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This essay offers a transgeneric reading of Graham Greene's 1943 novel The Ministry of Fear, first tracing the emergence of spy fiction from invasion fiction at the end of the nineteenth century and then establishing William Le Queux's influence on the culture of espionage in Britain as well as in British spy fiction. Following on from this genealogy of genre, it interrogates the novel's protagonist's claim that "[t]he world has been remade by William Le Queux" in the context of the dual histories of espionage in Britain and the spy in British fiction, while attending to the novel's own reception of those histories. Focusing on the significance of the novel's intertextual and paratextual evidence in an interpretation of the novel's unconventional narrative strategies, the essay examines hybrid modes of reading the novel, as well as reading in the novel as a way of parsing its entangled narrative modes, levels, and discourses. Greene encourages transgeneric reading as a possible resolution to the epistemological uncertainty readers experience at the novel's close due to its troubling of genre expectations, its allusiveness, and, ultimately, its eschewal of narrative closure. At the same time, the essay proposes that, in attending in spy fiction to what is read and how it is read, we might better appreciate the challenges presented by the rehabilitation of a genre that also requires disentangling the many hierarchies of modernist cultural production. [ABSTRACT FROM AUTHOR]

The essay deals with the law and revenge issue, questioning the fundamental assumption according to which the law, by its own nature, should act as a substitute for vengeance. Provided that both law and revenge have their common grounds on the different, and at times conflicting, feelings of resentment and loyalty, the paper maintains that law can prevent revenge only if it is trusted by the victims, being itself a part to a bond of loyalty. Graham Greene's 1958 "entertainment" Our Man in Havana is chosen as a reference scenario. The paper analyses the characters' attitudes towards the law, their resentments, and their bonds of loyalty, and investigates the emotional scenario behind the two revenges mentioned in the novel. Finally, the essay maintains that each person's degree of trust in the law, and therefore their willingness to renounce revenge, depends on that person's own choices and inner feelings about themselves and the community. [ABSTRACT FROM AUTHOR]

This article presents the hitherto unknown letters the Czech writer Egon Hostovský (1908–1973) wrote to the Norwegian writer, critic, essayist, editor and translator Sigurd Hoel (1890–1960). These letters date from 1949–1956 and are preserved in the National Library of Norway in Oslo. Not only do they provide interesting information about Hostovský’s efforts to publish his works in Scandinavia, but they also testify to a close friendship between the two writers. The article also presents two letters by Graham Greene (1904–1991) which are also preserved in the file containing Hostovský’s letters in the Norwegian National Library. [ABSTRACT FROM AUTHOR]

A Burnt-Out Case holds a unique space in Graham Green's oeuvre in that it both represents a deviation from the overtly religious discourse in his previous works and adopts new thematic agenda and narrative techniques to be utilized in the following works. Though the concept of primitive is a recurring motif in his corpus, the book in particular devises new methods of handling it, and thus, contributing to its processing within the general modernist landscape as exemplified by Lawrence, Woolf and alike. Greene adopted a realist position against modernism's contemptuous attitude to culture. Hence, a return to primitive roots of the society and deeming primal human instinct a superior ethos than civilized one is cyclically underlined. The images of unspoiled child, the virgin, naïve and loyal native servant, uncharted territories and pilgrims lost in foreign lands insinuate his sensation for pristine human existence rather than acting as vehicles for grander religious schema as in his serious works or pure visual entertainment as in his thrillers. Likewise, as the sources of his fiction, Greene's travel accounts fortify this primitivist ideal in that they, in general, convey the shared psychology of both parties -- the colonized and colonizer -- longing for common, primeval thought system. Moving from this assumption, this study is a close reading of A Burnt-Out Case as the culmination of his primitivist ideal. The argument is that Greene accentuates primitivism in characterization, spatiality and narrative levels and literary primitivism is treated as one of the defining elements of his fictional universe in the novel. [ABSTRACT FROM AUTHOR]

