To see the other types of publications on this topic, follow the link: Thriller novel.
Journal articles on the topic 'Thriller novel'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 journal articles for your research on the topic 'Thriller novel.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse journal articles on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full textAbstract:
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.
2
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.
Full textAbstract:
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.
3
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.
Full textAbstract:
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.
4
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.
Full text
5
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.
Full textAbstract:
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.
6
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.
Full textAbstract:
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.
7
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.
Full textAbstract:
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.
8
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.
Full textAbstract:
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.
9
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.
Full textAbstract:
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.
10
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.
Full textAbstract:
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.
11
Bratos, Francesco. "Ignorantia juris non excusat: The trial and the affirmation of the Italian legal thriller." Forum Italicum: A Journal of Italian Studies 53, no. 2 (2019): 532–43. http://dx.doi.org/10.1177/0014585819831644.
Full textAbstract:
The complex relationship between literature and law has been widely debated. Over the last 20 years, the judicial novel has been the subject of renewed consideration from critics. Numerous studies have pointed out how literary and judicial practices seem characterized by common methods of narrative organization and communication of experiences. Beyond the controversy on the classification of the judicial novel as literary genre, the representation of courtrooms has undeniably become one of the recurring tropes of the 20th-century novel. Within this multifaceted literary movement, the unique style of Italian judiciary literature warrants its articulation as a distinct genre. The working hypothesis of this article is that the political and cultural centrality acquired by the Italian Magistratura, as result of a longstanding confrontation with the political powers, is essential in studying the success of the Italian judiciary novel, together with the emergence of a vast number of jurist-writers. Analyzing specifically the work of the jurist-writer Gianrico Carofiglio, I will demonstrate how the Italian legal thriller transforms the representation of the trial, dealing with the literary tradition as well as with law’s own representation.
12
McKay, Belinda. "Transformative Moments: An Interview with Janette Turner Hospital." Queensland Review 11, no. 2 (2004): 1–10. http://dx.doi.org/10.1017/s1321816600003676.
Full textAbstract:
Janette Turner Hospital is the author of eight novels, four collections of short stories, a novella published only in French, and a crime thriller under the pseudonym Alex Juniper. Her work has been published in 20 countries, and in 12 languages other than English. She is the recipient of a number of overseas literary awards, and both Griffith University (in 1996) and the University of Queensland (in 2003) have conferred honorary doctorates upon her. In 2003 she won the Queensland Premier's Literary Award for Best Fiction Book for her most recent novel, Due Preparations for the Plague, and the Patrick White Award for Lifetime Literary Achievement.
13
Antsyferova, Olga Yu, and Vlada A. Burtseva. "The Concept Misery in the Eponymous Novel by Stephen King and Thriller Genre Conventions." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (2020): 375–80. http://dx.doi.org/10.18500/1817-7115-2020-20-4-375-380.
Full textAbstract:
The article considers the existing approaches in linguistics to the study of the concept verbalization in a literary text; a comprehensive approach is applied to the study of the concept ‘misery’ in the eponymous novel by Stephen King, which allows us to determine the contribution of linguaculture, genre and ideostyle of the author to this process. The hypothesis is put forward about the meaningfulness of Christian connotations of the concept ‘misery’ in King’s text.
14
Sheridan, Brian R. "Del tatami a la página impresa: Barry Eisler y la realidad de su ficción." Revista de Artes Marciales Asiáticas 4, no. 2 (2012): 96. http://dx.doi.org/10.18002/rama.v4i2.215.
Full textAbstract:
<p>This article looks at how a lifelong passion for the martial arts has influenced the writing of international bestselling thriller author Barry Eisler. His seven novels have garnered for him a reputation for authenticity, from his approach to fight scenes to the use of modern espionage techniques. Eisler discusses how he trained at the Kodokan, the birthplace of modern judo in Japan, and its impact on his anti-hero protagonist, John Rain. He also talks about the reaction martial artists have had toward his work. 2009 looks to be a major year for Eisler as his first non-Rain book hits bookstores and a movie based on his first novel is released.</p>
15
Ween, Lori. "This Is Your Book: Marketing America to Itself." PMLA/Publications of the Modern Language Association of America 118, no. 1 (2003): 90–102. http://dx.doi.org/10.1632/003081203x59856.
Full textAbstract:
In February 2001, Knopf Publishing Company, a division of Random House, reportedly purchased the rights to publish two novels by Stephen L. Carter for $4 million. As the Daily Variety Gotham stated, “Yale law professor Stephen L. Carter emerged from the ivory tower last week and shook the book world from its February doldrums” (Bing 43). And the New York Times wrote, “The advance is among the highest ever paid for a first novel and is all the more unusual because of the author's background. Mr. Carter, 46, is an African-American who has written several works of nonfiction, including ‘Reflections of an Affirmative Action Baby’ and ‘The Culture of Disbelief‘” (Kirkpatrick, “Knopf”). Whether this purchase is considered “unusual” because it is a first novel or because the author is African American, it is part of an important shift for American literature: the jacket art, prepublication publicity, and sales materials shape this novel as a mainstream, blockbuster, best-selling legal thriller, not as an African American novel per se. The mainstream feel of Carter's novel brings up pertinent questions about race, literature, and the marketing of ethnic identity in the United States. Looking at the positioning of this novel allows us to understand how the publishers, newspaper reporters, and marketers have planted seeds that will influence the reception of the text by reviewers and readers.
16
Bettinson, Gary. "Penning Dramatic Chance: Adaptation, Dürrenmatt, and The Pledge." Film Studies 5, no. 1 (2004): 66–79. http://dx.doi.org/10.7227/fs.5.6.
