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Journal articles on the topic 'Mystery fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

Pigalev, Sergey. "Mystery fiction in culture: evolution of genre and crisis of cultural paradigm of modernity." Философия и культура, no. 5 (May 2020): 21–34. http://dx.doi.org/10.7256/2454-0757.2020.5.33073.

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The subject of this research is the phenomenon of mystery fiction and its evolution in the context of development of sociocultural project of modernity. The latter is viewed as a complex system, which fundamental principles permeate the entire fabrics of European culture, generating such phenomenon as a mystery fiction plot. The analysis of its varieties deepens the understanding of specificity of modernity and mature of crises that has captured it. Hermeneutic analysis allows going beyond the frames of the narrow-disciplinary analysis of the corresponding texts, allowing to determine the inevident layers within the phenomenon of narration of mystery fiction. The initial methodological point is presented by the concept of V. P. Rudnev, who identified interrelation between the mystery fiction storylines and dominant gnoseological paradigm. The author determines the four levels of narration of mystery fiction: ontological, gnoseological, anthropological, and ethical-normative. The classical (analytical) mystery fiction describes reality commensurable to human reason (ontological level), investigation appears as strict analysis (gnoseological level), detective resembles a “private thinker” who is distant from the society and the crime itself (anthropological level), and a crime is interpreted as a deviation that disturbs harmony of the rational order (ethical-normative level). In this sense, a classical mystery fiction is a reflection of metanarrative of modernity, aimed at building a complete system, and excluding the Other. At the same time, the crisis of the basis of modernity is essentially reflected in metamorphoses of mystery fiction genre. In existential and pragmatic mystery fiction, reality is irrational, and boundaries between the norm and deviation are being diluted. Such situation may be describes as disappointment in metanarrative – in underlines the inability of modern culture to adequately fulfill its fundamental functions. The Other strike roots in the cultural space; however, the space itself exists in accordance with the principles of postmodern anarchy.

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2

Gerhard, Kristin H. "Mystery and Detective Fiction:." Public Library Quarterly 10, no. 4 (March 31, 1991): 49–60. http://dx.doi.org/10.1300/j118v10n04_05.

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3

Gouthro, Patricia A. "Women of Mystery." Adult Education Quarterly 64, no. 4 (September 3, 2014): 356–73. http://dx.doi.org/10.1177/0741713614549573.

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This article explores the learning pathways of 15 Canadian and American female crime fiction authors. Using a critical feminist perspective, it argues that despite the neoliberal rhetoric of individual choice, as in most careers, there are social-structural factors that create opportunities and barriers for women mystery writers. The article explores the background factors that shape women’s interest in writing crime fiction, considers the challenges that they face in developing their careers, and looks at the supports that may help them to attain success. Despite challenges, there is often intrinsic value in doing meaningful work that may motivate women to develop a fiction-writing career.

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4

Nash, Ilana, and R. Gordon Kelly. "Mystery Fiction and Modern Life." South Central Review 18, no. 3/4 (2001): 122. http://dx.doi.org/10.2307/3190359.

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5

Bielke-Rodenbiker, Jean. "Review Sources for Mystery Fiction." Collection Management 29, no. 3-4 (October 12, 2004): 53–71. http://dx.doi.org/10.1300/j105v29n03_05.

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6

Cawelti, John G., and R. Gordon Kelly. "Mystery Fiction and Modern Life." Journal of American History 85, no. 4 (March 1999): 1640. http://dx.doi.org/10.2307/2568370.

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7

Halli, Robert W., and R. Gordon Kelly. "Mystery Fiction and Modern Life." South Atlantic Review 64, no. 1 (1999): 134. http://dx.doi.org/10.2307/3201760.

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8

Davis, Christine S., and Jan Warren-Findlow. "The Mystery of the Troubled Breast." Qualitative Communication Research 1, no. 3 (2012): 291–314. http://dx.doi.org/10.1525/qcr.2012.1.3.291.

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This autoethnographic narrative uses fictional female heroine Nancy Drew and her friends to perform coauthor Jan's experience of breast cancer. Friends and colleagues Jan and Cris try out alternative characterizations of Nancy Drew as a mechanism for Jan to push back against the social construction of breast cancer victim/survivor. We use performative fiction to be creative and have fun with the experience while providing social support and deepening our relationship. In the end, Jan performs self-with-breast-cancer as an academic feminist, and Nancy Drew performs breast cancer as a fictional female detective—as a case to be solved; supported by friends; and succeeding through persistence, pluck, and luck.

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9

Davis, Caitlin. "“Realistic Villains”." Digital Literature Review 10, no. 1 (April 18, 2023): 96–106. http://dx.doi.org/10.33043/dlr.10.1.96-106.

