ladrón, Marisol. "“Troubling” Thrillers: Between Politics and Popular Fiction in the novels of Benedict Kiely, Brian Moore and Colin Bateman." Estudios Irlandeses, no. 1 (March 15, 2006): 58–66. http://dx.doi.org/10.24162/ei2006-1340.
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Latham, Monica. "Thieving Facts and Reconstructing Katherine Mansfield’s Life in Janice Kulyk Keefer’s Thieves." European Journal of Life Writing 3 (October 14, 2014): 103–20. http://dx.doi.org/10.5463/ejlw.3.83.
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The aim of this article is to examine how the biographical material that Janice Kulyk Keefer “steals” from Mansfield’s life is used to re-create a “quasi-real” life in a novel which absorbs reality, digests it, and offers an oxymoronic, semi-fictitious product: a biofiction. Keefer selected biographèmes or kernels of truth on which her fictitious details and characters could be grafted: following Mansfield’s physical, emotional and intellectual trail was an imperative part of Keefer’s research plan, as essential as close reading of the modernist author’s letters and journals. Besides seamlessly fusing reality and fiction, historical and imaginative truths, these hybrid products bring together the characteristics of literary and genre fiction. The article also focuses on the generic aspect of Thieves, which “sells” a scholarly literary background by using a commercial format that borrows features from popular genres such as love stories, thrillers, mystery and detective novels. The result is a multi-layered story endowed with great narrative virtuosity and variety, with leaps in time and space and with parallel stories that finally intersect. The article ultimately concludes with more general considerations on how such biofictions recreating the myth of iconic figures have proved to be a flourishing literary genre on the current book market. This article was submitted to the EJLW on 28 November 2013 and published on 14 October 2014.
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Dozio, Cristina. "Video as a Canonization Channel for Contemporary Arabic Fiction." Journal of Arabic and Islamic Studies 20 (March 22, 2021): 105–24. http://dx.doi.org/10.5617/jais.8710.
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With the media transition from the paper to the digital, Arab writers’ interaction on the social media and book-related videos have become a central strategy of promotion. Besides book trailers produced by the publishers and the readers, the international literary prizes produce their own videos. One of the most important examples is the International Prize for Arabic Fiction (IPAF) which releases videos with English subtitles for the shortlisted authors every year. Moreover, some writers and journalists have started TV programs or YouTube channels recommending books and interviewing their fellow authors. Engaging with literary history, politics of translation, and media studies, this paper discusses the contribution of videos to the contemporary Arabic novel’s canonization: how do the videos make the canon and its mechanisms visible? Which image of the intellectual do they shape globally and locally? Which linguistic varieties do they adopt?
This paper compares two kinds of videos to encompass the global and local scale, with their respective canonizing institutions and mechanisms. On the one hand, it examines how IPAF videos (2012-2019) promote a very recent canon of novels on the global scale through the representation of space, language, and the Arab intellectual. On the other hand, it looks at two book-related TV programs by the Egyptian writers Bilāl Faḍl and ʿUmar Ṭāhir, selecting three episodes (Faḍl 2011, Faḍl 2018, and Ṭāhir 2018) featuring or devoted to Aḥmad Khālid Tawfīq (1962-2018), a successful author of science-fiction and thrillers. Debating non-canonical writings, these TV programs contribute to redefine the national canon focusing on the reading practices and literary criticism.
Keywords: Canon building, contemporary Arabic literature, literary prizes, IPAF, TV programs, Aḥmad Khālid Tawfīq
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Hafner, John H. "The Middle East in Crime Fiction: Mysteries, Spy Novels, and Thrillers From 1916 to the 1980s: Reeva S. Simon." Digest of Middle East Studies 1, no. 3 (July 1992): 73–76. http://dx.doi.org/10.1111/j.1949-3606.1992.tb00378.x.
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Čeh Steger, Jožica. "Roman o podnebnih spremembah med znanstveno fantastiko in realnimi izkušnjami." Jezik in slovstvo 69, no. 1-2 (April 4, 2024): 151–63. http://dx.doi.org/10.4312/jis.69.1-2.151-163.
