This research aims to investigate the development of the Sepedi detective story, and to classify existing works into appropriate sub-genres. The study will use the methods of comparison, grouping, description and interpretation. The growth and development of the Sepedi detective story from 1951 to 1998 is discussed and the influence of Ramaila’s short stories from the collection Molomatsebe (1951) on other Sepedi detective stories shown. Various problems are examined, including (a) the scarcity of Sepedi detective stories as compared to the number of stories in European languages, and (b) the classification principles suitable for determining the different sub-genres. The study uses a narratological approach, which examines texts focusing on three levels, namely content, structure (plot) and style. This study pays particular attention to the first two levels, though the last level, style, is discussed briefly in the closing chapter. In the investigation the definitions of a detective story formulated by various literary theorists are discussed, and the challenge of classifying detective stories into sub-genres examined. The most important classification systems found in the literature are those formulated by Boileau and Narçejac, Groenewald, and Dresden and Vestdijk. The classification approach used in this study is based on the characteristic features that distinguish a detective story from other genres. The most important characteristic of the detective story is mystery. The concept of mystery is therefore explained in detail, and various sub-genres classified according to the presence of one (occasionally more) of the following elements: (a) the real character of the detective is a mystery, (b) the name of the criminal is a mystery, (c) the name of the victim is a mystery, (d) the evidence that reveals the mystery at the end, and (e) the investigation that reveals the mystery. The different narrative techniques that authors can use to keep the mystery concealed so as to arouse the readers’ interest are explored. Methods to build tension and suspense in a narrative are also investigated. Lately some researchers of Sepedi detective stories have encountered problems in dealing with works that have both mystery and romantic sub-plots. This research study therefore mentions the difference between a detective story and a love story. It is not unusual for a detective story author to bring love affairs into the narrative, because these can be used to relieve tension. In the closing chapter, short remarks are made about the third layer of the text, namely style. Dresden and Vestdijk’s arguments concerning style are taken as the basis for these remarks. They discuss a curious characteristic of detective plots. This is that, though emotional and disturbing acts such as murder or rape are central to a detective story, the mystery surrounding these acts in the plot of the story turns the story into a puzzle rather like a mathematical problem, which is gradually solved as the plot progresses, with the result that the criminal is not viewed negatively. Whether or not he/she is punished is not a central issue; sometimes the criminal even escapes punishment through committing suicide. Death in this type of story has no meaning. This emotional independence is what forms the basis of the detective author’s style. / Thesis (DLitt ( African Languages))--University of Pretoria, 2006. / African Languages / unrestricted

The present thesis deals with four proses by Oldřich Daněk which use a historical setting (Král utíká z boje, Král bez přilby, Vražda v Olomouci, Nedávno...). In addition to detailing some constant features, which are typical for the author, the thesis aims primarily at showing how Daněk exploits conventions of various literary genres, specifically the historical novel, literary apocrypha and detective story. Key words: Oldřich Daněk, Historical Fiction, Literary Apocrypha, Detective Fiction

Orientador: Márcio Scheel / Resumo: Esta tese apresenta uma análise crítica dos romances de Marçal Aquino, a saber, O invasor (2002), Cabeça a prêmio (2003) e Eu receberia as piores notícias dos seus lindos lábios (2005), tendo por objetivo ressaltar como a trajetória dos heróis Ivan, Brito e Cauby contribuem para a experiência da forma do gênero policial. Para tal percepção, incluímos uma análise do conto “Matadores”, do mesmo autor, que servirá como matriz interpretativa dos romances. Argumentamos que os romances de Marçal Aquino são organizados em torno do ponto de vista de um herói que está inserido no mundo da pistolagem brasileira, contexto onde a violência é racionalizada e tornada matéria-prima do capital. Diante disso, os romances do autor não apenas dão certa continuidade, mas também realizam uma experiência com a forma tradicional da ficção policial, já que os heróis de Aquino, movidos principalmente pelo ressentimento, transitam entre os três elementos fundamentais do gênero, a saber, o detetive, o criminoso e a vítima. Sendo assim, os protagonistas de Aquino são uma espécie de síntese entre as três categorias do romance policial tradicional e o que eles vão fazer é mostrar que em termos de modelo narrativo há uma experiência da forma que problematiza aspectos da sociedade brasileira. Estes heróis tomam parte em um contexto histórico e político demarcado pela intersecção entre lei e ordem, por um Estado que agencia o crime e por matadores ajustados à lógica do trabalho e às leis do mercado, estando ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: This thesis presents a critical analysis of Marçal Aquino’s novels, namely O invasor (2002), Cabeça a prêmio (2003), and Eu receberia as piores notícias dos seus lindos lábios (2005), with the objective to highlighting how the stories of the heroes Ivan, Brito and Cauby contribute to experimenting with the detective genre form. In order to do so, we have included an analysis of the short story “Matadores”, by the same author, which will function as an interpretative matrix for the novels. We argue that the novels by Marçal Aquino are organized around the point of view of a hero who is immersed in the world of Brazilian pistolagem (banditry), a context where violence is rationalized and turned into raw material for capital. Considering this, the author’s novels not only develop the traditional form of the detective novel, but also experiment on it, since Aquinian heroes, propelled mainly by resentment, vary among the genre’s three fundamental elements: detective, criminal, and victim. In this way, Aquino’s protagonists are a kind of synthesis of the traditional detective novel’s three categories, and what they do is show that, in terms of the narrative model, there is experimentation with the novel’s form which questions and discusses some aspects of Brazilian society. These heroes take part in a historical and political context branded by the intersection between law and order, by a State that administers crime, and by hitmen adjusted to the logic of labor and market laws, vi... (Complete abstract click electronic access below) / Doutor