Full textAbstract:
In Sean Penn‘s crime thriller The Pledge (2000), a crucial stage of story action is determined by a purely chance event. Neither prefigured by narrative signposting nor sutured into the films system of causation, the chance event both mystifies the fictive agents and distresses audience expectation. This essay explores the issues at stake in the films reliance on chance action, arguing that its usage represents a significant risk on the part of the dramaturgist. Moreover, the essay examines the alterations that the film makes in Friedrich Dürrenmatts source novel, and considers the ways in which these alterations radically transform the effects created by the story‘s chance event.
17
Jackson, Dorian Lee. "Coca and identity in alison spedding’s el viento de la cordillera." Revista Memorare 4, no. 3-I (2017): 68. http://dx.doi.org/10.19177/memorare.v4e3-i201768-90.
Full textAbstract:
The article examines the treatment of region and ethnicity in Alison Spedding’s 2003 novel, El viento de la cordillera: un thriller de los 80, to show how the articulation of the Yungas region crafts a distinctive Bolivian narrative of narcotrafficking and traditional coca production in the 1980s. The analysis highlights the narration of the tension between contemporary cocaine paste production and traditional coca leaf cultivation in the Andean region. Further, the study examines how the presence or absence of “outsiders” in the Yungas help produce an example of Bolivian narcofiction. Finally, the study examines Spedding’s creation of a strong female indigenous protagonist as a form of resistance and subversion of the foreign demand for illicit drugs.
18
Grigore, Rodica. "Memory, Fiction and Reality in Antonio Muñoz Molina’s Novels." Sæculum 47, no. 1 (2019): 97–105. http://dx.doi.org/10.2478/saec-2019-0009.
Full textAbstract:
AbstractOften compared to Jorge Luis Borges or even to William Faulkner for the intricate and symbolic structure of his work, the Spanish writer Antonio Muñoz Molina always tried to evaluate within his novels the complex relationship between reality and fiction. The Spanish Rider (1991), one of his most exquisite creations also deals with the significance of memory as far as his protagonist’s evolution and decisions are concerned. Above all these, the novelist analyzes the influence of history on common people’s life and underlines the necessary balance that has to be established between the historical great events and everyday’s choices. His next novel, Full Moon (1997) uses the same aesthetic points of departure, but complicates everything with the details of a specific kind of psychological thriller, the author proving how the seemingly very simple structure of a crime story may turn into an unexpected evaluation of the tragic aspects definying contemporary human condition.
19
Kennedy, Victoria. "“Chick Noir”: Shopaholic Meets Double Indemnity." American, British and Canadian Studies Journal 28, no. 1 (2017): 19–38. http://dx.doi.org/10.1515/abcsj-2017-0002.
Full textAbstract:
Abstract In early 2014, several articles appeared proclaiming the rise to prominence of a new subgenre of the crime novel: “chick noir,” which included popular books like Gone Girl, The Silent Wife, and Before We Met. However, there was also resistance to the new genre label from critics who viewed it as belittling to women’s writing and to female-focused narratives. Indeed, the separation of female-centred books - whether “chick lit” or “chick noir” - from mainstream fiction remains highly problematic and reflects the persistence of a gendered literary hierarchy. However, as this paper suggests, the label “chick noir” also reflects the fact that in these novels the crime thriller has been revitalized through cross-pollination with the so-called chick lit novel. I contend that chick lit and chick noir are two narrative forms addressing many of the same concerns relating to the modern woman, offering two different responses: humour and horror. Comparing the features of chick noir to those of chick lit and noir crime fiction, I suggest that chick noir may be read as a manifestation of feminist anger and anxiety - responses to the contemporary pressure to be “wonder women.”
20
Lladó, Francisca. "El Perdón y la furia and José de Ribera’s Journey from Faith to Magic." European Comic Art 13, no. 2 (2020): 64–90. http://dx.doi.org/10.3167/eca.2020.130204.
Full textAbstract:
This article analyses the various components of a graphic novel, El Perdón y la furia [Forgiveness and Fury] by Antonio Altarriba and Keko, about the Baroque painter José de Ribera. It does so within a framework drawn from art history and studies the transgressive role of images through citation, intertextual borrowing, or creation by Keko in the manner of Ribera. A comparative analysis of the artist’s biography and the graphic narration uncovers a series of parallels between historically attested and fictitious events that can be seen as the common thread in a thriller based on the fight against power. It concludes by returning to the same themes within a contemporary setting, while Ribera’s story and that of his present-day fictional counterpart simultaneously reveal human truths.
21
Mukherjee, Dr Aradhana. "Desire as The Harbinger of Good and Evil in Matthew Lewis’s ‘The Monk’." SMART MOVES JOURNAL IJELLH 8, no. 3 (2020): 10. http://dx.doi.org/10.24113/ijellh.v8i3.10472.
Full textAbstract:
Desire is a feeling which gives different shades and hues to a human being’s personality. It transforms him either as good or bad depending upon how much can a person cope up with his or her feelings. Mathew Lewis’s Gothic novel or rather a thriller ‘The Monk’ is a blend of desire with the narrative structure which has been appreciated by both the readers and the critic regarding the skilful handling of the theme by the author. This has been seconded by Theodore, the personal servant of the protagonist, Raymond in the following lines: “Authorship is a mania to conquer which no reasons are sufficiently strong; and you might as easily persuade me not to love, as I persuade you not to write.” [Lewis 204.]
22
Kajtoch, Wojciech. "Postmodernistyczna powieść w oczach szkolnego polonisty." Przegląd Wschodnioeuropejski 11, no. 2 (2020): 287–301. http://dx.doi.org/10.31648/pw.6511.
