Journal articles: 'Women detectives in fiction'

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Fadhila, Alya Khoirunnisa, and Ida Rochani Adi. "Women Detectives in Detective Fiction: A Formula Analysis on <em>Dublin Murder Squad</em> Series." Lexicon 8, no. 1 (April 7, 2022): 1. http://dx.doi.org/10.22146/lexicon.v8i1.73421.

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This paper studies the formulation of two women detectives in Tana French’s work, Cassie Maddox and Antoinette Conway, in the Dublin Murder Squad Series by exploring the hard-boiled fiction conventions which underlie the formulation of Tana French’s two female detectives. The objective of this study is to determine how French innovates the hard-boiled fiction conventions in the formation of her women detective characters, Cassie Maddox and Antoinette Conway. By employing formula analysis as theorized by John G. Cawelti (1976), the results of this study show that French innovates the hard-boiled formula in four aspects. First, French innovates the hard-boiled formula by expanding the concept of marginality from economic class to gender and race. The second innovation is the substitution of the hard-boiled convention which emphasizes on masculine toughness with resistance to patriarchal control. Third, French re-established the relationship between the detective and the character femme fatale. Their similarity of female experiences and perspective with the femme fatale makes these women detectives not only reveal the femme fatale as a murderer, but also the motives and scenarios behind their acts. Finally, French also innovates the antithetical nature of the hard-boiled detective’s presentation by offering a ‘feminine’ path to justice. These observations show that French’s innovations on hard-boiled conventions on her women detectives are the extensions of the women investigators in the antecedent feminist revisions of the hard-boiled stories which are heavily influenced by the second-wave feminist values. However, Tana French also inserts her own commentary on the new variants of female character shaped by the new post-feminist discourse which separates her women detectives from those in the antecedent feminist hard-boiled revision series.

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Knight, Stephen. "Detection and Gender in Early Crime Fiction: Mrs Bucket to Lady Molly." Crime Fiction Studies 3, no. 2 (September 2022): 89–105. http://dx.doi.org/10.3366/cfs.2022.0068.

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Crime fiction is often mistakenly held to be based on books and male detection. In fact, in the nineteenth century periodicals were a major mode of publication and from the mid-century on women inquirers played a recurring role in the developing genre, while most early male detectives were, by later standards, distinctly under-gendered. Chambers’s Edinburgh Journal was a major early source; by the 1860s, female detectives were being created by male writers and in Bleak House (1852–53), Dickens gave Inspector Bucket’s wife distinct inquiring capacities. The major Australian author Mary Fortune – with more than four hundred stories in magazines over forty years from the 1860s – developed female inquirers over time. By the 1890s, professional English woman detectives were created, Loveday Brooke by C.L. Pirkis and Florence Cusack by L.T. Meade, while Baroness Orczy created as well as her best-selling ‘Scarlet Pimpernel’ the leading police detective Lady Molly, like the others first appearing in magazines.

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Orr, David MR. "Dementia and detectives: Alzheimer’s disease in crime fiction." Dementia 19, no. 3 (May 28, 2018): 560–73. http://dx.doi.org/10.1177/1471301218778398.

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Fictional representations of dementia have burgeoned in recent years, and scholars have amply explored their double-edged capacity to promote tragic perspectives or normalising images of ‘living well’ with the condition. Yet to date, there has been only sparse consideration of the treatment afforded dementia within the genre of crime fiction. Focusing on two novels, Emma Healey’s Elizabeth is Missing and Alice LaPlante’s Turn of Mind, this article considers what it means in relation to the ethics of representation that these authors choose to cast as their amateur detective narrators women who have dementia. Analysing how their narrative portrayals frame the experience of living with dementia, it becomes apparent that features of the crime genre inflect the meanings conveyed. While aspects of the novels may reinforce problem-based discourses around dementia, in other respects they may spur meaningful reflection about it among the large readership of this genre.

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Suárez Lafuente, Socorro. "DESARROLLO DE LAS DETECTIVES EN LA LITERATURA CONTEMPORÁNEA." RAUDEM. Revista de Estudios de las Mujeres 1 (May 22, 2017): 167. http://dx.doi.org/10.25115/raudem.v1i0.572.

