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In 1975, Leonardo Sciascia published a best-selling book on the mysterious disappearance of Ettore Majorana, professor of Theoretical Physics at the University of Naples, who vanished in 1938 and was never seen again. Despite lack of direct evidence, the writer claimed that the scientist sought refuge in a monastery after foreseeing the horrors of Hiroshima and Nagasaki. This idea sparked a national debate and angered the majority of Italian physicists, especially the so-called «via Panisperna boys» who had worked with Majorana in Rome during the 1930s under the supervision of Enrico Fermi. One of them was Gian Carlo Wick, professor of Theoretical Physics at Columbia University. His unpublished correspondence with his former colleagues (Edoardo Amaldi, Emilio Segrè, etc.) sheds light not only on their contempt for Sciascia, whom they considered as a liar, but also on the troubling memory of the Italian racial laws and the social responsibilities of scientists in the atomic age. [ABSTRACT FROM AUTHOR]

The No. 1 Ladies' Detective Agency is both a successful series of novels and a television series which ran for one series on the BBC in 2008. While the books have been criticised on a number of aspects, including its representation of Botswana, the television series has received very little academic attention at all. The television series was an international co-production between the United States, United Kingdom and South Africa, using a mix of American and South African actors in regular and recurring roles with British guest artists and production team despite being shot in Botswana. While the main features of the adaptation were primarily related to a reordering of vignettes from the books into the series, the television series added in a new character, the camp, gay hairdresser BK. At the time the series was airing, same-sex sexual activity was illegal in Botswana though that has since been changed. As such, this paper will discuss the addition of this liminal character into the series through close reading of the text and paratexts (including industrial context). Ultimately the paper will contextualise the addition with regard to both national and sexual identity and debates surrounding African queer identities. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Faculty of Letters / Trakya Üniversitesi Edebiyat Fakültesi Dergisi is the property of Trakya University, Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent scholarship has argued for a Western basis for the Judge Dee Mysteries, a detective fiction series by Sinologist Robert van Gulik (1916–1967) set in Tang China. But these studies primarily focus on how Chinese elements are recreated to cater to Anglophone readers' tastes, neglecting to discuss their actual Western origins in any detail. This paper will make the attempt by focusing on one of the novels, The Haunted Monastery, to investigate how Gothic Taoism is projected through the internal organization of the semantic universe (characters, settings, and conflicts) in the multiple worlds of this detective fiction. It observes how van Gulik recreates anti-religious conventions in the traditional Western Gothic novel and in Chinese courtroom fiction. This artistic innovation highlights the dual facets of Taoism in the story, as it navigates between the realms of crime and faith. On the one hand, it faces the purely divine world, while on the other, it faces the secular world dominated by limitless desire. [ABSTRACT FROM AUTHOR]

Bengaluru/Bangalore, the capital city of the Indian state of Karnataka, has played a vital role in the advancement of communication and technology across the globe. Following the progressivist logic of neoliberal urbanism, the city evolved from the quiet, placid 'Pensioners' Paradise' into the bustling 'Silicon Valley of India' at an accelerated pace. Bangalore's sudden growth into a global cyberpolis has motivated its recent entry into the realm of crime fiction in English. The current paper draws on this connection and proposes to offer a spatial critique of the crime novels in Anita Nair's Inspector Gowda series, Cut like Wound (2012) and Chain of Custody (2016), set in Bangalore. To map the transitions in the spatial structures and social relations of this rapidly changing city, it uses interdisciplinary approaches of geocriticism and the postmodern social theories of space. Also, by analysing the representations of residential segregation in Nair's novels, the paper intends to foreground how social inequalities, gentrification, and ghettoization have contributed to the raging scenario of crime and violence in Bangalore. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Litarature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper seeks to study select adventures of Feluda (Pradosh C. Mitter), Satyajit Ray's private detective created in 1965. For over two centuries, since the 1890 s, the popular literature of Bengal (India) has been featuring detectives in the detective story called "Goenda Kahini" in Bangla. An acclaimed Bengali litterateur and one of the world's greatest filmmakers, Ray penned 35 adventures on his detective between 1965 and 1990. Initially created for a children's magazine "Sandesh," these adventures along with the magazine's transformation gradually followed a more serious tone. Written in postcolonial India, the time frame of the stories is the 1960s and the 70 s. The texts that this paper proposes to study reflect the social milieu in the aftermath of India's independence – the latent conflicts dealing with stark reality embedded in the narratives that apparently appear innocently fictitious to the readers now. The paper attempts to study beyond the Whodunit crime-inquest-discovery pattern. It looks into aspects of the adventures that go beyond the genre of detective fiction per se. The stories are not merely about crime and criminals; they are excellent travelogues, adventure stories, a source of interesting information about a diverse range of things – history, places, nature, literature, society and culture. The paper argues that these adventures of crime draw to a large extent from the realm of truth – social stigmas and the dark underworld of dons, narcotic mafias and smugglers of the times. Further, the stories based on the actual crises of the fast-fading old-world gentility of the educated Bengali middle-class of the 1960s and the 70 s; the picture of old Calcutta, make the crime narratives of Feluda, an overwhelming metamorphic presentation of fact to fiction. [ABSTRACT FROM AUTHOR]

