Bibliografías temáticas / Private Eyes (fictional characters)

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Literatura académica sobre el tema "Private Eyes (fictional characters)"

Autor: Grafiati
Publicado: 28 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Private Eyes (fictional characters)"

1

Altashina, Veronika D. "Dialogues for the blind and those who can see, or Philosophy in the boudoir." Vestnik of Saint Petersburg University. Language and Literature 19, no. 4 (2022): 650–68. http://dx.doi.org/10.21638/spbu09.2022.401.

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The article analyzes the artistic features of Diderot and Sade’s philosophical dialogues, which allow authors to convey innovative ideas to readers, to turn a serious treatise into a fascinating theatrical show. These works (Diderot’s D’Alembert’s Dream (1769, publ. 1830–1831) and Conversation of a philosopher with the Maréchale de *** (1774, publ. 1775); Marquis de Sade’s Dialogue between a priest and a dying man (1782) and Philosophy in the Boudoir (1785)) are united not only by a dialogical form, but also by the original use of such rhetorical figures as fantasy and evidence, thanks to whic
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Krylova, Snezhana V. "Man and time in Tatiana Moskvina’s epistolary play Proklyataya Lyubov’ (on the author’s strategies)." Tekst. Kniga. Knigoizdanie, no. 34 (2024): 38–49. http://dx.doi.org/10.17223/23062061/34/4.

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The article justifies that, using well-known dramatic techniques, Tatyana Moskvina was able to create an original type of an “epistolary play” on documentary material. The material for her was the correspondence of the actress Angelina Stepanova and the playwright Nikolai Erdman, Stepanova's memories, and Erdman's texts. All this was carefully selected. Moskvina saw and highlighted in these documents symbolic details that were enlarged in the play due to repetitions, leitmotifs, and comments of the Human Note (a character introduced into the composition to explain historical and biographical r
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Raskin, Jonah. "The Master of Nasty." Boom 2, no. 4 (2012): 87–95. http://dx.doi.org/10.1525/boom.2012.2.4.87.

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Raymond Chandler relished finding names for his quirky characters, including Philip Marlowe, the pipe-smoking, chess-playing private eye—a literary kinsman to Sam Spade, Dashiell Hammett’s solitary sleuth—whom I first met in the pages of fiction as a teenager and whom I have known more than fifty years. Sometimes the names are dead giveaways about the morality or immorality of the character, sometimes they’re opaque, but I’ve always found them intriguing and an open invitation to try to solve the mystery myself.
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Brooks, Peter. "The Cemetery and the Novel." Romanic Review 111, no. 3 (2020): 357–69. http://dx.doi.org/10.1215/00358118-8819565.

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Abstract This essay revisits the question of the fictional person, largely by way of Proust’s claim that the novel offers us nonexistent persons the better to espouse vision through other eyes: knowledge of the world as experienced by another consciousness. If the New Critical stricture against taking fictional characters as real beings—something other than writing on a page—is correct, it does not account for the way in which we imagine, make use of, and interact with the minds of literary characters. Yet Proust’s understanding of the fictional being cohabits with the inevitable death of real
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Cline, Emily. "‘The bloody fingers … bear witness’: Sign Language and the Mute Detective in Susan Hopley and The Trail of the Serpent." Crime Fiction Studies 5, no. 1 (2024): 1–17. http://dx.doi.org/10.3366/cfs.2024.0107.

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In her examination of signing characters in works of Charles Dickens and Wilkie Collins, Jennifer Esmail highlights deaf characters’ absence in Victorian fiction. Mutism is more common, for example, in the character of Mary Elizabeth Braddon's working-class, fingerspelling Detective Peters (70, 10n24). Even so, sign language – seen as ‘primitive’ and ‘lacking [in] intellectual […] rigor’ – was rarely represented (Esmail 3). Dickens, Collins and Braddon, proto-detective novelists themselves, were preceded by Catherine Crowe, whose 1841 novel Susan Hopley features Julie le Moine, a female, cross
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Baas, Renzo. "Fictional Dreams and Harsh Realities." Matatu 50, no. 2 (2020): 407–29. http://dx.doi.org/10.1163/18757421-05002008.