The main title of the doctoral thesis - ART/CRIME - CRIME/ART - point to a general investigation of these two phenomenons. This investigation makes up the background of the main theme of the thesis, which is an actual event of the mysterious death of the painter and shepherd K.. At work I spend time with alternative investigations of this death and the goal is an attempt to reconstruct the events and effort of discovering the answers what happened that night and whether or not a killer really existed or not.

Thesis (M. A.(English Studies)) --University of Limpopo, 2019 / This study explores a literary comparative examination of crime between Africa and Scandinavia, with special attention to Botswana and Norway. Smith’s and Nesbo’s selected novels are used as primary texts for analysis. The novels are, therefore, set in two different areas. These writers depict crime from the African and European perspectives. Chapter One deals with a brief introduction, and the aim and objectives of the study. It also expands on the theoretical background and provides definitions of terms that are used in this paper. Chapter Two presents views from various scholars on crime. This study is based on an Afro-Western approach of literary analysis. In other words, there are thoughts by both African and Western writers which assist in determining possible and noticeable similarities and differences, on the issue of crime. Chapter Three analyses crime from an African perspective while Chapter Four discusses crime from a Western point of view. Each of these chapters reflects on crime through character portrayal and depiction within its context. Chapter Five is a comparative analysis of both novels. The chapter identifies possible similarities and differences, mainly of the depiction of crime in different settings – Africa and Scandinavia, committed by blacks and whites. However, the structural and linguistic approaches of both the novels are also reviewed, assisting in discovering the life, in comparison, of the authors. The last chapter (Chapter Six), is a conclusion of the study and future suggestions. Basically, the study argues that blacks only should not be portrayed as perpetrators, but that whites too can be culprits. Again, there should be an equal of measurement on the weight and honour of the two races. Lastly, the moral is that without considering skin colour, financial and social backgrounds, justice must be served equally. Hence, whoever is caught in any form of wrongdoing, they must be given the appropriate punishment – regardless of race, colour, religious creed, gender, financial and social background. Key Words: Crime, Afro-Western, Marxism, suspense, detective, identity, puzzle, fix, accumulation, class, characterisation and setting

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Teacher, Detective, Witness, Activist: On Pedagogy and Social Justice in Asian Canadian Literature undertakes a critical consideration of the relationship between pedagogy, social justice, and Asian Canadian literature. The project argues for a recognition of Asian Canadian literature as a creative site concerned with social justice that also productively and problematically becomes a tool in the pursuit of justice in literature classrooms of Canadian universities. The dissertation engages with the politics of reading and, by extension, of teaching social justice in the literature classroom through analyses of six high-profile, canonical works of Asian Canadian literature: Joy Kogawa’s Obasan (1981), SKY Lee’s Disappearing Moon Café (1990), Kerri Sakamoto’s The Electrical Field (1998), Madeleine Thien’s Certainty (2006), Ruth Ozeki’s A Tale for the Time Being (2013), and Rita Wong’s forage (2007). These texts are in many ways about the reproduction of national, colonial, and neo-colonial pedagogies, a reproduction of teachings informing subject formation and citizenship from which higher education is not exempt. The dissertation analyzes the texts’ treatment of familial and national reproduction, and the narrative temporalities this treatment invokes, in order to think through the political and social reproduction that occurs in classrooms of Canadian post-secondary education. This project raises a number of questions: Do literature instructors engage their students as investigators in the pursuit of justice? And, if so, what type of justice do we seek to reproduce in doing so? What happens when instructors engage students in the work of witnessing fictional testaments of historical trauma, albeit indirectly, as readers? How might we acknowledge and work through the resistance to learning that traumatic testimony can invoke? And finally, might it be productive to think of the work that literature instructors do as a form of activism? Can social justice be conceived of as a pedagogical project that unfolds in the literature classroom? / Dissertation / Doctor of Philosophy (PhD) / This dissertationt turns to the literature of Asian Canada to think through how we learn and are resistant to learning from historical injustice and about social justice. Chapter One argues that Joy Kogawa's Obasan, Kerri Sakamoto's The Electrical Field, and SKY Lee's Disappearing Moon Cafe each play with the detective fiction genre in their treatments of anti-Japanese and -Chinese racism in Canada to upset a definition of justice as stable and finite. Chapter Two examines Madeleine Thien's Certainty and Ruth Ozeki's A Tale for the Time Being as works of trauma fiction that can tell us a lot about the resistance difficult knowledge can provoke. Chapter Three turns to a book of poetry, Rita Wong's forage, to contemplate the temporal and emotional dimensions of everyday, anti-racist and ecological activism; this chapter highlights the limits of discourses of social justice predicated on risk and anxiety.

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