In the crime fiction, the theme is primarily the crime: accordingly, the narration is focused on the investigation and unraveling of the unknown details relevant to the specific criminal act. It should also be emphasized that most theoreticians believe that prose works of criminal fiction genre are characterized by linearreturning narrative, considering the fact that the uncovering of the crime directs the plot both towards the past (the time when the criminal act took place), but also towards the future (the time in which the criminal puzzle gets solved and in which the criminal is justly punished): with regard to the cause-and-effect sequence, the templated time perspective, it is a ring sequence: the beginning is the end and the end is the beginning. In the classic crime genre literary piece, the key characters are the criminals and, of course, the detective, even though in the works of the bestselling author of novels in general (Agatha Christie), it is possible to detect elements that go beyond the framework of the established crime genre work (or detective story): this means that attention is paid not only to the final goal - the uncovering of the crime, but to a greater extent to the process itself, and also to a kind of psychologizing when it it comes to the person who is a criminial. The paper will try to describe the model(s) of the crime fiction story of one of the most influential Portuguese authors of the 20th century in the period of modernism, Fernando Pessoa, since his literary strategies differ greatly when he is surrounded by what we have described as a classic crime text: here we primarily mean construction the story, on a regularly disappointed horizon of expectations and when it comes to the construction of the classic roles of detective and criminal, but even more so the process of investigation that Pessoa, in accordance with his unusual literary script, will raise to a completely innovative level. Contemplation, philosophical discussions, emphasizing logic and thought processes, and the very analysis and clarification of all aspects of the art of reasoning undoubtedly go beyond the scope of a detective story. The most complete explanation of this text would be that it represents a theoretical-scientific approach to the crime/detective story, actually its crucial links, with e exemplifications. The autoanalytical monologue becomes the fundamental method both for uncovering of the crime and for building the character of the investigator. The research is focused on reading Quaresma's Police stories from the collection Novelas Policiárias [Police and Other Stories] and detecting elements of the crime fiction genre, as well as elements that leave this framework and in some way have a subversive effect on the genre itself. This research is primarily focused on the analysis of Pessoa's crime stories and their comparison with the classic crime/detective story model. The differences that would appear in the process of comparative reading would represent the basis for the description of Pessoa's model of the crime story. [ABSTRACT FROM AUTHOR]

