Academic literature on the topic 'Thriller novel'
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Journal articles on the topic "Thriller novel"
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Nikonenko, Olha, and Olena Rigger. "CULINARY THEMATICS IN DETECTIVES." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (2020): 193–95. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-193-195.
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The article is devoted to the consideration of genre of crime novels in contemporary German literature general and to those with a culinary theme especially. The using of the term “culinary thriller“ by authors and journalists is critically considered. There is a short overview of the development of the genre of crime novel, there important stages, the structure and characteristics in German literature. Discussed is the popularity of this genre in recent years. The thriller in the modern German literature are thematically qualified. Culinary and gourmet theme is a popular environment in the criminals of the modern German crime thriller authors. Culinary has a great place in the works of the crime genre and has various functions such as means of portraying the person’s manager, crime scene or means for a crime or murder, as a tool of subject’s development. Crime novels often have an educational function, informing the reader about the quality and production of gourmet products. Authors analyze the concept of the culinary crime novel are of the opinion that a culinary crime novel is only a novel when the culinary theme is the motive for the crime. The empirical research is based on the thrillers by writers from Germany, Austria, Switzerland and Luxemburg. This allows an analyses of breadth and depth of the culinary content in the crime novels.
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Rohaeni, Rohaeni, Fatma Hetami, and Bambang Purwanto. "Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ “The Girl on The Train”." Rainbow: Journal of Literature, Linguistics and Cultural Studies 8, no. 1 (2019): 73–85. http://dx.doi.org/10.15294/rainbow.v8i1.27917.
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The topic of this study is Anxiety and Defense Mechanism as A Means of Constructing Psychological Thriller in Hawkins’ The Girl on the Train. The objectives of this study are to describe how anxiety and defense mechanism are described in Hawkins’ The Girl on the Train and to explain how anxiety and defense mechanism construct psychological thriller as represented in Hawkins’ The Girl on the Train. The object of the study is a novel entitled The Girl on the Train written by Paula Hawkins. This study is descriptive qualitative study by applying Freudian psychoanalytic theory. The data of the study were collected by reading, identifying, interpreting, and inventorying citations from the novel. Further, the data were analyzed based on Freudian psychoanalytic theory by describing anxiety and defense mechanism described in the novel. The data were also analysed by explaining how anxiety and defense mechanism construct psychological thriller. The results show there are three kinds of anxiety and six kinds of defense mechanism. Moreover, the results prove that those anxieties and defense mechanisms become a means of constructing psychological thriller since they make the characters suffer from psychological problem and become unreliable narrator, create plot twist, and make the novel become thrilling.
 
 Keywords: Psychological thriller; Freudian psychoanalysis; Anxiety; Defense Mechanism.
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Pokotylo, Mikhail. "American thriller novel as an effective means of scientific communication." E3S Web of Conferences 273 (2021): 11031. http://dx.doi.org/10.1051/e3sconf/202127311031.
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In the modern world, the problem of the perception of science in society is relevant, and it is impossible to expect scientific breakthroughs and the introduction of new technologies into everyday life without its solution. Anti-scientology views have taken root in society with the active assistance of the media. In this regard, it seems useful to analyse the features of the science image formation by means of fiction. The purpose of the article is to study the possibilities of using the genre of the American thriller novel as a means of scientific communication that can inspire society’s confidence in science. To achieve the stated purpose, the analysis of the peculiarities of the science perception in modern society is carried out; the methods of communication between scientists and society are considered, and the specific features of the thriller genre are revealed. The author came to the conclusion that the genre nature of the thriller novel makes it possible to tell mass audience about new technologies in a fascinating way, take a fresh look at scientific achievements, comprehend the moral principles of science, and build trust in innovative technologies in modern society.
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IOVĂNEL, MIHAI. "POPULAR GENRES: SCIENCE FICTION AND FANTASY, DETECTIVE NOVEL, THRILLER." Dacoromania litteraria 7 (2021): 137–53. http://dx.doi.org/10.33993/drl.2020.7.137.153.
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Svoboda, Manuela, and Petra Zagar-Sostaric. "How much Artistic Freedom is permitted when it comes to Language? - Analysis of a Crime Novel." European Journal of Social Science Education and Research 5, no. 2 (2018): 50–60. http://dx.doi.org/10.2478/ejser-2018-0033.
