DOCSLIB.ORG

Mystery Book Chat

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Mystery Book Chat Mystery Book Chat Norwich Public Library Monday, February 23 at 11:00 A.M. Sheldon Novick, Host The Mystery Book Chat is a conversation about Mystery novels. The host is not an expert, but he is an author and a library patron who likes mystery stories, and welcomes other Mystery lovers to share their favorite novels and authors at the Book Chat. A Little Background Publishing is a business but literature is not—the distinguishing characteristic of “literature” is that each book is unique, a work that will be unfamiliar and surprising—the opposite of products for a mass market. Some literary fiction breaks into the mass market, but this is the exception. The hallmarks of a genre like mystery and crime novels, by contrast, are formulas in which plot, characters and setting are repeated, and an accessible style. The formula (and a familiar author’s name) makes it easier for people to find books they will like, easier for publishers and authors to market and distribute them. We classify genre works according to their formula. Novels are often mysteries—the plot is structured around a search of some kind—and so authors of literary fiction also sometimes write detective stories, but the point of departure for this conversation will be books in the murder mystery genre. We can save thrillers and suspense fiction, spy stories, action adventures, true crime, and other genres for future conversations. There is any number of ways to classify murder mysteries, but the New York Times Book Review uses the rubric “Mystery and Crime” for the books that Marilyn Stasio regularly and reliably reviews for them, so let’s start from that point. The common element in such books is that a search is prompted by a murder, and the protagonist is an investigator of some kind who searches for the killer. Nearly all books in this genre are in a series, in which a particular variation of the formula is repeated—publishers view the authors and their particular series as brands, and rely on the loyalty of readers to ensure sales. We can classify the sub-genres of murder mysteries by author, by intended audience, by elements of the formula (type of investigator, geographic setting, historical setting, character types, etc.). Some authors write books in several genres—James Patterson titles reportedly receive about one-fifth of all book-sale revenues—and are brand names themselves. Here are some classifications used in online discussion and print media that seem to help people find the sort of books they will like. I would like to share favorites; maybe your own choices don’t fit into any of these categories, or into all of them. Cozies This is probably the largest category by number of books and authors, and one of the oldest traditions. The formula often involves a village setting, the “detective” Mystery Book Chat Survey by Sheldon Novick Page 1 and the other residents of the village are ordinary people, and the principal characters are repeated in each book, with additions and subtractions. Much of the interest lies in the relations of the characters, and there are subplots that carry over from one book to the next in which character and relationships develop. There is not much violence or sex, no gory details. The Cozy mostly dates from English novels in the 1920s and 1930s; Agatha Christie was the premier practitioner of this and other genres—the Miss Marple series sets the pattern, an amateur detective in an English village. Modern Cozies are placed in every imaginable setting, foreign or domestic, present or past (historic settings are popular) and may involve pets, recipes, particular kinds of amateur sleuths (Harry Kemelman’s Rabbi David Small series, e.g., Friday the Rabbi Slept Late). E-books can be self-published on Amazon.com and sold for very little or given away, and so a Cozy series can be specialized for a narrow audience. Popular sub-genres are set in particular historical periods, Victorian London, World-War London, etc. Locally popular series include one written by Charles Todd (a mother-and-son team) whose WWI veteran policeman visits a different English village in each novel. There is a whole sub-genre of paranormal mysteries, often with female protagonists, that are set in realistic settings but have vampire and other mythical creatures, magicians, psychics as characters. A popular Web site lists dozens of authors and classifications: “Cozy Mystery List” (http://www.cozy-mystery.com). Let us know about your favorites. Gentleman Detectives Another English mystery genre which arguably begins with Wilkie Collins’s, The Moonstone, and The Woman in White in the 1860s. Collins established the formula of the English country-house setting, the brilliant genteel detective and the bumbling constables, with red herrings and subplots to provide interest as the investigation proceeds. These