This article performs an analysis of the text The Novelist and the Cinema: A Personal Experience by Graham Greene, in which the author reflects on the connections between his literature and cinema. A comparison is drawn between his reflections on the relationship between text and image as a critic and scholar, his film projects, and the adaptations of his novels. The article concludes that cinema was one of his main references as a novelist and his foray into the medium significantly enhanced his literary prestige. However, Greene maintained a deep distrust of the relationship between literature and cinema and its results and was very critical of them. The aim of the article is to establish new perspectives on the relationship between film and literature in Graham Greene's works and reflections. [ABSTRACT FROM AUTHOR]

Graham Greene's novella Loser Takes All has been unfairly ignored in the critical literature. Rather than the mere frivolity it is taken to be, it is a humorous examination of some serious theological issues. By means of an inversion of Pascal's Great Wager, Greene makes the case that attempts to rationalize the mystery that is the object of our faith will cheapen and diminish that faith. In the course of so doing, he alludes to and has fun with his earlier works, particularly Brighton Rock , and critiques the inversion of the Wager by Albert Camus. He shows the influence of Miguel de Unamuno, who years later would influence Greene's Monsignor Quixote. Greene also invokes a poem by Charles Baudelaire, which Greene has quoted in many works, that the possibility of damnation adds meaning to life, though it may drift into what von Balthasar called Greene's indulgence of the mystique of sin. [ABSTRACT FROM AUTHOR]

The article focuses on the role of narrators in representing characters and their experiences, particularly in narratives of war. It examines how two different narrators, Thomas Fowler in Graham Greene's "The Quiet American" and the unnamed narrator in Anna Moï's "Le venin du papillon," portray gendered and racialized experiences in mid-twentieth-century Vietnam, raising questions about authority and responsibility in storytelling.

Copyright of Res Historica is the property of Maria Curie-Sklodowska University in Lublin 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 Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 main purpose of this research is to establish a theory on the evolution of the reading and writing of audiovisual characters through the examination of film scripts. To this end, it is based on the study of the classic dilemma of the character in the construction of drama. Three cases are used within the framework of the history of cinema in the 20th century. The methodology compares the scripts of Graham Greene, Paul Schrader and David Mamet, as well as the creative processes declared by these authors. It is concluded that the literary writing of audiovisual fiction characters goes through three stages in its construction: in a first stage, focused on the personality of the mental states of the protagonists, in a second stage, on the creative protagonism of the authors, and in a third stage, on the staging of the interaction between the characters. A possible explanation for this evolution would be related to the process called re-enchantment of the world, where the supreme values are efficiency, control, calculability and foresight, leaving a narrow margin for the possibility of magic. [ABSTRACT FROM AUTHOR]

The anthropology of religious consciousness occupies a central position in Graham Greene's novelistic aesthetics, placing man at the heart of his literary production. Indeed, The Power and the Glory bears the mark of the writer's concerns and anxieties, as he consistently cast a critical eye on human behavior in the practice of religion and its interactions with others in a society deeply rooted in religious beliefs. It is within this literary perspective that his works emerge as a mirror, reflecting societal dynamics. The present study seeks to examine the troubling question of salvation in The Power and the Glory by showing how Graham Greene's main character, despite being deeply devoted to religion, grapples with temptation. However, the fact of being conscious that he is going astray from his creator plunges him into a state of dereliction to the extent that he envisions himself as a useless man. Will man be saved by his deeds or by divine grace? In any case, Greene's unmistakable interest in eschatology is evident, as he has consistently explored the fate of man after death. This is reflected in the divided consciousness of the main character, symptomatic of a tormented soul. [ABSTRACT FROM AUTHOR]

The article focuses on the evolving boundaries between literary novels and genre novels, examining how authors such as Graham Greene and John Banville navigated these distinctions. Topics include the historical development of the literary novel category, challenges to its assumed superiority, and the porous nature of these literary distinctions as illustrated by authors such as Cormac McCarthy.