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Literary science, like other sciences, has since the 1990s been intensively responding to anthropogenic climate change in an environmental and socio-cultural context. Climate issues have in literature been narrated in an aesthetic manner, appealing to the reader through stories, stirring emotions in the reader, inviting the reader to reflect on certain values and to behave in an environmentally friendly manner. The present study focuses on a novel about climate change, which in the framework of the environmental genre occupies a space of much importance and which in the 1990s initially gained popularity in the Anglo-American linguistic context. Its structure includes elements of other genres, especially those of science fiction and thrillers. Recently, however, it has distanced itself from fantastic scenarios, moving towards realistic encounters with climate change that can be classified as environmental risk narratives, as illustrated by the example of the novel Zgodovina čebel (The History of Bees) by the Norwegian author Maja Lunde. Climate change is also presented in the novels Na Klancu by Tina Vrščaj and Primerljivi hektarji by Nataša Kramberger.
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Żyto, Kamila. "Detours of absurdity: Coen brothers’ Fargo in the noir melting pot of genre patterns." Literatura i Kultura Popularna 24 (April 18, 2019): 39–54. http://dx.doi.org/10.19195/0867-7441.24.4.
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Detours of absurdity: Coen brothers’ Fargoin the noir melting pot of genre patternsThe idea of film noir, especially neo-noir, viewed as a stable and clear genre has as many supporters as detractors. The controversy is nothing new, and a compromise is still elusive. The reason for such an impasse is not merely the intransigent stance of opponents, the strength of their arguments, but is also a result of the hybridization of genres in main stream cinema and elsewhere. I discuss the problem presented by film noir in the context of the question of generic identity on the example of the Coen brothers’ Oscar-winning Fargo. The movie is an interesting case study as it does not make use of any of the genres typical for film noir in its unadulterated form i.e. genres associated with film noir in its classical era. In Fargo, Joel and Ethan Coen skillfully combine elements of the detective story though not necessarily associated with hard-boiled fiction with crime shows, gangster movie with thrillers about psychopaths, comedy with tragedy and family drama with melodrama of mischance. The result remains the same — the world of Fargo stays noir, dark and pessimistic and permeated with the absurd.
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Golovacheva, Irina V. "American Double / American Psycho and the Writer’s Block." Literature of the Americas, no. 16 (2024): 147–68. http://dx.doi.org/10.22455/2541-7894-2024-16-147-168.
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The article focuses on American fiction and detective thrillers where the writer and his double feature as central characters. Such a combination has not previously received special attention. The divided mind provides a wide range of possibilities for fascination and exploring the fundamental fears of fragmentation and potential destruction of the Self. In Stephen King’s novella “Secret Window, Secret Garden” (1990), crime, duplicity, madness and dissociative amnesia are integrated into the story of the writer's block. The present article, among other things, analyzes the adaptation of the novella — David Koepp’s Secret Window, 2004. Besides, it highlights the changes that the script underwent. Koepp came up with his own ending that was radically different from the Epilogue of King's story. Alongside with madness proper, King's horror and Koepp's film deconstruct the writer’s block as the result of unresolved traumas and the cause of a whole bunch of pathologies, as well as the fear of breakdown. The novella and its screen version are, in fact, phenomenological studies of mental disorders. A close comparative analysis shows that the film offers a rare example of the superiority of adaptation over the original. A particular attention in the article is paid to the imagery of ears of corn in the film, functioning both as a cannibalistic grotesque and as a visual metaphor of success.
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Bataeva, Ekaterina, Iryna Sierykova, and Yelyzaveta Streltsyna. "Practices of Ukrainian high school students in reading fiction in the society of electronic mass media." Sociology: Theory, Methods, Marketing, no. 1 (March 2024): 170–86. http://dx.doi.org/10.15407/sociology2024.01.170.
