Relevant bibliographies by topics / Raymond Chandler

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Raymond Chandler'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 January 2023

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Journal articles on the topic "Raymond Chandler"

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Whitley, John S., Frank MacShane, Raymond Chandler, and Jerry Speir. "Selected Letters of Raymond Chandler." Modern Language Review 80, no. 1 (January 1985): 146. http://dx.doi.org/10.2307/3729403.

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Allen, Fiona. "Raymond Chandler: The Detections of Totality." Parallax 23, no. 2 (April 3, 2017): 240–43. http://dx.doi.org/10.1080/13534645.2017.1299294.

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Carringer, Robert L. "Raymond Chandler and Strangers on a Train." PMLA/Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1449–50. http://dx.doi.org/10.1632/s003081290016910x.

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Misse, Michel. "Chandler no Cinema Noir: algumas reflexões sobre "A simples arte de matar"." Sociologias 15, no. 34 (December 2013): 140–54. http://dx.doi.org/10.1590/s1517-45222013000300007.

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O artigo trata da adaptação de novelas de Raymond Chandler para o cinema e de suas incursões como roteirista de filmes; na última parte, tendo por referência o ensaio de Chandler intitulado "A simples arte de matar", o autor reconsidera o apelo do crime e do mistério nas representações sociais presentes na estética "noir", que influencia ainda hoje o romance policial e de mistério.
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Nicholson, Mervyn. "Raymond Chandler and Strangers on a Train - Reply." PMLA/Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1448–49. http://dx.doi.org/10.1632/pmla.2001.116.5.1448.

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Nicholson, Mervyn. "Raymond Chandler and Strangers on a Train - Reply." Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1448–49. http://dx.doi.org/10.1632/s0030812900113495.

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Fine, D. "Nathanael West, Raymond Chandler, and the Los Angeles Novel." California History 68, no. 4 (December 1, 1989): 196–201. http://dx.doi.org/10.2307/25158537.

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Fontana, Ernest. "Selected Letters of Raymond Chandler ed. by Frank MacShane." Western American Literature 23, no. 1 (1988): 60–61. http://dx.doi.org/10.1353/wal.1988.0131.

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Navitsky, Joseph. "Raymond Chandler and the Art of the “Shakespearean Touch”." Journal of American Culture 37, no. 2 (June 2014): 198–214. http://dx.doi.org/10.1111/jacc.12163.

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Trott, Sarah. "‘Remembrance, alas, is a tricky business’: Memory and biography in the established account of Raymond Chandler’s experience of the First World War." European Journal of American Culture 40, no. 1 (March 1, 2021): 45–62. http://dx.doi.org/10.1386/ejac_00037_1.

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This article re-examines the First World War experience of renowned American crime fiction author Raymond Chandler in order to demonstrate that the established biographical account masks an experience more traumatic than previously acknowledged. Like Carlos Baker’s version of Ernest Hemingway’s wartime experience, Frank MacShane’s original biographical account relies heavily on small sections of Chandler’s own correspondence that are taken out of context. Later biographies have reproduced this vague and ambiguous account without much further investigation, which has permitted various theories about Chandler’s work to develop, most notably that his protagonist, the detective Philip Marlowe, is a knight errant. This article utilizes primary documents, including Chandler’s military file and the War Diaries of his battalion, to highlight discrepancies in existing biographical narratives, and unveils an account that is significantly different from that of his biographers. By understanding the true traumatic nature of Chandler’s experiences on the French front line, we are presented with a fresh and original perspective through which to reconsider his work and an understanding of how Chandler’s war experience helped establish the traditional archetype of detective fiction.
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Dissertations / Theses on the topic "Raymond Chandler"

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Boof-Vermesse, Isabelle. "Stratégies du récit dans l'oeuvre de Raymond Chandler." Paris 3, 1994. http://www.theses.fr/1994PA030118.

