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Dissertations / Theses on the topic 'Literature and fiction, mystery and suspense'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Waage, Fred. "The Birth Spoon." Digital Commons @ East Tennessee State University, 2015. http://amzn.com/1939289572.

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This mystery is set in the early 1980s and based on actual events. A high-school student unearths dark and deadly secrets of his Appalachian community. The explosive consequences forever mark his own life, his family's, and his town's.
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2

Pratt, Scott. "River on Fire: Disscussion/Study Guide Included." Digital Commons @ East Tennessee State University, 2013. https://www.amzn.com/B01N3UMM5E/.

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River on Fire" is the story of Randall Smith, a foundling orphan growing up in the midwestern United States in the late 1960s. Without the intimate guidance of loving parents, Randall struggles to understand a dangerous and confusing world during one of the most tumultuous times in modern history. Immensely readable and filled with humor and irony, "River on Fire" will both warm and break your heart. A Discussion/Study Guide is included at the end of the novel.
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3

Murfin, Audrey Dean. "Stories without end a reexamination of Victorian suspense /." Diss., Online access via UMI:, 2008.

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4

Law, G. "Mystery and uncertainty in modern fiction : A comparative parallel case study of the relations between popular mystery forms and modern non-classical fiction." Thesis, University of Sussex, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.371196.

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5

Iwata, Yumiko. "Creating suspense and surprise in short literary fiction : a stylistic and narratological approach." Thesis, University of Birmingham, 2009. http://etheses.bham.ac.uk//id/eprint/284/.

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Suspense and surprise, as common and crucial elements of interest realised in literary fiction, are analysed closely in a sample of short stories, so as to develop a detailed explanation of how these forms of interest are created in literary texts, and to propose models for them. Creating suspense involves more conditions, necessary and optional, and more complication than surprise: the several optional conditions mainly serve to intensify the feeling of suspense the reader experiences. Surprise requires two necessary and sufficient conditions, with only a couple of optional conditions to maintain or ensure coherence in the text. The differences are considered attributable to a more fundamental difference between suspense and surprise as emotions. Suspense can be regarded as a progressive emotion, whereas surprise is a perfective emotion. As such, suspense as an interest is considered as a process-oriented interest, while surprise is an effect-oriented one. Suspense is mostly experienced while reading and has the reader involved with the story. Surprise drives the reader to reassess the story in the new light it throws on events and to look for some further message; this is often a main aim of the literary fiction which ends in surprise.

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6

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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7

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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8

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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9

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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10

Clark, Katherine Hansen. "What Is a Cozy?" Case Western Reserve University School of Graduate Studies / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=case1207315261.

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11

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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12

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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13

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

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14

Davis, Roy C. "The Ghost of Carver Ranch." Miami University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=miami1154312646.

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15

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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16

Little, Jean A. "Poe's Entangled Fiction: Quantum Field Theory in "The Colloquy of Monos and Una" and "The Mystery of Marie Rogêt"." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/6009.

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When seen among the constellation of Edgar Allan Poe's works culminating in Eureka, "The Colloquy of Monos and Una" and "The Mystery of Marie Rogêt," take on an important role as vehicles for scientific contemplation. Similar to early quantum physicists, such as Einstein and Schrödinger, Poe uses macro-level analogies to explore the unity of individual entities, which becomes an important tenet of his explanation of the universe. His thought experiments also resemble those of modern physics in their approach to reality as probabilistic, an idea that finds its echo in quantum field theory, which distinguishes between observed particles and their underlying existence as vibrations in a field rather than distinct units. In this thesis, I use specific examples from "Monos and Una" to demonstrate that the barrier between individuals blurs when viewed from the perspective of a unified field. I also examine ways that "Marie Rogêt" expands the idea of a unified field in terms of entangled individuals and correlated events, and pushes against the Newtonian deterministic tradition. In the context of Poe's body of work, these stories depart from the aesthetic that characterizes many of his most widely-read stories, in that their exploration of the scientific seems to overtake the narrative. However, their composition, which leaves some readers dissatisfied, expertly comments on the dichotomy between the observed and the real, and the role that narrative plays in interpreting experience.