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ResumenLa novela de detectives es el marco idóneo para las características arquetípicas de las mujeres. Tradicionalmente las mujeres han sido culpadas por su curiosidad, atentas siempre a la vida de los demás; se les desea silenciosas y capaces de aguantar sin perder la calma los rigores de confinamientos prolongados. Paciencia, quietud y curiosidad construyen la perfecta detective, capaz de observar en las circunstancias más adversas a los sospechosos. En Inglaterra, donde surgieron las primeras detectives literarias, éstas han nacido prácticamente con el propio género policiaco. Se analiza su devenir con referencia a las autoras más significativas a lo largo de la historia.Palabras clave: mujeres, detectives, novela inglesa, novela nórdica, novela española.English Title: Development of Women Detectives in Contemporary LiteratureAbstract: Taking into account the archetypal characteristics attributed to women, the role of detective appears to be eminently suited to them: women were traditionally considered as gossips; moreover, for centuries, men have wanted women to be quiet, calm and somewhat confined. That combination of patience, calm and curiosity makes for the perfect detective, capable of surveillance of suspects even in difficult circumstances. Women detectives surfaced in English Literature from the outset of the genre. This paper outlines their evolution and also refers to the most famous women crime writers and their fictional detectives.Key words: women, detectives, English novels, Nordic novels, Spanish novels.La novela de detectives es el marco idóneo para las características arquetípicas de las mujeres. Tradicionalmente las mujeres han sido culpadas por su curiosidad, atentas siempre a la vida de los demás; se les desea silenciosas y capaces de aguantar sin perder la calma los rigores de confinamientos prolongados. Paciencia, quietud y curiosidad construyen la perfecta detective, capaz de observar en las circunstancias más adversas a los sospechosos. En Inglaterra, donde surgieron las primeras detectives literarias, éstas han nacido prácticamente con el propio género policiaco. Se analiza su devenir con referencia a las autoras más significativas a lo largo de la historia.

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Fasselt, Rebecca. "Crossing genre boundaries: H. J. Golakai's Afropolitan chick-lit mysteries." Feminist Theory 20, no. 2 (February 25, 2019): 185–200. http://dx.doi.org/10.1177/1464700119831538.

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Crime fiction by women writers across the globe has in recent years begun to explore the position of women detectives within post-feminist cultural contexts, moving away from the explicit refusal of the heterosexual romance plot in earlier feminist ‘hard-boiled’ fiction. In this article, I analyse Hawa Jande Golakai's The Lazarus Effect (2011) and The Score (2015) as part of the tradition of crime fiction by women writers in South Africa. Joining local crime writers such as Angela Makholwa, Golakai not only questions orthodox conceptions of gender and sexuality in traditional iterations of the crime novel, but also combines elements of chick-lit with the crime plot. Reading the archetypal quest structure of the two genres against the background of Sara Ahmed's cultural critique of happiness, I argue that Golakai inventively recasts the recent sub-genre of the chick-lit mystery from the perspective of an Afropolitan detective. Her detective tenaciously undercuts the future-directed happiness script that structures conventional chick-lit and detective novels with their respective focus on finding a fulfilling heterosexual, monogamous romantic relationship, and the resolution of the crime and restoration of order. In this way, the novels defy the frequently assumed apolitical nature of chick-lit texts and also allow us to reimagine the idea of Afropolitanism, outside of its dominant consumerist form, as a critical Afropolitanism that emerges from an openness to be affected by the unhappiness and suffering of others.

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

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

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Meyer, Neele. "Challenging Gender and Genre: Women in Contemporary Indian Crime Fiction in English." Zeitschrift für Anglistik und Amerikanistik 66, no. 1 (March 28, 2018): 105–17. http://dx.doi.org/10.1515/zaa-2018-0010.

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Abstract This paper looks at three Indian crime fiction series by women writers who employ different types of female detectives in contemporary India. The series will be discussed in the context of India’s economic growth and the emergence of a new middle class, which has an impact on India’s complex publishing market. I argue that the authors offer new identification figures while depicting a wide spectrum of female experiences within India’s contemporary urban middle class. In accordance with the characteristics of popular fiction, crime fiction offers the possibility to assume new roles within the familiar framework of a specific genre. Writers also partly modify the genre as a form of social criticism and use strategies such as the avoidance of closure. I conclude that the genre is of particular suitability for women in modern India as a testing-ground for new roles and a space that helps to depict and accommodate recent transformations that connect to processes of globalization.

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Miller, Elizabeth Carolyn. "TROUBLE WITH SHE-DICKS: PRIVATE EYES AND PUBLIC WOMEN INTHE ADVENTURES OF LOVEDAY BROOKE, LADY DETECTIVE." Victorian Literature and Culture 33, no. 1 (March 2005): 47–65. http://dx.doi.org/10.1017/s1060150305000720.

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C. L. (CATHERINE LOUISA)PIRKIS'S“The Murder at Troyte's Hill,” second in her series of stories about Detective Loveday Brooke, begins with Brooke's boss debriefing her on a case: “Griffiths, of the Newcastle Constabulary, has the case in hand…. Those Newcastle men are keen-witted, shrewd fellows, and very jealous of outside interference. They only sent to me under protest, as it were, because they wanted your sharp wits at work inside the house” (528). This is a typical beginning for one of Brooke's adventures, which were published in the London magazineLudgate Monthlyin 1893 and 1894. As one of the earliest professional female detectives in English literary history, Brooke's career was marked by conflicts with territorial male officers and the ever-present pressure to keep her detective work “inside the house.” Emerging at a historical moment when understandings of women, criminality, and law enforcement were rapidly changing in Britain, Pirkis's stories offer an interpretation of these intersecting cultural shifts that is surprisingly different from her contemporaries. In a decade rife with scientific interrogation into the nature of criminality, such as in the work of Havelock Ellis and Francis Galton, detective fiction of the 1890s tended to mimic scientific discourse in its representations of criminals. The Brooke stories, however, challenge such conceptions of deviance and reveal the poverty of their underlying understandings of crime as well as gender.