Full textAbstract:
The article is an analysis of the well-known and popular novel by Jerzy Sosnowski – “Apocrypha of Aglaya”. Although the problem of the unusual complexity of the story and the mystery of the sense within it is usually raised, the author of the article believes that the work can be examined with simple analytical tools, without resorting to analytical instruments more complex than those used at school. Obviously “Apocrypha of Aglaya” draws on various traditions and conventions, but it is generally based on known plot patterns. However, it is original and valuable, it contains important statements about the modern condition of man, without ceasing to be a romance and a thriller. The article is methodologically structuralist and opposes postmodern research trends.
23
Platten, David. "Wired to the Word: On Reading Thrillers." French Cultural Studies 21, no. 4 (2010): 267–75. http://dx.doi.org/10.1177/0957155810378573.
Full textAbstract:
The appearance in 2003 of 21 Georges Simenon novels in the Bibliothèque de la Pléiade reaffirmed a widespread consensus that French-language crime fiction, especially the roman noir with its vigil over the political and social ills of the nation, had secured its position as an important vector of French cultural history. Its sister genre, the thriller, has fared less well. Justly criticised for its expedient style and limited intellectual horizons, the thriller continues to appeal to a mass readership drawn from all sectors of society.This article locates its attractions in the ways in which we might once have engaged with the adventure stories of our collective youth that furnished our first solitary contact with literary fiction. It argues that our response to narrative suspense in adventure stories consumed in early adolescence is later rekindled and developed in the more adult thrillers of the modern age. Working within a conceptual framework that includes the psychologically based thrillers of Boileau-Narcejac and Sébastian Japrisot juxtaposed with the adrenalin rush of events supplied by Dan Brown and Maxime Chattam, it analyses the different modalities of suspense and their concomitant reading pleasures, concluding that the thriller meets the expectations not of a certain group of readers but of a certain type of reading experience.
24
MAKSOUD, SIBELLE, KHALED TALEB, and DANY AZAR. "Four new Lower Barremian amber outcrops from Northern Lebanon." Palaeoentomology 2, no. 4 (2019): 333–39. http://dx.doi.org/10.11646/palaeoentomology.2.4.6.
Full textAbstract:
Amber is a fossilized plant resin that is preserved and modified throughout geological time (Langenheim, 1969). The complexity of the chemical composition of amber makes it unique considering the preservation of biological inclusions in their 3D pristine and minute details (Langenheim, 2003). Its age ranges between a few millions and 320 million years (mid-Carboniferous) (Sargent Bray & Anderson, 2009). During the past two to three decades, the discoveries worldwide of new amber outcrops have increased. There is no doubt that Jurassic Park in 1993, the famous American science fiction adventure thriller film directed by Steven Spielberg and based on the novel of the same name by Michael Crichton, played a noticeable role in making amber more popular. Before this date, interest in amber was mainly restricted to Baltic and Caribbean countries, though amber occurrence was known from several localities worldwide.
25
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.
Full textAbstract:
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.
26
Kokotkiewicz, Martyna. "Extraordinary Protagonists, Average Issues." Folia Scandinavica Posnaniensia 25, no. 1 (2018): 101–11. http://dx.doi.org/10.2478/fsp-2018-0016.
Full textAbstract:
Abstract Thriller is considered to be a subgenre of criminal fiction, in which the most significant role is played by fast-paced action, suspense, spectacular events. In case of so called international and political thrillers it should also be mentioned that their authors construct their plots around the problems such as global conflicts, international conspiracy, terrorism, the development of nuclear weapon. However, problems commonly mentioned by many authors of other subgenres of criminal fiction, are also present in the novels classified as thrillers. The collapse of well-being society, unstable interpersonal relationships, mental problems of an individual, childhood traumas are therefore often mentioned by the writers, although they do not usually constitute main subjects of the novels. The article concentrates on some examples from international and political thrillers, in which such issues seem to be equally important, written by the most popular Finnish authors of this particular genre, namely Ilkka Remes and Taavi Soininvaara.
27
Kutrzeba, Kacper. "Polish Romanticism and the Discourses of Madness and the Mental Asylum." Ruch Literacki 58, no. 2 (2017): 117–32. http://dx.doi.org/10.1515/ruch-2017-0021.
Full textAbstract:
Summary This article deals with the problem of representation of psychiatric discourse and the mental asylum in the literature of Polish Romanticism. I am interested in both sides of the argument, i.e. the attempts to legitimize confinement in psychiatric institutions as well as the reasoning of the critics of that policy. My analyses, which draw on texts ranging from literary classics like Juliusz Słowacki’s Kordian to popular fiction (e.g. Ludwik Sztyrmer’s psychological thriller Phrenophagos and Phrenolestes and Józef Ignacy Kraszewski’s short story Bedlam), suggest that the psychiatric discourse in 19th-century literature employed three basic strategies of representation, i.e. legitimation, subversion and functionalization. If a fresh interest in institutionalized psychiatry was one of the key characteristics of the rise of modern society, the literature of Polish Romanticism was certainly part of it, even if its approach was dominated by ideas and attitudes that were hardly novel.
28
Ashraf, Ana. "“Only I Am the Brahma”: Religion and Narrative in the Netflix Thriller Series Sacred Games (2018–2019)." Religions 12, no. 7 (2021): 478. http://dx.doi.org/10.3390/rel12070478.
