Partant du constat que le monde dans lequel nous vivons requiert, pour le comprendre, l’élaboration d’une pensée critique efficace, cette thèse analyse, par le biais du mode littéraire du récit de détection, l’itinéraire de la pensée de Chesterton comme méthode de raisonnement et ensemble de stratégies intellectuelles. De la même manière que Descartes proposait d’exposer sa méthode « pour bien conduire sa raison, et chercher la vérité dans les sciences » (Discours de la méthode), nous exposons ici les mécanismes d’une manière de penser originale. En convoquant son imagination et sa « philosophie des contes de fées », Chesterton redécouvre ce qui lui était familier, voit au-delà des apparences et échappe à la folie, qu’il redéfinit comme la conséquence de l’isolement de la raison pure. Sa pensée visuelle, progressant par métaphores, analogies et paradoxes, est une pensée visionnaire, capable de renverser les perspectives pour mieux voir le monde et en saisir le sens. La pensée chestertonienne, fuyant toute forme d’isolement et de solipsisme, se construit sur différents modes dialogiques : Chesterton pense toujours avec ou contre d’autres sujets pensants, d’autres formes de pensée, et invite son lecteur à le suivre dans ce cheminement intellectuel. / As Critical thinking appears more and more vital to understand the world we live in, this study resorts to detective fiction considered in its literariness to analyse the itinerary of Chesterton’s mind, both as a method of reasoning and a set of intellectual strategies. In the same way as Descartes set out his method “of rightly conducting one’s reason and of seeking truth in the sciences” (The Discourse on the Method), we intend to show the mechanisms underlying an original way of thinking. By summoning his imagination and his “ethics of elfland”, Chesterton rediscovers the things he was familiar with, sees beyond appearances, and avoids madness, which he redefines as the consequence of the isolation of pure reason. His visual mind, which progresses by way of metaphors, analogies and paradoxes, is a visionary mind that can reverse perspectives in order to see the world better and grasp its meaning. By keeping away from any form of isolation or solipsism, the Chestertonian way of thinking operates according to different dialogic modes – Chesterton always thinks with or against other thinking subjects or other forms of thinking, and invites his reader to follow him on this intellectual path.

Orientador: Francisco Foot Hardman / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T01:28:04Z (GMT). No. of bitstreams: 1 Guerra_BrunaTella_M.pdf: 1281442 bytes, checksum: 03ca81a82ade5bc6bffa8816adb45df4 (MD5) Previous issue date: 2013 / Resumo: A síntese deste trabalho é a ressignificação da detective fiction em Los detectives salvajes, de Roberto Bolaño. O ponto de partida são os vários textos do autor que têm a figura do detetive na intitulação, sendo esse apenas um dos vários aspectos que recorre na obra bolañiana. Entendendo que a enorme rede de relações que existe em seus textos é sugestiva de seu projeto literário, coerentemente será assumida uma visão transtextual para a análise da narrativa: através de textos críticos de Bolaño, de sua obra ficcional geral e do histórico da detective fiction, algumas interpretações serão traçadas para que se perceba de que forma novos sentidos deste gênero podem ser atribuídos a Los detectives salvajes. Para isso, será feita uma análise conjectural, num nível fragmentário, e nunca totalizante / Abstract: The synthesis of this work is the resignification of the detective fiction in Roberto Bolaño's Los detectives salvajes. The starting point is the various texts of the author that have the figure of the detective in the entitlement, being this aspect only one of the many others that resort in bolañian work. Understanding that the huge network of relationships that exist in his texts is suggestive of his literary project, it will coherently be assumed a transtextual vision for analyzing the narrative: through Bolaño's critical texts, his general fiction and the history of the detective fiction, some interpretations shall be outlined for the perception of how new meanings of this genre can be attributed to Los detectives salvajes. To achieve this aim, it will be assumed a conjectural analysis, in a fragmentary level, and never totalizing / Mestrado / Teoria e Critica Literaria / Mestra em Teoria e História Literária

The project examines how German- and English-speaking translators of selected Maigret novels by the Belgian crime writer Georges Simenon have dealt with cultural and linguistic specificity, with a view to shedding light on how culture and language translate. Following a survey of different theories of translation, an integrated theory is applied in order to highlight what Simenon’s translators have retained and lost from three selected source texts: Le Charretier de la Providence (1931), Les Mémoires de Maigret (1951) and Maigret et les braves gens (1961). The examination of issues of linguistic and cultural specificity is facilitated by application of an integrated theory of translation coupled with the methodology devised by Hervey, Higgins and Loughridge (1992, 1995 and 2002). In addition, consideration of paradigms of detective fiction across the three cultures involved, and Simenon’s biography and wider oeuvre, help elucidate the salient features of the selected source texts. In view of the translators’ decisions, strategies for minimising various types of translation loss are presented. While other studies of translation theory have examined literary and technical texts, this study breaks new ground by focussing specifically on the comparative analysis of detective fiction in translation.