This research paper examines Seishi Yokomizo's first postwar detective novel, The Honjin Murders (1946), which scrutinizes Japanese culture and society, specifically the rural area. This study engages in a thematic analysis of the novel within the context of Japan's experience with the Meiji Enlightenment, the decline of feudalism, the import of Western detective literature, and Japan's postwar shift to democracy. By placing the murder mystery genre in a feudal milieu as the characters struggle to grapple with changing times, Yokomizo enacts the transition of a traditional society into its progression to a modern one. Looking at honor entwined with the act of hara-kiri or seppuku and the contention between traditional and contemporary values, it is found that tradition itself has broken down with the family structure of the Ichiyanagi family as its symbolic representation. While the head of the family, Kenzo Ichiyanagi, has the appearance of a rational individual, he is wrought with the ambivalence of his rural and urban identities; thus, the only true herald of modernity present within the rural boundary is the detective Kosuke Kindaichi. [ABSTRACT FROM AUTHOR]

This study presents a unique technique of creating awareness of white-collar crime by allowing students to interact with actual criminals via Zoom©. After hearing stories about fraud, students completed a survey and wrote reflection papers. Results show that the interaction with stories from the criminals made students more aware of ethical dilemmas and their anticipated responses. Some students articulated the importance of drawing on their Christian faith to make the right decision in these situations. [ABSTRACT FROM AUTHOR]

This paper explores the shifting position of "readers" and "writers" within serialized works by Japanese detective fiction author Edogawa Rampo. The essay focuses on two works published at the end of the 1920s and early 1930s: the novella "Beast in the Shadows" and Edogawa's first long-form serialized novel, The Demon of the Lonely Isle. By examining the kinds of magazines in which Edogawa published, as well as the expected readership of those magazines, we discover several important stylistic shifts in Edogawa's writing as he transitions from being a genre fiction short story writer to an author of popular novels. In Edogawa's short detective fiction for niche magazines, the position of the reader and writer overlap, mirroring the way readers of detective fiction magazines often became writers themselves. Edogawa parodies his simultaneous position as dedicated reader and writer of detective novels. Moving to popular magazines and long-form fiction causes those self-parodies to shift into the background. Edogawa severs the correlative or dual position of writer/reader in favor of a detached "author" and consuming "reader". This paper explores the genesis of this change in relation to the development of magazine media in modern Japan. [ABSTRACT FROM AUTHOR]

The sublime is a common subject in European literary studies, particularly in Victorian and Romantic period literary scholarship. The Greek writer Longinus proposed the concept in the 1 st century in On the Sublime (first printed in 1554), and Edward Burke later popularized it in his work A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The sublime is less discussed in anime studies due to its European origins, but it has a robust history in Japanese literature and philosophy. Recently, scholars have begun discussing its presence in anime. This paper examines European and Japanese definitions of the sublime and then applies the European Romantic definition to Psycho-Pass. Psycho-Pass’s focus on horror, selfknowledge, and European philosophy makes it an ideal subject for examining the sublime in anime. Rikako Oryo is a schoolgirl who murders her classmates and is hunted by the protagonists in one of the show’s side arcs. Her art emphasizes how the sublime's "horror" element can stimulate critical thought and concurs with the Kierkegaardian theory of the sublime. The primary antagonist, Shogo Makishima, represents the more transcendent aspects of the sublime and its role in self-knowledge and identity. After examining Rikako and Makishima, the paper takes a step back and apply the principles of the sublime to anime as a medium and Psycho-Pass as a whole. Psycho-Pass reminds viewers that violent media like horror anime and crime stories can use the sublime as a catalyst for critical thinking without endorsing violence. [ABSTRACT FROM AUTHOR]

Copyright of Citaliste: The Scientific Journal on Theory & Practice of Librarianship is the property of Citaliste: The Scientific Journal on Theory & Practice of Librarianship and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Scholars have been investigating detective stories and crime fiction mostly as literary works reflecting the societies that produced them and the movement from modernism to postmodernism. However, these genres have generally been neglected by literary geographers. In the attempt to fill such an epistemological vacuum, this paper examines and compare the function and importance of geography in both classic and late 20th century detective stories. Arthur Conan Doyle's and Agatha Christie's detective stories are compared to Mediterranean noir books by Manuel Montalbán, Andrea Camilleri and Jean Claude Izzo. While space is shown to be at the center of the investigations in the former two authors, the latter rather focus on place, that is space invested by the authors with meaning and feelings of identity and belonging. From this perspective, the article argues that detective investigations have become a narrative medium allowing the readership to explore the writer's representation/construction of his own territorial context, or place-setting, which functions as a co-protagonist of the novel. In conclusion, the paper suggests that the emerging role of place in some of the later popular crime fiction can be interpreted as the result of writer's sentiment of belonging and, according to Appadurai's theory, as a literary and geographical discourse aimed at the production of locality. [ABSTRACT FROM AUTHOR]