Full textAbstract:
Sacred Games (2018–2019), based on Vikram Chandra’s novel of the same title, is India’s first Netflix crime thriller series. This series shows how the lives of a Sikh policeman, Sartaj Singh, and a powerful gangster, Ganesh Eknath Gaitonde, weave together in a mission to save Mumbai from a nuclear attack. The series immediately received critical acclaim and viewers’ appreciation, but the way the series represents the (mis)use of metanarratives of religious and political ideologies, as they come to influence Gaitonde’s life, needs further perusal. For this purpose, this article investigates how Gaitonde’s life, and its abrupt end, are shaped and challenged by the larger ideological and religious metanarratives of his milieu. At the same time, this article examines Gaitonde’s ability to gain control over his own narrative despite the overwhelming presence of these metanarratives. More specifically, Gaitonde’s transgressive will and his desire to tell his story are brought under scrutiny. Along with the analysis of Gaitonde’s character, this article also examines how the use of various cinematic and narrative techniques heightens self-reflexivity and metafictionality in Sacred Games and emphasizes the role of mini-narratives as unique, singular, and contingent, in contrast to the generic, universal, and permanent tones of metanarratives.
29
Daher-Nashif, Suhad. "Literature as a Pedagogical Tool in Medical Education: The Silent Patient Case." Humanities 10, no. 3 (2021): 95. http://dx.doi.org/10.3390/h10030095.
Full textAbstract:
The arts have seen increasing use in medical education over the last 4 decades. Literature in particular is now frequently used as an educational tool in different medical humanities programmes. This paper analyses Alex Michaelides’ novel The Silent Patient with the goal of examining the professional issues presented in this psychological thriller and how the novel’s themes can be used to prompt discussion among medical students about professionalism and ethics in psychiatric settings. Following Strauss and Corbin’s qualitative procedure for conventional content analysis, this study employs content analysis of the literary text. The process of analysis began with open coding in which codes were assigned to all relevant sentences and paragraphs addressing professionalism in working with silent patients in psychiatry. These codes were then analysed to identify five major themes: multidisciplinary teamwork; therapy for the therapist; patient-centred care for silent patients; communication with silent patients; professional challenges in working with silent patients. The paper concludes that The Silent Patient novel represents important issues related to ethics and professionalism in working with silent patients in psychiatric settings. The novel can be used as a creative tool to guide discussion surrounding these issues. The paper argues that although the impact of its use is short-term, literature can make a significant contribution by provoking thought and discussion about professional and ethical aspects of practising medicine and caring for patients.
30
Zywert, Aleksandra. "Centrum i peryferia. Obraz Moskwy w powieści Dmitrija Głuchowskiego Tekst." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 9 (December 20, 2019): 195–208. http://dx.doi.org/10.14746/kw.2019.9.15.
Full textAbstract:
Text is a novel of manners with elements of a thriller, a noir, and a detective novel (but the above-mentioned complementary elements fulfill only a supportive role, because the criminal intrigue exposed at the very beginning is treated marginally amounts to a starting point for deeper considerations of the psychological and sociological nature). Due to the peculiar presentation of the image of the Center (here: Moscow), Text fits into the vision of Moscow as the core of Russian predatory capitalism, exuberant consumerism, glitz, semblance and ruthless struggle for recognition in the ranking of successful people, which is presented in contemporary Russian literature. Its fundamental value is the fact that the realization of the author's idea is mainly due to the confrontation of megalopolis with images of the periphery, which can be regarded as satellite cities of the capital. In his perception of Russia, Glukhovsky is close to Roman Senchin and, similarly to the latter, he believes that the traditionally understood center-periphery, city-village conflict is disappearing, because eventually it turns out that (despite the spatial and social diversity) none of these places (mainly because of conspicuous regressive tendencies) does not give a person a chance for free development and self-realization.
31
Hulme, Peter. "Graham Greene and Cuba: Our man in Havana?" New West Indian Guide / Nieuwe West-Indische Gids 82, no. 3-4 (2008): 185–209. http://dx.doi.org/10.1163/13822373-90002469.
Full textAbstract:
[First paragraph]Graham Greene’s novel Our Man in Havana was published on October 6, 1958. Seven days later Greene arrived in Havana with Carol Reed to arrange for the filming of the script of the novel, on which they had both been working. Meanwhile, after his defeat of the summer offensive mounted by the Cuban dictator, Fulgencio Batista, in the mountains of eastern Cuba, just south of Bayamo, Fidel Castro had recently taken the military initiative: the day after Greene and Reed’s arrival on the island, Che Guevara reached Las Villas, moving westwards towards Havana. Six weeks later, on January 1, 1959, after Batista had fled the island, Castro and his Cuban Revolution took power. In April 1959 Greene and Reed were back in Havana with a film crew to film Our Man in Havana. The film was released in January 1960. A note at the beginning of the film says that it is “set before the recent revolution.” In terms of timing, Our Man in Havana could therefore hardly be more closely associated with the triumph of the Cuban Revolution. But is that association merely accidental, or does it involve any deeper implications? On the fiftieth anniversary of novel, film, and Revolution, that seems a question worth investigating, not with a view to turning Our Man in Havana into a serious political novel, but rather to exploring the complexities of the genre of comedy thriller and to bringing back into view some of the local contexts which might be less visible now than they were when the novel was published and the film released.
32
Megela, Ivan. "Politics and Morality in the Novel “The Capital” by Robert Menasse." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 39 (2021): 43–60. http://dx.doi.org/10.17721/2663-6530.2021.39.05.
