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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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Önen, Selin. "THE WOMEN DETECTIVES IN THE DETECTIVE LITERATURE: ESRA TÜRKEKUL S KAPALIÇARŞI CİNAYETİ NOVEL." Uluslararasi Kibris Universitesi Fen-Edebiyat Fakultesi 24, no. 93 (January 10, 2018): 150–64. http://dx.doi.org/10.22559/folkloredebiyat.2017.74.
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Cavallaro, Daniela. "Female Detectives in 1950s Salesian Educational Theatre." Quaderni d'italianistica 37, no. 1 (June 9, 2017): 35–54. http://dx.doi.org/10.33137/q.i..v37i1.28277.
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This article considers a little-known type of gialli: those staged by all-women casts in educational theatre performances in Italy between the early 1940s and the early 1960s. It shows how the Salesian priests and sisters who authored educational gialli focused not so much on identifying and punishing the culprits as on proving the innocence of previously suspected characters and restoring those who had strayed from the right path. The article looks at both professional and amateur female detectives of Salesian gialli, their credentials for being called to solve a mystery, and their investigative techniques and success rate. It claims that the amateur detectives on the Salesian stage were often characterized as comical or incompetent, while the professional detectives, even though they were more successful, were foreign and unfeminine, concluding that Salesian authors often exploited the popularity of the giallo genre to put forward conservative role models for young women on the stage and in the audience.
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SCHOENFELD, BETHE. "Women Writers Writing about Women Detectives in Twenty-First Century America." Journal of Popular Culture 41, no. 5 (October 2008): 836–53. http://dx.doi.org/10.1111/j.1540-5931.2008.00552.x.
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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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Schwartz, Camilla, and E. Ann Kaplan. "The female detective as the child who needs to know. Saga Norén as an example of potent yet dysfunctional female detectives in contemporary Nordic Noir." European Journal of Scandinavian Studies 48, no. 2 (October 25, 2018): 213–30. http://dx.doi.org/10.1515/ejss-2018-0017.
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Abstract The global popularity of Nordic Noir, such as the Danish/Swedish production Broen, The Danish production Forbrydelsen, its U.S. and U.K. remakes, the Danish/Swedish production The Millennium Trilogy seems to depend on its insistent interest in a set of maladjusted female detectives. The by now seven seasons of the U.S production Homeland have a similar focus. In this essay, we argue that the struggle these female protagonists endure between extreme potency on the one hand and shameful psychic problems on the other is linked to how these female detectives represent the female position in film in general. Turning to traditional and ongoing discussions in feminist film theory, and combining queer studies and sociological and psychoanalytic perspectives with recognition theory (Felski/Coplan), we ask how we as spectators relate to these women in terms of recognition. In line with that, we ask whether these female detectives should be considered feminist icons who challenge traditional gendered poses on film, or whether, due to their dysfunctionalities, they came to represent some kind of otherness that we sympathize with but also fail to identify with.
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Devdiuk, Ivanna, and Tetiana Huliak. "TRANSFORMATION OF THE FEMALE DETECTIVE IMAGE IN THE19thAND 20thCENTURIES ENGLISH FEMALE DETECTIVE PROSE." Fìlologìčnì traktati 14, no. 1 (2022): 27–34. http://dx.doi.org/10.21272/ftrk.2022.14(1)-3.
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The article deals with the peculiarities of the image of the female detective in the English female detective prose of the 19thand 20thcenturies. We have traced the changes in theportrayal of the female detective in English literature and singled out the factors which influenced them. First of all, every writer’s experience and life conditions make an impact on the construction of their images. It is obvious that S.Hopley couldn’t but work secretly as her creator C.Crowe wrote detective using the other name. It was the trend of the nineteenth century. In the first part of the twentieth century, women started to obtain different professions alongside men. A.Christie and D.Sayers had an opportunity to be not only writers but even theoreticians of the genre. That is why Miss Marple and H.Vane were able to show their achievements together with men. And the second part of the twentieth century presented women with total freedom. So, we can read about Sharon McCone who is a successful private detective. The second important fact is the situation in the society which for sure is reflected in the realistic literary works and can be easily noticed in the behaviour of the characters. And the last efficient thing is the plot of the story because it dictates the actions which sometimes do not depend on the personality.The article analyzes the characteristic features of the female detectives belonging to three stages of detective development: detective classics(until the early twentieth century), detective modernism(1910–the 1970s), and detective postmodernism(after the1970s).The female detective of detective classics is clever and kind but lacks self-confidence and support. Detectivemodernism shows us an intelligent, smart, very brave, and attentive detective. The woman detective of the postmodern period is smart, courageous, emotional, and hard-working. Thus, we have suggested the canonic image of the female detective. She has a sharp mind, a very high level of knowledge, a sense of responsibility, a strong wish to work, and a little time for her personal life. This woman is pretty, careful, witty, and ready to investigate at any time
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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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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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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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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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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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Cohn, J. "Detective Agency: Women Rewriting the Hard-Boiled Tradition." American Literature 73, no. 2 (June 1, 2001): 435–36. http://dx.doi.org/10.1215/00029831-73-2-435.