This paper depicts how writers from colonizing nations often use the genre of crime fiction as a colonizing force through the literary appropriation of a country and its inhabitants. It examines how the detective who functions as a cultural informant uses the power or authority of his knowledge to ful fill his imperial cultural enterprise. Further, this paper explores the relationship between crime fiction and postcolonial consciousness by comparing the story of a white mainstream author, Arthur Conan Doyle, with that of a native Indian writer, Satyajit Ray. Finally, the paper probes how indigenous authors of crime fictions ‘mimic’ the style of mainstream white writers as a means of subtly undermining their quasi-colonial oppression. [ABSTRACT FROM AUTHOR]

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the intersections between trauma and literature and crime fiction, more specifically. By looking at the representations of trauma in crime fiction, it is argued here that trauma in crime novels involves a multilayered and complex discourse that generates its own narrative, one that relies on techniques like fragmentation, repetition, puzzle-solving, deliberate vagueness, and obscurity. It is also proposed that the use of trauma as a lens to examine crime narratives is both valuable and problematic, as it brings forth the conflict and the tension in the trauma discourse regarding words and wounds; expression and silence; representation and unspeakability. This paper will highlight that exploring the meeting points between trauma and crime narratives can also function as a as a point of departure from the conventional readings of crime fiction and contemplates a reading of the crime novel as trauma fiction. By so doing, this paper stresses the configurations of trauma in crime fiction beyond the medical framework and addresses the aspects and techniques in which trauma is centrally positioned in crime narratives. [ABSTRACT FROM AUTHOR]

Crime fiction, a frequently translated and highly translatable literary genre, has generated perspectives on the global and the local in ways that shape cartographies of world literature. The Indonesian novel 24 Hours with Gaspar by Sabda Armandio is a case study for how specific texts within the genre can serve as points of departure for theorizing cultural geography in an imaginative mode. Analyzing Gaspar through three spatial optics, this paper considers the novel's global influences, the elements that fall into relief as local in translation, and – by attending to patterns of movement and contact that complicate place-based perspectives – the archipelagic qualities of the text. By imagining this alternative conception of literary space, Armandio's novel recasts the contemporary global novel as the product of contact, mobility, and linguistic and material flows rather than sites of static national or regional identity. [ABSTRACT FROM AUTHOR]

Crime fiction was introduced to the Greek reading public at an early period, first through the translation of works of Émile Gaboriau (1878) and later through the works of Arthur Conan Doyle from 1905 onward. Their effect can be seen in the first Greek crime fiction novel, by an anonymous writer, serialized in 1913 in the periodical Hellas, entitled Sherlock Holmes Saving Mr. Venizelos, who was the Greek Prime Minister of the time. The novel, that takes place in London, is a hybrid of a political and a crime fiction novel, using Doyle's forensic methods and electrical devices for its resolution. In this paper we will try to see how far this Greek by-product of the Holmes tradition follows the scientific approach of the original Doyle works, using his forensic methods as well as technological inventions of the time to solve the case. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog Fakulteta u Sarajevu is the property of Faculty of Philosophy in Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes the translation of Manner-of-motion in a Swedish>Spanish parallel corpus of crime novels by Henning Mankell (and more specifically, a selection of the Wallander series). Since Swedish is a satellite-framed language, while Spanish is a verb-framed language, the aim of the research is to identify translation techniques adapted to the issue of translating Manner-of-motion in an intertypological translation scenario. The results of this study are compared with previous research on the topic, which has focused mainly on general prose fiction and fiction for children and young adults. Our findings confirm that Manner-of-motion is omitted to a great extent in the Spanish translations, compared with the original texts in Swedish. Moreover, some differences are encountered in the translation of original fragments, including general and specific Manner-of-motion verbs. [ABSTRACT FROM AUTHOR]