Full textAbstract:
The article illustrates the relationship between politics and morality in the novel «The Capital» written by the famous Austrian writer Robert Menasse, a recipient of the German Book Prize in 2017. The research focuses on the study of the preliminaries for the 50th anniversary of the European Commission, one of the principal bureaucratic institutions of the European Union. The article highlights the anniversary celebration settings in the Department of Culture and Education. It considers different views on the event format in terms of the fundamental provisions of the European Commission with reference to historical memory and internal conflicts within the bureaucracy. The message of the primary slogan of the project “Concentration camps – never again!” is explained, integrating the past (remembrance of Auschwitz, the Holocaust) and the present (the real state of affairs in the European Union) along with a vision of the prospective political establishment of the shared European community. In this respect, some bullet points of the report made by the professor Alois Erhart from Vienna, a think tank member and the author’s alter ego, represent a common view of substantialization of the united Europe based on overcoming contradictions between the European Union policy and the national interests of the member countries. The research examines the peculiarities of the literary space in the «The Capital». It is determined that the complexity and diversity of the work produce a hybrid novel form, incorporating the features of the intellectual prose, essay, political pamphlet, and the thriller. An important aspect, highlighted in the article, involves the issue of fiction, fabrication, factuality in terms of the author-reader game accompanying the process of sense generation and text perception. The connotation of a grotesque image of a pig running through the center of Brussels is examined from different perspectives, both as an artistic device implicated in distinct plot lines, and as a metaphor attributed to the overall state of affairs in the capital of the united Europe.
33
Shin, Haerin. "The Neurocognitive Criminology of Avenging Memories: Dissociative Violence in Young-ha Kim’s The Mnemonics of a Murderer." Journal of Korean Studies 23, no. 2 (2018): 299–324. http://dx.doi.org/10.1215/21581665-6973323.
Full textAbstract:
Abstract Young-ha Kim’s 2013 crime thriller The Mnemonics of a Murderer is a tale of neurocognitive apocalypse, wherein selfhood built upon dissociative violence turns on its own self. In the novel, a retired psychopathic serial killer suffering from Alzheimer’s disease awakens back to action upon detecting his own kind on his trail, only to discover that all was merely an elaborate construct of his deteriorating mind. The outcome is no less deadly, however, for the revelation condemns him to exposure at the hands of his own prized faculties—his memories and deeds as a murderer. Expanding on the first-person narrator’s imploding microcosm, I claim that Mnemonics demonstrates the reflexive mechanism of dissociative violence by superimposing the two-pronged neuropathology of psychopathy and dementia upon the macrocosmic climate of anomy and degeneracy in postmillennial South Korea. The recent plague of spree killings attests to a deep-seated discontent with the growing chasm of socioeconomic inequalities that betray the rosy prospects of abundance and security from the 1990s. Showing how the legacies of compressed modernity have become a reflexive mechanism of self-destruction, Mnemonics offers a chilling psychosomatic allegory of dissociative social violence in its portrayal of a system avenged by its own depravity.
34
Burton, Alan. "‘Jumping on the Bondwagon’: The Spy Cycle in British Cinema in the 1960s." Journal of British Cinema and Television 15, no. 3 (2018): 328–56. http://dx.doi.org/10.3366/jbctv.2018.0426.
Full textAbstract:
The article examines the significant cycle of spy thrillers in British cinema in the 1960s. It argues that the success of the early James Bond pictures, which commenced with Dr. No in 1962, initiated a popular cycle of spy films that lasted through the decade. The interest in fictional intrigue generated by the new-style espionage stories of Len Deighton and John le Carré further fuelled the cycle, and there appeared a number of adaptations of these authors’ novels. The article pays particular attention to the critical reception of the cycle and the two styles of Bond-inspired spy thriller and Deighton/le Carré-inspired espionage drama, carefully considering the mounting reviewer fatigue regarding the overworked spy picture and recounting the decline of the cycle.
35
Jacobs, Andrew S. "'Gospel Thrillers'." Postscripts: The Journal of Sacred Texts, Cultural Histories, and Contemporary Contexts 1, no. 1 (2005): 125–42. http://dx.doi.org/10.1558/post.v1i1.125.
Full textAbstract:
Decades before the publishing phenomenon The Da Vinci Code turned millions of readers on to the excitement and glamour of early Christian history and biblical studies, a steady stream of novels—some obscure, some bestsellers were teaching the popular reading public about the thrills and chills of the academic study of Scriptures. These ‘gospel thrillers’ share a common plot: a recently discovered gospel (often a first-person account of Jesus’ ministry by one of his disciples) threatens to turn our understanding of Christianity on its head. In a race against time (and the occasional Vatican assassin) the hero must find out if the new, shocking gospel is real. Of particular interest for the post-Da Vinci Code scholar is the portrayal of academics and academic work in these early ‘gospel thrillers’: from bronzed heroes to bumbling misanthropes to sinister tools of global conspiracies, the scholars of the ‘gospel thrillers’ instructed readers on what to love, and what to mistrust, about the academic project of biblical studies.
36
Nabutanyi, Edgar Fred. "(Un)Complicating Mwanga’s Sexuality in Nakisanze Segawa’s The Triangle." GLQ: A Journal of Lesbian and Gay Studies 26, no. 3 (2020): 439–54. http://dx.doi.org/10.1215/10642684-8311786.