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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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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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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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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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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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Robinson, Sally, Priscilla L. Walton, and Manina Jones. "Detective Agency: Women Rewriting the Hard-Boiled Tradition." South Central Review 18, no. 3/4 (2001): 132. http://dx.doi.org/10.2307/3190365.
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Filippaki, Iro, and Lakshmi Krishnan. "The Case of the Peculiar Story: Medical Investigation and the Detective in Edgar Allan Poe and Marguerite Duras." Literature and Medicine 41, no. 1 (March 2023): 249–72. http://dx.doi.org/10.1353/lm.2023.a911453.
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Abstract: In "The Murders in the Rue Morgue" (1841), Poe invents the detective story in English, introducing his gentleman sleuth Auguste Dupin as he solves the locked-room mystery of two women found brutally murdered in a Paris apartment. In L'Amante Anglaise (1967), Duras revisits the detective form, fictionalizing the true 1949 crime of a woman murdering and dismembering her cousin in Viorne, France. These literary detective stories highlight the powerful but unspoken role of affective experience in driving what appears, on the surface, to be a forensic medical or psychological investigation. In both tales, peculiarity is an affective and cognitive force that, contrary to what the majority of affect literature argues, inherently moves toward resolution and closure. Using peculiarity as an analytical concept, we argue that the concealment / discovery binary must acknowledge its affective origins, breaking a barrier between narrative scholarship and medical practice.
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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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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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Putri, Bintang Priyanto, Fatma Hetami, Rahayu Puji Haryanti, and Widhiyanto Widhiyanto. "The Portrayal of Women’s Power Ambivalence: in Literature- to- Film Adaptation of Enola Holmes." Rainbow : Journal of Literature, Linguistics and Culture Studies 12, no. 2 (October 29, 2023): 151–62. http://dx.doi.org/10.15294/rainbow.v12i2.68282.
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The pursuit of dreams by women often results in a complex state of ambivalence, as they contend with societal, familial, and personal obstacles. This underscores the need for a new cultural narrative that reconciles the strengths and weaknesses of women. Our research focuses on examining the portrayal of woman's power in the novel and film Enola Holmes. Utilizing a qualitative approach and Betty Friedan's liberal feminism as a framework, we explore the multifaceted nature of female empowerment as represented by the character Enola Holmes. Our findings reveal that Enola's aspiration to become a detective symbolizes female empowerment but is marked by ambivalence. A form of ambivalence can be seen when Enola ends up in boarding school, falls in love with a man, gets help from male friend, gets a culture shock, and uses the name “Holmes”; Eudoria’s absence after her enthusiastic efforts of teaching Enola and making a plan for reform bill with her feminist movement; Dowager's plan to kill Tewkesbury is defeated by Enola Holmes and Tewkesbury; women oppressing women through the character Enola Holmes fights Edith and Enola Holmes argues Miss Harrison. Therefore, these complexities suggest a paradox: efforts to challenge patriarchal norms can inadvertently reinforce the culture they seek to change. In conclusion, our study highlights the nuanced nature of female empowerment in "Enola Holmes," offering insights into the intricate interplay between women's agency and societal norms in the ongoing struggle for gender equality.
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Farré Vidal, Carme. "Dissection of Patricia Cornwell's feminist woman detective Kay Scarpetta." Journal of English Studies 10 (May 29, 2012): 51. http://dx.doi.org/10.18172/jes.180.