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Delafield, Catherine. "Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre." English Studies 94, no. 2 (April 2013): 245–46. http://dx.doi.org/10.1080/0013838x.2013.765220.

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Clark, Urszula, and Sonia Zyngier. "Women beware women: detective fiction and critical discourse stylistics." Language and Literature: International Journal of Stylistics 7, no. 2 (May 1998): 141–58. http://dx.doi.org/10.1177/096394709800700203.

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This article examines the work of four contemporary writers of detective fiction (P.D. James, Amanda Cross, Sara Paretsky and Ruth Rendell/Barbara Vine) from a critical discourse stylistics perspective with the objective of raising the reader's awareness of the ideological processes that are manifested in the language of these texts. It considers how these writers deal with stereotypical assumptions, how they cope with socially determined traditional roles and verify whether their choices result in the articulation of an alternative discourse. The investigation arrives at some identifiable cultural and linguistic characteristics which may be singular to this new group of writers. We suggest that by challenging traditional representations of women, these writers may be offering a reconstruction of the genre.

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Bubíková, Šárka, and Olga Roebuck. "Female Investigators:." American & British Studies Annual 15 (December 21, 2022): 89–99. http://dx.doi.org/10.46585/absa.2022.15.2432.

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While the crime genre may have seemed as purely masculine for the greater part of its history, feminist critics looking for the roots of female crime writing have found a rich history of both the woman crime writer as well as the woman detective. Since the 1980s there has been not only a pronounced resurgence of interest in crime fiction, but also a boom of female detectives created by female writers. Focusing on works by Robert Galbraith, Denise Mina, Linda Barnes, Dana Stabenow and S. J. Rozan, this article explores some of the ways the traditionally masculine private eye subgenre can be appropriated to accommodate a female protagonist. Comparing a variety of protagonists and narrative strategies, it further argues that, perhaps paradoxically, the originally dominantly masculine hardboiled PI tradition seems well accommodating to female (even feminist) appropriations.

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Seaman, Amanda. "Cherchez la femme: detective fiction, women, and Japan." Japan Forum 16, no. 2 (July 2004): 185–90. http://dx.doi.org/10.1080/0955580042000222718.

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Ward, Ian. "Women Writers and Detectives in Nineteenth-Century Fiction: The Mothers of the Mystery Genreby Lucy Sussex, Palgrave Macmillan." King's Law Journal 22, no. 2 (July 2011): 247–53. http://dx.doi.org/10.5235/096157611796769541.

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Rinaldi, Lucia. "Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre. By Lucy Sussex." European Legacy 17, no. 3 (June 2012): 426. http://dx.doi.org/10.1080/10848770.2012.673362.

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Lassner, Phyllis. "“The Dark Path Back”: Investigating Holocaust Memory in Sara Paretsky’s Novel Total Recall." Studies in American Jewish Literature (1981-) 41, no. 2 (September 1, 2022): 144–64. http://dx.doi.org/10.5325/studamerijewilite.41.2.0144.

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Abstract Women writers challenge the popular and critical entrenchment of male-authored literary detective fiction. A close reading of Sara Paretsky’s 2001 novel Total Recall demonstrates that the ongoing quest for social justice by her woman detective, V. I. Warshawski, is addressed through assertive women’s voices that have also transformed critical approaches to women’s crime fiction. In Paretsky’s novels, V.I. finds herself in a double bind reserved for women in both social and literary terms: having to prove her stability and effectiveness as a professional detective and as a reliable first-person narrator. Total Recall ’s investigations of contemporary corporate crime trace their origins to American slavery and the Holocaust: the novel transforms the generic mean streets of crime fiction into a transnational crimescape with a two-way trajectory between contemporary Chicago and Central Europe’s sites of mass murder. But instead of plotting a conclusion that declares triumph over such evil, the novel joins forces with historical accounts to investigate the staying power of legitimized oppression and the memory of its victims. Reading the Holocaust narratives embedded in Total Recall reveals a story of inhumanity so far reaching that it transforms Paretsky’s local Chicago crimescape into a global epic.

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Lapina, Evgeniia V., and Julio Villarroel Prado. "The Genre of Female Metaphysical Detective Novel: Tradition and Modernity." Вестник Пермского университета. Российская и зарубежная филология 15, no. 3 (2023): 105–14. http://dx.doi.org/10.17072/2073-6681-2023-3-105-114.