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17

Saito, Satomi. "Culture and authenticity: the discursive space of Japanese detective fiction and the formation of the national imaginary." Diss., University of Iowa, 2007. https://ir.uiowa.edu/etd/145.

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In my thesis, I examine the discursive space of the detective fiction genre following Kasai Kiyoshi's periodization in his two-volume seminal work Tantei shosetsuron (The Theory of Detective Fiction, 1998). I investigate how Japanese detective fiction has developed in relation to Japan's modernization, industrialization, nationalism, and globalization, specifically in the 1920s-30s, the 1950s-60s, and from the 1990s to present. By historicizing the discursive formation of the genre in decisive moments in Japanese history, I examine how Japanese detective fiction delineated itself as a modern popular literature differentiating itself from serious literature (junbungaku) and also from other genres of popular fiction (taishu bungaku). My study exposes the socio-political, cultural and literary conditions that conditioned the emergence of the detective fiction genre as a problematic of Japanese society, stitching fantasy and desire for the formation of the national subject in the cultural domain. I investigate the dynamics through which Japanese detective fiction negotiates its particularity as a genre differentiating itself from the Western model and domestically from the conventional crime stories of the Edo and Meiji periods. Chapters One through Three of my study examine Japan's socio-cultural contexts after the Russo-Japanese war, specifically magazine culture and the rise of the detective fiction genre (Chapter I), the I-novel tradition and its relation to the genre (Chapter II), and representations of Tokyo as an urban center, focusing on Edogawa Ranpo's "Inju" (Beast in the Shadows, 1928) (Chapter III). Chapters Four through Six investigate the socio-cultural contexts after World War II, especially Japan's democratization in the 1950s-60s and the rearticulation of the genre through repeated debates about authenticities in Japanese detective fiction (Chapter IV), and the transition from tantei shosetsu (detective fiction) to suiri shosetsu (mystery) focusing on Yokomizo Seishi's Honjin satsujin jiken (The Honjin Murder Case, 1946) and Matsumoto Seicho's Ten to sen (Points and Lines, 1957) as representative works of the two trends (Chapter V), and finally the postmodern "return" to the prewar tradition in the 1990s (Chapter VI).

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18

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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19

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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20

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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21

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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22

Angles, Jeffrey Matthew. "Writing the love of boys: representations of male-male desire in the literature of Murayama Kaita and Edogawa Ranpo." The Ohio State University, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=osu1071535574.

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23

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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24

Istomina, Julia. "Property, Mobility, and Epistemology in U.S. Women of Color Detective Fiction." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429191876.

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25

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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26

Lott, Monica L. "Seventy Years of Swearing upon Eric the Skull: Genre and Gender in Selected Works by Detection Club Writers Dorothy L. Sayers and Agatha Christie." Kent State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=kent1366152840.

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27

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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28

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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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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30

Cannon, Ammie. "Controversial Politics, Conservative Genre: Rex Stout's Archie-Wolfe Duo and Detective Fiction's Conventional Form." BYU ScholarsArchive, 2006. https://scholarsarchive.byu.edu/etd/469.

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Rex Stout maintained his popular readership despite the often controversial and radical political content expressed in his detective fiction. His political ideals often made him many enemies. Stances such as his ardent opposition to censorship, racism, Nazism, Germany, Fascism, Communism, McCarthyism, and the unfettered FBI were potentially offensive to colleagues and readers from various political backgrounds. Yet Stout attempted to present radical messages via the content of his detective fiction with subtlety. As a literary traditionalist, he resisted using his fiction as a platform for an often extreme political agenda. Where political messages are apparent in his work, Stout employs various techniques to mute potentially offensive messages. First, his hugely successful bantering Archie Goodwin-Nero Wolfe detective duo—a combination of both the lippy American and the tidy, sanitary British detective schools—fosters exploration, contradiction, and conflict between political viewpoints. Archie often rejects or criticizes Wolfe's extreme political viewpoints. Second, Stout utilizes the contradictions between values that occur when the form of detective fiction counters his radical political messages. This suggests that the form of detective fiction (in this case the conventional patterns and attitudes reinforced by the genre) is as important as the content (in this case the muted political message or the lack of overt politics) in reinforcing or shaping political, economic, moral, and social viewpoints. An analysis of the novels The Black Mountain (1954) and The Doorbell Rang (1965) and the novellas "Not Quite Dead Enough" and "Booby Trap" (1944) from Stout's Nero Wolfe series demonstrates his use of detective fiction for both the expression of political viewpoints and the muting of those political messages.

