The problem with which this investigation is concerned is that of determining how Francisco Garcia Pavon's concept the detective novel evolved throughout the period during which he cultivated that literary form. To trace this evolution Garcia Pavon's detective novels and novelettes are studied in chronological order of publication, each work being given a chapter of its own. The character development is analyzed and the style is given consideration in the study.

Sixties was a special period in the history of Czech literature, because during these years popular literature (especially the detective stories) was written as an artistic literature. During the sixties a lot of detective novels with artistic value were written. In the past (especially during the fifties), vacation literature was considered bad. In the first half of the sixties mainly socialist detective stories were written. There were important political opinions of the author. Socialist authors celebrated police work. In the late sixties detective stories under the Anglo-Saxon tradition were written. For authors, it was important to respect the rules of writing crime fiction. They thought that crime novels people read just for fun. At the end of the sixties detective stories have never had such a good position in the literature. KEYWORDS Czech literature in sixties, vacation literature, detective novel, Anglo-Saxon detective novel, socialist detective novel.

Vladimir Giorgio Scerbanenco naît à Kiev en 1911, s’installe en Italie à six mois et meurt à Milan en 1969. Auteur d’une centaine de romans, de plusieurs nouvelles et de nombreux articles, il pratique avec aisance tous les genres littéraires, véritable « machine à écrire » qui n’obtient qu’une gloire assez brève auprès du public et de la critique avec ses romans noirs de la fin des années soixante. Le protagoniste récurent y est alors Duca Lamberti, un jeune médecin expulsé de l’Ordre pour avoir pratiqué l’euthanasie qui devient une sorte de détective privé travaillant aux côtés de la police de Milan. Dans ces romans, pour la première fois en Italie, il ne s’agit pas seulement de résoudre une énigme, mais plutôt de représenter et comprendre la sphère des souffrances individuelles dans ses déterminations sociales plus larges, qui pèsent fatalement sur la possibilité d’expérimenter rationnellement la réalité. A la forme toujours égale des romans policiers, Scerbanenco ajoute des éléments référentiels nouveaux qui nous placent face au paradoxe continuel du couple dialectique « répétition/innovation ». En effet, c’est avec ces romans violents reposant sur ce personnage, Duca Lamberti, que la littérature de masse, grâce à l’accumulation hyperréaliste des éléments les plus évidents de la contemporanéité, commence à montrer la transformation rapide de la vie quotidienne italienne. / Vladimir Giorgio Scerbanenco was born in Kiev in 1911, but moved to Italy as a child and died in Milan in 1969. Author of more than a hundred novels, several short stories and numerous articles, he practiced all literary genres and reached a brief critic and public success only with his hard boiled novels from the late sixties, who see as a recurrent protagonist Duca Lamberti, a young doctor expelled from the Order for practicing euthanasia who becomes a sort of private detective, working with the Milan police. For the first time in Italy, these novels are not only about solving an enigma, but rather representing and understanding the sphere of individual suffering amid its wider social determinations, which inevitably compromise one’s opportunity to rationally experience reality. Scerbanenco added new referential elements to the formal identity of the detective novel that leave us facing the continuous repetition of the dialectic couple « repetition / innovation » paradox. Indeed, thanks to the hyper-realistic accumulation of the most evident elements of contemporaneity, it is with these novels, centered on the character of Duca Lamberti, that mass literature begins to reveal in a violent form the rapid transformation of the Italian daily life.

Esta tese investiga de que forma a ficção contemporânea de língua portuguesa encontra possibilidades de resistência à crise do romance que tem se estabelecido na contemporaneidade. As obras dos autores Bernardo Carvalho e Francisco José Viegas, inscritos no início do século XXI, permitem verificar como a ficção da era atual suplanta a crise da narrativa e inscreve-se como elemento de resistência. Com base nas teorias de Walter Benjamim, Theodor Adorno, Zygmunt Bauman e Andreas Huyssen - acerca do declínio da narrativa e do romance aliadas a questões de deslocamento, memória e identidade procuramos demonstrar que essa ficção responde a um momento de crise e de transição. Assim, a ficção dos autores investigados representa não a crise do romance, antes configurase como romance da crise, justamente por encontrar nas questões conflitantes (transgressão narrativa, deslocamento espacial, diluição da memória e identidades fluídas) os muros para a construção de seu labirinto ficcional. / This thesis investigates how the contemporary fiction of Portuguese language meets possibilities of resistance to the crisis of the romance that has established in the contemporaneity. The titles of the authors Bernardo Carvalho and Francisco José Viegas, registered in the beginning of the 21st century, allow examining how the fiction from the current era supplants the narrative crisis and inscribes itself as a resistance element. Based in the theories of Walter Benjamim, Theodor Adorno, Zygmunt Bauman and Andreas Huyssen about the decline of the narrative and the romance allied to questions of displacement, memory and identity we try to demonstrate that this fiction responds to a moment of crisis and transition. Thus, the fiction of the authors investigated represents not the crisis of the romance, before, it configures itself as romance of the crisis, justly for meeting in the conflicting questions (narrative transgression, spatial displacement, dilution of the memory and fluid identities) the walls for the construction of its fictional labyrinth.