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This article investigates female metaphysical detective novel as a specific literary genre of crime fiction. The theoretical framework of the study includes several cross-fertilizing approaches such as the structuralist approach to the genre theory, the theory of postmodern anti-detective novel, and the feminist reading of the detective novel evolution. The nexus where these mutually correlated theoretical approaches overlap is the concept of female metaphysical detective novel.This subgenre of detective fiction intertwines several important elements of the postmodern aesthetics, i.e., self-reflexivity, intertextuality, and subver-siveness with emphasis on political, gender, and class issues. The specific character of female-authored de-tective stories is studied diachronically and synchronically. The evolution of the genre of female metaphysi-cal detective novel from the Golden Age until now is considered through the lens of metaphysical or hetero-topian settings that are featured in detective fiction writtenby women. First, it is shown that the construction of space in several Golden Age narratives provides grounds to consider them the precursors of contemporary female metaphysical novel. The conclusion is made that even before feminism was universally recognized as a literary theory, women had been trying to break out of the ‘locked room’ canon designated for them mainly by traditional literary criticism. Next, several new tendencies are pinpointed that have appeared in female-authored detective fiction onlyrecently. Finally, the set of generic features is identified that are characteristic of female metaphysical detective novel as a distinct genre of crime fiction. Most prominently, the novels epitomizing the genre foreground the evolution of the heroine’s identity depicted as a complex network of gendered spaces.

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Rajbanshi, Sagarika. "FROM PERIPHERY TO CENTRE: EXPLORING GENDERED NARRATIVES IN SELECT FICTIONS OF SUCHITRA BHATTACHARYA." ENSEMBLE 2, no. 2 (May 1, 2021): 11–17. http://dx.doi.org/10.37948/ensemble-2020-0202-a002.

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The issue of women empowerment breaking the boundaries of patriarchy is the locus of the narrative based on the female experience. The representation of the female perspective in a narrative constructs an alternative discursive narrative, different from that of the male narrative. And once, when the perspective is changed, the whole narrative got changed. Suchitra Bhattacharya's lady detective fiction based on detective Mitin aka Pragyaparamita Mukherjee introduces detective literature from female experience, quite unlike the conventional detective genre, exploring gendered experience in terms of intelligence and its relation with the discourse of power. These fictions encode female experience within the web of the narrative, opening the door of a new prospect towards detective literature. The lady detective literature, as it was developed, was resistance against the male narrative of the detective literature and the subverted female presentation of it. It brings forward the women agency that was previously denied by patriarchy and reconstitutes the ways of interpreting a text incorporating women in the center. The narrative establishes and celebrates the thinking capability of women negated in the male narrative. Henceforth, the argument is how and to what extent the female narrative achieves its hold over discursive power, and succeeds in bringing up a whole new thread by subverting the discursive narrative of the androgenous stratum.

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Koplowitz-Breier, Anat. "North to South through a Post-Feminist Prism: Israeli Society as Reflected in Ora Shem-Ur’s Fictional Detective Novels." Humanities 11, no. 6 (October 27, 2022): 133. http://dx.doi.org/10.3390/h11060133.

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Ora Shem-Ur’s detective series starring Ali Honigsberg established her as one of the early female pioneers in the new wave of Israeli detective fiction writers. In line with the current trend in post-feminist criticism towards analyzing the place of women within popular culture by looking at fiction as an agent of social change, this article suggests that the series not only addresses gendered topics but also other tensions and social exploitations of power within Israeli society. Shem-Ur thus provides a fascinating portrait of Israeli society in the 1990s, reflecting the way in which female detective fiction developed from light reading material into a social mirror presenting and addressing social changes and shifts in gender conception. Reading the series through a post-feminist lens, the article seeks to demonstrate how its themes of the relations between men, women, and power, and of economic corruption and politics, shed light on contemporaneous Israeli social issues.

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Bradley, Andrea, and Catherine Ross Nickerson. "The Web of Iniquity: Early Detective Fiction by American Women." Tulsa Studies in Women's Literature 19, no. 1 (2000): 151. http://dx.doi.org/10.2307/464419.

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Richardson, Betty. "THE WEB OF INIQUITY: EARLY DETECTIVE FICTION BY AMERICAN WOMEN." Resources for American Literary Study 28, no. 1 (January 1, 2002): 183–86. http://dx.doi.org/10.2307/26366945.

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Wardley, Lynn, and Catherine Ross Nickerson. "The Web of Iniquity: Early Detective Fiction by American Women." South Central Review 18, no. 3/4 (2001): 126. http://dx.doi.org/10.2307/3190362.

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Richardson, Betty. "THE WEB OF INIQUITY: EARLY DETECTIVE FICTION BY AMERICAN WOMEN." Resources for American Literary Study 28, no. 1 (January 1, 2002): 183–86. http://dx.doi.org/10.2307/resoamerlitestud.28.2002.0183.

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Schofield, Mary Anne, and Catherine Ross Nickerson. "The Web of Iniquity: Early Detective Fiction by American Women." Journal of American History 87, no. 3 (December 2000): 1027. http://dx.doi.org/10.2307/2675324.

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West, K. "The Web of Iniquity: Early Detective Fiction by American Women." American Literature 74, no. 1 (March 1, 2002): 148–49. http://dx.doi.org/10.1215/00029831-74-1-148.

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Smillie, Rachel. "Criminal Genius: Constructing Women of Science in L. T. Meade's Detective Fiction." Victoriographies 7, no. 2 (July 2017): 143–60. http://dx.doi.org/10.3366/vic.2017.0268.