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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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32

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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Hicks, Andrew Patrick. "Embodied vision sublimity and mystery in the fiction of Flannery O'Connor /." 2008. http://etd.utk.edu/August2008MastersTheses/HicksAndrewPatrick.pdf.

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Holtrop, Katherine G. "Psychological with a Xuanyi Afterthought: A Translation of Cai Jun's "Kidnapped" and a Critical Introduction to His Popular Suspense Fiction." 2018. https://scholarworks.umass.edu/masters_theses_2/649.

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Often hailed as “China’s Stephen King,” Chinese psychological suspense author Cai Jun occupies a position at the peak of the new wave of young authors flooding China’s popular literature market. In order to understand Cai’s popularity as an author, the impact his works and writing have on this market, and how he creates his particular brand of suspense fiction, it is both necessary to put his works into a larger context and analyze his writing. This thesis provides a brief overview of the recent literary scene in China, from the rise of internet literature and the comeback of genre fiction to the advent of mooks, the evolution of young adult literature, and the development of the author marketing industry, and also addresses the “pure vs. popular” controversy in China’s literary world, identifies how Cai fits into these trends, and determines who Cai is as a writer in terms of genre, story content, and literary reception through the translation and analysis of Cai’s short story “Kidnapped.”

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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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36

Van, den Heever G. (Gerhard). "`Loose fictions and frivolous fabrications' : ancient fiction and the mystery religions of the early imperial era." Thesis, 2005. http://hdl.handle.net/10500/1510.

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37

Grillo, Tyran C. "Red Letters: Translation as Detection in a Sino-Japanese Murder Mystery." 2010. https://scholarworks.umass.edu/theses/445.

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In 2004 Japanese author Ashibe Taku published his novel Murder in the Red Chamber, in which he adapted Cao Xueqin’s eighteenth-century Chinese classic Dream of the Red Chamber as a compelling murder mystery. In 2008 I would take on the challenge of translating Ashibe’s novel into English. This required me to draw on a wealth of primary and secondary materials. Not only did I have to familiarize myself with the novel’s peculiarities, but also with those of its Chinese source. Over these layers of text I fashioned yet another from my own engagements with Western detective fiction. In order to reconcile these disparate cultural understandings of detection and law, I assumed the role of detective myself in navigating at least two cultural milieus at any given time. Consequently, I found myself empathizing with Ashibe’s characters in an entirely new way. This thesis is a case study that investigates two questions: (1) What does it mean when the translator’s method mimics—in the target text—that of the author of the source text? (2) How have murder mystery paradigms been displaced and/or embedded in my chosen text through this process of cross-cultural rewriting? In exploring these questions I have developed a kinship with Ashibe, for we are both rewriters seeking to flesh out the evidence laid before us into admissible testimony. Whether or not I “solved the case” of this translation matters less than the adding of another layer in another language with the intent of enriching the whole.

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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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39

Conyer, Natalie B. "Present Tense : crime fiction in postapartheid South Africa." Thesis, 2020. http://hdl.handle.net/1959.7/uws:56667.