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Abstract In this article a closer look will be taken at the issue of inaccurately using a foreign language, i.e. German in this particular case, in a crime novel or thriller. Of course, in fiction the author has complete artistic freedom to invent and present things as he/she intends and it doesn`t necessarily have to be realistic or legitimate. But what happens when it comes to an existing language being quoted in fiction? For this purpose David Thomas’ thriller “Blood Relative - How well do you know the one you love?” is analysed regarding parts in which German quotes are used. As the plot is located partly in England and partly in former East Germany (GDR) and the protagonist’s wife is of German origin, direct speech, titles and names are used in German. Subsequently, they are translated into English by the author in order to be understood by the English reader. However, there are many grammar, spelling and semantic mistakes in these German expressions and common small talk quotes. This begs the question, is it justified to disregard linguistic correctness with regards to artistic freedom given the fact that we are dealing with a fictional thriller, or is it nevertheless necessary to be precise concerning foreign language usage? How far may one “test” their artistic freedom in this particular case? In order to answer these questions a detailed analysis of the thriller is performed, concerning artistic freedom and modern literature/light fiction as well as the German language used in quotes and direct speech.
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Avanzas Álvarez, Elena. "Form and Diversity in American Crime Fiction:The Southern Forensic Thriller." Polish Journal for American Studies, no. 13 (Autumn 2019) (October 15, 2019): 309–19. http://dx.doi.org/10.7311/pjas.13/2/2019.11.
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The forensic thriller has traditionally been constructed as a mainstream American narrative focused on the stereotypical representation of the country as a metropolis with an incredible amount of resources, and the American capitalist dream. The author Patricia Cornwell (Postmortem, first novel in the Kay Scarpetta series, published in 1990) is considered the founding mother of this crime fiction subgenre native to the US, closely followed by Kathy Reichs (Deja Dead, first novel in the Temperance Brennan series, published in 1997) whose series have been successfully adapted to television in the show Bones (2005-2017). But the 21st century has seen the inclusion of more diverse settings for these stories, the South being the most economically successful and dominated by women authors too. Georgian Karin Slaughter is the author of the “Grant County” series, set in the fictional town of Heartsdale, in rural Georgia, and responsible for the inscription of the South in American forensic thrillers thanks to her own experience as a native. Blindsighted (2001) includes elements from both the grotesque southern gothic and the hard boiled tradition. My analysis of the first novel in the series will examine how the southern environment becomes quintessential to the development of the crimes and the characters from a literary, philosophical and feminist point of view. The issues examined will include, but not be limited to crime, morals, religion, professional ambition, infidelity, divorce, sexual desire, infertility, and family relationships.
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Czyżak, Agnieszka. "Polska literatura najnowsza i Holokaust – edukacyjny potencjał fikcji?" Narracje o Zagładzie, no. 6 (November 23, 2020): 372–88. http://dx.doi.org/10.31261/noz.2020.06.21.
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The article contains considerations regarding memory of the Holocaust in Polish contemporary prose and analyses the arguments for and against fictitious representations of theShoah. The author discusses the changes in treating fiction which narrates the history of Jewish people during the Second World War – from works of fiction published after the war (e.g. Wielki Tydzień by Jerzy Andrzejewski) to popular thrillers written in the 21st century. The main part of this article is devoted to a novel Tworki written by Marek Bieńczyk in 1999, telling a story of young people – Poles and Jews – employed in a mental hospital during German occupation. The novel was at the centre stage of discussion about relationship between fiction and the Shoah theme, yet the author of the article argues that it may serve as an important stepping stone in exemplifying history. This literary vision of the Holocaust (defined as “pastoral thriller”) shows educational possibilities of fiction.
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FINCH, LAURA. "The Un-real Deal: Financial Fiction, Fictional Finance, and the Financial Crisis." Journal of American Studies 49, no. 4 (2015): 731–53. http://dx.doi.org/10.1017/s0021875815001693.