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Crime films–one of the most beloved forms of crime fiction—have a close relationship with society due to their themes and subject matter. Because of this relationship, crime films are able to use their genre-specific elements to include social commentary within their storylines. Using their victims, suspects, and resolutions of the crimes, modern crime fiction pieces such as Rian Johnson’s 2019 film Knives Out and Halina Reijn’s 2022 film Bodies Bodies Bodies both implement larger conversations within their stories. In Knives Out, the audience follows the mystery behind the sudden death of the renowned author, Harlan Thrombey—the suspects being his family and staff. Within the film’s mystery, Johnson uses elements of the story to recognize and critique those in power who benefit from privilege. Bodies Bodies Bodies focuses on couple Bee and Sophie as they join Sophie’s upper-class influencer friends for a weekend of partying, but mystery ensues when one of the friends is found dead, leaving only those within the house as suspects. Throughout the film, Reijn exemplifies the harmful way younger generations are utilizing technology while also critiquing problematic behaviors within influencer culture. This essay will use these pieces of modern crime fiction to explore how fictional crime narratives can use their stories to include social commentary.

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10

Beasley, Brett. "Kant’s “Jewel” and Collins’s “Moonstone”." Renascence 75, no. 3 (2023): 212–26. http://dx.doi.org/10.5840/renascence2023753/412.

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Mystery fiction is sometimes assumed—both by scholars and by general readers—to have a simple or even simplistic relationship to morality. Mysteries, on this view, are straightforward "whodunnits": They satisfy readers by identifying wrongdoing and then assigning blame to the individual or individuals responsible. In this paper, I offer a contrary view. I show that the moral laboratory of mystery fiction often winds up subverting, undermining, and unsettling some of our most basic moral assumptions and our standard approaches to thinking about moral responsibility and moral justification. It does so, I argue, by emphasizing what philosophers term moral luck. I center my analysis on moral luck as it appears in The Moonstone, the novel T. S. Eliot called “the first, the longest, and the best” piece of detective fiction, and I offer suggestions for reading later works of mystery fiction with moral luck in mind.

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11

Wagaa Ali AL-Juboori, Dr Intisar Mohammed. "A Socially Realistic Study of Crime and Corruption in P.D. James’ Works." Journal of Tikrit University for Humanities 31, no. 1 (January 21, 2024): 1–13. http://dx.doi.org/10.25130/jtuh.31.1.2024.23.

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P.D. James is a well - known author of both crime and mysteries who is recognized with enlarging the mystery subgenre. Even though she uses aspects of traditional detective fiction, James is particularly concerned in establishing the psychological motivations of her characters. James is renowned for her sophisticated written style, which is accentuated by literary allusions and quotations, as well as for the vivid, realistic characters and locations she creates. Writing detective fiction is one of James's passions and she strives to use the techniques that make "serious fiction" gratifying while still adhering to the genre's rules. She was interested in realism as early as her writings show. Her literary style is distinct from the classic "country house mystery" of conventional British detective fiction, in which static characters exist solely to further the plot of the mystery. Despite being constructed in the traditional "whodunnit" way, these novels rely on developed, convincing characterizations.

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12

Văsieș, Alex. "Narrative Devices in Motion: From Genre Fiction to Mainstream Fictoin in Florin Chirculescu’s Prose." Caietele Echinox 43 (December 1, 2022): 216–25. http://dx.doi.org/10.24193/cechinox.2022.43.14.

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This article explores the dynamics between Romanian genre fiction and mainstream fiction in the postcommunist period, trying to negotiate the instrumentalizations of narrative devices usually found in popular literature (be it fantasy, crime, or mystery fiction) in a novel that transcends normative genre boundaries. Thus, the text traces a specific way in which some Romanian writers (in this case Florin Chirculescu) have navigated the strenuous path brought by capitalism in the local literary scene.

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13

Debalina Roychowdhury Banerjee. "Revisiting Vampirism: Myth, Mystery, Science, History." Creative Launcher 7, no. 1 (March 4, 2022): 22–26. http://dx.doi.org/10.53032/tcl.2022.7.1.04.

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Many legends and myths have survived through ages. They also have strong connection with reality of past and present. History, mythology, science, psychology, fiction all is entwined in such a way that it becomes difficult to segregate them from one another. In fact, all these together bring a new meaning to such a subject. True it is and true it shall be that, almost everything that we can think of is connected to many other things. Vampirism is not an exception to that. Though it has been popularized by fictions more, it also has a bleak history, a dreary reality that comes through psychological disorder. The folk beliefs and legends that grew around vampirism is also a matter of real interest. This paper is an attempt to bring the different aspects of vampirism in a nutshell to have a compact idea on the fascinating theme.

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14

Rock, Judith. "Men in Black: Jesuits in Mystery Fiction." Journal of Jesuit Studies 8, no. 2 (February 26, 2021): 293–98. http://dx.doi.org/10.1163/22141332-0802p008.