Scholarship on Graham Greene has extensively examined the expression of his religious concerns in his work, labelling him a "Catholic writer" but also a schismatic author, due to his paradoxical departures from the catholic orthodoxy. Not until recently, scholars such as Mark Bosco (2005) and Michael G. Brennan (2016) have challenged these cliches and drawn attention to the importance of Vatican II and liberation theology discourses in shaping Greene's literary imagination. Given the diverse developments fostered by liberation theologians, further studies are needed to widen the scope of critical dialogue on sociological, epistemological and ontological dimensions in Greene's work. This article places Greene's The Honorary Consul in dialogue with Ignacio Ellacuría's theological articulation, focusing on the concepts of liberation, freedom and soteriology. In addition, it examines kerygmatic forms of announcement and denunciation and the conflictive relationship between the word and ways of transformative action involving violence in Greene's novel. [ABSTRACT FROM AUTHOR]

The present paper sets out to reconstruct the first of Graham Greene's fifteen trips through the Iberian Peninsula between 1976 and 1989, detailing the preparations, itinerary, anecdotes, companions, topics of conversation, and possible reflections in the author's biography. The analysis of Greene's peregrinations in Spain with Leopoldo Durán offers insights into the genesis and resonances of his most Hispanic novel, Monsignor Quixote, which over time he regarded as the most accomplished work in his long bibliography. This paper will reveal the various contradictions and errors contained in Durán's memoir, Graham Greene: Friend and Brother (1994), which until now has been the only source to recreate Greene's Iberian trips. In addition, new details will be added that further specify the daily routines in this trip that marked a new tradition in Greene's life. [ABSTRACT FROM AUTHOR]

Graham Greene's short story, "The Basement Room" (1936), and its later film adaptation, The Fallen Idol (1948), tell the story of how a young boy realizes the fallibility of his childhood hero. Although Greene has been lambasted as a middlebrow writer, his work offers an important critique of the lasting influence of imperial gender roles during the mid-twentieth century. Using the perspective of a young boy, the two works critique the Orwellian decent man as irrelevant and a façade for imperialism, insisting that the perpetuation of this form of middle-class English masculinity leads to individual alienation and self-destruction. [ABSTRACT FROM AUTHOR]

Graham Greene's Monsignor Quixote illustrates an ecclesiology of friendship through the title character's relationship with Sancho. Quixote is depicted as a holy fool, who is able to bring his companero back to the faith by his open mutual mediation with him. Greene has not strayed from orthodoxy, but has developed his theology compared to his earlier novels [ABSTRACT FROM AUTHOR]

This paper uses a reception history approach to argue that Graham Greene's novel The Power and the Glory should be considered a modernist text. The intense but varied affective responses of readers, along with the mythic status they attribute to the work, reveal that the novel has long been read both within and as a response to a modernist framework. Furthermore, reader responses all point to the same tension within the novel: the collision of a traditional and specific religious creed, Catholicism, with the thematic uncertainty and fragmentation of literary modernism. This tension is Greene's contribution to the period. [ABSTRACT FROM AUTHOR]

In the 1970 s and 1980s Graham Greene took up the habit of travelling around Spain to holiday in the company of his Spanish friend, the priest and professor Leopoldo Durán. The most outstanding fruit of these trips, almost always in summer, was the inspiration for Monsignor Quixote (1982), which Greene came to regard as his most accomplished novel (Cloetta 2004: 77). Centred around an idealistic, innocent, and somewhat foolish priest who establishes an intimate friendship with a communist ex-mayor, with whom he travels around Spain and talks about the divine and the human, the novel was initially conceived as a kind of friendly caricature of Father Durán, but it soon served as a vehicle to express various concerns that haunted the writer's mind. The opening of the "Durán papers" collection at Georgetown University enables scholars to delve into unpublished material kept by Durán over the years, which may cast insights into the genesis of Monsignor Quixote from both textual and biographical perspectives. Taking as a major source Durán's diaries, 16 notebooks recording his meetings and telephone conversations with Greene from 1976 to 1991, this paper aims to clarify some of the relevant background to the book's inception, complementing the diaries with other accounts such as Greene's letters to Durán and other friends, Durán's letters to Greene, and testimonies by witnesses present at the events described.1 [ABSTRACT FROM AUTHOR]