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This analysis of Kay Scarpetta acknowledges the importance of feminism in the identity of this woman detective. Kay Scarpetta contests patriarchy from the root: she is a forensic anthropologist with the necessary intellectual abilities and expertise for the pursuit of criminals. She has the power to solve the murder, the patriarchal privilege enjoyed by the traditional male detective, but her characterisation retains feminine characteristics, too: she can admit to be afraid in the face of danger and she cares for victims, those lying on her autopsy table – many of whom are women – but also the ones left behind. Kay Scarpetta’s identity leads her to expose the forms that women’s victimisation can take in a society based on prioritising men’s privileges. The obstacles that Kay Scarpetta has to overcome in order to expose patriarchy will not discourage her, though, since her ultimate goal is to help dignity and equality prevail.
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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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Saraskina, L. I. "First Russian Cyclists and Their Bicycles: Images in Literature and in Cinema." Art & Culture Studies, no. 3 (October 2021): 466–93. http://dx.doi.org/10.51678/2226-0072-2021-3-466-493.
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The paper, first, recapitulates the centuries-long history of designing and developing bicycles; in this history, inventors from many countries have taken part. As a result of the evolution of this wheeled transport, bicycles have become the most popular vehicles in cities as well as in villages; in many countries cycling has become the way of life. But, at the beginning, it was quite a problem to get accustomed to the sight of “riders on wheels”, especially if they were women. In capitals and in provincial towns, perceptions were quite different. The Russian cinema has documented the stages of introducing bicycles into the everyday life of the country, from the 1860s up to 1895. The feature films A Few Days from the Life of I.I. Oblomov (1979), The House of the Dead (1932), Man in a Shell (1939), as well as the retro-serial Anna, the Detective (2016–2020) have shown, with more or less details, how this and other European innovations were domesticated in Russia.
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R, Bhuvaneswari, Cynthiya Rose J S, and Maria Baptist S. "Editorial: Indian Literature: Past, Present and Future." Studies in Media and Communication 11, no. 2 (February 22, 2023): 1. http://dx.doi.org/10.11114/smc.v11i2.5932.
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IntroductionIndian Literature with its multiplicity of languages and the plurality of cultures dates back to 3000 years ago, comprising Vedas, Upanishads, Puranas and Epics like Ramayana and Mahabharata. India has a strong literary tradition in various Indian regional languages like Sanskrit, Prakrit, Pali, Hindi, Marathi, Bengali, Oriya, Tamil, Kannada, Telugu, Malayalam and so on. Indian writers share oral tradition, indigenous experiences and reflect on the history, culture and society in regional languages as well as in English. The first Indian novel in English is Bankim Chandra Chatterjee’s Rajmohan’s Wife (1864). Indian Writing in English can be viewed in three phases - Imitative, First and Second poets’ phases. The 20th century marks the matrix of indigenous novels. The novels such as Mulk Raj Anand’s Untouchable (1935), Anita Nair’s Ladies Coupé (2001), and Khuswant Singh’s Memories of Madness: Stories of 1947 (2002) depict social issues, vices and crises (discrimination, injustice, violence against women) in India. Indian writers, and their contribution to world literature, are popular in India and abroad.Researchers are keen on analysing the works of Indian writers from historical, cultural, social perspectives and on literary theories (Post-Colonialism, Postmodernity, Cultural Studies). The enormity of the cultural diversity in India is reflected in Indian novels, plays, dramas, short stories and poems. This collection of articles attempts to capture the diversity of the Indian land/culture/landscape. It focuses on the history of India, partition, women’s voices, culture and society, and science and technology in Indian narratives, documentaries and movies.Special Issue: An Overview“Whatever has happened, has happened for goodWhatever is happening, is also for goodWhatever will happen, shall also be good.”- The Bhagavad-Gita.In the Mahabharata’s Kurukshetra battlefield, Lord Krishna counsels Arjuna on how everything that happens, regardless of whether it is good or bad, happens for a reason.Indian Literature: Past, Present and Future portrays the glorious/not-so-glorious times in history, the ever-changing crisis/peace of contemporary and hope for an unpredictable future through India’s literary and visual narratives. It focuses on comparison across cultures, technological advancements and diverse perspectives or approaches through the work of art produced in/on India. It projects India’s flora, fauna, historical monuments and rich cultural heritage. It illustrates how certain beliefs and practices come into existence – origin, evolution and present structure from a historical perspective. Indian Literature: Past, Present and Future gives a moment to recall, rectify