Full textAbstract:
The late nineteenth-century Bugandan king Kabaka Mwanga is perhaps one of the most controversial Ugandan historical personalities because of the perceptions that have shaped and continue to shape how his sexuality is understood. The Kabaka’s sexuality, which has been placed at the center of contemporary sexuality debates in the country, is colored by complexly paradoxical spatial and chronological registers. These registers that stretch from the colonial to postcolonial moments in public discourses in the country variously mobilize Mwanga’s sexuality for propaganda purposes. While the colonial archive mobilizes Mwanga to argue that colonialism and Christianity rescued Ugandans from homosexuality, two versions of the postcolonial library simultaneously lionize and demonize this historical figure for differing ideological purposes. While the earlier postcolonial library briefly constructed Mwanga as a patriot who resisted colonialism, the most recent postcolonial record characterized by an alliance between the Ugandan state and Pentecostal Christianity demonizes Mwanga to justify their project of criminalizing same-sexualities. Writing in the throes of these topically polarizing Ugandan sexuality debates of the last decade, Ugandan novelist Nakisanze Segawa strategically inserts Mwanga’s nonnormative sexuality in the first section of her debut historical/political thriller novel to provide a counter characterization of a historical figure whose sexuality has been used as a metaphor in Ugandan public discourses on sexuality. Nabutanyi argues that Segawa’s representation of Mwanga, which counteracts his politicized portrayal, shows how same-sex loving men are ordinary and flawed.
37
Zhukova, N. A. "KARIN ALVTEGEN AS RESEARCHER OF "ONGOING SUFFERING": CULTURAL ANALYSIS." UKRAINIAN CULTURAL STUDIES, no. 1 (2) (2018): 63–68. http://dx.doi.org/10.17721/ucs.2018.1(2).15.
Full textAbstract:
The article deals with the cultural analysis of the novels "Shame" and "Betrayal" by the famous contemporary Swedish writer Karin Alvtegen, which are an example of a new art that has replaced the art of "post". "New art" is expressed in the return to the subject-object coherence, the reflection of reality in holistic, specifically-sensual artistic and expressive forms. The novel "Shame" is a psychological thriller where the author tells about the fate of three women - Monica, May-Britt and Vanya Turin. All three of them (independently) feel ashamed for their whole lives because of the events they had experienced during their childhood or youth, and this feeling, in its turn, influenced their behavior, and determined the subsequent attitude to people and life. In Alvtegen’s novel "Betrayal" she describes the psychological state of all the heroes, who, as it turns out, are both victims of betrayal and the traitors. Simultaneously, the author develops the topic of devastating revenge and the dilemma of forgiveness-non-forgiveness. In the end, the author inclines to the first variant, which helps to overcome a psychological trauma - "a trauma of betrayal". For the heroes of Alvtegen, betrayal and vengeance are the phenomena of the same tier, and both bring unbearable mental pain, and all characters have a constant internal dialogue with it. "Trauma of betrayal" rules over the author’s characters, who do not realize what drives them. According to Sigmund Freud, this trauma separates a person from the surrounding reality, closes him/her on itself, and, at some point, brings satisfaction. However, if Freud’s "trauma" is constructive even in case its consequences are abnormal, the damage it caused is compensated, even though in a neurotic way. Yet, for the heroes of Alvtegen, the trauma takes away human ability to act, induces a negative belief in oneself or in others, and, at the same time, it is a trial given to a person, a kind of initiation. None of the characters of the Swedish writer can pass this initiation. As a result, the lives of all characters are ruined. Hence, having appeared in the world due to the trauma of birth (according to O. Rank), experiencing various types of traumas during life (S. Freud, C.G. Jung, A. Adler, S. Spielrein, J. Lacan), the vector of behavior depends on a person. The novels by Alvtegen showed the tendency to combine the problems of fundamental ontology, psychoanalysis, and the idea of "integral humanism" in the new art ("proto-art") as a way to escape the "ongoing suffering." It is noted that the novels by Alvtegen are a complicated, aesthetically organized system of meanings that involve "multiple coding", organic interweaving of psychoanalytic ideas, in particular, the phenomenon of "trauma" into the concept of the M. Heidegger fundamental ontology.
38
Long, A. A. "Epictetus as Socratic mentor." Proceedings of the Cambridge Philological Society 46 (2001): 79–98. http://dx.doi.org/10.1017/s0068673500002455.
Full textAbstract:
In Tom Wolfe's most recent novel, A Man In Full, a young Californian, down on his luck, converts a macho sixty-year old tycoon, facing financial ruin, to Stoicism. The young man, Conrad, has miraculously escaped from the Santa Rita gaol as a result of an earthquake. Shortly before, he had discovered Epictetus in a book called The Stoics, a book he had been sent mistakenly in place of a riveting thriller by his favourite author with the title, The Stoics' Game. He rapidly comes across this passage: ‘I [Zeus] gave you a portion of our divinity, a spark from our own fire, the power to act and not to act, the will to get and the will to avoid. If you pay heed to this, you will not groan, you will blame no man, you will flatter none’ (p. 398). Conrad is hooked. An innocent among a bunch of hideous felons, he asks himself: ‘What would Epictetus have done with this bunch? What could he have done? How could you apply his lessons two thousand years later, in this grimy gray pod, this pigsty full of beasts who grunted about mother-fuckin this and mother-fuckin that?’ (p. 410). Conrad memorises chunks of Epictetus. He refers a series of challenges to Zeus, overcomes a thug twice his size, and radiates Stoic strength. At the end, hired as a male nurse in Atlanta for the massive but now ailing Croker, the about-to-be ruined tycoon, Conrad tells Croker about the Stoic Zeus and Epictetus. Croker was on the point of clinching a deal that would have saved him from bankruptcy at the cost of compromising his Georgian sense of honour. Instead, he gives a press conference, disavows all interest in wealth, parrots Epictetus to the bemused Atlanta elite, and walks away from everything that had previously defined his life. At the end we learn that he has become a highly successful televangelist, with a programme called ‘The Stoic's Hour’.
39
Gibson, J. William. "Redeeming Vietnam: Techno-Thriller Novels of the 1980s." Cultural Critique, no. 19 (1991): 179. http://dx.doi.org/10.2307/1354313.