This essay argues that by challenging the rectitude of American intervention in Vietnam, The Quiet American is the means by which Greene criticises the American exceptionalism of the post-World War 2 era. It shows how the nation's exceptionalism is built upon a fantasy of American idealism that masks the true intentions hidden behind America's crusade against Communism. It proposes also that Greene uses his novel to highlight the existence of a European exceptionalism as potent as its transatlantic equivalent, and one much overlooked in contemporary discourse on Vietnam. The crux of Greene's critique is located in Alden Pyle. Propped up by what Said describes as "structures of attitude and reference", the article argues that Pyle's rhetoric and actions demonstrate the blind commitment to American exceptionalism that Greene challenges in the text. The essay uses Donald Pease's concept of the State of Exception to draw a parallel between the British journalist Thomas Fowler and Pyle to argue that in orchestrating the assassination of the latter, Fowler adopts the moral purpose that had prompted much of the American aid worker's actions throughout the novel. It argues that this European version of exceptionalism comes from what Greene believed to be the suitability of European powers to oversee change in Vietnam, one that America was ill-equipped to handle. The essay ends by suggesting that The Quiet American was not so much what Diana Trilling described as "Mr Greene's affront to America", but an attempt to defend Europe amidst the onset of American dominance. [ABSTRACT FROM AUTHOR]

Ferris Wheels seem to fascinate film-directors - notably Carol Reed in The Third Man (1949), based on Graham Greene's story and script. Though Ferris Wheels figure less conspicuously in twentieth-century novels, Malcolm Lowry provides an exception in Under the Volcano (1947), a novel also comparable to The Third Man in other ways. One explanation might be that Greene simply drew on Lowry's example when developing his film-script (later published as a novella) - work begun very shortly after Under the Volcano had appeared. More plausibly, each writer might be understood to have responded separately, though similarly, to the unique pressures of their age. Identifying how these stresses were represented in their work, through cognate symbologies, may suggest some productive ways of reading historically. [ABSTRACT FROM AUTHOR]

The priestly figure in Graham Greene's fiction may or may not wear a clerical collar. But through such characters salvation may be glimpsed not only through faith but through doubt and human weakness. Saints and sinners are not far apart. Pascal's 'wager' is also ever present in these novels that reflect the ambiguities of Greene's conversion to Roman Catholicism. [ABSTRACT FROM AUTHOR]

Theology and literature, as the twentieth century progressed, increasingly treated religion not in terms of the objectifications of dogmas and devotions but as the unseen presence of the divine in an individual life. Readers and critics saw degrees of belief and modalities of sin in the novels of Graham Greene. The writer acknowledged the influence of European novelists and theologians on his narratives. Karl Rahner's theology of human existence within an atmosphere of grace along with a presentation of the transcendental and the categorical in expressions of faith and grace recall some modern novels like Greene's A Burnt-Out Case. Both theologian and novelist point to God's presence as silent, varied, mysterious, and real. [ABSTRACT FROM AUTHOR]

The article analyzes the resonance of conflict in the reception of the 1955 novel "The Quiet American" by Graham Greene in Great Britain, the U.S., France and Sweden. Topics discussed include the interpretation of Swedish newspapers that the political novel shifted from the religious novel genre of Greene, the consideration of the aspects of Catholicism in the novel as flaws by British reviewers, and classification of the novel as anti-American in the U.S.