are also Cozies, but are an older form. Sleuth, criminal and victim are all gentlemen. One strand in the tradition began with Sherlock Holmes. Arthur Conan Doyle had studied medicine, and the model for Holmes was one of his teachers, a diagnostician who made seemingly miraculous deductions by observing details of a patient’s appearance. (American doctors assigned to Ellis Island in the 1890s cultivated a similar mastery of diagnostic detail.) The TV series House is a sort of homage to this origin of the brilliant, troubled sleuth, drug addiction and all. Edgar Allen Poe contributed another strand of this tradition with his character C. Auguste Dupin, most famously in The Murders in the Rue Morgue, and in The Purloined Letter. Dupin established the tradition of the rational genius who proceeds by intellection in the French manner (unlike the more blunt and British Holmes style). His most famous heir is Agatha Christie’s Poirot, of course, who exercises his little grey cells. An American heir was Rex Stout’s Nero Wolfe series, which ran from the 1930s to the 1970s. There were several popular English mystery series based on gentlemen detectives in the 1930s, what literary historians like to call the Golden Age of detective stories. In addition to Agatha Christie, mistress of every genre, there was Dorothy L. Sayers, Ngaio Marsh, and Margery Allingham. Mystery Book Chat Survey by Sheldon Novick Page 2 This particular tradition seems to have lapsed, except for mysteries with a historical setting, maybe because aristocratic manners and conventions have gone out of fashion. In historical settings the gentleman detective still pursues aristocratic villains; a locally popular series is the Charles Todd mysteries in which Inspector Ian Rutledge is the detective (so this is also a Police Procedural—lots of arrows in their quiver). A remarkable and unusual variant is Jason Goodwin’s “Investigator Yashim” series, in which the protagonist is a eunuch in 1830s Istanbul. The host’s personal favorite is Quirke, the investigator in Benjamin Black’s series set in 1950s Dublin. What are some other favorite gentlemen detectives? Private Eyes This is a distinctive American sub-genre—the proletarian sleuth. The Private Eye was a tough guy, drawn from the same social milieu as the criminals he pursued, a man (always a man, in the early days) not too concerned about the niceties of law. Unlike the gentleman detective, the private eye has no sidekick to narrate the story, and lots of sex and violence bobs in his wake, but no graphic gore (American protagonists and villains are armed with pistols which don’t lend themselves to the lingering sadism one finds in some European crime novels.) Dashiell Hammet and Raymond Chandler made this formula into a serious literature; John Banville, writing as Benjamin Black, is successful with his Gentlemen Detective “Quirke,” a coroner in Dublin, his character written as an homage to Raymond Chandler set in 1950s Los Angeles (The Black Eyed Blonde). There have been many lesser practitioners (remember Mickey Spillane?). Ross Macdonald was an important successor to Chandler. Modern Private Eyes are sometimes former Marines or Special Forces veterans, and martial arts replace or supplement the guns. Lee Child’s Jack Reacher series is the run-away best seller in this subgenre (Reacher is a retired Marine MP). Female authors entered the genre in recent years, for example, Marcia Muller, Sara Paretsky, Amanda Cross, and Sue Grafton. The modern superstar of the private-eye genre is Janet Evanovich. Her Stephanie Plum is a blue-collar bounty hunter from New Jersey. Police Procedurals In which the detective is, well, a detective. This is a relatively recent form—in the nineteenth century and then the Golden Age novels, the police were stolid and unimaginative, often stupid, buffoons to provide contrast to the amateur gentleman with his effortless superiority. An unusual early example of a capable police detective is Charles Dickens’s Inspector Bucket of the Metropolitan Police, in Bleak House. The great modern master and originator of the police procedural was Georges Simenon, perhaps the most prolific writer of modern times, who is credited with 350 novels and novellas, of which 78 are murder mysteries solved by Commissaire Maigret of the Sureté. Maigret is the progenitor of numerous European policemen, a serious person who walks home to a lovingly described lunch prepared for him by his wife. The Maigret series began in 1930, before the elaborate procedures of modern Mystery Book Chat Survey by Sheldon Novick Page 3 investigation were in place, and his methods (and Simenon’s plots) didn’t differ much from the amateur sleuths of the day. Simenon had been a crime reporter, however, and lived an adventurous life—the settings and characters are persuasively drawn. Louise Penny and Donna Leon are in this popular tradition, what one might call the European police procedural.