Satō Haruo's "Okāsan" ("Mother") is a story that was published in Josei (Woman) magazine in October 1926. The plot follows "I" as he listens to the words of the parrot he bought from the pet store and deduces and fantasizes freely about her previous home. In this paper, I spotlight the fact that the home that "I" envisions through the voice of the parrot, Laura, corresponds to the family image that was being presented concurrently in Josei magazine and showcased that the ideal family was simply nothing more than an ideal. In relativizing Josei's familial discourse, and in this relationship between the published magazine and the story, I argue for the latter's importance. [ABSTRACT FROM AUTHOR]

The present paper tackles the issue of scientifically reconstructing past identities from remains of bodies by putting together the pieces and developing them into narratives of a unified entity. It is the area explored by forensics and the experts specialized in the field-anthropologists, archaeologists, linguists, pathologists or geneticists - in detective/crime fiction, thus demonstrating how justice can be done by using an interdisciplinary approach. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Feminist discourses on the "New Indian Woman" focus on the woman's body as a surface upon which modernity is inscribed. Sexual transgression has been the only lens through which the New Woman has been usually studied and analyzed until now, thus offering a superficial definition of modernity by women being defined only by the corporeal. This is problematic not only because it offers a reductionist view of modernity but also "constructs a boundary around the notion of modern womanhood that excludes woman whose bodily autonomy has been compromised, for example through sexual assault" (Daya, "Embodying Modernity" 97). This paper will study two novels, Kishwar Desai's Witness the Night (2010) and Kalpana Swaminathan's I Never Knew It Was You (2012), closely analyzing the women sleuths as portrayed in these texts: Simran Singh in the former, Lalli and Sita in the latter. The paper will move beyond the existing discourses on the New Indian woman and demonstrate how the New Woman in these narratives of detection is transgressive in contesting dominant ideals of femininity. The aim will be to understand how these women detectives contest and challenge patriarchal hegemonies through their behavior and how their acts of detection also are essential acts of rebellion against a largely misogynistic system. Swaminathan's Lalli and Sita and Desai's Simran can be seen as a reflection of the uninhibited, independent, professional, twenty-first century Indian woman. The paper seeks to reconstruct the figure of the New Indian woman through the representations of these women fighting crimes against women in modern-day India, enacting their autonomy and rebellion in the process by deftly taking on the role of a detective, traditionally a profession for men. The aim will also be to discuss how these works provide a space for creating new roles for women, while also illustrating a wide spectrum of women's experiences. Lastly, the paper will explore these works in the context of India's economic growth and how they affect and are affected by India's publishing industry. [ABSTRACT FROM AUTHOR]

This paper provides an overview of the judicial practices on adultery cases that led to homicide in seventeenth-century China. I argue that the lifting of the punishment for the husband who killed only the adulterer in the Ming Code did not lead to immediate changes in judicial practices. On the contrary, the officials deviated from the letter of the code and encouraged, or even urged, the husband to kill both the adulterer and the wife, embracing the idea of "double killing"—killing both the wife and the adulterer "on the spot" and "immediately"—as an assertion of masculinity, a restoration of conjugal morality, and a proof of the killer's motive. The officials' shared view that illicit sex was a heinous crime was consistent with the surging popularity of the chastity cult and moral heroism. Layered legal institutions and multiple applicable statutes related to adultery and homicide also offered convenient space for manipulation by the ruling elites. Therefore, even when the conditions of the homicide did not meet the prerequisites for impunity, some judges argued for a lenient punishment or even impunity for the husband, at the expense of the law. I then analyze a court case story by the editor and publisher Yu Xiangdou (active 1588–1637), whose crime stories with innovative format combining narrative with formal legal documents were widely read and circulated since the late Ming. As a prolific commercial publisher attuned to the tastes of the literati, Yu provides a mildly critical perspective on the statute and its unintended moral consequence that is rarely seen in the more orthodox writings by officials. [ABSTRACT FROM AUTHOR]