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The credit crisis of 2007–8 prompted a Manichean discourse that labeled finance the flighty and unreal other of the solidity of the real economy. Almost overnight the “speculative finance” shifted from a descriptive term to an evaluative one, with freewheeling finance singled out as the main cause of the crisis. The fictionality of finance is, of course, a fiction itself. Not only is finance a part of the real economy but since the 1970s it has played an increasingly significant part in it. This essay aligns with recent work in critical finance studies that puts pressure on the idea that finance can be separated from the real economy. Supplementing the world-historical scale at which this work often remains, this essay theorizes the real abstraction of finance through its lived social experience. The year 1973 was replete with financial events: the end of the Bretton Woods agreement and the gold standard, the Middle East oil crisis, the creation of the Chicago options exchange, and the invention of the Black–Scholes equation governing derivatives. It also saw the birth of the financial thriller with Paul Erdman’sThe Billion Dollar Sure Thing. Seizing upon a formulaic genre and opening it up to a flood of real events from the trading floor, the financial thriller acts as a dynamic interface and sensitive seismograph for theorizing the fictionality of finance. This essay opens with a reading of Bret Easton Ellis’sAmerican Psycho(1991) as an example of a work that renders real abstraction in an explicitly social way. Rather than viewing the novel as a hyperbolically postmodern reflection of abstract financial maneuvers, I argue that it is thickly embedded within the historically specific financial cityscape of 1980s Manhattan. I then turn to a comparative reading of recent financial thrillers written in response to the twenty-first-century credit collapse. Unlike Ellis’s novel, these thrillers strive to keep the unreality of finance segregated from the real economy at the level of plot, while also making use of generic strategies to do so at the level of form, pushing financial data into footnotes, descriptive asides, and a different tonal register of narrative. By reading these thrillers alongsideAmerican Psycho, a book written before the shock of terminal economic crisis, I offer a more historically nuanced reading of their attempts to salvage a workable economy out of the mess of the twenty-first-century American economy.
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Putri, Octavia, and Safitri Hariani. "Woman’s Bravery against Gender Inequality in Danielle Steel’s Novel The Right Time." JOURNAL OF LANGUAGE 3, no. 1 (2021): 65–72. http://dx.doi.org/10.30743/jol.v3i1.3717.
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This research is to analyze the bravery of a woman in facing gender inequality in Danielle Steel's Novel The Right Time. Alexandra Winslow is a young woman who has a dream to be a crime thriller story writer. During the journey of realizing her dream as a writer, she should be brave to face discrimination from male crime thriller writers and gender inequality from society. This research is completed by the use of descriptive qualitative method. The data are obtained by quoting related quotations from the story of the novel. Then, the data analysis is conducted by classifying the data related to the research problems of this study. The results show that there are three types of bravery done by the main character: bravery to fight against marginalization, abolish stereotype and thwart violence. Winslow's ability to write is not in doubt. Those who know Winslow closely and have read her writings find Winslow's writing to be extraordinary. Thanking to the support of the people around him, Winslow dares to continue her dream of becoming a famous writer even though she has to hide behind the identity of a man.
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Vázquez, Juan de Dios. "Espectros en el archivo." Mexican Studies/Estudios Mexicanos 29, no. 2 (2013): 478–502. http://dx.doi.org/10.1525/msem.2013.29.2.478.
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Este artículo estudia la novela Cementerio de papel (2002) donde se teje un thriller detectivesco en torno a un asesinato sucedido bajo la cúpula del Archivo General de la Nación (Lecumberri). Con el traslado y la apertura de los expedientes de la antigua Dirección Federal de Seguridad retornan a la antigua prisión las viejas víctimas y sus victimarios, sólo que ahora en forma de espectros del pasado. La obra se mueve, así, dentro del binomio cárcel/archivo, presentando a Lecumberri como un espacio vivo desde donde empezar una búsqueda por la justicia y la verdad, sin caer en la melancolía o el victimismo. This essay examines the novel Cementerio de Papel [Paper Cemetery] (2002), a detective thriller about a murder that took place under the dome of the Archivo General de la Nación [National General Archive] (Lecumberri). The relocation and opening of the files of the former Dirección Federal de Seguridad [Federal Security Bureau] in the former prison comes along with the return of victims and victimizers, only now they come back as ghosts of things past. The novel works with the binomial jail/archive, featuring Lecumberri as a live space from which to begin a search for justice and truth, without sinking into melancholy or victimhood.
Dissertations / Theses on the topic "Thriller novel"
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Elston, James C. (James Cary). "The Agolmirth Conspiracy." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc278455/.