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The article reveals the peculiarities of reading practices of Ukrainian high school students in comparison with the practices of using visual electronic media, and also finds out whether there is a correspondence between the genre preferences of high school students and the actual genre content of the school curriculum in Ukrainian and foreign literature. It is noted that, in Western sociology, considerable attention is paid to the study of the process of formation of reading skills in pre-school and school-age children, which significantly affects their overall academic performance. The empirical part of the article is based on the results of a study conducted in September-October 2023 using the method of in-depth semi-structured interviews with ten Ukrainian high school students. It is emphasized that the participants of the study ranked social media or movies in the first place in the rating of genres, while literature was ranked second or third, and video games were more often ranked fourth. It is noted that the attitude of high school students towards literature changes in adolescence; they begin to value reading practices that are not controlled from the outside, but chosen independently for self-improvement. It is emphasized that the favorite literary genres of Ukrainian high school students are science fiction, fantasy, thrillers, detective stories, and romance novels. The results of the content analysis of school textbooks of Ukrainian and foreign literature for 10th and 11th grades revealed the absence of literary works of the genres preferred by high school students. It is concluded that it is necessary to reform school programs of Ukrainian and foreign literature in order to make them more consistent with the literary genre preferences of Ukrainian high school students. The genre attractiveness of the school literature curriculum can become a powerful “pull” factor for students compared to the “push” influence of social networks and electronic media.
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Ben-Ari, Nitsa. "The role and responsibility of the anonymous: The historic function of mass translations." Translation and Interpreting Studies 1, no. 2 (January 1, 2006): 73–89. http://dx.doi.org/10.1075/tis.1.2.03ben.
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A remarkable phenomenon in Hebrew culture of the 1950s was the emergence of a considerable quantity of translations and pseudo-translations of pulp literature. The phenomenon stemmed from the need of the literary system to renew and stratify itself, supplying the general reading public with popular literature in Hebrew that was neither didactic nor engaged. This "healthy" drive was encountered by conservative efforts of the mainstream, which insisted on maintaining high literary norms. Culture-shapers even sought ways of imposing the "right" kind of popular literature on the working classes, rather than allowing it to develop naturally. But the periphery provided pulp fiction – detective stories, romance, thrillers, and erotica—far more popular than any canonical literature. The number of cheap books, booklets, and serials grew rapidly, reaching a peak in the mid 60s. So did the number of printing presses or small publishing firms that emerged almost daily, as well as the number of writers/translators, at least seemingly so, for the vast number of pseudonyms hid a rather limited group or core of participants. This article explores the function of this massive production: on the one hand, the role of the individual non-canonic translators, mostly hiding under pen-names; on the other, the role of this massive corpus of what was then considered "junk". The possible advantages of anonymity will be discussed, as well as the relationship between this production in the periphery and production in the center.
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Minter, Lobke. "Translation and South African English Literature: van Niekerk and Heyns' Agaat." English Today 29, no. 1 (February 27, 2013): 53–57. http://dx.doi.org/10.1017/s026607841200051x.
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English is in many ways the language that is assumed to be the giant in the South African literary field. The mere mention of South African literature has a different nuance to, let's say, African literature, since African literature has a vast array of national, colonial and post-colonial contexts, whereas South African literature is focused on one nation and one historical context. This difference in context is important when evaluating the use of English in South African Literature. In many ways, the South African literary field has grown, not only in number of contributors, and the diversity represented there, but also in genre or style. South African literature is becoming more fluid, more energetic, and more democratic in all the ways that the word implies. Writers like Lauren Beukes and Lily Herne are writing science fiction worlds where Cape Town is controlled by autocratic fascists or zombie wastelands that stretch from Table Mountain to Ratanga Junction; Deon Meyer writes crime thrillers, and Renesh Lakhan plumbs the depths of what it means to be South African after democracy. In many ways, the entire field of literature has changed in South Africa in the last twenty or so years. But one aspect has remained the same: the expectation, that while anyone who has anything to say at all, creatively, politically or otherwise, can by all means write it in their mother tongue, if the author wants to be read by more than a very specific fraction of society, then they need to embark on the perilous journey that is translation, and above all, translation into English.