This article is concerned with the conflict between a preoccupation with one's individual existential fate and a commitment to one's ethical obligation to the Other in Graham Greene's 1938 novel, Brighton Rock. It contextualizes this conflict in relation to the contemporaneous ethical response of Emmanuel Levinas to Martin Heidegger's ontological philosophy, which Heidegger employed to endorse the fascist politics of National Socialism in the 1930s. The novel's argumentative opposition between Pinkie Brown as an implicitly fascistic and nihilistic existential antihero and Ida Arnold as a self-satisfied secular and ethical exemplar serves as a revealing anatomy of the period's conflicting paradigmatic values systems. The novel also expresses the evolving conflict in Greene's work between a religious concern with one's individual salvation and an ethical commitment to justice for the vulnerable, an ethical commitment that may be traced from the beginning to the end of Greene's long career in fiction. [ABSTRACT FROM AUTHOR]

This essay examines the transmedia mythology of the popular but also 'evil' character, Harry Lime, who, in The Third Man (1949) written by Graham Greene and directed by Carol Reed, is shot dead in the sewers of postwar Vienna. The romance of Lime begins with a famous 'Wellesian' performance, with Orson Welles drawing on a tradition of Shakespearean 'heroic-acting', and Reed's alteration of Greene's 'happy' closure that effectively underscores Hannah Schmidt's hero-worshipping of a cult criminal figure. Both creative interventions established the platform for Lime's 'resurrection' in the radio series, The Lives of Harry Lime (1951–52), the television series, The Third Man (1959–65), and Orson Welles' film, Mr. Arkadin (1955). I argue that the moral rehabilitation of Greene's fallen figure is indicative of postwar conformist entertainment industry and folk nostalgia for the wartime black marketeer as well as the differing 'moral codes' operating across transmedia platforms. But, whereas the radio and TV serializations conscript Lime into the detective-agent genre by burying the evil results of his penicillin racket, Mr. Arkadin de-romanticizes Lime and in turn exposes the cultural amnesia of the 1950s by returning to the 1949 film's morality and Faustian image of a sadistic racketeer. Written in the spirit of Hans Blumenberg's theory of myth-adaptation as ongoing 'points of departure', this essay debates the ethical issues at stake in this character-oriented misappropriation whereby the protagonist's moral status is transformed across media platforms. [ABSTRACT FROM AUTHOR]

In Christian ideology, father is a man who takes responsibilities for the lives of others, who is ultimately prepared to sacrifice himself for those who appear to be too helpless to survive on their own. In the novel, The Power and the Glory, the protagonist, Whisky Priest offers martyrdom- a self-sacrifice for the innocent children; thus revisiting the relationship between the Father in Heaven and the father on earth. The children in the novel - Luis, Coral and Brigitta, carry some sort of recognition of Priest's faith in God and the Church in one form or the other. While Luis carries on this impression of the revival of faith successfully, Coral and Brigitta possibly perish in the process. Thus, it is only the strong character of Luis who not only withstood the test of time but also pass on the faith in God and the Church successfully to the future generations. [ABSTRACT FROM AUTHOR]

When Graham Greene wrote Monsignor Quixote (published in 1982), one of his aims was to reflect critically on the role of the Catholic Church in the Spain of the late 1970s, as well as on the support this institution offered to the former dictatorship of Franco within the so called 'National Catholicism.' In this novel, the reader witnesses the evolution of the protagonist, Father Quixote, from a religious living a complacent life in a small village in La Mancha to a priest in rebellion against the conservative hierarchy of the Catholic Church in Spain. Drawing upon Gerard Genette's theory of transtextuality, I will examine Greene's use of different religious texts to fight a model of conservative Catholic Church that he rejects. I will focus my analysis especially on the intertextual and metatextual references to the Gospels that the Bishop of La Mancha/Father Herrera and Father Quixote make in their dialogic interactions, references that portray their different vision of the role that the Church should have in society. [ABSTRACT FROM AUTHOR]