Taking its cue from Christopher Breu and Elizabeth A. Hatmaker's rethinking of noir affect as a descriptor of detective fiction, this paper contributes to the discussion of South African writer Lauren Beukes's Zoo City as a narrative that both harnesses and fluidifies the generic conventions of the crime thriller. Pondering Beukes's claim that her story may become the site for the transmutation or transmission of ethically adjusted emotion, the paper resorts to Lauren Berlant's thoughts on detective fiction as a genre condensing the "cruel optimism" of the ordinary, rather than the evental, present to explore the clues of affectional attunement in Lauren Beukes's postapartheid novel. [ABSTRACT FROM AUTHOR]

While the relationship between modernism and its 'sister-genre' detective fiction [Brian McHale, Postmodern Fiction (New York: Methuen, 1987), p. 59] has tended to be characterised in oppositional terms, recent scholarship has challenged this conceptualisation, arguing that the two forms can be productively read in relation to each other. However, the ways in which detective fiction, like modernist writing, is invested in questions of temporality remains underexplored. This paper argues that detective fiction simultaneously asserts and challenges modernity's universal, standardised time-keeping regime. This argument is developed through a detailed examination of Agatha Christie's The Murder of Roger Ackroyd, in which the criminal's ability to elude the net of modern time is only exceeded by the detective's ability to reassert it, and then through a wider discussion of the way this pattern reappears throughout the genre. [ABSTRACT FROM AUTHOR]

Through the lens of Australian author Nicole Watson's The Boundary this paper will consider the representation of the crime novel, both traditional detection (Christie, Doyle) and the modernist tradition, and how that illuminates social realities. Drawing from critical race theory, and examining the embedded logic of settler colonialism, the paper connects the form of the novel to Watson's social and legal critique, questioning of the liminality of the legal/illegal, ethical/unethical, and its framing. At stake in the novel is the preservation of an ethnic identity, an uncorrupted natural landscape, and faith in both a political and law enforcement system in which corruption and personal entanglements seem to play as great a role as ethics and integrity. At stake in the paper is how the novel can intervene in social and political debates on Aboriginal, racial, and ethical terms, preserving both personal identity and its contingent effects in protecting the land. [ABSTRACT FROM AUTHOR]

Margaret Meek Spencer's writings on literacy evoke reading and storymaking as processes of inquiring; of searching into mystery. This paper considers how Meek's preoccupations with reading process; genre literacy; and text-image dialogism resonate deeply with the genre of young people's mystery and detective fiction. Drawing on Meek's seminal works, Learning to Read (1982); How Texts Teach What Readers Learn (1988), and On Being Literate (1991), the paper applies key concepts from these texts to a group of children's mystery stories. The paper shows how the genre offers a resonant context in which to "take her work on" and to observe the mirroring of certain of her insights in storied form. Moreover, the aptness and theoretical richness of Meek's concepts in relation to the genre is illustrated, not least when her ideas are considered alongside the work (suggestively cited briefly by Meek herself) of Bakhtin, Bruner, and Barthes. [ABSTRACT FROM AUTHOR]