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Since 1994, when South Africa transitioned from apartheid to majority rule, its locally written crime fiction has become a literary force. Although some critics initially dismissed the genre as superficialand clichéd, most now agree it offers important social, political and ethical insights, providing an arena in which shared issues may be theorised and thought through. These include, for example, the implications of the Truth and Reconciliation Commission, the loss of faith in governance and the rule of law, issues surrounding race and whiteness, and South Africa’s emergence out of isolation and into the larger world. Less well considered, however, is how crime fiction achieves those ends, and that is the focus of this thesis. It argues that the genre’s hermeneutic conventions, far from being reductive, are powerful tools for conveying social insight because these conventions, when adapted by writers or affected by context, change from text to text, and readers use these intertextual differences to interpret meaning. Together with the genre’s concentration on the collective, on morality, and on law and order, such engagement with the conventions helps readers decipher and in some cases find positive proposals for managing the country’s recovery narrative. After locating South African crime fiction historically and critically, I present my argument firstly through a close critical examination of novels by two South African crime writers, Andrew Brown and Mike Nicol, and then creatively, through my own crime novel, Present Tense. In contrast to Brown, who exaggerates features of the conventional police detective in order to highlight aspectsof identity and belonging in present day South Africa, Nicol subverts most of the conventions of the thriller to offer a searing and pessimistic critique of South African society. Present Tense, a police procedural, adapts conventions relating to the setting, protagonist and narrative resolution in order to address the present-day consequences of apartheid, notions of trust and betrayal, and the dislocation felt by white citizens in the new social order. Thus, paradoxically, the seemingly inflexible conventions of crime fiction enable nuanced comment on social issues at a particular place and time; and this ability ensures the genre’s relevance and importance to a post-traumatic, postcolonial society like South Africa. ACCESS TO THE NOVEL, PRESENT TENSE, IS RESTRICTED.

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40

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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Karkovský, Radek. "Antihrdinové ve francouzském románu noir." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-397932.

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(in English): This work will consist in an analysis of the antiheroes in modern French literature, especially in "Roman Noir". Before treating the topic of antiheroes in mystery fiction we will describe the history of this type of protagonists in world literatures, from the classic literature to the modern one. To be able to understand the problematics of antiheroes in Roman Noir, we will also describe the history of French mystery fiction. Regarding the analysis of antiheroes in this sub- genre of crime fiction, we will start with the character of Maigret. Although the novels of G. Simenon are not real Romans Noirs, we consider them as a "passage" of the detective novel - in the traditional sense - to the Roman Noir. Furthermore, in this work, we will analyze characters of real Romans Noirs; first, the crude and surprising behavior of Nestor Burma, a famous character of Léo Malet, then the mediocrity of protagonists of the novels Morgue pleine and Le Petit Bleu de la côte ouest of Jean-Patrick Manchette, and finally, Fabio Montale, an atypical investigator from a novel series of the late twentieth century written by Jean-Claude Izzo.

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42

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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Nenduva, Aphios. "Investigating moral perversion in post-Independence Shona detective novels." Thesis, 2018. http://uir.unisa.ac.za/handle/10500/25689.

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Text in English
The study unravels moral perversion in selected post-independence detective Shona novels. Moral perversion is a multi-faceted concept and the study focuses on corruption, sexual harassment, abuse of office, stealing, poaching and illegal manufacturing of intoxicating products as the key definers of moral perversion. Afrocentricity merged with Kawaida philosophy are the lenses used to pass critical judgements on the extent the selected literary practitioners portrayed literature rooted in the African ontological existence on moral perversion. Fictional works used as primary sources are Sajeni Chimedza (1984), Mutikitivha Dumbuzenene (1991), Munzwa mundove (1999) and Dandemutande, (1998). All the novels are set in the post-independence era in Zimbabwe when moral perversion is rife. The study is qualitative in nature and data was gathered using questionnaires and interviews from literary critics, publishers and novelists. Particular attention is paid on the causes of moral perversion, images of people in leadership positions and the implications of character assassination of leaders in relation to the development of purposeful literature. The study contends that moral insanity is an acknowledged problem in the post-independence era and novelists are portraying leaders as the chief culprits manning factionalism and unorthodox ways of acquiring resources at the expense of the majority of citizenry. Guided and informed by Afrocentricity, the study argues that novelists are raising pertinent issues although their views are myopic, simplistic and self-defeating because they are failing to see that the leaders are also victims who are victimizing other victims. Blaming the leadership on moral perversion ignoring the impact of colonialism, and neo-colonialism in shaping African personality creates more harm than good as this exonerates the imperialistic system of exploitation which impinges on African culture and personality. Therefore, the study argues that novelists erroneously blame individuals for the sins of a system. There is need to interrogate both external and internal factors to establish sustainable home-grown problem solving solutions to improve human condition and the development of functional literature in Africa.
African Languages
D. Litt. et Phil. (African Languages)

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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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45

"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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