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15

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

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

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16

BOYER, STEVEN D. "The logic of mystery." Religious Studies 43, no. 1 (January 15, 2007): 89–102. http://dx.doi.org/10.1017/s003441250600878x.

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This paper proposes an analytical taxonomy of ‘mystery’ based upon what makes a mystery mysterious. I begin by distinguishing mysteries that depend on what we do not know (e.g. detective fiction) from mysteries that depend on what we do know (e.g. religious mysteries). Then I distinguish three possible grounds for the latter type. The third and most provocative ground offers a mathematical analogy for how rational reflection can be appropriate to mystery without compromising its intrinsically mysterious character. I conclude with reflections on the metaphysical presuppositions that this understanding of mystery requires.

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17

Y, Lalitha. "Postmodernism in the Fiction Synchology Summary of Kumaraselvas Fiction." International Research Journal of Tamil 3, S-1 (June 14, 2021): 132–37. http://dx.doi.org/10.34256/irjt21s121.

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The article Post Modernism, written by writer Kumaraselva, examines the emergence of postmodernism in the short stories Nagamalai, Karatam, Ukilu, Vidalu and Uyirmaranam, and then modernity does not see anything as universal and analyses everything separately. It is also expanding beyond the limits of art and literature to philosophy, politics, lifestyle, technology, architecture, drama, cinema. Postmodernism created myths with a mystery that distorts language, distorts stories and expresses the poetry of the language. It also attracts the attention of the readers and gives them a happy reading experience. It is noteworthy that postmodernism is not theory but also in life.

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18

Dhanawade, Sanmati Vijay. ""In a Dry Season" - A Police Procedural Novel by Peter Robinson." World Journal of English Language 11, no. 1 (March 16, 2021): 24. http://dx.doi.org/10.5430/wjel.v11n1p24.

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Genre fiction, also recognized as popular fiction is an umbrella term as it comprises various categories, varieties, and sub-types. On occasion, innovative writers have practiced in mingling these methods and generating an entirely dissimilar variety of categories. In general, genre fiction inclines to place plentiful significance on entertainment and, as a consequence, it leans towards to be more widespread with mass audiences. But currently, writers are lettering beyond mere meager amusement and they are commenting on various socio-cultural issues, resulting in their writing more realistic. Furthermore, various life real things and norms implied in their writing are constructing the entire genre form and all its types more noteworthy and vital. As accredited by literary jurisdiction following are some of the leading classifications as they are used in contemporary publication: Fantasy, Horror, Science fiction, Crime and Mystery Fiction etc. The kind Crime and Mystery Fiction also has various categories for example, Cozy, Hardboiled, The Inverted Detective Story, Police Procedural, etc. In the present paper, Canadian crime fiction writer Peter Robinson’s novel In a Dry Season is studied in the light of this police procedural type of novel writing. The paper aspires to discover various police procedural features employed by the writer.

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19

Hamilton, Scott Eric. "The Murphy Murder Mystery: An Irish “post-mortem situation”." Estudios Irlandeses, no. 16 (March 17, 2021): 139–52. http://dx.doi.org/10.24162/ei2021-9987.

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This paper will propose that Beckett’s affinity for crime and mystery fiction also contributes to Murphy. The novel will be examined on the proposed hypothesis that Murphy’s death, so-called, is conspicuously left ambiguous to a certain degree, rendering it a type of mystery narrative. Approaching the mysterious death as something like a detective fiction “cold case”, the events of Murphy, and clues left by Beckett throughout the prose that follows, I will investigate whether or not Murphy does actually die toward the end of the book. Although Beckett does not present these aspects in the traditional form of “thriller” fiction, he does use them to create a modernist aesthetic which challenges traditions, identifications of being, identity, representation and space regarding both the individual and the social context of the Irish “postmortem situation” depicted in Murphy.

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20

Stoecklein, Mary. "Native Narratives, Mystery Writing, and the Osage Oil Murders: Examining Mean Spirit and The Osage Rose." American Indian Culture and Research Journal 42, no. 3 (July 1, 2018): 137–54. http://dx.doi.org/10.17953/aicrj.42.3.stoecklein.

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Through analysis of two debut novels, Linda Hogan's Pulitzer-Prize-nominated murdermystery Mean Spirit 1990 and Tom Holm's private eye detective story The Osage Rose 2008, this article considers what Native-authored mystery fiction has to offer in terms of self-representation of Indigenous history and culture. Paying particular attention to detective fiction genre elements—such as the novels' openings, the detectives, the forms of detection, and the resolution—shows how Hogan and Holm employ the mystery genre to present Native narratives about the Osage oil murders, and, given their ability to reach wide audiences, how such narratives ultimately provide broader understandings of Indigenous history and culture.