Full text
40
Caño Rivera, Claudia. "El cine en la literatura: la influencia cinematográfica en La noche de la Usina de Eduardo Sacheri." Esferas Literarias, no. 3 (November 25, 2020): 53–68. http://dx.doi.org/10.21071/elrl.vi3.12782.
Full textAbstract:
Este artículo se centra en analizar la influencia del cine en la novela La noche de la Usina del escritor y guionista argentino Eduardo Sacheri. Tras una breve exposición de los mayores aportes en cuanto a las relaciones entre literatura y cine, comenzamos nuestro análisis mediante la comparación del prólogo de la novela y el tráiler cinematográfico, pues ambos funcionan como paratextos. Seguidamente, se analizar cómo es posible detectar la influencia de la escritura del guion en la construcción narrativa de la novela. Por último, estudiamos la presencia de los géneros cinematográficos del thriller y el western en la novela, pues ambos ayudan a construir el lenguaje de los personajes y el desarrollo de la trama.
 Palabras clave: narrativa contemporánea, guion, tráiler, thriller, western.
41
Zavertaluk, Ninel. "Terra incognita: Ukrainian adventure prose of the first third of the 20th century. Review of the Monograph by Lyudmila Kulakevych «Genre Strategies of Ukrainian Adventure Prose of the First Third of the 20th Century» (Dnipro, 2020)." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 99–102. http://dx.doi.org/10.34079/2226-3055-2020-13-22-99-102.
Full textAbstract:
The paper reviews the monograph by L. Kulakevych, states the relevance of studies in the field of Ukrainian adventure literature of the first third of the 20th century. The review emphasizes that the monograph is devoted to a virtually unknown but powerful layer of Ukrainian adventure literature of the first third of the twentieth century. Some of the works studied in the monograph are only mentioned in the general reviews of the writers’ literary legacies while the other works remained unknown for the literary critics for almost a century. For instance, such works as «Opovidannia pro Sofochku y Dzhyma» (The Story of Sofochka and Jim) by D. Buzko, «Zaradynei» («For Her Sake») by I. Dniprovskyi, «Vurkahan» («Criminal») by Y. Miakota, «Viter z hir» («Wind from the Mountains») by S. Skliarenko, and «KniazBartsila» (Prince Bartsila) by O. Slisarenko. The importance of the monograph lies in the study of the works against the background of global cultural processes. The first section «The Nature of Genre in Adventure Literature: The Theoretical Aspect» pays special attention to the introduction of the contemporary Ukrainian literary processes into the global trends. In particular, it highlights the increased interest in adventure works, which, according to the literary critics of different countries, remained unnoticed due to colonial and gender discourses, demonstrating, to put it mildly, the «unattractive» side of European cultural expansion. This section also contains a detailed analysis of the existing definitions of «adventure» literature, the author of the monograph works on the disambiguation of the terms concerning «adventure» and providesmore clear and precise definitions. In the second chapter, L. Kulakevych analyzes the novels which, according to her, are the examples of the new genres in Ukrainian literature: frontier, western / eastern, robinsonade, roxolania. In the third section, the author studies the texts-representatives of the printed series, travelogue, and action genres. While analyzing the texts, L. Kulakevich points out the artistic components that serve as markers to attribute the texts to a certain genre. The fourth chapter is dedicated to the innovative quest of Ukrainian writers of the 20-30s of the 20th century, in particular, the development of the new genres in Ukrainian adventure discourse – noir novel, horror, detective, spy narrative, novel-quest. While substantiating the affiliation of the work to a particular genre, the researcher uses the theses of modern foreign experts in the field of literature and cinema to support her ideas. In the fifth chapter, L. Kulakevich investigates the texts, whichcontributedto the Ukrainian fiction with the new genres of chrono-travel, thriller, and alternative history. It is evident, that in the research of L. Kulakevych the Ukrainian adventure literature of the first third of the 20th century appears as an extraordinary and multidimensional phenomenon that synthesized the achievements of world culture and innovations of Ukrainian writers. In general, the monograph is highly praised for up to date factual basis, original approach to the analysis of literary works, and informative presentation.
42
PRIHODKO, Ganna, Oleksandra PRYKHODCHENKO, and Kateryna VASYLYNA. "Emotions of Mystery in Gothic Novels and Thrillers." WISDOM 17, no. 1 (2021): 193–203. http://dx.doi.org/10.24234/wisdom.v17i1.430.
Full textAbstract:
The article is dedicated to the study of the emotions of mystery in Gothic novels and thrillers. For many years, beginning with ancient times and up to modernity, mysteries and secrets were under thorough investigation by scientists. Mysteries, secrets and silence are associated with horror and happiness. That’s why they became the object of the proposed article. According to the linguacultural approach, the concepts were studied as complex phenomena, with composite meaning peculiar to the concepts under analysis. The concepts MYSTERY, SILENCE and SECRET, were considered as the typical situations, the structure of which consists of such spheres: actants, predicates, attributes, quantifiers, space and time. Each of these spheres represents part of the characteristics and makes it possible to create a general understanding of the concepts under analysis as of complex phenomena, which are most vividly revealed in Gothic novels and thrillers. These novels disclose the emotions of mystery as unknown, horrific and tense situations are the main feature of these genres. Mystery has the key role here and is the inseparable part of their understanding. It was demonstrated that the concepts under analysis represent positive and negative features which denote their ambiguous and binary character at the same time.
43
Ezeigbo, Theodora Akachi. "War, history, aesthetics, and the thriller tradition in Eddie Iroh's novels." African Languages and Cultures 4, no. 1 (1991): 65–76. http://dx.doi.org/10.1080/09544169108717728.