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Abstract This paper looks at the novels by Joseph Diescho (Born of the Sun, 1988), Kaleni Hiyalwa (Meekulu’s Children, 2000), and Neshani Andreas (The Purple Violet of Oshaantu, 2001) with a special focus on the access to education and land, but also problems such as Gender Based Violence and poverty. By comparing how an independent Namibia is imagined during South African apartheid rule, during the Liberation Struggle, and post-independence, the novels open up perspectives that empirical studies may overlook or decide not to emphasise. Furthermore, this comparison also allows for a linear, ye
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COLLINS, William. "Impenetrable Eyes, Stealth and Surveillance: A Corpus Stylistic Study of Salient Adjectives in William Faulkner’s The Hamlet." Studies in Linguistics and Literature 5, no. 4 (2021): p94. http://dx.doi.org/10.22158/sll.v5n4p94.

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Stylistics combines both a granular and global approach to works of literature. Through analysis of linguistic and semantic patterns in a text, stylistics explores how authors construct a fictional text world and populate it with vividly realized characters. In this article, I adopt a corpus-stylistic approach to William Faulkner’s The Hamlet. Through identification of high-frequency words and close reading of their concordances, I explore what the data reveals about Faulkner’s thematic concerns in the novel and how his linguistic strategies convey them to the reader.
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Mhene, Max. "Alienation and identity crisis on fictional characters in Ngugi wa Thiong’o’s The River Between (1965)." NAWA Journal of Language and Communication 16, no. 1 (2023): 19–33. http://dx.doi.org/10.59677/njlc.v16i1.6.

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This paper attempts to highlight the story of a whole community of the Gikuyu people who inhabited the ridges of Kameno and Makuyu in Ngugi wa Thiongo’s The River Between. The paper will integrate the public aspects of the novel with the dramatic actions of the private individuals. The main characters, as protagonists in the conflict, represented opposing forces within the society and yet they remained convincing as human beings. Alienation and Identity Crisis on protagonists and other significant fictional characters will take the centre stage of this paper. There are so many editions of The
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Xing, Chen. "The Real World in Fiction: A Comparative Literary Perspective on the Portrayal of China in the Early Twentieth-Century in Midnight and on a Chinese Screen." Communications in Humanities Research 4, no. 1 (2023): 302–8. http://dx.doi.org/10.54254/2753-7064/4/20220516.

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Both Chinese and foreign writers cast their eyes on China during the early twentieth-century, when China was at an intersection of feudalism and modernism. They depicted and recorded this complex period from their own perspectives in different literary forms. Among them, Mao Dun and Maugham present the 1920s and 1930s China from different angles through their literary works Midnight and On a Chinese Screen, respectively. There are lots of research analyzing the two works from various perspectives, but few put them together by doing comparative studies of the early twentieth-century Chinese soc
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Shatalova, O. V. "«Cossack Look» as a Means of Portraiting in M.A. Sholokhov’s Novel «The Quiet Don»." Язык и текст 10, no. 3 (2023): 77–83. http://dx.doi.org/10.17759/langt.2023100308.

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<p>The article deals with linguistic means of representing characters' gaze in M.A. Sholokhov's novel «The Quiet Don». The model of single-author description of characters' gaze based on the method of continuous material sampling is developed. The system description of the features of the nonverbal part, rich in content and information layers, proves that the gaze is the most powerful character marker in the novel «The Quiet Don». The study of the semantic language of the eyes in M.A. Sholokhov's fictional text «The Quiet Don» h
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Tesis sobre el tema "Private Eyes (fictional characters)"

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Thomas, Christina D. "Exploring community empowerment, in planning practice and theory, through a community computer network, a case study of the Seattle Community Network through the eyes of three fictional characters." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0023/MQ32967.pdf.

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Libros sobre el tema "Private Eyes (fictional characters)"

1

Sandford, John. Eyes of prey. Grafton, 1992.