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Svoboda, Manuela, and Petra Zagar-Sostaric. "How much Artistic Freedom is permitted when it comes to Language? - Analysis of a Crime Novel." European Journal of Social Science Education and Research 5, no. 2 (August 1, 2018): 50–60. http://dx.doi.org/10.2478/ejser-2018-0033.
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Abstract In this article a closer look will be taken at the issue of inaccurately using a foreign language, i.e. German in this particular case, in a crime novel or thriller. Of course, in fiction the author has complete artistic freedom to invent and present things as he/she intends and it doesn`t necessarily have to be realistic or legitimate. But what happens when it comes to an existing language being quoted in fiction? For this purpose David Thomas’ thriller “Blood Relative - How well do you know the one you love?” is analysed regarding parts in which German quotes are used. As the plot is located partly in England and partly in former East Germany (GDR) and the protagonist’s wife is of German origin, direct speech, titles and names are used in German. Subsequently, they are translated into English by the author in order to be understood by the English reader. However, there are many grammar, spelling and semantic mistakes in these German expressions and common small talk quotes. This begs the question, is it justified to disregard linguistic correctness with regards to artistic freedom given the fact that we are dealing with a fictional thriller, or is it nevertheless necessary to be precise concerning foreign language usage? How far may one “test” their artistic freedom in this particular case? In order to answer these questions a detailed analysis of the thriller is performed, concerning artistic freedom and modern literature/light fiction as well as the German language used in quotes and direct speech.
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Burton, Alan. "‘Jumping on the Bondwagon’: The Spy Cycle in British Cinema in the 1960s." Journal of British Cinema and Television 15, no. 3 (July 2018): 328–56. http://dx.doi.org/10.3366/jbctv.2018.0426.
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The article examines the significant cycle of spy thrillers in British cinema in the 1960s. It argues that the success of the early James Bond pictures, which commenced with Dr. No in 1962, initiated a popular cycle of spy films that lasted through the decade. The interest in fictional intrigue generated by the new-style espionage stories of Len Deighton and John le Carré further fuelled the cycle, and there appeared a number of adaptations of these authors’ novels. The article pays particular attention to the critical reception of the cycle and the two styles of Bond-inspired spy thriller and Deighton/le Carré-inspired espionage drama, carefully considering the mounting reviewer fatigue regarding the overworked spy picture and recounting the decline of the cycle.
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V.I., Nytspol. "ЛЕКСИЧНИЙ АНАЛІЗ ДИСКУРСУ ПЕРСОНАЖА СЕРІЙНОГО ВБИВЦІ В АМЕРИКАНСЬКІЙ ХУДОЖНІЙ ПРОЗІ ХХ СТОЛІТТЯ." South archive (philological sciences), no. 88 (December 16, 2021): 46–52. http://dx.doi.org/10.32999/ksu2663-2691/2021-88-5.