and raise to make a promising future. This collection attempts to interpret various literary and visual narratives which are relevant at present.The Epics Reinterpreted: Highlighting Feminist Issues While Sustaining Deep Motif, examines the Women characters in the Epics – Ramayana and Mahabharata. It links the present setting to the violence against women described in the Epics Carl Jung’s archetypes are highlighted in a few chosen characters (Sita, Amba, Draupati). On one note, it emphasises the need for women to rise and fight for their rights.Fictive Testimony and Genre Tension: A Study of ‘Functionality’ of Genre in Manto’s Toba Tek Singh, analyses the story as a testimony and Manto as a witness. It discusses the ‘Testimony and Fictive Testimony’ in Literature. It explains how the works are segregated into a particular genre. The authors conclude that the testimony is to be used to understand or identify with the terror.Tangible Heritage and Intangible Memory: (Coping) Precarity in the select Partition writings by Muslim Women, explores the predicament of women during the Partition of India through Mumtaz Shah Nawaz’s The Heart Divided (1990) and Attia Hosain’s Sunlight on a Broken Column (2009). It addresses ‘Feminist Geography’ to escape precarity. It depicts a woman who is cut off from her own ethnic or religious group and tries to conjure up her memories as a means of coping with loneliness and insecurity.Nation Building Media Narratives and its Anti-Ecological Roots: An Eco-Aesthetic Analysis of Khushwant Singh’s Train to Pakistan, analyses the post-Partition trauma in the fictional village, Mano Majra. It illustrates the cultural and spiritual bond between Mano Majrans — the inhabitants of Mano Majra — and nature (the land and river). It demonstrates how the media constructs broad myths about culture, religion, and nation. According to the authors, Mano Majrans place a high value on the environment, whilst the other boundaries are more concerned with nationalism and religion.Pain and Hopelessness among Indian Farmers: An Analysis of Deepa Bhatia’s Nero’s Guests documents the farmers’ suicides in India as a result of debt and decreased crop yield. The travels of Sainath and his encounters with the relatives of missing farmers have been chronicled in the documentary Nero’s Guests. It uses the Three Step Theory developed by David Klonsky and Alexis May and discusses suicide as a significant social issue. The authors conclude that farmers are the foundation of the Indian economy and that without them, India’s economy would collapse. It is therefore everyone’s responsibility—the people and the government—to give farmers hope so that they can overcome suicidal thoughts.The link between animals and children in various cultures is discussed in The New Sociology of Childhood: Animal Representations in Leslie Marmon Silko’s Garden in the Dunes, Amazon’s Oh My Dog, and Netflix’s Mughizh: A Cross-Cultural Analysis. It examines the chosen works from the perspectives of cross-cultural psychology and the New Sociology of Childhood. It emphasises kids as self-sufficient, engaged, and future members of society. It emphasises universal traits that apply to all people, regardless of culture. It acknowledges anthropomorphized cartoons create a bond between kids and animals.Life in Hiding: Censorship Challenges faced by Salman Rushdie and Perumal Murugan, explores the issues sparked by their writings. It draws attention to the aggression and concerns that were forced on them by the particular sect of society. It explains the writers’ experiences with the fatwa, court case, exile, and trauma.Female Body as the ‘Other’: Rituals and Biotechnical Approach using Perumal Murugan’s One Part Woman and Matrubhoomi: A Nation Without Women, questions the society that limits female bodies for procreation and objectification. It talks about how men and women are regarded differently, as well as the cultural ideals that apply to women. It explains infertility, which is attributed to women, as well as people’s ignorance and refusal to seek medical help in favour of adhering to traditional customs and engaging in numerous rituals for procreation.Life and (non) Living: Technological and Human Conglomeration in Android Kunjappan Version 5.25, explores how cyborgs and people will inevitably interact in the Malayalam film Android Kunjappan Version 5.25. It demonstrates the advantages, adaptability, and drawbacks of cyborgs in daily life. It emphasises how the cyborg absorbs cultural and religious notions. The authors argue that cyborgs are an inevitable development in the world and that until the flaws are fixed, humans must approach cyborgs with caution. The Challenges of Using Machine Translation While Translating Polysemous Words, discusses the difficulty of using machine translation to translate polysemous words from French to English (Google Translate). It serves as an example of how the machine chooses the formal or often-used meaning rather than the pragmatic meaning and applies it in every situation. It demonstrates how Machine Translation is unable to understand the pragmatic meaning of Polysemous terms because it is ignorant of the cultures of the source and target languages. It implies that Machine Translation will become extremely beneficial and user-friendly if the flaws are fixed.This collection of articles progresses through the literary and visual narratives