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2

Allingham, Margery. Hide my eyes. Felony & Mayhem Press, 2010.

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John, Sandford. Eyes of prey. Putnam, 1991.

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Pirie, David. The patient's eyes. Century, 2001.

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Allingham, Margery. Hide my eyes. Hogarth, 1985.

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6

Muller, Marcia. Pennies on a dead woman's eyes. Women's Press, 1993.

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7

Muller, Marcia. Pennies on a dead woman's eyes. Mysterious Press, 1992.

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8

Lewin, Michael Z. Eye opener. Five Star, 2004.

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Muller, Marcia. Pennies on a dead woman's eyes. Mysterious Press, 1993.

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10

Estleman, Loren D. Every brilliant eye. Houghton Mifflin, 1985.

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Capítulos de libros sobre el tema "Private Eyes (fictional characters)"

1

Tichi, Cecelia. "Peep Show, Private Sector." In Electronic hearth. Oxford University PressNew York, NY, 1992. http://dx.doi.org/10.1093/oso/9780195079142.003.0004.

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Abstract A discursive mix of journalism, advertising, and fiction have promoted television as a modern hearth, but the scenes above imply radically different meanings. Each individual watching television in these scenes is alone. The hearth, so visual, so concrete and inclusive, seems like television’s compleat cultural emblem-until we encounter the lone viewer trying to lessen his or her isolation by turning on television. Not one of the three fictional characters watching television in their bedroom in these scenes is gathered at the electronic hearth for an affirmation of sociofamilial dome
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2

Lindenfeld, Laura, and Fabio Parasecoli. "Culinary Comfort." In Feasting Our Eyes. Columbia University Press, 2016. http://dx.doi.org/10.7312/columbia/9780231172516.003.0005.

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Explores unusual – and often culturally problematic – models of masculinity and their relationship to food, taking into consideration male characters as nurturers and caretakers both in the private and the public sphere. The analysis considers how these films operate in seeming opposition to films that tend to use food unobtrusively to reinforce dominant models of masculinity. Under closer examination, movies such as What’s Eating Gilbert Grape (Lasse Hallström, 1993), Heavy (James Mangold, 1995), Eat Your Heart Out (Percy Adlon, 1997), and later Spanglish (James L. Brooks, 2004) and Sideways
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3

Beshero-Bondar, Elisa, and Kellie Donovan-Condron. "Modelling Mary Russell Mitford’s Networks." In Women's Literary Networks and Romanticism. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940605.003.0006.

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This chapter features the Digital Mitford Archive’s work to construct a scholarly edition as a digital database. The chapter presents a view of the once popular and prolific Mary Russell Mitford as a writing node in a network of people and publications that shaped nineteenth-century literary and theatrical genres. The first half of the chapter applies distant reading methods to construct a model of Mitford’s correspondence network from extant records of over 2,000 letters held in public and private collections on both sides of the Atlantic. The chapter further investigates networks of referenc
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4

Aznavour, Clémence. "Potbelly, paunch and innards: variations on the abdomen in Marivaux’s L’Homère travesti and Le Télémaque travesti." In Bellies, bowels and entrails in the eighteenth century. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526127051.003.0011.

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In Marivaux’s plays and fictional memoirs, the somatic vocabulary is quite limited and mostly refers to the ‘face’, the ‘eyes’ and the ‘hands’ of the characters. The ‘belly’ is rarely mentioned, except in order to describe the gluttony of servants and peasants. ‘Paunch’, ‘potbelly’ and ‘innards’, on the other hand, punctuate two parodic works Marivaux wrote at the beginning of his career: L’Homère travesti and Le Télémaque travesti. This chapter analyses this exceptional vocabulary and highlights its link with the burlesque register, and the specific context of the Homeric Warfare in which L’H
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Peary, Gerald. "Three Short Encounters with Gus Van Sant." In Mavericks. University Press of Kentucky, 2024. http://dx.doi.org/10.5810/kentucky/9780813197944.003.0016.