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Lexical analysis has always been a productive way to study discourse through the semiotic nature of the word and its ability to function as a link between language and reality. The purpose of the article is to explore the lexical level of the discourse of a serial killer character in order to reveal their psychological features and prove their authenticity in comparison with the lexicon research of real serial killers. This study is relevant because the number of thrillers with serial killers in American literature is growing every year, but the discourse of these characters is poorly studied and requires more attention from linguists. The article uses such research methods as the method of lexical and semantic analysis of language units to study the features of language nominations; method of semantic fields, for grouping language units according to their thematic affiliation in microfields; associative method for the distribution of language units to the corresponding microfields; structural method for the separation of units, their classification and interpretation.Results. In the process of lexical analysis of the discourse of the serial killers characters, the words of the characters were divided into three main groups: words denoting mental activity, psychological needs, physiological activity and security. These groups were divided into semantic fields in order to facilitate the process of research. The analysis showed that the largest group of words in most discourses (except for two characters) is a group denoting physiological activity and safety, which corresponds to a study of the lexicon of real serial killers conducted by J. Hancock, which shows that the most important for the life of serial killers is biological component. The lexicon of the two characters (Lecturer and Claiborne), which differ from others by the predominance of words denoting mental activity, can be explained by their high educational and professional level, which shows their high IQ, which is also a feature of real serial killers.Thus, we can conclude that the authors were able to portray the characters plausibly through their lexicon.Key words: discourse, lexicon, semantic field, term, character. Лексичний аналіз завжди був продуктивним способом вивчення дискурсу через семіотичну природу слова та його здатність функціонувати як сполучна ланка між мовою та реальністю. Ця стаття має на меті дослідити лексичний рівень дискурсу персонажа серійного вбивці, щоб розкрити його психологічні особливості та довести достовірність та правдоподібність змалювання його образу в порівнянні з дослідженнями лексикону справжніх серійних убивць. Таке дослідження є актуальним, оскільки в американській літературі з кожним роком зростає кількість трилерів, де ключовими фігурами є серійні вбивці, а от дискурс цих персонажів є маловивченим і вимагає більшої уваги лінгвістів.У статті використані такі методи дослідження, як метод лексико-семантичного аналізу мовних одиниць для вивчення особливостей мовних номінацій; метод семантичних полів, для групування мов-них одиниць за їх тематичною приналежністю в мікрополя; асоціативний метод для розподілу мовних одиниць до відповідних мікрополів; структурний метод для виокремлення одиниць, їх класифікації та інтерпретації.Результати. У процесі лексичного аналізу дискурсу персонажів серійних вбивць слова персонажів було розділено на три основні групи: слова, що позначають розумову діяльність, психологічні потреби, фізіологічну активність та безпеку. Ці групи були поділені на семантичні поля, щоб полегшити процес вивчення. Аналіз показав, що найбільша група слів у більшості дискурсів (крім двох персонажів) – це група, що позначає фізіологічну активність та безпеку, що відповідає дослідженню лексикону справжніх серійних вбивць, проведеному Дж. Хенкоком, яке показує, що найважливішим для життя серійних вбивць є біологічний компонент. Лексикон двох персонажів (Лектор і Клейборн), що відрізняються від інших перевагою слів, які позначають розумову діяльність, можна пояснити їхнім високим освітнім та професійним рівнем. Це засвідчує їхній високий коефіцієнт інтелекту, що також є особливістю справжніх серійних вбивць.Отже, можна зробити висновки, що авторам вдалося зобразити портрети персонажів правдоподібно через їх лексикон, що співвідноситься з дослідженнями лексикону реальних серійних вбивць. Завдяки лексичному аналізу дискурсу вдалося розкрити психологічні особливості характерів персонажів.Ключові слова: дискурс, лексикон, семантичне поле, термін, персонаж.
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Lindsay, James E. "The Middle East in Crime Fiction: Mysteries, Spy Novels, and Thrillers from 1916 to the 1980’s, by Reeva S. Simon. 226 pages, notes, bibliography, index. Lilian Barber Press, New York1989. $24.95." Middle East Studies Association Bulletin 24, no. 1 (July 1990): 98–100. http://dx.doi.org/10.1017/s0026318400022884.
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Gee, Henry. "The Methuselah Gene: A Science Fiction Adventure Thriller." Nature Medicine 6, no. 8 (August 2000): 857–58. http://dx.doi.org/10.1038/78607z.
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Fisher, Mark. "The Lost Unconscious: Delusions and Dreams in Inception." Film Quarterly 64, no. 3 (2011): 37–45. http://dx.doi.org/10.1525/fq.2011.64.3.37.
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An analysis of Christopher Nolan's science-fiction thriller, Inception, which relates it to Nolan's previous films and argues that the film's multilayered nest of worlds and strangely cold action sequences relate to the commodification of the psyche.