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This article explores the construction of the criminal masterminds Madame Koluchy and Madame Sara in L. T. Meade and Robert Eustace's detective series The Brotherhood of the Seven Kings (1899) and The Sorceress of the Strand (1903). Previously overlooked in critical histories of detective fiction, Meade's work has begun to attract interest in recent years. However, studies of both Brotherhood and Sorceress have tended to focus on Koluchy's and Sara's criminality and, as such, have not addressed their significance as women of science. Focusing on Sara's and Koluchy's roles as medical practitioners, this paper reads these women in the context of late nineteenth-century debates on medical orthodoxy and quackery, professionalism, and gender. Approached in this way, Sara's and Koluchy's criminality becomes intrinsically linked to their genius and the professional threat they pose to their detective counterparts who stand as representatives of male institutional science. Sara and Koluchy constitute an uncontainable challenge to male scientific authority and play on anxieties which the narratives fail to assuage. These women are positioned as composite figures who simultaneously embody and interrogate competing sides of the contemporary scientific and medical debate.

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Phegley, Jennifer. "Rev. of Women Writers and Detectives in Nineteenth-Century Crime Fiction: The Mothers of the Mystery Genre, by Lucy Sussex." Victorians Institute Journal 40 (July 1, 2012): 189–92. http://dx.doi.org/10.5325/victinstj.40.1.0189.

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Chakravarty, Prerana. "Dangerous Femininity: Looking into the Portrayal of Daphne Monet as a Femme Fatale in Walter Mosley’s Devil in a Blue Dress." IAFOR Journal of Arts & Humanities 9, no. 1 (July 29, 2022): 62–72. http://dx.doi.org/10.22492/ijah.9.1.05.

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The phrase “femme fatale” is a well-known figure in the literary and cultural representations of women. Associated with evil temptation, the femme fatale is an iconic figure that has been appropriated into folklore, literature, and mythology. In the twentieth century, the figure finds space in literary and cinematic endeavours, particularly in crime fiction and noir thrillers. The progenitors of the hard-boiled genre of detective fiction popularised the figure of a sexually seductive and promiscuous woman who betrays men for material gain. Walter Mosley, an African American detective fiction writer, adapted the hard-boiled formula popularised by Dashiell Hammett and Raymond Chandler, but altered it to address socio-political issues concerning the condition of African Americans in the post-World War II era. Mosley followed Chandler’s lead in weaving a quest narrative around femme fatale Daphne Monet in his first novel, Devil in a Blue Dress (1990). The purpose of this paper is to look at Mosley’s treatment of the femme fatale figure in this novel. The methodology employed is a close analysis of the text, as well as an analysis of the figure of the femme fatale in its function as catalyst for men’s behaviour. The purpose of this study is to examine how the femme fatale was created, specifically what elements contributed to Daphne Monet’s transformation into a femme fatale.

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Muller, Nadine. "Dead Husbands and Deviant Women: Investigating the Detective Widow in Neo-Victorian Crime Fiction." Clues: A Journal of Detection 30, no. 1 (April 1, 2012): 99–109. http://dx.doi.org/10.3172/clu.30.1.99.

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Wang, Aiqing. "Attitudes Towards Homosexuality and Women in Male-Authored Writing: An analysis of Zijin Chen’s Detective Fiction." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 17, no. 1 (February 5, 2023): 16. http://dx.doi.org/10.24036/ld.v17i1.112915.

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Zijin Chen, ‘the Chinese Keigo Higashino’, is celebrated for reality-oriented detective fiction addressing social issues. Notwithstanding phenomenal screen adaptation, his chef-d’oeuvre The Long Night, along with a series entitled To Murder Government Officials manifest his conspicuous stances pertaining to homosexuality and women. To be more specific, characters in his narratives are prone to regard homosexual men and relationships with disdain, and exhibit the male gaze and gender stereotypes of women. Although the mentality is not necessarily triggered by homophobia or misogyny, the author might have been impinged upon by outdated policies and stigma and hence is featured by lack of feminist awareness.

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Wang, Aiqing. "Attitudes Towards Corruption and Women in Children’s Literature and Detective Fiction: A Parallel between Zheng Yuanjie and Zijin Chen." Lingua Didaktika: Jurnal Bahasa dan Pembelajaran Bahasa 15, no. 2 (November 10, 2021): 98. http://dx.doi.org/10.24036/ld.v15i2.112887.

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In this article, I explore male writers’ attitudes towards corruption and women in fairy tales and detective novels, by means of hermeneutically scrutinising works of Zheng Yuanjie, the illustrious ‘King of Fairy Tales’, as well as Zijin Chen, the ‘Chinese Keigo Higashino’. Anti-corruption is a prevalent and preponderant theme in both writers’ creation, yet their depictions of barbarous extrajudicial punishment for government officials’ misdeeds allude to karmic retribution and are prone to expatiation in graphic detail. Therefore, some of their fiction appertaining to anti-corruption can be regarded as ‘feel-good writing’ in essence. Furthermore, the writing of Zheng and Chen is sometimes featured by lack of feminist consciousness, in that a proportion of their works manifest gender stereotypes, which can also be attested in other male writers’ fairy tales and detective novels.