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A partir du contexte generique, et notamment grace aux ecrits theoriques de l'ecrivain, le but de cette these est de montrer comment chandler reprend les conventions de la "formule" pour les transcender et faire finalement oeuvre litteraire a partir des limitations de la paralitterature. Apres avoir etabli les postulats du genre, qui privilegie le jeu et l'enigme plutot que le recit, on definira la revolution narrative operee par le roman noir americain pour mettre en evidence la tension entre realisme, qui passe notamment par le traitement de la ville de los angeles, et romance lyrique, qui s'appuie sur une instance narrative eminemment rhetorique. Le melodrame chandlerien se definit alors par l'utilisation de la defamiliarisation, de la distance, du protesque, relayes par une figuralite tres marquee dont il convient d'etudier les differents tropes. La vision du monde qui se degage du style et de la structure narrative sera mis en parallele avec la mefiance traditionnelle de la litterature americaine pour la femme : on concluera ainsi que si le texte chandlerien surgit d'une tension metaphorisee dans le traitement du femininin, il ne tend jamais a reduire cette tension mais au contraire travaille a cultiver l'ambivalence
Starting from the generic context, and in particular with the help of his theoretical writings, the aim of this dissertation is to show how chandler uses the conventions of the "formula" to transcend them and eventually create literature out of the limits of what can be called "paraliterature". After having established the postulates of the genre, which favour game and enigma rather than narrative proper, the narrative revolution worked out by the hard-boiled detective novel will be specified as a tension between realism, in particular in the treatment of the city of los angles, and lyrical romance, based on the use of an eminently rhetoric voice. The chandlerian melodrama comes then to be defined in terms of defamiliarisation, distance, and grotesque, relayed by a higly marked figurality, the tropes of which will be studied in detail. The narrative attitude stemming from the style and the narrative structure is then to be set against the traditional suspicion of american literature towards women: the ambivalence towards the feminine is the metaphor for the activity of the text which feeds on contradictions rather than solutions
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Routledge, Christopher. "Modernity and identity in the detective novels of Raymond Chandler." Thesis, University of Newcastle Upon Tyne, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.388154.

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Lin, Shuchin. "Ross Macdonald's innovations in the hard-boiled tradition of Dashiell Hammett and Raymond Chandler." Thesis, University of Newcastle Upon Tyne, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.250133.

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Trott, Sarah Louise. "The detective as veteran : the trauma of war in the work of Raymond Chandler." Thesis, Swansea University, 2010. https://cronfa.swan.ac.uk/Record/cronfa42370.

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Raymond Chandler created his detective Philip Marlowe not as the idealisation of heroic individualism as is commonly perceived, but instead as an authentic individual subjected to very real psychological frailties resulting from his traumatic experiences during World War One. Marlowe's characterisation goes beyond the traditional chivalric readings and should instead be interpreted as an authentic representation of a traumatised veteran in American society. Substituting the horror of the trenches for the corruption of the city. Chandler's disillusioned protagonist and his representation of an uncaring American society resonate strongly with the dislocation of the Lost Generation. Consequently, it is profitable to consider Chandler not simply as a generic writer but as a genuine literary figure. This thesis re-examines important primary documents highlighting extensive discrepancies in existing biographical narratives of Chandler's war experience, and unveils an account that is significantly different from that of his biographers, revealing the trauma that troubled Chandler throughout his life. The application of psychological behavioural interpretation to interrogate Chandler's novels demonstrates the variety of post-traumatic symptoms that tormented both Chandler and his protagonist. A close reading of his personal papers reveals the psychological symptoms of PTSD that were subconsciously encoded into Marlowe's characterisation. Marlowe can only be understood a character shaped by Chandler's own experiences. This conflation of the hard-boiled style and war experience has influenced many contemporary crime writers, particularly in the traumatic aftermath of the Vietnam War. The sum of this work offers a new understanding of Chandler's traumatic war experience, how that experience established the traditional archetype of detective fiction, and how this reading of his work allows Chandler to transcend generic limitations to be recognised as a key twentieth century literary figure.
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Wattez, Hervé. "Le personnage du privé dans les oeuvres de Dashiel Hammett et de Raymond Chandler." Limoges, 1986. http://www.theses.fr/1986LIMO0501.