of India that range from historical events to contemporary situations. It aims to record the stories that are silenced and untold through writing, film, and other forms of art. India’s artistic output was influenced by factors such as independence, partition, the Kashmir crisis, the Northeast Insurgency, marginalisation, religious disputes, environmental awareness, technical breakthroughs, Bollywood, and the Indian film industry. India now reflects a multitude of cultures and customs as a result of these occurrences. As we examine the Indian narratives produced to date, we can draw the conclusion that India has a vast array of tales to share with the rest of the world.Guest Editorial BoardGuest Editor-in-ChiefDr. Bhuvaneswari R, Associate Professor, School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. She has pursued her master’s at the University of Madras, Chennai and doctoral research at HNB Central University, Srinagar. Her research areas of interest are ELT, Children/Young Adult Literature, Canadian writings, Indian literature, and Contemporary Fiction. She is passionate about environmental humanities. She has authored and co-authored articles in National and International Journals.Guest EditorsCynthiya Rose J S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. Her research interests are Children’s Literature, Indian Literature and Graphic Novels.Maria Baptist S, Assistant Professor (Jr.), School of Social Sciences and Languages, Vellore Institute of Technology, Chennai. His research interests include Crime/Detective fiction and Indian Literature.MembersDr. Sufina K, School of Science and Humanities, Sathyabama Institute of Science and Technology, Chennai, IndiaDr. Narendiran S, Department of Science and Humanities, St. Joseph’s Institute of Technology, Chennai, India
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Schildcrout, Jordan. "Thinking Women: The Case of the Spinster Detective in Mary Roberts Rinehart's The Bat." Journal of American Culture 42, no. 4 (December 2019): 302–11. http://dx.doi.org/10.1111/jacc.13093.
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Purtanto, Chika Azizah, Ananda Da'watus Solikhah, and Wahyu Indah Mala Rohmana. "Feminist Character Irene Adler in Sherlock Holmes: A Scandal in Bohemia." Wanastra : Jurnal Bahasa dan Sastra 16, no. 1 (March 31, 2024): 17–23. http://dx.doi.org/10.31294/wanastra.v16i1.20447.
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The issue of feminism has been a topic of discussion for many years, transforming several fields, including literature. As feminist issues have emerged, many literary works have begun to portray feminist characteristics. One of them is Sir Arthur Conan Doyle's A Scandal in Bohemia, which has the feminist character of Irene Adler. Irene Adler is an interesting central character in this classic Sherlock Holmes story. Sherlock Holmes. Known for her intelligence and independence, Adler is feminist in the detective narrative. Irene Adler's character challenges existing ideas about women in literature at the time. The author used a qualitative method with a feminist literary criticism approach based on the theory of modern feminism, which states that everyone has the right to determine their own path of life, regardless of the influence of their environment. After analyzing the story of A Scandal in Bohemia, the author found seven characters of Irene Adler that represent feminist characters, such as strong-willed, assertive, independent, freedom of expression, self-confidence, strategic intelligence, and the ability to challenge and change stereotypes and male views of women. The implication of this research is that readers can gain a better understanding of how feminist characters contribute to the development of plots and themes in certain literary works or media.
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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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Ilunina, Anna A. "Intertextual dialogue with Victorian literature in the novels by Sarah Ann Waters as a means of implementing feminist issues." Vestnik of Kostroma State University 27, no. 1 (March 31, 2021): 141–46. http://dx.doi.org/10.34216/1998-0817-2021-27-1-141-146.
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The article presents an analysis of the implementation of the category of intertextuality in the novel «Affinity» (1999) by the British writer Sarah Ann Waters. The aim of the work was to trace how the intertextual dialogue with the Victorian literature contributes to the formation of the feminist issues of the work. It is revealed that the main pretexts when creating a novel for Waters were «Little Dorrit» by Charles John Huffam Dickens, «Aurora Leigh» by Elizabeth Barrett Browning, «The Turn of the Screw» by Henry James, and novels by William Wilkie Collins. «Affinity» has elements of Gothic narrative, a detective, a sensational novel, the Newgate novel, picaresque novel, contributing to the formation of women's issues. The dialogue with Victorianism allows Waters to raise issues of gender inequality in the past and present, the exploitation of women, and the rights of individuals to realise their sexual identity. For Waters, turning to Victorianism is a way to draw attention to issues that, according to the writer, are still topical in British culture, such as sexuality, class and gender.