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Three interviews with the American independent filmmaker Gus Van Sant about three of his movies make up this chapter. He talks of the rapport making My Private Idaho between his young star, River Phoenix, and the middle-aged director-turned-actor William Richert, and of his choice to cast the German actor Udo Kier because he’d been in Andy Warhol’s Dracula. He next speaks of Gerry, starring Casey Affleck and Matt Damon, an often silent, minimalist film about two guys who take a long walk in the wilderness. “To me, a whole lot happens in Gerry. If you don’t like it, it might drive you crazy.” F
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Rafter, Nicole. "Cop and Detective Films." In Shots in the Mirror. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195175059.003.0005.

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Abstract Trying to bring conceptual order to cop and detective movies is like trying to classify a proliferating form of life--one with hundreds of individual examples-using an obsolete taxonomy. Detective movies alone encompass half a dozen subtypes: amateur sleuth films; films about private eyes, private security agents, and plainclothes police detectives; victim-turned-hunter films; and movies more generally classified as noirs, neo-noirs, and whodunits or mysteries. Cop movies include even more subtypes: action films; aging cop films; the blaxploitation or black cop films of the early 1970
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MacDonald, Tara. "Privacy and ‘Public Feeling’ in Salem Chapel and Armadale." In Narrative, Affect and Victorian Sensation. Edinburgh University Press, 2023. https://doi.org/10.3366/edinburgh/9781399522199.003.0004.

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Chapter three discusses narrative affects in Oliphant’s Salem Chapel and Collins’s Armadale by way of sensational newspapers, trials, and gossip. I employ Lisa Zunshine’s notion of embodied transparency to argue that in both public and private spaces, the body becomes a site of emotional legibility. Yet Oliphant and Collins expose that very invitation, so vital to the genre of sensationalism, as violating. In Salem Chapel, Oliphant questions sensationalism’s reliance on voyeuristic thrills, and specifically its treatment of women’s bodies as the source of such voyeurism. While Armadale betrays
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Evans, Peter William. "Astaire and Rogers: Carefree in Roberta." In Hollywood and the Great Depression. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9780748699926.003.0007.

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This chapter challenges the conventional notion that the song and dance musicals that Fred Astaire and Ginger Rogers made for MGM in the 1930s epitomized Hollywood escapist fare in the Depression decade. Through a close reading of one of their movies, Roberta (1935), it shows how this could be seen as romantic nonsense at one level and as a poignant reminder of ordinary people’s wider lived realities in hard times at another. It analyses, in particular, how the dual rendering of ‘Smoke Gets in Your Eyes’ in song by the Irene Dunne character and in dance by the Astaire and Rogers characters giv
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Diffrient, David Scott. "Sliced Eyeballs and Severed Ears." In Body Genre. University Press of Mississippi, 2023. http://dx.doi.org/10.14325/mississippi/9781496847966.003.0005.

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This chapter brings the first half of the book’s focus on eyes and ears to a literal head, though its analysis anticipates forthcoming sections by tackling some of the racist and speciesist assumptions of the which bodies “count” in horror films. It starts by noting a troubling tendency apparent in classic and contemporary examples of the genre, which see comic potential in the endlessly exploited presence of animals—be they creatures of the wild or domesticated pets whose physical pain or outright destruction is sometimes intended as a joke. Even though audiences are frequently reminded that
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McNees, Eleanor. "An Ethics of Wartime Protest." In Virginia Woolf, Europe, and Peace. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781949979374.003.0005.

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Reacting to the Armistice of November 11, 1918 in her diary, Virginia Woolf reported seeing a “fat slovenly woman” on the train from Richmond to London and commented that “she & her like possessed London, & alone celebrated peace in their sordid way...” (D 1:216). Of Peace Day, July 19, 1919, designated as the official celebration of the peace, she later remarked how the “poor deluded servants” had taken the bus to see the decorations left over from the celebratory parade. She stated, “I was right: it is a servants [sic.] peace” (D 1:294). In spite, however, of these patronizing and sl
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