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21

Huang, Yunte. "The Lasting Lure of the Asian Mystery." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 384–87. http://dx.doi.org/10.1632/pmla.2018.133.2.384.

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Among the numerous accolades and awards garnered by viet thanh nguyen's debut novel, the sympathizer (2015), the one receiving the least attention from academic critics will probably be the Edgar Award, bestowed by the Mystery Writers of America. After all, The Sympathizer boasts aesthetic achievements that far exceed the generic confines of a conventional mystery novel. Also, even in the age of cultural studies, when the divide between the popular and the elite is supposed to have all but disappeared, literary scholars, if they are honest with themselves, still hang on to the notion that there is a qualitative difference, or a hierarchy, separating literary fiction from crime fiction, the highbrow from the lowbrow. It may be true that we no longer live at a time when an eminent critic like Edmund Wilson would attack mystery novels by asserting, as he did in 1945, partly in response to Agatha Christie's popular mystery novel The Murder of Roger Ackroyd, that “with so many fine books to read …; there is no need to bore ourselves with this rubbish” (qtd. in Bradford 117). And there is more than half a century separating us from the era when Ross Macdonald, one of the most accomplished practitioners of the mystery genre as well as a trained literary scholar, lamented in his 1954 lecture at the University of Michigan, Ann Arbor, where he had received a doctoral degree in English, that “[t]hough it is one of the dominant literary forms of our age, the mystery has received very little study” (11). Even after Jacques Lacan and Jacques Derrida enshrined Edgar Allan Poe's detective short story “The Purloined Letter” as a darling of poststructuralist analysis, most literary scholars worth their salt would continue to regard crime fiction as a subpar genre, something that, as Macdonald said, is reserved for their leisure hours, akin to crossword puzzles in a newspaper (11). Or, as Wilson put it, “Who cares who killed Roger Ackroyd?” (qtd. in Bradford 117).

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22

Malmgren, Carl D. "Anatomy of Murder: Mystery, Detective, and Crime Fiction." Journal of Popular Culture 30, no. 4 (March 1997): 115–35. http://dx.doi.org/10.1111/j.0022-3840.1997.3004_115.x.

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23

Teel, John, and Michael Cohen. "Murder Most Fair: The Appeal of Mystery Fiction." South Atlantic Review 66, no. 2 (2001): 202. http://dx.doi.org/10.2307/3201889.

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24

Rowland, Susan, and Michael Cohen. "Murder Most Fair: The Appeal of Mystery Fiction." Modern Language Review 97, no. 4 (October 2002): 928. http://dx.doi.org/10.2307/3738625.

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25

Takla, Nefertiti. "Women and Crime: Exploring the Role of Gender, Sexuality, and Race in Constructions of Female Criminality." International Journal of Middle East Studies 54, no. 1 (February 2022): 124–27. http://dx.doi.org/10.1017/s0020743822000022.

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This roundtable on women and crime was inspired by a discussion at a CUNY Dissections Seminar in April 2021, where Gülhan Balsoy presented her work in progress on Ottoman crime fiction in the early 20th century. The focus of her paper was a popular murder mystery series called The National Collection of Murders, which had been published in Istanbul in 1914. The protagonists of this fictional crime series were a mother and daughter known as the Dark Witch and the Bloody Fairy, who led an underground criminal gang living in a secret subterranean world beneath the city of Istanbul. While reading her paper the night before the seminar, I could not help but notice striking parallels between this fictional Ottoman murder mystery and the sensationalized media coverage of a 1921 Egyptian serial murder case, popularly known by the name of its alleged perpetrators, Raya and Sakina. In both the fictive Ottoman story and the Egyptian media coverage of a real crime, two sets of female relatives were presented as the respective leaders of a criminal gang that stole luxury goods from respectable families and turned their homes into human slaughterhouses. In both cases, the female gang leaders used “superstition” to deceive and trap their victims while continually outwitting the police, all against a backdrop of illicit sex.

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26

Katelyn Mathew. "How Young Adult Crime Fiction Influences and Reflects Modern Adolescents." Digital Literature Review 10, no. 1 (April 18, 2023): 108–19. http://dx.doi.org/10.33043/dlr.10.1.108-119.

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When we read crime fiction, we oftentimes expect a cast dominated by adult characters. This is likely a result of decades’ worth of popular crime fiction narratives almost exclusively containing adult characters. The earliest literature in the mystery and crime genre that was targeted towards younger audiences contained teenage detectives and adult criminals because it allowed the younger audiences to read about powerful teenagers overthrowing adult authority while still only engaging in acceptable moral activities in an attempt to decrease or discourage juvenile delinquency. A newer trend among young adult crime fiction novels is the adolescent playing the part of the criminal in addition to the detective. Applying social cognitive theory explored in the study conducted by Black and Barnes to the roles of adolescents in Karen M. McManus’s young adult mystery novel One of Us Is Lying and its sequel One of Us Is Next, this paper will analyze the novels’ adolescent characters to show how adolescent characters in young adult crime fiction reflect their young audiences’ desires to subvert adult hierarchies while still displaying acceptable morals and how they possibly influence their sense of morality.