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Kawana, Sari. "The price of pulp: women, detective fiction, and the profession of writing in inter-war Japan." Japan Forum 16, no. 2 (July 2004): 207–29. http://dx.doi.org/10.1080/0955580042000222646.

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Sanchez, Alexandra J. "“Bluebeard” versus black British women’s writing." English Text Construction 13, no. 1 (July 24, 2020): 1–21. http://dx.doi.org/10.1075/etc.00032.san.

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Abstract Helen Oyeyemi’s 2011 novel Mr. Fox artfully remasters the “Bluebeard” fairytale and its many variants and rewritings, such as Jane Eyre and Rebecca. It is also the first novel in which Oyeyemi does not overtly address blackness or racial identity. However, the present article argues that Mr. Fox is concerned with the status of all women writers, including women writers of colour. With Mr. Fox, Oyeyemi echoes the assertiveness and inquisitiveness of Bluebeard’s last wife, whose disobedient questioning of Bluebeard’s canonical authority leads her to discover, denounce, and warn other women about his murderous nature. A tale of the deception and manipulation inherent in storytelling, Mr. Fox allows for its narrative foul play to be exposed on the condition that its literary victims turn into detective-readers and decipher the hidden clues left behind by the novel’s criminal-authors. This article puts the love triangle between author St. John Fox, muse Mary, and wife Daphne under investigation by associating reading and writing motifs with detective fiction. Oyeyemi’s ménage à trois can thus be exposed as an anthropomorphic metaphor for the power struggle between the patriarchal literary canon, established feminist literature, and up-and-coming (black British) women writers, incarnated respectively by Mr. Fox, Mary Foxe, and Daphne Fox.

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Miller, Elizabeth Carolyn. "“SHREWD WOMEN OF BUSINESS”: MADAME RACHEL, VICTORIAN CONSUMERISM, AND L. T. MEADE'STHE SORCERESS OF THE STRAND." Victorian Literature and Culture 34, no. 1 (March 2006): 311–32. http://dx.doi.org/10.1017/s1060150306051175.

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STANLEYFISH RECENTLY IDENTIFIEDthe intersection between crime and religion as a hot topic, a trend that he gauged by paying attention to a popular television show: “Law and Order…from its beginning…has had its plots follow the headlines. Only if the tension between commitment to the rule of law and commitment to one's ethnic or religious affiliation was, so to speak, in the news would a television writer put it at the heart of a story.” During the same week that Fish published this claim, a Texas woman who drowned her five children had her guilty verdict overturned when it was revealed that an expert witness for the prosecution had made false statements to the court about an episode of the very same show. Commentators on the case said the witness had confused plots fromLaw and Orderwith real-life trials. One need not be Oscar Wilde to see a meta-dramatic chiasmus at work here:Law and Orderimitates life, but life also imitatesLaw and Order. The same could be said of popular Victorian crime fiction, which was serialized in eagerly awaited autonomous episodes in a manner not unlike televised crime drama. Victorian authors, moreover, commonly sought inspiration in real-life criminal plots. LikeLaw and Order, such fictional representations both mirrored and created readers' “reality” outside the text. In this article, I will examine a previously unexplored instance of such fictional recycling and reinvention: L. T. Meade's popular detective seriesThe Sorceress of the Strand, I argue, is an overt rewriting of the strange case of “Madame Rachel,” a notorious female criminal of the 1860s. Before I make my case concerning how, why, and to what end Meade revised Madame Rachel's story, let me briefly summarize the evidence for this connection.

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Pérez-Ramos, M. Isabel. "Breaking the Silence." International Journal of English Studies 22, no. 1 (June 30, 2022): 63–79. http://dx.doi.org/10.6018/ijes.477221.

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This article analyzes the strange eco-cosmopolitan detective attributes of Ivon, the protagonist in Alicia Gaspar de Alba’s 2005 novel Desert Blood: The Juárez Murders. Through this willful, queer, and feminist mestiza character, who continually trespasses and transgresses cultural borders, Gaspar de Alba challenges the standards of crime fiction in numerous ways, as argued in this paper. Moreover, she also manages to expose the transnational dimension of the exploitation, mistreatment, and even murder of women in Ciudad Juárez. Simultaneously, Ivon’s eco-cosmopolitanism acknowledges how the expendability thinking of free trade that partly sanctions the murder of women, also results in the environmental degradation of, and the free flow of toxins and pollution in the border. Ultimately, Ivon’s strange, eco-cosmopolitan investigative traits, serve as the tools to break the silence and start confronting the feminicides in Ciudad Juárez as well as the socio-environmental exploitation of the US-Mexico border region, fostering a positive socio-environmental change.

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Amin Shirkhani, Mohammad. "Configuration of the Self-Mythology and Identity of Female Characters in Paul Auster’s In the Country of Last Things and The New York Trilogy." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 81. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.81.