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Written in the tradition of the classic spy novels of Ian Fleming and the detective novels of Raymond Chandler, The Agolmirth Conspiracy represents the return to the thriller of its traditional elements of romanticism, humanism, fast-moving action, and taut suspense, and a move away from its cynicism and dehumanization as currently practiced by authors such as John Le Carre' and Tom Clancy. Stanford Torrance, an ex-cop raised on "old-fashioned" notions of uncompromising good and naked evil and largely ignorant of computer systems and high-tech ordinance, finds himself lost in a "modern" world of shadowy operatives, hidden agendas, and numerous double-crosses. He is nevertheless able to triumph over that world when he puts his own honor, his own dignity, and his very life on the line, proving to himself and to his adversaries that such things can still make things easier to see amid today's swirling moral fog.
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Thomas, Christian. "The Tiberius Torture." ScholarWorks@UNO, 2016. http://scholarworks.uno.edu/td/2195.
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Lima, Gabriel Cordeiro dos Santos. "Ruínas de um sonho: desilusão e ressentimento em um Thriller histórico de Leonardo Padura." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-08032017-135952/.
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A presente investigação tem por objeto de estudo o romance El hombre que amaba a los perros (2009), de autoria do cubano Leonardo Padura. Em uma análise formal de tal obra, a pesquisa debruça-se sobre a posição de seus narradores, sobre a construção de seus personagens e sobre a estruturação de seu enredo, compreendendo seu funcionamento literário enquanto sintoma cultural da sociedade de consumo contemporânea. Assim, discute-se o pastiche da literatura policial noir engendrado pelo autor, bem como suas maneiras não realistas de figurar a história, situando o livro em meio ao panorama estético e ideológico da pós-modernidade. Com isso, busca-se esclarecer a relação dialética que se estabelece entre a forma narrativa do romance e o atual processo de transição histórica vivenciado por Cuba o qual conduz a ilha à integração ao sistema mundial do capitalismo tardio.<br>The current research aims to study the novel The man who loved the dogs (2009), by Cuban writer Leonardo Padura. In a formal approach to such work, the research focuses on the position of its narrators, on the construction of its characters and on the structure of its plot, understanding its literary functioning as a cultural symptom of contemporary consume society. Thus, the pastiche of noir crime fiction engendered by the author is put into discussion, as well as its non-realistic ways to figure history, in order to place the book amid the aesthetic and ideological panorama of postmodernity. Therefore, it intends to clarify the dialectical relationship established between the narrative form of the novel and the current historical transition process experienced by Cuba - which leads the island to integrate itself to late capitalism world system.
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Janssen, Sabine. "Comme un roman policier: Daniel Pennacs Malaussène-Serie als eine Spielart des Kriminalromans - Like a thriller: Daniel Pennac's Malaussène-Saga as a variation of crime novel." Gerhard-Mercator-Universitaet Duisburg, 2003. http://www.ub.uni-duisburg.de/ETD-db/theses/available/duett-03242003-102057/.
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The doctoral thesis 'Comme un roman policier: Daniel Pennacs Malaussène-Serie als Spielart des Kriminalromans' delivers a thorough analysis of a popular French series consisting of five novels which are rooted in crime literature. The contemporary French author Daniel Pennac makes a playful use of elements characteristic both of the detective novel als well as the thriller. Aspects of the analysis include the structure of the novels, techniques of narration, depiction of society, methods of detection and use of language. Based on René Girard's scapegoat-theory Pennac creates the tragicomic hero of Benjamin Malaussène. Besides the exceptional protagonist, the rest of the Malaussène-universe can be divided into a 'good' in-group and a 'bad' out-group. Pennac draws rough sketches of the characters by using stereotypes and the inversion of stereotypes. By these means Pennac reveals by which absurd and paradoxical mechanisms the contemporary Western society often works. Concerning the detection, the author does not stick to traditional methods, but extents the intruments of knowledge to the supernatural. Theses variations of detective novel and thriller regarding the contents are presented in an elaborated and metaphorical style which furthermore contains innumerable reflections on language and literature. The thesis concludes with a classification of Pennac's Malaussène-Saga within the frame of modern French as well as crime literature.
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Bentolila, Éric. "Le roman policier français de 1970 et 2000 : une analyse littéraire." Thesis, Université Grenoble Alpes (ComUE), 2016. http://www.theses.fr/2016GREAL013/document.