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27

Rubio Gijón, Pablo. "“El caso Berciani” de Alan Pauls: un viaje a los bajos fondos." Acta Hispanica 21 (January 1, 2016): 131–41. http://dx.doi.org/10.14232/actahisp.2016.21.131-141.

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“El caso Berciani” (1992) relates to the genre of detective and mystery fiction by parody and distortion. Alan Pauls (Buenos Aires, 1959) explores the relation between order and abjection. In so doing, “El caso Berciani” becomes a thorough reflection on the failure of modernization. This article explores how this short story uses detective fiction to elaborate on knowledge and interpretation, and urban dystopias and social tensions.

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28

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

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

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29

Grosevych, I. V. "GOTHIC FICTION: FIGURATIVE PLOT PARADIGM." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 2(54) (January 22, 2019): 275–87. http://dx.doi.org/10.31471/2304-7402-2019-2(54)-275-287.

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The article deals with the theoretical generalization of the attributes of a poetic of gothic, in particular in the article is analyzed in details the figurative-motive and plot-compositional levels; is traced the evolution of the image of Devil; is identified the triune category − mystery / horror / suspense – as a genre constant of gothic fiction; is identified the road archetype; is analyzed the functionality of gothic, contrast as the dominant feature of the gothic paradigm; and also is grounded the philosophical doctrine of the theodicy as one of the fundamental basis of all gothic fiction.

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30

Sistiadinita, Sistiadinita. "A MAN IN THE COURT: EXPLORING THE THEME OF JUSTICE IN AND THEN THERE WERE NONE." Jurnal Ilmiah Spectral 7, no. 1 (January 31, 2021): 051–62. http://dx.doi.org/10.47255/spectral.v7i1.69.

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Having to interact with crime fiction which presumably is considered as ephemeral literature, cannot be an excuse to dissolve the theme of justice inside the plots. Agatha Christie as the Mistress of Complication and Mystery, has written series of murder and mystery fiction since the beginning of twentieth century. And Then There Were None or entitled Ten Little Niggers, one of her masterpieces depicts Christie’s unique disposition of turning perception from ‘detective as criminal solver’ into ‘murderer as justice protector’. This paper seeks to analyze how justice is portrayed and challenged by looking at the characters created by Christie as well as making a more thorough analysis of the symbols and dialogues. The result of this paper portrays that the idea of justice, just like human beings, can be flawed or misinterpreted even by the so- called a man in the court.

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31

Sistiadinita. "A MAN IN THE COURT: EXPLORING THE THEME OF JUSTICE IN AND THEN THERE WERE NONE." Jurnal Ilmiah Spectral 7, no. 1 (January 28, 2021): 051–62. http://dx.doi.org/10.47255/5ff22r80.

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Having to interact with crime fiction which presumably is considered as ephemeral literature, cannot be an excuse to dissolve the theme of justice inside the plots. Agatha Christie as the Mistress of Complication and Mystery, has written series of murder and mystery fiction since the beginning of twentieth century. And Then There Were None or entitled Ten Little Niggers, one of her masterpieces depicts Christie’s unique disposition of turning perception from ‘detective as criminal solver’ into ‘murderer as justice protector’. This paper seeks to analyze how justice is portrayed and challenged by looking at the characters created by Christie as well as making a more thorough analysis of the symbols and dialogues. The result of this paper portrays that the idea of justice, just like human beings, can be flawed or misinterpreted even by the so- called a man in the court.

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32

COULARDEAU, Jacques. "FREE-FALLING DESCENT INTO EPIPHANY OR APOCALYPSE STEPHEN KING – A FAIRY TALE." International Journal of Theology, Philosophy and Science 6, no. 11 (November 27, 2022): 5–29. http://dx.doi.org/10.26520/ijtps.2022.6.11.5-29.

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Stephen King has published more than 70 books, many of them adapted to the cinema and television, some original series with no published scenario, except Storm of the Century in 1999. His reach is a lot wider than plain horror. He systematically mixes the various genres of horror, fantasy, suspense, mystery, science fiction, etc. I will only consider his latest stand-alone novel with no co-author, and not part of a series like Gwendy’s Final Task, also published in 2022, co-authored with Richard Chizmar. I will show the style uses some patterns to build the architecture of the story, in this case, ternary structures at all levels of story and style. This ternary pattern is borrowed from the Bible and many fairy tales collected by the Grimm Brothers. The ending brings up a problem: it locks up the two deep and deeper levels with a concrete slab, thus breaking the ternary topography. Is it meaningful about Stephen King’s fiction, or is it only suspending the situation in order to produce a sequel by reopening the passage under the concrete slab, or when Gogmagog manages to escape the deeper level and to invade the human world? That’s Stephen King’s mystery. His fiction is so popular and has been so much exploited on the various screens that we wonder if this multifarious fiction will survive the author, even with his two sons to promote and prolong the fame of his fiction when it becomes necessary.