Full text
44
Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.
Full textAbstract:
Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.
45
Shirokova, Liudmila F. "“Sales leaders” or “prize-winning books”: tastes and preferences of the Slovak reader." Slavic Almanac, no. 1-2 (2021): 396–406. http://dx.doi.org/10.31168/2073-5731.2021.1-2.4.04.
Full textAbstract:
The book market in Slovakia is very rich and diverse; it presents works of various genres and themes, aimed at readers with a variety of tastes. The article discusses approaches to the evaluation of literary products, on the one hand, from the point of view of the reading public, and, on the other hand, the members of the juries of a number of literary prizes awarded annually in the country. The largest Slovak publishing houses and bookstores conduct monitoring, constantly updating their data on the best-selling books. Among the bestsellers are, as a rule, works of popular genres, including detective stories, women’s novels, political thrillers, novels with elements of mysticism. Other criteria are put forward by the jury of prestigious literary competitions, first of all, the Anasoft Litera Award for the best original prose literary work in the Slovak language. In more detail, the article discusses the books of the winners in the recent years. These are Ondrej Štefánik (the novel “I am Paula”, 2016), Ivan Medeši (the collection of short stories “Eating”, 2018), Jana Sabuchová (the novel “Whisperers”, 2019). Etela Farkašová’s novel “The Script” (2017), due to its high artistic merits and humanistic orientation, was a great success with both critics and readers.
46
Kronshage, Eike. "Weimar Wallace: Three Early German Screen Adaptations of Novels by Edgar Wallace (1931–1934)." Zeitschrift für Anglistik und Amerikanistik 67, no. 4 (2019): 375–91. http://dx.doi.org/10.1515/zaa-2019-0028.
Full textAbstract:
Abstract The article analyzes three little-known films from the early 1930s which are based on novels by British crime thriller writer Edgar Wallace. It presents the films and their genre as a case study for crime cinema and politics in the transition from the Weimar Republic to Nazi Germany by contextualizing them within the rapidly changing film market after January 1933. The series of popular Weimar Wallace films ended abruptly with Hitler’s rise to power, which also put a stop to most of the country’s transnational cinema practices, including film adaptations of novels which were then considered as un-German.
47
Giguère, Christian. "A New Hegemonic Hope: Daemonic Agency in the Techno-Thriller Novels of Daniel Suarez." Excursions Journal 4, no. 1 (2019): 1–19. http://dx.doi.org/10.20919/exs.4.2013.160.
Full textAbstract:

 The article reflects on how contemporary science fiction has initiated a paradigmatic shift in the conceptualization of hegemonic force. Focussing on the figure of the Daemon depicted in two recent techno-thriller novels – Daemon (2009) et Freedom (2010) by American author Daniel Suarez – I show how the pervasive conceptions surrounding the agency of modern technology that we find in the late writings of Martin Heidegger are confronted in twenty-first century narratives that question the way we conceptualize the hegemonic directing of human consciousness by re-examining the figures of Ancient Greco-Roman thought. In the article, I pay particular attention to how what I call the “daemonic mobility” of human thought that we find in the writings of the Neo-Platonist Apuleius is eliminated by Augustine in his devising (in City of God and his other writings) of a permanent locus of existential consciousness, and how this contributes to Heidegger’s understanding of the essence of technology as the “coming to presence of art”. By re-investing the figure of the daemon and the mobility of human thought, Suarez narratives allow us to renew our understanding of the nature of this poeisis.
48
Trabado Cabado, José Manuel. "Lo fantástico como palimpsesto. Lecturas sobre el cómic «Parque Chas»." Castilla. Estudios de Literatura, no. 12 (March 17, 2021): 226–66. http://dx.doi.org/10.24197/cel.12.2021.226-266.
Full textAbstract:
Muchos estudiosos han definido de forma precisa “lo fantástico”. Este artículo pretende, sin embargo, atender a un aspecto que, quizás, no ha sido estudiado de forma tan profunda: su función en una relación dialógica con otros muchos géneros como la novela negra, la leyenda urbana, la ciencia ficción o el thriller considerados todos como mecanismos narrativos que permiten aludir de forma indirecta a hechos traumáticos. Todo ello puede ejemplificarse a través de una lectura a pie de texto del cómic argentino titulado Parque Chas de Barreiro y Risso publicado en la revista de cómics Fierro.
49
Sperling, Christian. "El lenguaje del juego, de Daniel Sada: ¿Un lugar para observar la violencia?" Literatura Mexicana 28, no. 2 (2017): 125. http://dx.doi.org/10.19130/iifl.litmex.28.2.2017.937.
Full textAbstract:
Este artículo analiza críticamente la representación de la violencia en El lenguaje del juego de Daniel Sada. La construcción narrativa de la novela reside en una rígida dicotomía entre la figura idealizada de la familia y los elementos criminales, la cual conduce a la oposición de los dos ámbitos de la normalidad y la anomia. La novela orienta a su lector intencionado con respecto a ambos extremos por medio de guiños metaficcionales, que lo llevan a un “viaje (no) normal” propio del thriller, convención que condiciona el sentido que adquiere la violencia representada. Este artículo contextualiza esta construcción de sentido dentro de las coordenadas del mercado transnacional de libros y del discurso hegemónico sobre los actores criminales en México.
50
Naidu, Sam. "Writing the violated body: representations of violence against women in Margie Orford’s crime thriller novels." Scrutiny2 19, no. 1 (2014): 69–79. http://dx.doi.org/10.1080/18125441.2014.904396.
Full text