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Le roman policier français entre 1970 et 2000. La thèse suivante procède à l’analyse littéraire de romans policiers français de la fin du XXème siècle. L’intention est alors de montrer que si ces romans policiers peuvent être analysés avec les outils de l’analyse littéraire, ces romans peuvent alors être considérés comme des œuvres littéraires et leurs auteurs comme des écrivains à part entière. Le corpus contient les principaux romans de quatre auteurs répartis sur les quatre dernières décennies du XXème siècle : Jean-Patrick Manchette, Frédéric H. Fajardie, Didier Daeninckx et Tonino Benacquista. Les outils d’analyses choisis sont ceux liés aux personnages de romans, aux lieux dans lesquels se déroulent ces romans et aux différents types d’intrigues proposées par les auteurs. Il s’agit des travaux d’Yves Reuter, d’Isabelle Krzywkowski ou Paul Larivaille. Ces auteurs ont permis l’analyse des textes choisis et ont aussi permis à l’auteur de confronter ces mêmes textes aux outils d’analyse littéraires en usage académique. C’est ainsi que l’analyse littéraire produite par l’auteur permet d’avancer l’idée que les textes des romans policiers, en étant analysés avec ces outils, peuvent faire partie du corpus ordinaire de la littérature<br>The French crime novel from 1970 to 2000The following thesis conducts literary analysis on French crime novels of the late twentieth century. The intention is then to show that if these detective novels can be analyzed with the tools of literary analysis, these novels can then be considered literary works and their authors as writers in their own right. The corpus contains the main novels of four authors spread over the last four decades of the twentieth century: Jean-Patrick Manchette, Frederick H. Fajardie, Didier Daeninckx and Tonino Benacquista. The tools selected for analysis are those related to novels characters, the places in which these novels take place and different types of plots offered by the authors. This is the work of Yves Reuter, Isabelle Krzywkowski and Paul Larivaille. These authors have allowed the analysis of selected texts and also allowed the author to confront these same texts to literary analysis tools in academic use.Thus literary analysis produced by the author allows him to advance the idea that the texts of detective novels, being analyzed with these tools, can be part of the regular corpus of literature
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Faustino, Pauline. "De la justice à la fiction : Gianrico Carofiglio et le roman judiciaire." Thesis, Strasbourg, 2017. http://www.theses.fr/2017STRAC011.
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L'entrée de Gianrico Carofiglio sur la scène littéraire, en 2002, a permis l'affirmation d'un genre qui, jusque-là, semblait l'apanage de la production américaine. Le roman de procédure italien, écrit par des juristes et offrant une représentation réaliste de l'univers judiciaire, est en plein essor en Italie et rencontre un lectorat important. Cette thèse tente d'en dégager les spécificités et d'en expliquer le succès au travers de l'analyse des cinq romans centrés sur le personnage de ''l'avvocato Guerrieri"<br>The entry of Gianrico Carofiglio on the literary scene in 2002 allowed the affirmation of a genre that until then seemed the preserve of the American production. The ltalian legal thriller, written by jurists and offering a realistic representation of the judiciary, is growing in Italy and meets an important readershp. This thesis attempts to identify its specificities and explain its success through the analysis of the five novels centered on the character of the avvocato Guerrieri
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Elston, James C. (James Cary). "Bearclaw: a Novel." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc500777/.
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Written in the tradition of American political suspense thrillers such as "Fail-Safe" and "Seven Days In May," "Bearclaw" uses their idealistic and nationalistic elements to tell a story of an American President eager to lead the world's peoples in a quest to achieve man's "highest destiny," the conquest of space. Believing that this common goal will cause mankind to come together in a spirit of brotherhood, he misreads the historical purpose of the United States and, in the end, refuses to recognize the obvious truths of human frailty and ambition even though he has been victimized by them. The Introduction is a brief survey of the sociopolitical and literary forces which combined to create the American political suspense thriller and an attempt to define its place in the literary canon.
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Naidu, Sam. "Writing the violated body : representations of violence against women in Margie Orford’s crime thriller novels." Scrutiny 2, 2014. http://hdl.handle.net/10962/53932.