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33

Fleming, R., and C. A. Venetis. "SESSION 56: MYSTERY FICTION: PROGESTERONE IN THE FOLLICULAR PHASE." Human Reproduction 27, suppl 2 (January 1, 2012): ii81—ii82. http://dx.doi.org/10.1093/humrep/27.s2.55.

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34

Casey, Maud. "To Be Undone: The Art of Mystery in Fiction." New England Review 38, no. 2 (2017): 189–94. http://dx.doi.org/10.1353/ner.2017.0057.

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35

Adams, Don. "Becoming the Wounded Person: The Christian Vision of James Purdy’s Fiction." Christianity & Literature 73, no. 1 (March 2024): 14–36. http://dx.doi.org/10.1353/chy.2024.a925052.

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Abstract: This essay considers the fiction of James Purdy from the point of view of his self-proclaimed Christian vision, which embraces each individual as sacred through empathic understanding, eschewing objective judgment based on abstract absolutes. The essay argues that Purdy’s contrarian fiction can be understood revealingly in relation to the negative theology of Pseudo-Dionysius and Nicholas of Cusa, which envisioned a subjective, perspectival, and creatively participatory ontology that anticipated the relational and contextual paradigm of the real posited by quantum physics. Refusing reification, Purdy’s fiction vigorously negates sociopolitical idols of the self in favor of the individual’s ultimate, infinite mystery.

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Gregoriou, Christiana. "Plotting and characterisation in Sophie Hannah’s The Other Half Lives: a cognitive stylistic approach." Journal of Literary Semantics 52, no. 1 (March 29, 2023): 41–60. http://dx.doi.org/10.1515/jls-2023-2004.

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Abstract (Sophie Hannah’s. 2009. The Other Half Lives. London: Hodder). The Other Half Lives both complies with, and departs from, the crime fiction formula or text schema. It features a mystery the specifics of which are unravelled non-chronologically, while its numerous crimes and non-ideal criminals and victims disrupt readers’ world schemas and help enable its surprising effects. Not unlike such fiction, the story’s early happenings feature late in the telling, while many happenings are given from different character perspectives. Both of these help unsettle narrative perspective, and generate suspense, mystery, and readers’ later repairing and replacing of frames. Focalisation and the working and reworking of killing characters’ early depiction are techniques also enabling foreshadowing and misdirection, for readers’ sympathies and prejudices to be manipulated accordingly, and for surprise revelations to prove effective, even when a surprise ending is – given the nature of this genre – only to be expected.

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Brown-Syed, Christopher, and Charles Barnard Sands. "SOME PORTRAYALS OF LIBRARIANS IN FICTION - A DISCUSSION." Education Libraries 21, no. 1-2 (September 5, 2017): 17. http://dx.doi.org/10.26443/el.v21i1-2.111.

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This article explores portrayals of librarians in selected works of fiction, notably those involving mystery or detection. It begins with a summary of information derived from descriptions of about one hundred and twenty contemporary or recent works, then discusses particular stories involving detection or mystery, with occasional references to other genres such as science fiction, historical fiction, espionage, and romance. In 1996, we began to compile a bibliography of fiction involving librarians to accompany a graduate course introducing the profession. Entries were obtained through searches of online catalogues and databases, as well as through queries posted over Internet LISTSERVs. About 120 individual works and about a dozen bibliographies were included in the resulting list. In many instances, librarians and their places of work were presented as intrinsically interesting and appealing. In more than half of the works, librarians played leading or major supporting roles. Following a categorization of the roles of librarians in these works, the article examines images of the profession in the works of Umberto Eco, L.R. Wright, and Charlotte McLeod. We contend that, even in works which present casual glimpses of the profession, or even in those which stress less desirable images of its members, accurate details of its techniques and working realities are sometimes discernible. We suggest that further research concentrate upon the work done by fictitious librarians and upon their centrality to plots.

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Sandberg, Eric. "Detective Fiction, Nostalgia and Rian Johnson's Knives Out: Making the Golden Age Great Again." Crime Fiction Studies 1, no. 2 (September 2020): 237–53. http://dx.doi.org/10.3366/cfs.2020.0023.