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Le mythe du prive occulte le personnage tel qu'il a ete cree par les fondateurs du roman dit "noir": hammett et chandler. Ce personnage a une double origine : il tient a la fois de sherlock holmes et de nick carter. Ses methodes s'opposent a celles des heros du roman de deduction. La raison n'est plus l'arme privilegiee du detective. Elle cede la place a l'action et a l'intuition du joueur de poker. L'intrigue n'est plus l'essentiel. Il n'y a plus de "solution" et l'on debouche sur une "ethique de l'absurde". Le portrait du prive met en valeur son cote anti-heros, sa facade cynique ainsi que l'idealisme profond que dissimule cette facade. Il se rapproche du tough guy d'hemingway dont il partage la misogynie. Son role social est clairement reactionnaire : il contribue a maintenir le statu quo social en preservant la respectabilite des classes aisees. C'est une vision "realiste" de la societe que nous proposent hammett et chandler. En ce sens, ils sortent des limites du genre policier pour penetrer dans un domaine jusque-la reserve a la litterature dite "serieuse". La qualite de leur ecriture les faisait egalement sortir des limites de la "souslitterature". Hammett est le createur d'un style depouille a l'extreme. Il inaugurait l'esthetique du proces-verbal. Influence par le behaviorisme, hammett nous decrit des comportements et utilise une technique dite "exterieure". Chandler commence par s'engager dans ses traces puis se degage peu a peu de son influence, en revenant a une technique romanesque plus traditionnelle, plus conforme a ses ambitions. En effet, le personnage a evolue du continental op a philip marlowe. Cette evolution s'explique par la personnalite de chandler et aussi par l'evolution des conditions economiques et sociales. Hammett est l'ecrivain de la prohibition et de la prosperite, chandler est l'ecrivain de la grande crise. Au continental op, cynique, brutal, ne croyant qu'au chacun pour soi, a succede l'altruiste et chevaleresque marlowe. Une semblable evolution peut etre notee chez hemingway
The myth of the private eye tends to distort our view of the character that was created by hammett and chandler, the founders of the "hard-boiled" detective story. The private eye has a double origin : he is both sherlock holmes and nick carter. His methods have nothing to do with the traditional detective's in so far as reason and logic are no longer his favourite weapons. He resorts to action and to the poker-player's intuition. The plot is no longer essential. No "solution" can be found in hammett's and chandler's novels. The portrait of the private eye brings into light both his "anti-hero" aspect, his cynical pose and the idealism that the pose is meant to hide. He resembles hemingway's tough guy whose misogyny he shares. His social role is unequivocally reactionary since he contributes to maintaining the social status quo by preserving the ruling classes' respectability. Hammett and chandler provide us with a "realistic" vision of american society. Consequently, they broach themes which used to be reserved for "serious" literature. The quality of their style set them apart from the writers of escape literature. Hammett created a style whose main feature was baldness. Influenced by behaviorism, hammett describes behaviours and resorts to an "external" technique. For a time, chandler was his "disciple" but gradually he abandoned hammett's technique which no longer suited him. For the character of the private eye has evolved from the continental op to philip marlowe. Such an evolution can be accounted for by chandler's background and personality but the evolution of economic and social conditions must also be taken into account. Hammett wrote most of his books during the prosperity whereas chandler wrote his after the great depression. The chivalrous and altruistic marlowe succeeded to the cynical continental op. A similar evolution is to be found in hemingway's tough guys
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Nissi, Maria C. "Silent cowboys and verbose detectives masculinity as rhetoric in Wister, Hammett, and Chandler /." CONNECT TO THIS TITLE ONLINE, 2007. http://etd.lib.umt.edu/theses/available/etd-05082007-102002/.

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Benakli, Nathalie. "Le héros et son contexte dans l'oeuvre de Raymond Chandler et celle de Dashiell Hammett." Paris 3, 1990. http://www.theses.fr/1991PA030035.