Load more

Recommended publications
  • Exploring British Society in the Golden Age Detective Fiction of Agatha Christie and Ngaio Marsh
    Through the Magnifying Glass: Exploring British Society in the Golden Age Detective Fiction of Agatha Christie and Ngaio Marsh A thesis submitted in partial fulfilment of the requirements for the Degree of Master of Arts in English in the University of Canterbury by D. M. Devereux University of Canterbury 2012 2 Contents Acknowledgement……………………………………………………………………… 3 Abstract ………………………………………………………………………………… 4 Introduction ……………………………………………………………………………. 5 Chapter One: Gender ………………………………………………………………….. 12 Chapter Two: Class …………………………………………………………………… 49 Chapter Three: Setting ………………………………………………………………… 73 Chapter Four: Genre …………………………………………………………………... 94 Conclusion …………………………………………………………………………….. 114 Bibliography …………………………………………………………………………... 120 3 Acknowledgement Thank you to Paul Millar and Dan Bedggood for all your help. 4 Abstract This thesis uses the popular genre of detective fiction to explore the context of the heyday of the crime genre: the Golden Age. This sub-genre, best known for producing Agatha Christie, spanned the complicated history of Britain involving the Great Depression, two World Wars and huge changes to class structure. It is for these reasons that the Golden Age is such a pivotal period for changing notions of British identity. Through the very British Christie and the less well known New Zealander, Ngaio Marsh, expressions of national identity are explored as well as how the colonial fits in. Focusing heavily on the authors and their own personal experiences and views, this thesis is divided into four chapters to further break down how the Golden Age period affected its citizens and why this detective fiction held such a wide appeal. Chapter one explores gender roles and how Golden Age authors both conformed to them through their choice in detectives, yet also how they naturally resisted some through their own public image.
    [Show full text]
  • Mahaquizzer 2013 Answers
    MAHAQUIZZER 30th Anniversary of KQA ANSWERS DO NOT OPEN TILL THE END OF THE 90 MIN Minor spelling variations are okay, so long as it does not alter meaning For all answers which are names of people, just surname is acceptable. However, if surname is correct and first name is wrong, the answer is to be considered incorrect. No half points for any question The portion marked in bold is the operative part of the answer. Use * questions for a tie and if a tie is still not resolved use ** questions. Any dispute should be settled only with the quiz setting team. Please direct the participant to contact [email protected] within 3 days. If in doubt, call Santosh Swaminathan (+91 98449 53179) Vivek Karthikeyan (+91 98450 79348) Interpreted as a show of strength by the newly elected Government, and accepted Pokharan II blasts of 1. as a blunder of US Intelligence agencies, what event provoked the US 1998 administration to impose economic sanctions on India? Matt Biondi went to the Seoul Olympic Games bidding to emulate Mark Spitz's Anthony Nesty (of 2. seven gold haul from Munich, but in the 100m Butterfly, he lost gold by 0.01 of a Surinam) second. Who beat Biondi? Assamese (derived from Jollywood is the colloquial name given to a specific Indian language movie Jyoti Chitraban studio 3. industry. It is in reference to the studio named after the person who made the first named after Jyoti Prasad movie in what language? Agarwala) The literal meaning of the name of this beach is "water breaking over rocks” or “noise of water breaking over rocks".
    [Show full text]
  • Detective Fiction 1St Edition Pdf Free Download
    DETECTIVE FICTION 1ST EDITION PDF, EPUB, EBOOK Charles J Rzepka | 9780745629421 | | | | | Detective Fiction 1st edition PDF Book Newman reprised the role in The Drowning Pool in Wolfe Creek Crater [17]. Various references indicate far west of New South Wales. Dupin made his first appearance in Poe's " The Murders in the Rue Morgue " , widely considered the first detective fiction story. In the Old Testament story of Susanna and the Elders the Protestant Bible locates this story within the apocrypha , the account told by two witnesses broke down when Daniel cross-examines them. Pfeiffer, have suggested that certain ancient and religious texts bear similarities to what would later be called detective fiction. New York : Wikimedia Commons has media related to Crime fiction. Corpse on the Mat. The character Miss Marple , for instance, dealt with an estimated two murders a year [ citation needed ] ; De Andrea has described Marple's home town, the quiet little village of St. With a Crime Club membership postcard loosely inserted. The emphasis on formal rules during the Golden Age produced great works, albeit with highly standardized form. The Times Union. Delivery Options see all. One of the primary contributors to this style was Dashiell Hammett with his famous private investigator character, Sam Spade. Thomas Lynley and Barbara Havers. London : First edition, first impression, rare in the jacket and here in exemplary unrestored condition. Presentation copy, inscribed by the author on the front free endpaper, "Carlo, with love from, Agatha". Phil D'Amato. Retrieved 3 February The Secret of the Old Clock. Arthur Rackham. July 30, Nonetheless it proved highly popular, and a film adaptation was produced in No Orchids for Miss Blandish.