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Using the late twentieth-century French feminist notions of écriture féminine and the abject as a starting point, this article considers the various pitfalls, effects and ethical ramifications of representations of violence against the female body in South African crime fiction. How do authors reconcile the entertainment value of such representations with their aims to perform social analysis? This article attempts to answer this question by first describing how violence targeted at the female body is graphically portrayed, and, second, by assessing the effects of these visceral descriptions. Margie Orford’s novels, in particular, the first in the Clare Hart series, Like clockwork (2006), which foregrounds human trafficking, prostitution and gender-based violence, will be examined. In Orford’s Clare Hart series, the female detective figure, the various plots to do with assault, abduction, rape and murder, and the explicit imagery that descriptively conveys such crimes, are narrative techniques employed by Orford to address this scourge, and the patriarchy and sexism of contemporary South African society in general. The article ends by assessing whether a bona fide feminist subgenre of South African crime fiction is being inscribed by Orford
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Kinnings, Max. "A critical review of four novels : Hitman, The Fixer, Baptism and Sacrifice." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14807.
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In this critical review I will explore the aims and influences; themes, characterisation, genre and plot summaries; research impact, publication histories and critical reception of my four novels: Hitman, The Fixer, Baptism and Sacrifice. In addition, I will provide a commentary on the processes and methodology I employed in the writing of the four novels as well as a critical reflection on them. Published between 2000 and 2013, my books represent a body of work that is rooted within the British crime thriller genre. However, in the nature of the novels’ construction and target readerships, they also represent two distinct literary styles. The first two novels, Hitman and The Fixer, published in 2000 and 2001 respectively are satirical thrillers in which I experiment with genre with the intention of unsettling and confounding readers’ expectations while at the same time, testing the boundaries of what the crime fiction genre can sustain. In these two novels, I draw on a range of influences and traditions in literature, film and popular culture. The second two novels, Baptism and Sacrifice, published in 2012 and 2013 are more closely aligned to the accepted conventions of the thriller genre but are no less ambitious in their intention to explore new forms of plotting and characterisation. In their writing, I was influenced more by contemporary geo-politics, particularly surveillance, intelligence, cyber warfare and the terrorist attacks of 9/11 and 7/7 than I was by literature and film. The latter two books continue a theme of experimentation I began in the first two, combining disparate influences to create original fiction. Further reflection will be made on the part that these novels have played, and continue to play, within my ongoing body of work as a novelist, screenwriter and Creative Writing academic.
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Statkutė, Kotryna. "Translation Strategies Used in Translating Tess Gerritsen’s Medical Thrillers: Paulina Kruglinskienė’s translation of the Novel The Surgeon and Jonas Čeponis’ Translation of the Novel Life Support." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2014. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2014~D_20140602_084109-52751.
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The Master Thesis “Translation Strategies Used in Translating Tess Gerritsen’s Medical Thrillers: Paulina Kruglinskienė’s Translation of the Novel The Surgeon and Jonas Čeponis’ Translation of the Novel Life Support” analyses two novels written by Tess Gerritsen (The Surgeon and Life Support) and their Lithuanian translations by Paulina Kruglinskienė and Jonas Čeponis. The following hypothesis was raised: translation by using an equivalent item and low localization strategy are the most popular and useful translation strategies in translating medical terminology. The aim of this paper is to find out what translation strategies are the most popular while translating medical terminology in Paulina Kruglinskienė’s and Jonas Čeponis’ translations of Tess Gerritsen’s medical thrillers. These particular translators were chosen for this analysis due to the following reasons: they are the main translators of Tess Gerritsen’s novels into the Lithuanian language (both have transated six novels each), what is more, they both have medical background as well as long experience in translation. The purpose of this paper is to find out whether Paulina Kruglinskienė and Jonas Čeponis use similar translation strategies while translating medical terms into the Lithuanian language and how these strategies influence the quality of translation.