Cette étude qui interroge l'ensemble des fictions policières de Leonardo Padura Fuentes propose une réflexion sur la place et la spécificité de l'écriture de cet auteur dans la tradition de la littérature policière cubaine. Cette réflexion identifie et met en lumière les liens qu'entretient la fiction policière de cet écrivain avec la réalité quotidienne, ainsi que l'ancrage de ces récits dans un référent identifiable, condition indispensable pour que ceux-ci assument le rôle traditionnel de peinture sociale du roman policier. Ce travail analyse comment, grâce au remaniement des canons du genre, à la rénovation de la tradition littéraire policière cubaine et aux liens tissés avec la réalité, Leonardo Padura Fuentes transcende le littéraire pour livrer, au-delà de ses fictions, une vision réaliste d'une société cubaine contemporaine en crise, proposant de la sorte une chronique sociale ainsi qu'un éclairage particulier et original sur l'histoire de Cuba des vingt dernières années. / This study examines all of Leonardo Padura Fuentes' detective novels and offers a reflection on the place and the specificity of this author's writing within the tradition of Cuban enigma-crime literature. This dissertation identifies and highlights links that connect the police drama of this writer's novels with Cuban society's everyday reality, as well as arguing for the anchoring of these stories within an identifiable historical referent, a prerequisite for the traditional role of social investigative writing. This work analyses how, thanks to the redefinition of gender cannons, the renovation of the Cuban detective novel literary tradition and its links with reality, Leonardo Padura Fuentes transcends literature to deliver, beyond its drama, a realistic vision of a contemporary Cuban society in crisis, proposing a social chronicle as well as a particular and original focus on the history of the Cuba of the last twenty years.

In his preface to The Moonstone , Wilkie Collins declares that his object with the novel has been "to trace the influence of character on circumstances", referring mainly to the conduct of the novel's heroine, Rachel.  In view of the other characters' similar function in this symbol-laden novel, this essay looks closer at the one character with whom Collins brings his extensive tapestry to a close, Ezra Jennings, thereby exposing the deeper significance of this 'detective novel'.  Ezra's added function in this novel, is to be the physical focal point, within the plot, for three crucial themes within the novel: 'Opium', 'Empire' and 'Sacrifice'.  Of course, the other characters incorporate these themes as well, but it is always Ezra who has the ultimate representational power.  He is, literally, the sum of the others' hopes and fears, and Collins's metaphorical 'third eye' of The Moonstone, presenting an alternative aspect of events.

The aim of this work is to describe the development of literary works of well-known Spanish writer Antonio Muñoz Molina on the basis of an analysis of his selected novels, which were published in the period up to the year 2000. They are Beatus Ille, El invierno en Lisboa, Beltenebros, El jinete polaco, Ardor guerrero and Plenilunio. In the introductory part of this thesis we briefly summarize the development of the Spanish novel, which occurred between the sixties and the eighties of the 20th century. This theoretical part will be followed up with the analysis of the author's works. Selected novels will be divided into three groups, which also correspond to the three main creative periods through which Muñoz Molina's work has passed. Within each chapter, we first describe the specifics of the set creative periods and then analyze all the novels we have included in that chapter. When distributing the novels to individual units, the chronological order in which they were published will be preserved in order to obtain the most accurate picture of the development that the author's creation has undergone. In the end, we summarize the defined creative periods and set the trends that Antonio Muñoz Molina is constantly returning in his novels.

[pt] Este trabalho tem como objetivo analisar alguns dos mecanismos do poder estatal colocados em cena no romance Balada da Praia dos Cães, de José Cardoso Pires. Partindo das teorias de Louis Althusser sobre os Aparelhos ideológicos de Estado e ensaios de Michel Foucault acerca dos efeitos positivos do poder e da utopia de uma ação omnividente do poder estatal, essa dissertação busca estabelecer alguns pressupostos para uma compreensão holística de alguns mecanismos da construção e manutenção da cultura salazarista, tanto em sua esfera mais institucional quanto na própria intimidade dos sujeitos sociais. A partir de levantamento teórico e leitura de trechos do romance, são trabalhados e analisados aspectos como a construção de ficções de Estado e de uma Economia de Verdade que fazem a gestão da circulação desses relatos, os efeitos paranóicos engendrados na sociedade e no próprio corpo de funcionários do Estado pelo esforço de alcançar a utopia de um poder omnividente e a ação estatal na trama social de relatos. / [en] This dissertation aims at analysing some mechanisms of state power put into play in the novel Balada da Praia dos Cães, by José Cardoso Pires. Following some theories of Louis Althusser about the Ideological State Apparatuses and Michel Foucault s essays concerning the positive effects of power and the utopical aim of an omnivident action of state power, this dissertation pursue the construction of some assumptions for an holistic apprehension of some salazarist culture s mecanisms of construction and maintenance, in its more institutional instance and even on the intimacy of social subjects. Studied and analyzed from a selection of theoretical reading and close reading of novel s excerpts, aspects as the construction of state fictions and an Economy of Truth that makes the management of the circulation of such fictions, the paranoid outcomes created on society and also into the proper body of States employees as a result of the the effort to achieve the utopical omnivident power and the State action into social narrative web.