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L'image du detective prive "dur-a-cuire" est tres differente de celle du protagoniste du roman de detection classique. Dashiell hammett fonda le genre "hard-boiled", creant des detectives professionnels mais aussi des heros non-detectives. Raymond chandler le suivit sur cette voie en choisissant cependant un personnafge unique. De cela il ressort l'archetype du "tough guy", sorte de chevalier des temps modernes qui suivit son (en)quete. Quelques reperes biographiques sont donnes en relation avec la representation du heros. Le contexte, c'est encore celui de la narration ; les travaux de gerard genette servent ici d'outil methodologique principal. Arme privilegiee du detective, le langage est ensuite evoque, puis aborde sous l'angle de l'humour et de l'argot. Les adaptations des romans a l'ecran sont brievement etudiees, cloturant ainsi la "mise en scene" du heros. La troisieme partie depeint le cadre spatial (urbain et rural) et le contexte humain (les differentes classes sociales et les ethnies auxquelles l'enqueteur se trouve confronte). De plus, le detective prive doit faire face a trois categories de femmes et entretient avec les hommes une relation ambigue. La symbolique de la violence est ensuite analysee. Enfin se pose la question de l'ideologie du roman noir dans le but d'apprecier comment le mythe du "tough guy" peut etre applique a l'image du detective concue par hammett et chandler
The image of the hard-boiled detective is very different from the one of the classical detective story protagonist. Dashiell hammett founded the hard-boiled tradition, creating professional detectives as well as non-detective heroes. Raymond chandler followed him with his unique private-eye character. From that rises the archetype of the "tough guy", the modern knight and his (in) quest. Some biographical landmarks are given in relation with the characterization of the hero. There is also the context of narration ; the works of gerard genette are the main methodological reference for its analysis. Language is seen as the privileged weapon of the hero, then from the angle of humor and slang. The novels adaptations for the screen are briefly examined. The third part depicts the setting (urban and rural) and the human context (the different social classes and ethnies with whom the hero is confronted). Moreover, the private detective has to deal with three kinds of women and he experiences an ambiguous relationship with men. The symbolic aspect of violence is then studied. At last the question of ideology is posed in order to understand how the myth of the tough guy can be applied to the image of the detective created by hammett and chandler
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Paradizzo, Felipe Vieira. "Mandrake e o hard-boiled: questões de masculinidade(s) entre Rubem Fonseca e a literatura policial norte-americana." Universidade Federal do Espírito Santo, 2011. http://repositorio.ufes.br/handle/10/3243.

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Made available in DSpace on 2016-08-29T14:11:23Z (GMT). No. of bitstreams: 1 tese_4660_Felipe de Oliveira Fiuza.pdf: 369187 bytes, checksum: 96583c5175d693658068592c041f7efe (MD5) Previous issue date: 2011-03-28
Tendo em vista a importante contribuição dos estudos culturais e literários para o aprofundamento do debate sobre as narrativas policiais norte-americanas, este estudo pretende levantar singularidades, rupturas e questões de masculinidade(s) associadas à literatura hardboiled, de modo a fundamentar uma investigação de sua reverberação na obra de Rubem Fonseca. Para tal fim, parte-se, principalmente, dos estudos de masculinidade hegemônica empreendidos por R.W. Connell e seus comentadores, e da análise de três dos maiores expoentes fundadores do gênero, Dashiell Hammett, Raymond Chandler e Jim Thompson. Considerando essa fundação da literatura policial norte-americana, serão então analisadas quatro obras protagonizadas pelo personagem Mandrake, ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ e o romance A Grande Arte. Pretende-se, assim, observar como o autor se vale dessa tradição da literatura policial, e de suas implicações com questões de masculinidade(s), para criar uma obra de tamanha potência crítica, estilística e política.
Taking into consideration the important contribution of literary and cultural studies to the deepening of debate about North-American detective narratives, this study intends to assemble singularities, disconnections and contemporary masculinity issues associated with hard-boiled literature, aiming to substantiate an investigation of its influence in Rubem Fonseca‘s work. In order to do so, we take as a starting point the studies of hegemonic masculinities, by R.W. Connell and her commentators, and the analysis of three of the genre‘s founding fathers, Dashiell Hammett, Raymond Chandler and Jim Thompson. Considering the foundation of North-American detective novel, four works which has Mandrake as its main character will be analyzed : ―O Caso F.A‖, ―Dia dos Namorados‖, ―Mandrake‖ and the novel A Grande Arte. Seeking to observe how the author utilizes the hard-boiled tradition and its implications in masculinities issues in order to create a work of enormous critical, stylistic and political potency.
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Jaber, Maysaa Husam. "Sirens in command: the criminal femme fatale in American hardboiled crime fiction." Thesis, University of Manchester, 2011. https://www.research.manchester.ac.uk/portal/en/theses/sirens-in-command-the-criminal-femme-fatale-in-american-hardboiled-crime-fiction(a6a35b81-665e-4f1a-9f3c-a8c286fe3796).html.