The theoretical part analyses various aspects related with the translation of Tess Gerritsen’s medical thrillers: genre theory, features of thriller... [to full text]<br>Baigiamajame Magistro darbe “Tess Gerritsen medicininių trilerių “Chirurgas” ir “Užkratas” vertimų analizė: Paulinos Kruglinskienės ir Jono Čeponio vertimai” analizuojami du šios rašytojos romanai ir jų vertimai į lietuvių kalbą. Buvo iškelta hipotezė, kad tikslus atitikmuo (equivalent) ir angliškų terminų vertimas, pakeičiant tik nelietuviškas raides ir galūnes šitaip pritaikant juos prie lietuvių kalbos taisyklių (low localization) yra pagrindinės medicininių terminų vertimo strategijos. Šio darbo tikslas yra sužinoti, kokias vertimo strategijas naudoja Paulina Kruglinskienė ir Jonas Čeponis, versdami Tess Gerritsen medicininius trilerius. Šie du vertėjai buvo pasirinkti dėl kelių priežasčių: jie abu yra pagrindiniai Tess Gerritsen medicininių trilerių vertėjai į lietuvių kalbą (abu yra išvertę po šešis šios autorės romanus), abu vertėjai turi medicininį išsilavinimą ir didelę vertimo patirtį. Darbo tikslas yra išsiaiškinti, ar šie vertėjai naudoja panašias vertimo strategijas medicininiams terminams versti, ar ne ir kokią įtaką tam tikrų vertimo strategijų pasirinkimas turi vertimo kokybei.
Teorinėje dalyje yra analizuojami įvairūs aspektai, susiję su Tess Gerritsen medicininių trilerių vertimu: žanras, trilerio žanras, jo požanriai, medicininių trilerių bruožai ir savybės, medicininės terminologijos ištakos ir pagrindiniai terminų vertimo sunkumai bei Eirly E. Davies vertimo strategijos, pagal kurias buvo grupuojami medicininiai terminai ir medicininių terminų ištakos... [toliau žr. visą tekstą]
Books on the topic "Thriller novel"
More sourcesBook chapters on the topic "Thriller novel"
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Butts, Dennis. "The Hunter and the Hunted: The Suspense Novels of John Buchan." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_4.
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Jones, Dudley. "Professionalism and Popular Fiction: The Novels of Arthur Hailey and Frederick Forsyth." In Spy Thrillers. Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-21132-6_12.
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Darlington, Joseph. "The Terrorist Novel, Thrillers and Postcolonial Britain." In British Terrorist Novels of the 1970s. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77896-9_3.
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Whitney, Sarah E. "Sharpening the Pointe: The Intersectional Feminism of Contemporary Young Adult Ballet Novels." In Beyond the Blockbusters. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496827135.003.0014.
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This chapter explores a new movement within the female-focused YA dance novel. Rather than narrate the meritorious rise of an individual dancer, today's ballet novels instead interrogate how structural prejudices of racism and sexism create barriers to the center stage. Focusing primarily upon works authored by women of color, or told through queered perspectives, the chapter surveys how YA narratives in varied melodramatic, thriller, and paranormal forms work to trouble the pink and pretty “music box ballerina” iconography.
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Naremore, James. "2. The modernist crime novel and Hollywood noir." In Film Noir: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198791744.003.0002.
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‘The modernist crime novel and Hollywood noir’ considers how an atmosphere of ‘modernism’ in 1940s American film noir is largely due to the ‘thriller genre’ in literature. Many aspects of modernity—the interest in subjectivity and multiple points of view, the unorthodox handling of time, the stripping away of genteel rhetoric, the critique of modernity, explicit sex, and fears of women—came together in film noir, but were a potential threat to the entertainment industry. The tension was evident in Hollywood adaptations of four influential crime writers and major contributors to film noir—Samuel Dashiell Hammett, Graham Greene, James M. Cain, and Raymond Chandler—whose work needed to be lightened or ameliorated.
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De Boever, Arne. "Financial Realism in The Fear Index." In Finance Fictions. Fordham University Press, 2018. http://dx.doi.org/10.5422/fordham/9780823279166.003.0004.
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Chapter Three compares and contrasts the psychotic realism of Psycho and American Psycho to the financial realism of more contemporary finance fictions such as Alger’s The Darlings. The case-study in this chapter is Robert Harris’ science-fiction thriller The Fear Index. While The Fear Index continues the finance novel’s theme of psychosis—its main character, a finance man, is suggested to be psychotic and the novel includes a murder scene set in a hotel shower that is clearly inter-textual with Hitchcock’s film. The novel also resists this theme by refusing to blame everything that is happening to its main character on psychosis. Instead, it gradually reveals that the source of the evils narrated in the book is a trading algorithm that has gone rogue. The Fear Index thus introduces its readers to the contemporary economy of algorithmic, high-frequency trading—a reality that, while it may sound like science fiction, is represented in the novel in a realist, and at one point even documentary-like, mode. Generally received as a sci-fi thriller, The Fear Index thus presents an important step forward in relation to the psychotic realism of American Psycho in that it resists what Joseph Vogl in his philosophical study of the economy has called “the spectralization of capital.” The economy is certainly not forgotten in Harris’ novel but instead takes center-stage.