    [Show full text]
  • Screen Romantic Genius.Pdf MUSIC AND
    “WHAT ONE MAN CAN INVENT, ANOTHER CAN DISCOVER” MUSIC AND THE TRANSFORMATION OF SHERLOCK HOLMES FROM LITERARY GENTLEMAN DETECTIVE TO ON-SCREEN ROMANTIC GENIUS By Emily Michelle Baumgart A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of Musicology – Master of Arts 2015 ABSTRACT “WHAT ONE MAN CAN INVENT, ANOTHER CAN DISCOVER” MUSIC AND THE TRANSFORMATION OF SHERLOCK HOLMES FROM LITERARY GENTLEMAN DETECTIVE TO ON-SCREEN ROMANTIC GENIUS By Emily Michelle Baumgart Arguably one of the most famous literary characters of all time, Sherlock Holmes has appeared in numerous forms of media since his inception in 1887. With the recent growth of on-screen adaptations in both film and serial television forms, there is much new material to be analyzed and discussed. However, recent adaptations have begun exploring new reimaginings of Holmes, discarding his beginnings as the Victorian Gentleman Detective to create a much more flawed and multi-faceted character. Using Sir Arthur Conan Doyle’s original work as a reference point, this study explores how recent adaptors use both Holmes’s diegetic violin performance and extra-diegetic music. Not only does music in these screen adaptations take the role of narrative agent, it moreover serves to place the character of Holmes into the Romantic Genius archetype. Copyright by EMILY MICHELLE BAUMGART 2015 .ACKNOWLEDGEMENTS I am incredibly grateful to my advisor Dr. Kevin Bartig for his expertise, guidance, patience and good humor while helping me complete this document. Thank you also to my committee members Dr. Joanna Bosse and Dr. Michael Largey for their new perspectives and ideas.
    [Show full text]
  • The Database of Baker Street: Sherlock Holmes and The
    THE DATABASE OF BAKER STREET Sherlock Holmes and the Victorian Media Condition by Todd S. Gillam A Thesis Subrnitted to the FacuZîy of Graduate Sfudies in Partid FuifiZIment of the Requirernents for the Degree of WSTEROF ARTS Depariment of English University of Manitoba Winnipeg Manitoba National tibrary Bibliothèque nationale 1+1 dcanaâa du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue WeUinglori OttawaON K1AW OIEawaON K1AûN4 Canada canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aüowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distnïer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film,de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwïse de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. TEE UNIVERSITY OF MANITOBA FACULTY OF GRADUATE STUDIES ***** COPYRIGHT PERMISSION PAGE THE DATABASE OF BAKER STREET Sherlock Holmes and the Vietarira Media Condition BY TODD S. GILLAM A Theds s~bmittedto the Frcalty of Gradaate Studies of The University of Manitoba in partial fiilflllment of the requirements of the degree of MASTER OF ARTS Todd S.
    [Show full text]
  • Writing Against a Fixed Lexicon of Terrorism in Patrick Neate's
    Yvonne Rosenberg ‘Stop Thinking Like an Englishman’ or: Writing Against a Fixed Lexicon of Terrorism in Patrick Neate’s City of Tiny Lights (2005) In a post-9/11 geopolitical climate, Tommy Akhtar, the protagonist of Patrick Neate’s novel City of Tiny Lights – published in 2005 shortly before the 7/7 bombings – lives a life of various identities in multi-ethnic London: a Ugandan-Indian, a ‘Paki’, an ex-mujahideen, Marlowe- wannabe, cosmopolitan, Londoner, and an Englishman. Yet, he always stays in the position of the immigrant because the often limited contemporary view of the other has led to the perception of internally homogeneous groups. In the course of the novel, it becomes clear how central the issue of fixed labels is in a society characterised by the linguistic and cultural need to taxonomise, securing apparently coherent identities. This article has two closely connected goals. The first is to discuss racial and cultural identity as metaphysical concepts, which inflammatory reporting, however, has often engrained in society as biological facts. The second and more important aim is to stress the need to re-formulate seemingly fixed concepts like alterity and terrorism in order to open up perception and to avoid racial stereotyping. Therefore, I will analyse the connection between the construction of meaning, the linguistic games and the cultural codes in Neate’s novel. London-born author Patrick Neate, who won the 2001 Whitbread Novel Award for his second novel Twelve Bar Blues, has a strong interest in writing about questions of identity, ethnicity, and racial discrimination. In his latest novel City of Tiny Lights1 he tackles problematic issues of contemporary multi- cultural metropolitan life, such as racialised anxiety and white narcissism, in a post-Chandleresque detective plot.