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The Golden Age is back with a vengeance: reprints, re-boots, and adaptations of interwar detective fiction and its off-shoots have proliferated in the twenty-first century, as have works more loosely, but nonetheless substantially, inspired by the clue-puzzle format developed and perfected by authors like Agatha Christie. This resurgence of the ‘whodunnit’ mystery is something of mystery itself, as the centre of gravity of crime writing has long shifted away from this ostensibly dated and aesthetically limited form. This paper explores this unexpected development, looking in particular at the role of nostalgia in relation to new Golden Age mysteries. While nostalgia is frequently, and quite justly, viewed in negative terms as a personally and politically regressive phenomenon, in some cases, as in Rian Johnson’s murder mystery Knives Out (2019), examined here, it can be used not simply as a dubious marketing or aesthetic strategy, but as part of a broader social critique in which one form of nostalgia is used to critique another.

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Nichols, Ryan, Justin Lynn, and Benjamin Grant Purzycki. "Toward a science of science fiction." Scientific Study of Literature 4, no. 1 (September 22, 2014): 25–45. http://dx.doi.org/10.1075/ssol.4.1.02nic.

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What is a genre? What distinguishes a genre like science fiction from other genres? We convert texts to data and answer these questions by demonstrating a new method of quantitative literary analysis. We state and test directional hypotheses about contents of texts across the science fiction, mystery, and fantasy genres using psychometrically validated word categories from the Linguistic Inquiry and Word Count. We also recruit the work of traditional genre theorists in order to test humanists’ interpretations of genre. Since Darko Suvin’s theory is among the few testable definitions of science fiction given by literary scholars, we operationalize and test it. Our project works toward developing a model of science fiction, and introduces a new method for the interdisciplinary study of literature in which interpretations of literary scholars can be put to the test.

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Bimantara, Varidh, Rengga Asmara, and Nur Rasyid Mubtadai. "OPTIMASI MESIN PENCARI BUKU FIKSI BERDASARKAN PADA SEMANTIK IMPRESI." METHODIKA: Jurnal Teknik Informatika dan Sistem Informasi 51, no. 1 (March 10, 2019): 30–33. http://dx.doi.org/10.46880/mtk.v5i1.415.

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Fiction books are one of the most popular books in Indonesia. There are five most popular genres in fiction books, namely fantasy, mystery, romance, sci-fi, and thriller. Each genre gives a different impression and its own fans for the reader. It is common practice when people choose fiction books based on the title, author, or publisher of the book. However, this does not provide precise search results. In this final project, an application system was developed to find out fiction books based on the semantic impressions contained on the cover of the fiction book. The impression on each book cover is obtained through a survey of fiction book lovers in Indonesia. To get the results of the proximity between the user search and the impression survey data obtained through text mining, as well as the cosine similarity algorithm to calculate the most precise proximity value to the impression expected by the user. The results of this system display fiction books that have the most precise proximity value to the impression expected by the user.

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Asmara, Rengga, Nur Rasyid Mubtadai, and Varidh Bimantara. "OPTIMASI MESIN PENCARI BUKU FIKSI BERDASARKAN PADA SEMANTIK IMPRESI." METHOMIKA Jurnal Manajemen Informatika dan Komputerisasi Akuntansi 5, no. 1 (April 30, 2021): 1–8. http://dx.doi.org/10.46880/jmika.vol5no1.pp1-8.

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Fiction books are one of the most popular types of books in Indonesia. There are five most popular genres in fiction books, namely fantasy, mystery, romance, sci-fi, and thriller. Each genre gives a different impression and special interest for readers. It has become a common habit when people choose a fiction book based on the title, author, or publisher of the book. However, it does not provide precise search results. In this final project, an application system was developed to find out fiction books based on semantic impressions on the cover of the fiction book. The impression on each book cover is obtained through a survey of fiction book lovers in Indonesia. To get the results of the closeness between the user search and the impression survey data obtained through text mining, as well as the cosine similarity algorithm to calculate the most precise proximity value to the impression the user expects. The results of this system display a fiction book that has a closeness value with an error rate of 3.93% based on the impression expected by the user.

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Wood, Ralph C. "A Case for P. D. James as a Christian Novelist." Theology Today 59, no. 4 (January 2003): 583–95. http://dx.doi.org/10.1177/004057360305900405.

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P. D. James is the successor to Agatha Christie as the queen of contemporary crime fiction. She is also a writer whose work is imbued with deep Christian convictions. Her novels are concerned to declare not merely who “done” it, but also why. She probes human motives with an unusually keen eye for the mystery of iniquity, especially the desire to murder in the name of good. James's novels also wrestle with the very largest moral and social questions, and her fiction suggests answers that are deeply incarnational.