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This thesis challenges the traditional view of the 'femme fatale' as merely a dangerous and ravenous sexual predator who leads men into ruination. Critical, especially feminist, scholarship mostly regards the femme fatale as a sexist construction of a male fantasy and treats her as an expression of misogyny that ultimately serves to reaffirm male authority. But this thesis proposes alternative ways of viewing the femme fatale by showing how she can also serve as a figure for imagining female agency. As such, I focus on a particular character type that is distinct from the general archetype of the femme fatale because of the greater degree of agency she demonstrates. This 'criminal femme fatale' uses her sexual appeal and irresistible wiles both to manipulate men and to commit criminal acts, usually murder, in order to advance her goals with deliberate intent and full culpability. This thesis reveals and explains the agency of the criminal femme fatales in American Hardboiled crime fiction between the late 1920s and the end of World War II in the works of three authors: Dashiell Hammett, Raymond Chandler and James M. Cain. The criminal femme fatales in the narratives of these authors show a subversive power and an ability to act - even though, or perhaps only if, this action is a criminal one. I show that these criminal femme fatales exhibit agency through their efforts to challenge not only the 'masculine' genre and the criminal space that this genre represents, but also to undercut the male protagonist's role and prove his failure in asserting control and dominance. Hammett's narratives provide good examples of how the criminal femme fatales function on a par with male gangsters in an underworld of crime and corruption. Chandler's work demonstrates a different case of absent/present criminal women who are set against the detective and ultimately question his power and mastery. Cain's narratives show the agency of the criminal femme fatales in the convergence between their ambition for social mobility and their sexual power over the male characters. To explain how these female characters exhibit agency, I situate this body of literature alongside contemporaneous legal and medical discourses on female criminality. I argue that the literary female criminal is a fundamentally different portrayal because she breaks the 'mad-bad' woman dichotomy that dominates both legal and medical discourses on female criminality. I show that the criminal femme fatales' negotiations of female agency within hardboiled crime fiction fluctuate and shift between the two poles of the criminalized and the medicalized women. These criminal femme fatales exhibit culpability in their actions that bring them into an encounter with the criminal justice system and resist being pathologized as women who suffer from a psychological ailment that affect their control. The thesis concludes that the ways in which the criminal femme fatales trouble normative socio-cultural conceptions relating to docile femininity and passive sexuality, not only destabilize the totality and fixity of the stereotype of the femme fatale in hardboiled crime fiction, but also open up broader debates about the representation of women in popular culture and the intersections between genre and gender.
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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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Books on the topic "Raymond Chandler"

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Raymond Chandler. Boston: Twayne Publishers, 1986.

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Raymond, Chandler. Raymond Chandler speaking. Berkeley: University of California Press, 1997.

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Raymond, Chandler. Raymond Chandler speaking. Berkeley: University of California Press, 1997.

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Raymond Chandler: A biography. New York: Atlantic Monthly Press, 1997.

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Raymond Chandler: A biography. London: Chatto & Windus, 1997.

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Raymond Chandler and film. 2nd ed. Tallahassee: Florida State University Press, 1991.

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Raymond Chandler: A biography. New York: Grove Press, 1999.

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Raymond Chandler in Hollywood. Los Angeles: Silman-James Press, 1996.

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MacShane, Frank. The life of Raymond Chandler. London: H. Hamilton, 1986.

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MacShane, Frank. The life of Raymond Chandler. Boston, Mass: G.K. Hall, 1986.

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Book chapters on the topic "Raymond Chandler"

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Hamann, Christof. "Raymond Chandler." In Handbuch Kriminalliteratur, 130–34. Stuttgart: J.B. Metzler, 2018. http://dx.doi.org/10.1007/978-3-476-05430-2_17.

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Hamilton, Cynthia S. "Raymond Chandler." In Western and Hard-Boiled Detective Fiction in America, 146–71. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08390-9_8.

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McCann, Sean. "Raymond Chandler." In A Companion to Twentieth-Century United States Fiction, 332–41. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444310108.ch29.

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Wörtche, Thomas. "Chandler, Raymond." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5048-1.

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Wörtche, Thomas. "Raymond Chandler." In Kindler Kompakt Kriminalliteratur, 114–18. Stuttgart: J.B. Metzler, 2016. http://dx.doi.org/10.1007/978-3-476-05537-8_27.

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Fischer, Katrin. "Chandler, Raymond [Thornton]." In Englischsprachige Autoren, 46–48. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_21.

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Panek, Leroy Lad. "Raymond Chandler (1888-1959)." In A Companion to Crime Fiction, 403–14. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444317916.ch32.

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Wörtche, Thomas. "Chandler, Raymond: The Big Sleep." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5049-1.

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Wörtche, Thomas. "Chandler, Raymond: The Long Goodbye." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_5050-1.

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Knight, Stephen. "‘A Hard Cheerfulness’: An Introduction to Raymond Chandler." In American Crime Fiction, 71–87. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19225-0_6.

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