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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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Gentle, Jeremiah. "The Wild Detectives." World Literature Today 88, no. 5 (2014): 96. http://dx.doi.org/10.1353/wlt.2014.0220.
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Sayler, Matthew. "Watching the Detectives." Renascence 65, no. 4 (2013): 286–302. http://dx.doi.org/10.5840/renascence201365415.
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Hart, Patricia, and Angeles Encinar. "Historias de detectives." World Literature Today 73, no. 2 (1999): 309. http://dx.doi.org/10.2307/40154718.
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Lewis, Tom, and Kathleen Gregory Klein. "The Woman Detective: Gender and Genre." Journal of the Midwest Modern Language Association 23, no. 1 (1990): 78. http://dx.doi.org/10.2307/1315039.
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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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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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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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Nikonenko, Olha, and Olena Rigger. "CULINARY THEMATICS IN DETECTIVES." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 9(77) (January 30, 2020): 193–95. http://dx.doi.org/10.25264/2519-2558-2020-9(77)-193-195.
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The article is devoted to the consideration of genre of crime novels in contemporary German literature general and to those with a culinary theme especially. The using of the term “culinary thriller“ by authors and journalists is critically considered. There is a short overview of the development of the genre of crime novel, there important stages, the structure and characteristics in German literature. Discussed is the popularity of this genre in recent years. The thriller in the modern German literature are thematically qualified. Culinary and gourmet theme is a popular environment in the criminals of the modern German crime thriller authors. Culinary has a great place in the works of the crime genre and has various functions such as means of portraying the person’s manager, crime scene or means for a crime or murder, as a tool of subject’s development. Crime novels often have an educational function, informing the reader about the quality and production of gourmet products. Authors analyze the concept of the culinary crime novel are of the opinion that a culinary crime novel is only a novel when the culinary theme is the motive for the crime. The empirical research is based on the thrillers by writers from Germany, Austria, Switzerland and Luxemburg. This allows an analyses of breadth and depth of the culinary content in the crime novels.
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Emilsson, Wilhelm. "Iain Sinclair's Unsound Detectives." Critique: Studies in Contemporary Fiction 43, no. 3 (January 2002): 271–88. http://dx.doi.org/10.1080/00111610209602185.
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Smith, Erin A. "Who Didn’t Do It?" Reception: Texts, Readers, Audiences, History 14 (July 1, 2022): 22–41. http://dx.doi.org/10.5325/reception.14.1.0022.
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ABSTRACT David Grann’s Killers of the Flower Moon is a generic hybrid: literary journalism, true crime tale of the Wild West, and whodunit. I argue that the activation of different sets of reader expectations for these genres gives it an extraordinarily powerful political impact. Based on reviews and reader responses on Amazon and Goodreads and on the genre characteristics of the narrative itself, I make the case that Grann satisfies readers’ expectations for formula Westerns and classical detective stories in the first two parts (i.e., solving the crime and arresting the bad guy), only to undermine them in the final section, in which just about all the white citizens in the county emerge as complicit with the crimes. Further, Killers of the Flower Moon–like many true-crime stories–offers a feminist critique of the romance plot by unveiling how happily-ever-after marriages can turn violent and abusive for women.
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Dewi, Anggita Riana, Yulistiyanti, and Katharina Rustipa. "Women Empowerment in Netflix Series Unbelievable." Metathesis: Journal of English Language, Literature, and Teaching 6, no. 1 (May 23, 2022): 50–72. http://dx.doi.org/10.31002/metathesis.v6i1.143.
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This research aims to reveal how Unbelievable portrays the differences between male and female detectives handling rape cases, to find out Duvall’s, the female detective, factors, and motivation in helping women victims, and to find out the values of women empowerment in Unbelievable. The research used qualitative method. Reader response, subjective criticism, and women empowerment were the bases theories used in the research. The data are sentences and conversations that show differences in treatment, mindset, factors and motivation, as well as the empowerment of the female main character. There are three results of this study; (1) three differences covering the victim treatment, investigation model, and the mindset between male and female detectives handling rape cases; sensitivity to the mental condition of the victim, clarity of providing investigative information, the efficiency of the investigation system, and assessment of the case and rape victims. (2) Duvall's factors and motivation include self-confidence, empathy, protestant work ethic, and Christian faith. (3) Duvall's success in bringing justice has given strength to victims and other values such as economic independence, freedom to get an education and career paths, balance roles at home and at work, are a reflection of women empowerment.