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Gregus, Adam. "Shadows Under a Rising Sun: Utopia and Its Dark Side in Kirino Natsuo’s Poritikon." Vienna Journal of East Asian Studies 8, no. 1 (December 20, 2017): 1–31. http://dx.doi.org/10.2478/vjeas-2016-0001.

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Abstract Kirino Natsuo, arguably one of the most popular contemporary Japanese authors in Western markets (a number of her novels having been translated into English, German, French, Italian, Dutch or Spanish, among other languages) who is often being recognised as a mystery writer, only enjoys limited acknowledgment for the thematic breadth and genre diversity of her work. Such description is not only inaccurate (Kirino published her last true mystery novel in 2002), but also manifests itself in the limited and underdeveloped treatment of her work in Western academic writing. This paper deals with Kirino Natsuo’s 2011 novel Poritikon (Politikon) and its analysis within the greater context of Kirino’s work. A focus is put upon introducing the novel as utopian fiction with the aim to illustrate ways in which Kirino Natsuo utilises utopian genre patterns as well as how her utopia works to provide a commentary on contemporary Japan. The utopian theme present in Poritikon makes the novel a rather untypical entry in Kirino’s oeuvre (although not a unique one, since her novels Tōkyō-jima [Tokyo Island, 2008 1 ] and Yasashii otona [Gentle Adults, 2010] also work with elements of utopian/dystopian fiction) as well as within the Japanese literary scene in general, and provides an interesting argument for Kirino Natsuo as more than ‘just’ a mystery writer.

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Jrade, Cathy L., and Howard M. Fraser. "In the Presence of Mystery: Modernist Fiction and the Occult." South Atlantic Review 58, no. 3 (September 1993): 139. http://dx.doi.org/10.2307/3200933.

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Levay. "Remaining a Mystery: Gertrude Stein, Crime Fiction and Popular Modernism." Journal of Modern Literature 36, no. 4 (2013): 1. http://dx.doi.org/10.2979/jmodelite.36.4.1.

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Venske, Regula. "Mystery of regional identity: Crime fiction and Germany's national identity." Index on Censorship 43, no. 2 (June 2014): 48–52. http://dx.doi.org/10.1177/0306422014535880.

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O'Gorman, Farrell. "Languages of Mystery: Walker Percy's Legacy in Contemporary Southern Fiction." Southern Literary Journal 34, no. 2 (2002): 97–119. http://dx.doi.org/10.1353/slj.2002.0009.

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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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Parkinson, Gavin. "The Delvaux Mystery: Painting, the Nouveau Roman, and Art History." Nottingham French Studies 51, no. 3 (December 2012): 298–313. http://dx.doi.org/10.3366/nfs.2012.0029.

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Meant to signal in its parodic title both the causal, deductive conventions of academic art history and those of the detective story, this essay looks at the work of the Belgian artist Paul Delvaux (1897–1994), and discusses the uses to which that œuvre has been put by several of the pioneers of the twentieth-century novel, such as Michel Butor, Alain Robbe-Grillet, Claude Simon, Julio Cortázar, and J.G. Ballard. It goes on to speculate as to why so many French novelists from the 1950s who interrogated specifically narrative form, together with those inspired by their example, responded to Delvaux's work in their writing. Asking whether any gain can be made in art history's knowledge and understanding of art by viewing it back through the fiction or poetry generated by it, the essay suggests that fiction and poetry might inflect academic art history at the level of style, asking what the genre implications of such writing might be for a discipline in which writing and style have had such well-defined boundaries and limitations.

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Mckee, Gabriel. "“Reality – Is it a Horror?”." Journal of Gods and Monsters 1, no. 1 (July 18, 2020): 1–17. http://dx.doi.org/10.58997/jgm.v1i1.1.

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This paper discusses the works of author Richard S. Shaver, who rose to prominence in the science fiction world in the 1940s with stories describing a vast underworld of caverns under the surface of the earth. These caverns were inhabited by evil beings called “dero” that used high-tech devices to torment the inhabitants of the surface world. Shaver, who had spent several years in mental institutions prior to his writing career, claimed his stories were true, and Amazing’s editor, Raymond A. Palmer, aggressively promted the “Shaver Mystery.” This prompted a backlash from science fiction fandom against both Shaver and Palmer. This paper gives an overview of Shaver’s career and explores his world-system as a form of theodicy, drawing in particular on his novel Mandark, a retelling of portions of the Bible narrative. Shaver’s monsters and their devices are examples of an “influencing machine,” a commonly-occurring delusional phenomenon first described by psychologist Victor Tausk in 1919, an externalized force that a patient believes is the source of thoughts and sensations. This paper argues that, for Shaver, the dero provided a psychological framework for processing tragic and traumatic events, externalizing tormenting forces into monsters. His fiction then became a force for combatting those torments within a narrative context. Like other conspiracy theories, the Shaver Mystery seeks to impose order on a chaotic world.

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