Crime novel is considered one of the most important innovations of the twentieth century in the field of fiction. Together with cinema, television and "elite" literature which often take over some of its features (themes and plots), it plays a significant role in creating the representation of reality proposed to the readers. The investigation described in the novels is set in a context which refers to the real world, in its social, political or historical aspects. The realistic dimension of the crime story makes it a kind of "social document", which attracts the attention of researchers, including non-literary scholars. Reading crime novels allows them to acquire strictly literary information, but also some knowledge about communities, which leads them to an interpretation of relationships between literature and society. In this paper, the translated crime novel is seen as a special means of enriching the reader's knowledge of the source culture. The realistic character of the work, which is supposed to fulfil a primarily ludic function, implies a certain tension in the work of the translator, who is led to ask himself: "shall I entertain or shall I entertain and teach"? If realism becomes a constitutive feature of crime fiction, if, as stated by Maryse Petit and Gilles Menegaldo, "under the pretext of attracting a crime novel client, the intention is to give him a history lesson or to make him think about a certain state of society", the translator may be bound to include in the translation some elements that supplement the "encyclopaedic" knowledge of the target reader. The analysis is based on two novels by Marek Krajewski - his first novel, Death in Breslau (1999), set in the inter-war period, featuring the German policeman Eberhard Mock, and The Minotaur s Head, published a decade later, which action takes Mock to Lwów in the time when it was a Polish city and makes him befriend a Polish commissioner, Popielski. A comparison of some of their translations (eight for the first book, three for the second) shows differences in the treatment of the historical component of the novels, both in the treatment of selected text elements, as a result of the translator's project, and in the peritexts, which, however, usually do not depend on the translator, but on the publisher. [ABSTRACT FROM AUTHOR]

Copyright of Thélème is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Recent studies of pain have disputed the idea that pain eludes representation in language. Where these have largely focused on the experience of pain, my paper examines the epistemological function of pain in crime fiction, a genre that by definition foregrounds meaning: what and how we know. A good crime story depends structurally on resolution, but its pleasure derives more thoroughly from suspense. Pain would seem to defy those logics; surely we long for its ending, not its persistence. Yet many contemporary detectives do their work in pain, embodying an impossible contradiction between chaos and order. This suggests that pain is somehow integral to the process of knowing, inviting us to rethink pain as disrupting rather than constituting the forward motion of meaning. [ABSTRACT FROM AUTHOR]

The paper discusses the representation of Lizzie Borden in true-crime and crime-fiction prose texts, as well as in a stage production. It centers on the hypothesis of sociocultural aspects which constitute the accounts written about her and feminist readings. Regardless of genre, these narratives portray Lizzie Borden in various ways--from a female tormenter to a guilt-free spinster. Both true-crime books and crime-fiction novels, together with the ballet, are modified by sociocultural factors and are also subject to intertextuality. In addition, the lines between fiction and non-fiction literary works of primary concern are blurred. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Complutense Journal of English Studies is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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Copyright of Italica Wratislaviensia is the property of Wydawnictwo Adam Marszalek and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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. [ABSTRACT FROM AUTHOR]

Within the framework of world literature, crime fiction can be translated, read, and studied by new target audiences to expand their knowledge of different cultures. The translation of Japanese crime fiction into English poses many challenges, especially regarding the socio-cultural aspects. The representation of Japanese social and organisational hierarchy through socio-linguistic features in the character interactions is particularly complex for readers with different linguistic and cultural backgrounds to understand, and may lead to a reliance on stereotypes. Therefore, a translator needs to give careful consideration to this issue. This paper explores the strategies for translating the hierarchical features of character interactions employed by the translator of 64 (Six Four), a novel by award-winning crime fiction author Hideo Yokoyama. Through this analysis, we propose a guideline to assist translators adopt a conscious approach to translating hierarchy, which will provide readers with a more nuanced understanding of how hierarchy functions in Japanese society. We demonstrate that the translation of crime fiction has the ability to enable readers to overcome barriers resulting from linguistic and cultural differences to gain a new understanding of different societies. [ABSTRACT FROM AUTHOR]

It can be difficult to find opportunities to tell and reconsider stories of police or state violence. Speaking out can pose a risk to the person, particularly if the story might connect them to protests or persecuted groups. When a person does tell a story of police brutality, it is likely that they will more richly describe the violence they have experienced than the ways they responded and continue to respond to that violence. This paper reflects on particular considerations when working with people who have experienced or been affected by police brutality. It offers a structured series of questions for inviting double-storied testimonies that attend to both the violence and the person's responses to the violence. One of the effects of state violence is to separate people from movements, so this paper has a particular focus on how people maintain connection to values that are important to them, and to social movements that seek to further these values. [ABSTRACT FROM AUTHOR]