Taking as a basis Søren Kierkegaard's theory of the spiritual stages of the human soul, this paper will analyze the concept of secular ethics in Flannery O'Connor and Graham Greene, concretely in two of their writings, the short story "The Lame Shall Enter First" (1962) and the play The Potting Shed (1957). I will first examine the characters of Sheppard and Henry Callifer, who are in a similar situation of existential complacency that spins around a rationalistic and materialistic outlook of good and evil, the rejection of the existence of God and hence, anything related to Christianity. In addition, I will discuss their relationship with their respective sons, Norton and James Callifer, a relationship —using Flannery O'Connor's words— based on a tenderness which in the absence of faith is wrapped in theory. Finally, I will analyze the consequences that their standpoint has over their sons' lives and the violent event in both stories that shakes Sheppard and Henry Callifer out of their complacency, giving them an opportunity of progressing in their spiritual existence. [ABSTRACT FROM AUTHOR]

A literacy criticism of the novel "The End of the Affair" by Graham Greene is presented. It explores the relationship between the protoexistentialist Heidegger's emphasis on being-in-the-world and the eternity, however complexly conceived, of Catholicism. It examines how temporality figures both in the formal experiments of the novel and in the forms-of-life of characters and author alike.

This article analyses the gendered dynamics of narratives that re-enact earlier travel narratives, a subgenre of travel writing that it terms "echotourism". After discussing the implications of this terminology, the article turns to the work of Tim Butcher, whose Blood River re-enacts H.M. Stanley's Through the Dark Continent, and Chasing the Devil does the same with Graham Greene's Journey Without Maps. In both his texts, Butcher travels through parts of Africa to recover his sense of toughness and agency, qualities that he sees in both Stanley and Greene. However, Greene proves a problematic model of masculine agency, and Butcher must bring Journey Without Maps to bear on his own travels in shifting and surprising ways. Ultimately, Butcher's attempt to draw upon Greene to celebrate a rugged masculinity actually reveals how contingent and complicated his performance of that masculinity actually is. [ABSTRACT FROM AUTHOR]

Graham Greene's novels are often discussed – and evaluated – in light of the author's religious preoccupations. As Greene was a convert to the Catholic faith from a nominal Anglican upbringing, critics have often addressed the representation of Catholicism in his work as an alternative – and minority – discourse of modernity, trying to categorize his religious affiliations and utilizing his theological concerns as a means of interpreting the moral discourse of his narratives. Moving beyond the debate of such categorizations, in this paper the authors examine Greene's conversion as an individualized process, reconsidering his religious conversion through an analysis of one of the key paradoxes that extends throughout all of Greene's work: his sustained argument for the 'virtue of disloyalty' found in both his essays and novels. Through the lens of Yuri Lotman's cultural semiotic theory and, concretely, his notion of the frontier, this essay suggests a fresh understanding of the role that his conversion played in his developing moral and political vision. By focusing on four of Greene's major novels, The Power and the Glory, A Burnt-Out Case, The Honorary Consul and Monsignor Quixote, the authors examine how Greene apprehends the frontiers of his Catholic faith. [ABSTRACT FROM AUTHOR]

A literary criticism of the book "The Heart of the Matter," by Graham Greene is presented. Topics include patterns of liminality in Greene's book, he is stated to have created an unlikely portrait of God in Yusef, and Yusef's name is associated with the passage about the prophet in the Quran, and Greene always reinforces the fact that others can be our mirrors.

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

A literary criticism of the novel "The Heart of the Matter" by Graham Greene is presented. It discusses that the book argues about political ramifications of literature and criticism, noting Greene's postwar pessimism, cosmopolitanism, and the narrative strategies of strategic avoidance, and also discusses that the novel is not exclusively a Catholic novel.

Focuses on the relationship of the theme for the story 'The Destructors,' by Graham Greene and the Hegelian principle of antithesis. Discussion on the Greene's assertion of destruction as a form of creation; Details on the parallels between anarchism and Greene's story; Explanation on the purpose of anarchism in the story.