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Lee Hyeong-Sook. "Classic in Mass Literature - Detectives of Boris Akunin." Russian Language and Literature ll, no. 34 (June 2010): 75–99. http://dx.doi.org/10.24066/russia.2010..34.003.
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Mazur, Zbigniew. "Female Detectives and the Moral Crisis in America: Women in the New TV Crime Drama." Roczniki Humanistyczne 72, no. 11 Zeszyt specjalny (June 6, 2024): 59–70. http://dx.doi.org/10.18290/rh247211.5s.
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The paper investigates recent American TV crime drama in which prominent roles are given to female protagonists. The TV miniseries Unbelievable (2019) and Mare of Easttown (2021) place women in central roles and, by going beyond the classic formula of crime drama, reshape the format of the genre. They address significant social and economic issues, often ignored by conventional crime drama narratives. The paper offers a brief investigation of the figures of female police detectives in older American TV crime drama, and in Scandinavian TV noir, arguing, that the evolution of the character of the female detective is a transnational phenomenon. The female detectives in Unbelievable and Mare of Easttown are excellent investigators, but they also display a strong moral integrity and deep emotional response to the injustice brought by crime. The two crime dramas focus not just on the investigations, but explore the social causes of crime and point, among other things, to gender, class and race inequalities, instability of the family, corruption, inefficiency of government institutions, and inadequacy of health and social care as sources of disintegration of American society. The stories offer some hope and reassurance to the viewer by showing that the detectives can combat crime and bring temporary order to the affected communities, but express lack of confidence in the permanence of core American values.
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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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Miles-Johnson, Toby, and Kate Linklater. "‘Rorting the System’: Police Detectives, Diversity, and Workplace Advantage." Societies 12, no. 2 (April 8, 2022): 68. http://dx.doi.org/10.3390/soc12020068.
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Internal workplace practices and policies in policing are based on a notion of fairness and equal opportunity. Yet police organizations are frequently criticized for discriminatory policing practices, unfair and biased workplace practices, and poor interpersonal treatment of officers. Whilst there is a wide body of research examining diversity in relation to external police practices, there is a lack of knowledge regarding diversity and internal workplace practices; particularly from the perspective of police detectives who often have more substantial policing experience and longer employment histories than other non-commissioned officers. Contributing new findings to the extant policing literature, this research analyzes data collected from interviews with twenty police detectives working in one of the largest Australian police organizations. It suggests that police detectives in this study have negative perceptions of diversity, and associate diversity with unfair advantages in the workplace. In Australian culture, the phrase ‘rorting the system’ is an informal expression used to describe individuals or groups of people who take unfair advantage of a public service or workplace policy to change their circumstances. The findings suggest that detectives in this study believe diversity enables some officers to take advantage of workplace policy and ‘rort’ the system.
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Paweł Waszkiewicz and Piotr Karasek. "Fotelowi detektywi w XXI wieku. Sposoby angażowania społeczeństwa do rozwiązywania spraw kryminalnych oraz korzyści i zagrożenia z tego płynące." Archives of Criminology, no. XXXVI (January 1, 2014): 423–50. http://dx.doi.org/10.7420/ak2014o.
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This is the first article in the criminological literature to describe armchair detectives, i.e. non-professionals who solve criminal cases as a hobby. The phenomenon is mainly discussed in the context of contemporary means of communication, including the internet and social media. While these are increasingly important, this article focuses on more “traditional” types of activity as well. Citing examples from Poland and abroad, the authors come up with their own typology of this highly diversified group. The authors distinguish six ways in which armchair detectives engage in solving detective puzzles: 1) recognizing a person, place or thing; 2) reporting an incident; 3) OSINT; 4) the classic “Oh!”; 5) expert knowledge and skills; 6) and cold cases. The authors also discuss the benefits and threats posed by armchair detectives. These are analyzed from the standpoint of both law enforcement and the common good within the broad meaning of the term. The summary includes a suggestion that the phenomenon be studied under the paradigm of evidence-based policing. Their proposal is to empirically check the extent to which armchair detectives help detect crime and how effective their help is in investigations.
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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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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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