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Leane, Elizabeth, and Stephanie Pfennigwerth. "Antarctica in the Australian imagination." Polar Record 38, no. 207 (October 2002): 309–12. http://dx.doi.org/10.1017/s003224740001799x.
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AbstractAntarctica and Australia share a geographical marginality, a commonality that has produced and continues to reinforce historical and political ties between the two continents. Given this close relationship, surprisingly few fulllength novels set in or concerned with the Antarctic have been produced by Australian authors. Until 1990, two latenineteenth- century Utopias, and two novels by Thomas Keneally, were (to our knowledge) the sole representatives of this category. The last decade, however, has seen an upsurge of interest in Antarctica, and a corresponding increase in fictional response. Keneally's novels are ‘literary,’ but these more recent novels cover the gamut of popular genres: science fiction, action-thriller, and romance. Furthermore, they indicate a change in the perception of Antarctica and its place within international relations. Whereas Keneally is primarily concerned with the psychology of the explorer from the ‘Heroic Age,’ these younger Australian writers are interested in contemporary political, social, and environmental issues surrounding the continent. Literary critics have hitherto said little about textual representations of Antarctica; this paper opens a space for analysis of ‘Antarctic fiction,’ and explores the changing nature of Australian-Antarctic relations as represented by Australian writers.
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IOVĂNEL, MIHAI. "POPULAR GENRES: SCIENCE FICTION AND FANTASY, DETECTIVE NOVEL, THRILLER." Dacoromania litteraria 7 (2021): 137–53. http://dx.doi.org/10.33993/drl.2020.7.137.153.
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Winks, Robin W. "The Sinister Oriental: Thriller Fiction and the Asian Scene." Journal of Popular Culture 19, no. 2 (September 1985): 49–61. http://dx.doi.org/10.1111/j.0022-3840.1985.00049.x.
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Ortega Martín, Diana. "The Economy of Murder: Capital, Crime, and Crisis in Peter Murphy’s and Rachael Moriarty’s Traders (2015)." Estudios Irlandeses, no. 18 (March 17, 2023): 184–96. http://dx.doi.org/10.24162/ei2023-11459.
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The abundance of contemporary Irish fiction dealing with crime seems hard to refute. While most works have been produced in the literary field, cinema has also explored Ireland’s contemporary situation through the lens of crime fiction. The aim of this article is to analyse the relationship between crime, crisis, and capital in a contemporary Irish thriller: Peter Murphy and Rachael Moriarty’s Traders (2015). The film creates a bleak and acidic depiction of Ireland’s financial world and how in times of crisis, crime and capital are negotiated and articulated. A brief introduction of what the Celtic Tiger era and its subsequent crisis meant for Ireland will be followed by an exploration of its relation to the crime thriller. By studying crime and its intersections with class structures, economic conditions, and the shaping of its space in the film, I will attempt to undertake an economic and aesthetic reading. Moreover, I will consider how the film delineates a portrait of Ireland’s post-Celtic Tiger society and all its consequences.
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Schubert, Christoph. "Tarantino’s eloquent villains." English Text Construction 16, no. 2 (December 31, 2023): 119–43. http://dx.doi.org/10.1075/etc.22022.sch.
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Abstract Suspense as an aesthetic effect is a key narrative strategy of thriller movies, serving the function of entertainment for wide audiences. As the plot unfolds, arcs of suspense rely on triggering an appealing sense of anticipation that calls for a resolution. The present study examines the creation of suspense throughout fictional dialogue in Quentin Tarantino’s popular feature films Pulp Fiction (1994), Inglourious Basterds (2009), and Django Unchained (2012). In these movies, dialogic interaction is often dominated by eloquent villains who skilfully flout the conversational maxims of Grice’s cooperative principle, thereby exercising verbal power over other interlocutors. As is demonstrated in a qualitative pragma-stylistic framework, the villains’ discursive strategies amount to stylistic deviation resulting in suspenseful implicatures. In particular, suspense is commonly caused by digressing from current topics, by giving too little information or too many details, by being insincere or ironic, and by making equivocal or redundant statements.