The article explores the inspiration for a recalled proverb created in the novel "The Power and the Glory" by Graham Greene. Topics discussed include the authors who are known for creating a proverb such as J. R. R. Tolkien, Herman Melville and C. S. Lewis, possible creation of the proverb based on existing gnomic patterns and material, and significance of the elements mentioned in the proverb.

In einem Essay zum geheimdienstlichen Hintergrund der Entstehungsgeschichte des längst etablierten Kultfilms Der dritte Mann (1948/49) im britischen Monatsmagazin History hat der Autor vor nunmehr 18 Jahren versucht, das Filmdrehbuch des Romanciers Graham Greene einer etwas gewagten Interpretation zu unterziehen. Der Thriller habe als inhaltliches Grundmuster die historische Freundschaftsbeziehung zwischen dem Drehbuchautor und dem wahrscheinlich erfolgreichsten Doppelagenten des 20. Jahrhunderts, Harold „Kim" Philby, die zwischen persönlicher Zuneigung und Täuschung bis zum Verrat verlief, ähnlich dem Verhältnis zwischen den Filmprotagonisten Holly Martins und Harry Lime. Dafür wurden schon 2001 biografische Zufälle und textliche Andeutungen als Indizien herangezogen. Dass Philby nach langjähriger Fahndung nach weiteren Verrätern innerhalb des britischen Auslandsgeheimdiensts sich als „dritter Mann" im Doppelagentenquintett aus Cambridge, also der Cambridge Five, entpuppte, hat der Popularität des Klassikers seither nicht geschadet, auch nicht der nunmehr vorgelegten Thesenverstärkung. [ABSTRACT FROM AUTHOR]

A literary criticism is presented of a graphic novel "The Prague Coup" by Jean-Luc Fromental that refers to the film "The Third Man." The author seamlessly merges fact and fiction in a spy thriller, as its protagonist Graham Greene finds himself caught in a web of intrigue, espionage, and murder while writing the screenplay that would become the film "The Third Man."

Dieser Beitrag behandelt Graham Greenes The Third Man und den gleichnamigen Film im Kontext der unmittelbaren Nachkriegszeit in Wien. Er unternimmt zunächst eine genaue Analyse der Erzählweise, um zu zeigen, wie viele Lücken und Inkonsistenzen der Plot aufweist. Offensichtlich ging es Greene nicht um die Story, sondern um das Ausleuchten einer düsteren Welt, ein Conrad'sches Herz der Finsternis, wo die Regeln sozialen Zusammenlebens weitgehend suspendiert sind. Gegen die oft wiederholte Behauptung, es gehe in The Third Man um Spionage, zeigt der Text, dass es vielmehr um eine Situation völliger Recht- und Schutzlosigkeit geht, die sich den Versorgungsengpässen und den Konflikten zwischen den Besatzungsmächten verdankt. Verrat, Loyalität und die Frage nach einem „interessierten Dritten" - die großen Themen des Kalten Krieges - werden hier noch in einem ganz anderen Szenario durchgespielt: der düsteren und brutalen Welt der europäischen Nachkriegszeit, deren Details weitgehend vergessen sind. Beim vorliegenden Text handelt es sich um die leicht aktualisierte Übersetzung von Eva Horn, Graham Greenes Herz der Finsternis: Wiener Nachkrieg in The Third Man, in: Michael Hansel, Michael Rohrwasser (eds.), Kalter Krieg in Österreich: Literatur - Kunst - Kultur. Profile Band 17. Herausgegeben vom Literaturarchiv der Österreichischen Nationalbibliothek. © Paul Zsolnay Verlag (Wien 2010). Mit freundlicher Genehmigung des Verlags. Der deutsche Text ist auf der Homepage der Autorin abrufbar: germanistik.univie.ac.at/fileadmin/user_upload/inst_germanistik/Wiss_Arbeiten/Horn/Graham_Greenes_Herz.pdf. [ABSTRACT FROM AUTHOR]