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Margree, Victoria. "Speculative society, risk and the crime thriller: The Datchet Diamonds." In Richard Marsh, popular fiction and literary culture, 1890-1915. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526124340.003.0005.
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Marsh’s The Datchet Diamonds (1898) weaves together crime and romance elements with a financial plot concerning stock market speculation. Drawing on New Economic Criticism, this chapter argues that the novel is fascinatingly ambivalent in its treatment of speculation, appearing to condemn it as dishonourable and criminal while surreptitiously endorsing the very risk-taking behaviour on which it relies. The novel’s ‘decent-man-tempted’ protagonist is rendered attractive to readers through his willingness coolly to stare down danger and play the odds, putting him in uncomfortable proximity to the models of criminal masculinity that the text presents. As a crime thriller, The Datchet Diamonds works by soliciting readerly enjoyment of exposure to risk: as such, it reveals the limitations of crime scholarship that has focused too narrowly upon ‘ideologically conservative’ detective fiction, pointing instead to the willingness of readers to identify with transgressor-protagonists, to see laws broken and social hierarchies questioned.
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Forshaw, Barry. "Introduction." In The Silence of the Lambs. Liverpool University Press, 2013. http://dx.doi.org/10.3828/liverpool/9781906733650.003.0001.
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This introductory chapter provides an overview of how Thomas Harris's novels Red Dragon (published 1981) and The Silence of the Lambs (1988) represented a double whammy that permanently reconfigured the crime fiction genre (and, as a by-product, the entire field of horror fiction). Harris has long since gone beyond being merely a topflight writer: he is now a brand, and his sanguinary serial killer novels are the defining works of the genre. The subsequent successful films of the books performed a concomitant shift in popular crime/horror cinema. Jonathan Demme's film, in particular, inaugurated a change in thriller cinema. The real success of the movie lies in the casting of Jodie Foster, impeccably incarnating the out-of-her-depth Clarice Starling, and Anthony Hopkins, masterly as the urbane Hannibal Lecter. Above all, the film (like the novel) is intelligent, a sharp contrast to most contemporary Hollywood fare.
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Ascari, Maurizio. "Criminal Minds." In Criminal Moves. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620580.003.0006.
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This chapter provides an archaeology of the ‘psycho-thriller’, which emerged as a named, self-identifying genre in the postwar period and was popularized by the films of Alfred Hitchcock, most notably Psycho (1960). Scholars have pointed out links back to American noir of the 1930s and 1940s, but Ascari goes further by presenting a full prehistory of the genre, arguing that it has roots in late-eighteenth- and nineteenth-century theories of the conflicted, often irrational mind. Beginning with William Godwin’s psychological philosophy, including its application in the novel Caleb Williams (1794), and ending with novels and films inspired by Freudian psychoanalysis, Ascari not only uncovers an alternative history of the genre that crosses boundaries between genres and media, but also articulates a theory of genre predicated on hybridization and mobility rather than outlived notions of origin, stasis and purity.
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Mendes, Ana Cristina, and Karen Bennett. "Refracting Fundamentalism in Mira Nair’s The Reluctant Fundamentalist (2012)." In American Cinema in the Shadow of 9/11. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474413817.003.0006.
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In Chapter Five Mendes and Bennett argue that while Mira Nair's 2012 adaptation of Mohsin Hamid's 2007 award winning novel The Reluctant Fundamentalist also places the experience of a Muslim, Changez Khan (Riz Ahmed), at the centre of the narrative, this is problematicised by the compromises of adapting the complicated and morally ambiguous source on which it is based for the demands of the mainstream market. Mendes and Bennett concede that The Reluctant Fundamentalist is a rare example of an American film which breaks free of the America-centric view of the 'War on Terror' and in doing so destabilises the habitual privileging of American subjectivity and authority, but adhering to many of the tropes of the thriller genre results in a film in which much of the moral relativity of Hamsin's novel becomes lost in translation.