O passado como um grande mistério. O professor de história como um investigador. Aquilo que se passou como um acontecimento, com Deleuze, a fissura em qualquer percepção que busca extrair um sentido dele mesmo. A narrativa literária como expressão de falar com os romances, e não sobre eles. A leitura e a escrita, simultaneamente, como procedimento de pesquisa. As tipologias históricas como composição de personagens. O problema de pesquisa que incita o drama. A presente dissertação busca produzir, na superfície da própria escrita, aquilo que propõe como tema. Por isso, a narrativa do ensino de história é expressa como um romance policial: as revisões bibliográficas como flashbacks, as problemáticas como reviravoltas e as conclusões como clímax (ou a espera por ele). Romance noir; onde a verdade é mais negociável e depende mais das paixões de quem a busca do que pelo comprometimento com o conhecimento; o acaso tem sua função; e um mistério leva a outro, e assim por diante. No assassinato que impulsiona a trama, não mais um fato, onde as perguntas do mistério de enigma seriam quem, como ou por que; mas sim o acontecimento, onde os efeitos se expandem pelo vazio deixado por ele. / The past as a great mystery. The history teacher as an investigator. What happened as an event, with Deleuze, the perception that any fissure in search extract a sense of himself. The literary narrative as an expression to speak to the novels, and not about them. Reading and writing simultaneously as a research procedure. The historical typologies as composite characters. The research problem that incites the drama. This dissertation seeks to produce, on the surface of the writing itself, what it proposes as theme. Therefore, the narrative of history teaching is expressed as a detective story: the literature reviews as flashbacks, problems such as turns and conclusions climax (or wait for it). Romance noir, where the truth is negotiable and depends more on the passions of those who search for their commitment to knowledge; chance has its function, and a mystery leads to another, and so on. In murder that drives the plot, not one more fact, which questions the mystery of who would riddle, how or why, but the event, where the effects expand the void left by him.

O presente trabalho tece uma análise do romance A varanda do frangipani, do escritor moçambicano Mia Couto, a fim de iluminar as reinvenções operadas pelo autor de aspectos do Sagrado ligado às crenças tradicionais de Moçambique. Apropriando-se e subvertendo o padrão do romance policial clássico símbolo da exaltação da racionalidade europeia , o autor reinventa no âmbito literário animais sagrados, rituais de iniciação e de adivinhação, espíritos de falecidos que convivem com viventes, assim como árvores divinizadas e mostra ao leitor uma visão de mundo e uma forma de existência diversas da eurocêntrica. Com isso, há a iluminação de questões culturais e sociais do país de onde fala Mia Couto, onde a tentativa de esmagamento cultural foi operada por anos de dominação e guerras. Para a realização desta pesquisa, embasamo-nos em autores como Mircea Eliade, Carlos Serrano, José Luís Cabaço, Omar Ribeiro Thomaz, entre outros, com o objetivo de obtermos a consistência teórica necessária a cerca do conceito de Sagrado e de questões sócio-culturais relacionadas a Moçambique e a outros países africanos; apoiamo-nos ainda em autores como Tzvetan Todorov e Ernest Mandel para percebermos o padrão estrutural e um pouco da ideologia ligada ao romance policial clássico e, assim, verificarmos a reinvenção dessa forma em solo moçambicano. / This paper presents an analysis of the novel A varanda do frangipani, from the Mozambican writer Mia Couto, in order to illuminate the reinventions done by he author of the sacred aspects linked to the traditional beliefs of Mozambique. Appropriating and subverting the Standard classic detective novel the symbol of European rationality exaltation the author reinvents within literary sacred animals, rituals of initiation and divination, spirits living among us, as well as divine trees, and shows the reader a different world view and a form of existence from the Eurocentric one. Therefore, there is enlightenment of cultural and social issues from the country where Mia Couto speeks, where the attempt to cultural imposition was operated by years of wars and domination. We based this research, on authors such as Mircea Eliade, Carlos Serrano, Jose Luis gourd, Omar Ribeiro Thomaz, and others, to obtaining the necessary theoretical consistency about the concept of sacred and socio-cultural issues related to Mozambique and other African countries, we rely on authors as Tzvetan Todorov and Ernest Mandel also, to establish the structural pattern and a little bit of the ideology linked to classic detective novel and thus verify the reinvention so on Mozambican soil.