    [Show full text]
  • Swashbuckler Kindle
    SWASHBUCKLER PDF, EPUB, EBOOK James Moloney | 144 pages | 01 Dec 1995 | University of Queensland Press | 9780702228254 | English | St Lucia, Australia Swashbuckler PDF Book McCoy, Jr. Keep scrolling for more. From the Editors at Merriam-Webster. The film fared poorly at the box office and was described as an "expensive flop". Perfect Thrust Ex : At 15th level, while the swashbuckler has at least 1 panache point, she can as a full-round action make a perfect thrust, pooling all of her attack potential into a single melee attack made with a light or one-handed piercing melee weapon. Inspired Blade. While the hero may face down a number of henchmen to the villain during a story, the climax is a dramatic one-on-one sword battle between the protagonist and the villain. Lovable rogue Gentleman detective Jack Trickster. Swashbucklers spend panache points to accomplish deeds. Bensen, D. Rate This. Those who use panache and luck gain twice their Charisma bonus in their pool. Keep scrolling for more More Definitions for swashbuckler swashbuckler. All of the other class features found in the core class and not mentioned among the alternate class features remain unchanged and are acquired normally when the character reaches the appropriate level unless noted otherwise. Dec 24, Trailers and Videos. These bonus feats must be selected from those listed as combat feats. This deed replaces the subtle blade and cheat death deeds, plus an additional 11thlevel deed. Precise Strike Ex : At 3rd level, while she has at least 1 panache point, a swashbuckler gains the ability to strike precisely with a light or one-handed piercing melee weapon though not natural weapon attacks , adding her swashbuckler level to the damage dealt.
    [Show full text]
  • Genre and Gender in Selected Works by Detection Club Writers Dorothy L. Sayers and Agatha Christie
    SEVENTY YEARS OF SWEARING UPON ERIC THE SKULL: GENRE AND GENDER IN SELECTED WORKS BY DETECTION CLUB WRITERS DOROTHY L. SAYERS AND AGATHA CHRISTIE A dissertation submitted to Kent State University in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Monica L. Lott May 2013 Dissertation written by Monica L. Lott B.A., The University of Akron, 2003 B.S., The University of Akron, 2003 M.A., The University of Akron, 2005 Ph.D., Kent State University, 2013 Approved by Tammy Clewell Chair, Doctoral Dissertation Committee Vera Camden Member, Doctoral Dissertation Committee Robert Trogdon Member, Doctoral Dissertation Committee Maryann DeJulio Member, Doctoral Dissertation Committee Clare Stacey Member, Doctoral Dissertation Committee Accepted by Robert Trogdon Chair, English Department Raymond A. Craig Dean, College of Arts and Sciences ii TABLE OF CONTENTS Acknowledgements.................................................................................... iv Introduction..................................................................................................1 Codification of the Genre.................................................................2 The Gendered Detective in Sayers and Christie ..............................9 Chapter Synopsis............................................................................11 Dorothy L. Sayers, the Great War, and Shell-shock..................................20 Sayers and World War Two in Britain ..........................................24 Shell-shock and Treatment
    [Show full text]
  • Repression and Displacement in Kazuo Ishiguro's When We Were Orphans and Never Let Me Go by Emily Cappo
    Repression and Displacement in Kazuo Ishiguro’s When We Were Orphans and Never Let Me Go by Emily Cappo Repression and Displacement in Kazuo Ishiguro’s When We Were Orphans and Never Let Me Go by Emily Cappo A thesis presented for the B.A. degree with Honors in The Department of English University of Michigan Spring 2009 © 2009 by Emily Cappo For my mother and father and for John Acknowledgements My first thanks go to my advisor, Peter Ho Davies, for his invaluable advice, encouragement, and the prompt, insightful feedback he provided draft after draft. I am grateful as well to Andrea Zemgulys, who graciously read and offered comments on extra pages of my writing. I owe many thanks to Nancy Ambrose King, whose unfailing optimism kept me going this year, and who always understood when I needed to miss studio class. Finally, I would not have completed this thesis without the late-night Facebook messages of Megan Acho, the tireless patience of John Levey, or the unceasing love and support of my parents, Nan and Dirk Cappo. Abstract This thesis is a psychological reading of two novels by Japanese-born British author Kazuo Ishiguro: When We Were Orphans (2000) and Never Let Me Go (2005). In particular, it examines the ways in which repression and displacement, themes often cited in Ishiguro’s earlier works, are represented with increasing sophistication and complexity in these novels. Repression and displacement plague the narrators of Ishiguro’s four previous books. In When We Were Orphans and Never Let Me Go, these two conditions influence not only the narrators, but their supporting characters, the novels’ settings, and the way a reader interprets each story.