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The works of American novelist Paul Auster (1947- ) are uniquely concerned with the mythology of self, metanarrative and the role gender plays in these transactions. In his earliest works, The New York Trilogy (1985-1986) and In the Country of Last Things (1987), Auster uses genre conventions and styles (for the former, detective novels; for the latter, dystopian fiction) to interrogate these preconceptions of self-mythology and the role of gender within these genres, subverting tropes and traits of these works to comment upon them. In the following, we investigate these works in depth along these themes, conducting a close textual analysis from the framework of Freudian and Lacanian theories of psychoanalysis and poststructuralism. By investigating the roles of women in The New York Trilogy and In the Country of Last Things, we hope to illuminate Auster’s uniquely postmodernist, deconstructive approach to the psychological imperatives women are socialized into within American society, and how they are informed by narrative and mythology. The role of women, from the absent trophies of The New York Trilogy to the central voice of sanity of Anna in In the Country of Last Things, posits women as a societal superego whose goal it is to keep the destructive, nihilistic id-like impulses of men in check.

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Huck, Christian. "Travelling Detectives." Transfers 2, no. 3 (December 1, 2012): 120–43. http://dx.doi.org/10.3167/trans.2012.020308.

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This article is concerned with travelling detectives in two different but related senses. On the one hand, it considers the relevance of trains and other vehicles of mobility for detective fiction, both as a topic of fiction and a place of consumption. On the other hand, it registers that detective fiction has to “travel“ in a more abstract sense before the reading traveler can enjoy it. German publishers appropriated the genre, originally a nineteenth-century American and British invention, at the beginning of the twentieth century. Based on contemporary observations by German cultural critics Walter Benjamin and Siegfried Kracauer, the essay examines German crime-fiction dime novels from the interwar period, compares them to their American predecessors, and analyzes their relationship to mobility and cultural transfer. The text argues that the spatial mobility of the fictional detective is only possible in a specific cultural environment to which the moving but corporeally immobile reader has to be transferred imaginatively.

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Repenkova, Maria M. "On the coordinate change in the Turkish literary process." Vostok. Afro-aziatskie obshchestva: istoriia i sovremennost, no. 1 (2024): 222. http://dx.doi.org/10.31857/s086919080029201-8.

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Abstract: In this study, the author examines the literary landscape in Turkey given the new dimension opened by the vertical gradation of fiction. The division of literature into high literature (classic), middle-tier (Belles-lettres), and low-tier literature (for mass consumption) is becoming increasingly prominent. Belles-lettres seems to be the most mobile of those, with its representatives being able to, over time, find themselves both at the top and the bottom rung of this paradigm. Zülfü Livaneli's works straddle the line between the high literature and belles-lettres, while books by Barış Müstecaplıoğlu are a perfect example of mass literature becoming regarded as belles-lettres. Another productive approach is horizontal gradation – dividing modern Turkish literature into genres. This is especially true for mass literature, where a clear classification into genres and subgenres is pretty much a precondition for existence. The study singles out such genres of mass literature as detective novels, women's romance novels, and historical adventure novels. Speculative fiction occupies a special place in this, with its genre affiliation being a topic of major discussions. The Turkish literature of the 2000s features several principal genres of speculative fiction: sci-fi (K. Kutlu, G. Berkkan, H. Balçı) with alternative history being a part of such (G. Dayıoğlu, H. Kakınç); fantasy with its subgenres of urban fantasy (S. Yemni, S. Atasoy, G. Elikbank, F. O. Şeran, C. Yücel), "sword and sorcery" fantasy (B. Müstecaplıoğlu, A. Aras, G. Canbaba) and dark fantasy (S. Ersin, G. Öğüt), as well as the genre of dystopia (A. Şaşa). In conclusion, the author argues that analyzing literary pieces necessitates operating with both the vertical and horizontal paradigms simultaneously.

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Gallo, Callie J. "Seeing the ‘excessively obvious’: The penny press, gender and work in Edgar Allan Poe’s Dupin stories." Explorations in Media Ecology 18, no. 4 (December 1, 2019): 413–34. http://dx.doi.org/10.1386/eme_00013_1.

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This article considers the biases of the popular press, the first mass-print medium, alongside the biases of gender and professionalism in Edgar Allan Poe’s early 1840s detective fiction. In the tales ‘The Murders in the Rue Morgue’, ‘The Mystery of Marie Rogêt’ and ‘The Purloined Letter’, detective C. Auguste Dupin develops unmatched analytical and professional capabilities through his extensive reading of print media and his familiarity with the protocols of the nineteenth-century penny press. Based on the model of the New York Sun, these cheap publications popularized women’s gruesome deaths and cruel misfortunes for profit. In Dupin’s media environment, women are always-already victims without the means or opportunity to speak for themselves, maintain steady employment, or find shelter from the exploitative practices of the commercial press. Men like Dupin, on the other hand, stand to build professional skills, wealth and fame the more they study and replicate the practices of their print media environment. Reading Poe’s representation of gender inequity as an extension of the penny press and middle-class professionalism complicates previous assessments of Dupin (by Marshall McLuhan and literary scholars alike) as an inclusive literary figure that invites reader participation.

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Cesereanu, Ruxandra. "The Savage Detectivism of Roberto Bolaño’s Fiction." Caietele Echinox 43 (December 1, 2022): 262–67. http://dx.doi.org/10.24193/cechinox.2022.43.17.

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"The present study analyses Roberto Bolaño’s engagement with marginality in the novels The Savage Detectives and 2666, via the conventions of the noir genre. The aesthetics of the peripheral, the poetics of triviality, vagrancy, bohemian wanderlust, and enigmatic rituals are performed in an inimitable personal style that problematizes issues pertaining to the theory of literature and the theory of the novel. Atomised, puzzle-like novels with deliberately obscure police procedural plots, The Savage Detectives and 2666 break several authorial and narrative architectural patterns, becoming major landmarks in today’s novelistic worldscape."

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Joengmeen Gye. "Gender, Crime, (Woman) Detective: Sexual Politics of Early British and American Detective Fiction." Journal of English Language and Literature 56, no. 5 (December 2010): 931–46. http://dx.doi.org/10.15794/jell.2010.56.5.007.

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Knepper, Marty S. "Lesbian Detective Fiction: Woman as Author, Subject and Reader." Journal of Popular Culture 40, no. 4 (August 2007): 750–52. http://dx.doi.org/10.1111/j.1540-5931.2007.00446.x.

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

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

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Clark, David. "Review of Guilt Rules All: Mysteries, Detectives, and Crime in Irish Fiction, edited by Brian Cliff and Elizabeth Mannion." Review of Irish Studies in Europe 4, no. 1 (June 14, 2021): 172–75. http://dx.doi.org/10.32803/rise.v4i1.2673.

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Review of Guilt Rules All: Mysteries, Detectives, and Crime in Irish Fiction, edited by Brian Cliff and Elizabeth Mannion (Syracuse: Syracuse U.P., 2020), 304pp. ISBN 9780815636830, $29.95 (paperback). ISBN 9780815636731, $75.00 (hardback).

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He, Yingjie. "The Construction of Female Images in Zero Focus." Studies in Linguistics and Literature 8, no. 1 (December 29, 2023): p12. http://dx.doi.org/10.22158/sll.v8n1p12.

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Seicho Matsumoto is a famous Japanese detective fiction writer, and one of the three masters of detective fiction in the world. The subject of investigation was not just the crime but also the society affected. By reading his works, readers can feel as if they are immersed in the social context of that era. In terms of character setting, the role of the detective is usually not a professional such as a police officer or a lawyer, but an ordinary woman. Secondly, female criminals often appear in Matsumoto’s novels. Analyzing the construction of female images is of great significance for studying Matsumoto’s novels.This paper takes Zero Focus as the research object, focuses on the issue of female image construction, and makes a detailed interpretation of the three female images in Zero Focus, aiming to discover the light and shadow on them, and to summarize and analyze the causes of their female images.

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SARJEANT, WILLIAM A. S. "Detectives and geology in fiction - 1: Holmes and Thorndyke." Geology Today 10, no. 6 (November 1994): 228–31. http://dx.doi.org/10.1111/j.1365-2451.1994.tb00995.x.

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Copeland, Rebecca. "Woman uncovered: pornography and power in the detective fiction of Kirino Natsuo." Japan Forum 16, no. 2 (July 2004): 249–69. http://dx.doi.org/10.1080/0955580042000222673.

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Manià, Kirby. "“Translated from the dead”: The legibility of violence in Ivan Vladislavić’s101 Detectives." Journal of Commonwealth Literature 55, no. 1 (August 2, 2018): 61–76. http://dx.doi.org/10.1177/0021989418787334.

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In light of the contemporary popularity of crime fiction, true crime, and crime television, avid consumers of these kinds of narratives like to think of themselves as amateur detectives — schooled in the discourse of observation and deduction. Readers of crime fiction become accustomed to a kind of formula, comforted in the knowledge that the mystery will be resolved and the perpetrator apprehended. However, this article investigates how a number of stories in Ivan Vladislavić’s 101 Detectives challenge the conventions of legibility in representing crime in post-apartheid South Africa. The mediations of language, reading, and writing as modes of detection are shown in these short stories to come up short. Instead, and through the stylistic and formalistic frame provided by the anti-detective genre, acts of detection are defeated, closure is deferred, and order is not restored. Writing crime and violence reveals a matrix of structural violences in the postcolony, experiences that cannot be “translated from the dead”. The article argues that while violence and crime are not unrepresentable per se, the degree to which they can be “managed” or “contained” by language or fiction is limited.

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Wurlitzer, Fred. "Physicians as Detectives in Detective Fiction of the 20th Century." Southern Medical Journal 96, no. 7 (July 2003): 731–32. http://dx.doi.org/10.1097/01.smj.0000083299.06889.31.

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SARJEANT, WILLIAM A. S. "Detectives and geology in fiction - 2: After the Golden Age." Geology Today 11, no. 2 (March 1995): 68–72. http://dx.doi.org/10.1111/j.1365-2451.1995.tb00914.x.

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ANDERSON, DARYLL. "Physicians as Detectives in Detective Fiction of the 20th Century." Southern Medical Journal 95, no. 10 (October 2002): 1134–39. http://dx.doi.org/10.1097/00007611-200210000-00005.

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Journal articles on the topic 'Women detectives in fiction'

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