    [Show full text]
  • Department of English and American Studies English Language And
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Monika Ščípová The Great Detective in Selected Works by Dorothy L. Sayers Bachelor‘s Diploma Thesis Supervisor: PhDr. Lidia Kyzlinková, CSc., M.Litt. 2013 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author‘s signature Acknowledgement I would like to thank my supervisor, PhDr. Lidia Kyzlinková, CSc., M.Litt., for her patient guidance, advice and encouragement. I would also like to express my gratitude to my family and friends who have supported me and without whom I would not have been able to finish my work. Table of Contents 1 Introduction ............................................................................. 2 2 Development of the Detective Story in Great Britain ..................... 5 2.1 The Early Years ................................................................... 5 2.2 The Golden Age ................................................................. 8 3 Dorothy L. Sayers ................................................................... 14 3.1 Education, Jobs, Relationships ........................................... 14 3.2 Writing Career and Wimsey Novels ..................................... 16 4 Lord Peter Wimsey .................................................................. 22 4.1 Introducing the Character .................................................. 22 4.2 The Evolution of the Detective
    [Show full text]
  • Class, Gender and Memory in Golden Age Crime Fiction by Women
    ‘How Are You Getting on with Your Forgetting?’ – Class, Gender and Memory in Golden Age Crime Fiction by Women Értekezés a doktori (Ph.D.) fokozat megszerzése érdekében az Irodalomtudomány tudományágban Írta: Zsámba Renáta okleveles angol és francia nyelv és irodalom szakos bölcsész és tanár Készült a Debreceni Egyetem Irodalomtudományok doktori iskolája (Angol-amerikai irodalomtudományi programja) keretében Témavezető: Dr. Bényei Tamás ……….………………………………. (olvasható aláírás) A doktori szigorlati bizottság: elnök: Dr. ………………………… tagok: Dr. ………………………… Dr. ………………………… A doktori szigorlat időpontja: 200… . ……………… … . Az értekezés bírálói: Dr. ........................................... Dr. …………………………… Dr. ........................................... A bírálóbizottság: elnök: Dr. ........................................... tagok: Dr. ………………………….. Dr. ………………………….. Dr. ………………………….. Dr. ………………………….. A nyilvános vita időpontja: 20… . ……………… … . 2 „Én Zsámba Renáta teljes felelősségem tudatában kijelentem, hogy a benyújtott értekezés önálló munka, a szerzői jog nemzetközi normáinak tiszteletben tartásával készült, a benne található irodalmi hivatkozások egyértelműek és teljesek. Nem állok doktori fokozat visszavonására irányuló eljárás alatt, illetve 5 éven belül nem vontak vissza tőlem odaítélt doktori fokozatot. Jelen értekezést korábban más intézményben nem nyújtottam be és azt nem utasították el.” 3 Doktori (PhD) Értekezés ‘How Are You Getting on with Your Forgetting?’ – Class, Gender and Memory in Golden Age Crime Fiction by Women Zsámba Renáta
    [Show full text]
  • The Evolution of the Detective
    The evolution of the detective... By Mark Billingham At one point in my latest novel, The Burning Girl, Detective Inspector Tom Thorne - my series character - is involved in extracting information from a witness through the somewhat unconventional use of a steam iron. We have indeed come a long way since the days of Sherlock Holmes and Lord Peter Wimsey, for whom such behaviour would have been anathema. These were men who brought scoundrels to book in days infinitely more genteel - though Wimsey was known to wave a shooting stick around when his dander was up, and Holmes once rapped Moriarty across the knuckles with a meerschaum... How have we got from the gentleman detective to one whom it is often difficult to tell apart from his quarry? And why, when the likes of Edmund Wilson damned the fiction he inhabits as "no better than newspaper strips" does the detective - cop, private eye or enthusiastic amateur - remain so popular? It all began with Holmes, of course... Once A Study in Scarlet had been published, in 1887, the game was well and truly afoot. Though Poe's Murders in the Rue Morgue (1841) can claim the first detective in fiction, and Wilkie Collins' The Moonstone (1868) is regarded as the first modern detective novel, Conan Doyle's creation captured the popular imagination to an extent that Poe's Auguste Dupin and Collins' Sergeant Cuff had never approached. The adventures of the Great Detective gripped readers to the extent that, when he was killed off, many took to wearing black armbands. Doyle had known what he was doing from the beginning, of course.
    [Show full text]