Enid Blyton and Agatha Christie were the most successful British women writers of their time. Christie and Blyton were contemporaries, living and writing in the United Kingdom during the first half of the twentieth century. This study takes into consideration these similarities in its examination of the depiction of dominant discourses in relation to emergent, alternative and oppositional discourses in their writing. This thesis suggests that while Enid Blyton and Agatha Christie offer alternatives to the dominant patriarchal discourses of the British Empire in the first half of the twentieth century, they show allegiance, too, to the dominant discourses of their time. Specific consideration is given to the portrayal of discourses concerned with gender, feminism, classism, British colonialism, racism, and xenophobia in their writing. The work of Enid Blyton and Agatha Christie was extremely popular in their time and still is today. Their important contribution to popular literature in England in the early twentieth century justifies a study of a selection of their work in relation to detective fiction and children’s literature as well as to studies of social history that include the investigation of how dominant discourse is both endorsed and challenged. / Thesis (DLitt)--University of Pretoria, 2010. / English / unrestricted

In 2004 Japanese author Ashibe Taku published his novel Murder in the Red Chamber, in which he adapted Cao Xueqin’s eighteenth-century Chinese classic Dream of the Red Chamber as a compelling murder mystery. In 2008 I would take on the challenge of translating Ashibe’s novel into English. This required me to draw on a wealth of primary and secondary materials. Not only did I have to familiarize myself with the novel’s peculiarities, but also with those of its Chinese source. Over these layers of text I fashioned yet another from my own engagements with Western detective fiction. In order to reconcile these disparate cultural understandings of detection and law, I assumed the role of detective myself in navigating at least two cultural milieus at any given time. Consequently, I found myself empathizing with Ashibe’s characters in an entirely new way. This thesis is a case study that investigates two questions: (1) What does it mean when the translator’s method mimics—in the target text—that of the author of the source text? (2) How have murder mystery paradigms been displaced and/or embedded in my chosen text through this process of cross-cultural rewriting? In exploring these questions I have developed a kinship with Ashibe, for we are both rewriters seeking to flesh out the evidence laid before us into admissible testimony. Whether or not I “solved the case” of this translation matters less than the adding of another layer in another language with the intent of enriching the whole.

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(anglicky): In this thesis, two representative works of two post-war schools of Japanese detective fiction are analysed based on the knowledge of modern narratology. Two mentioned schools are so called social school of detective fiction (shakaiha 社会派), which appeared at the beginning of 60ties, and new authentic school of detective fiction (shin honkakuha 新本格派), which appeared at the beginning of 80ties. This thesis focuses on a theoretical understanding of the term "detective fiction", it describes the development of the detective genre in post-war Japan while focusing on the debates on "authentic" and "inauthentic" detective fiction and describes typical features of two previously mentioned schools. The by using a theoretical apparat suitable for analysing works of very schematic detective genre, two works - Points and lines (Ten to sen 点と線, 1958) written by Matsumoto Seichō 松本清張 (1909-1992) and Tokyo Zodiac Murders (Senseijutu satsujin jiken 占星術殺人事件, 1981) written by Shimada Sōji 島田荘司 (1948 - ) - are analysed. Analyses focus on composition schemes of both works and on the example translated from original works, existence or absence of elements typical for both schools are demonstrated while a different usage of these elements is showed.

雷蒙‧錢德勒為冷硬派偵探小說的開山始祖之一，其文學地位卻不限於通俗小說大家。 其簡潔有力的文學筆觸及對於現代美國社會的深刻批判，讓他名列當代美國代表作家之列。 在錢德勒的筆觸下，洛杉磯城被深切刻畫成重要性不亞於偵探的重要主角。 故此，我在本論文將探討錢德勒對於洛杉磯身為美國現代大城的空間呈現，試圖找出其再現對於美國城市文學與偵探小說的積極影響。 在第二至第四章的本文中，第二章處理私家偵探與其出沒的洛杉磯之間的關係。 我發現漫遊者的概念也可被應用在冷硬派私家偵探的明查暗訪，這兩者在顯示現代城市的現代性方面，都是代表性的謀介。 透過漫遊者偵探的私家之眼，真實與想像的洛杉磯同時歷歷在目，而勒婓伏爾與索雅的空間理論為理解錢德勒筆下洛杉磯真實與想像的城市空間再現的一大利器。 故此，第三章運用索雅的第三空間概念來探討錢德勒的空間再現，發現其筆下墮落之城的種種暗黑角落，都是第三空間的再現，因為它們都顯現一種被宰制的空間呈現，別同於洛杉磯被大力推銷為夢想之城的想像空間。 第四章處理另一個被忽視但重要的第三空間。 藉由私家偵探親身探索洛杉磯城中不同族群的空間，我發現這些空間也是另一種第三空間的呈現，因為這些空間亦屬於被宰制壓迫的空間，而錢德勒對於洛杉磯城的空間再現並未遺忘這些他者族群被壓迫的空間，故此更能證明錢德勒不愧為刻畫現代化美國社會的文學大師。 / Raymond Chandler is a prestigious detective-story writer and the founding father of the hard-boiled detective fiction school, but he is not limited to this sub-genre of the crime fiction. His laconic style and the socially critical depiction of Los Angeles elevates him as a great writer in literature, high-brow and low-brow. Los Angeles city in his depiction becomes another protagonist of Chandler’s Philip Marlowe stories. In this thesis, I attempt to adopt a spatial reading of the Los Angeles city he depicts, so as to explore the meanings of the real and imagined spaces and their possibilities of resistance for future interpretations. Besides the first chapter as the introduction and the last chapter as the conclusion, in Chapter Two, I will first compare the private detective to the flâneur, thereby discovering the contribution of these figures to the discovery and representation of modernity in modern cities. Furthermore, I will utilize Lefebvre’s and Soja’s trialectics of spatiality to examine the real and imagined spaces in Chandler’s novels. By doing so, in Chapter Three I argue that Chandler’s vivid spatial representations of Los Angeles, especially the dark side of the city, are actually the real-and-imagined Thirdspace that represents the dominated spaces against the promotion of Los Angeles as a dream city. In Chapter Four, though Chandler’s spaces convincingly reflect the modernity of Los Angeles as a modern city, I further discover another possible site for the space of representation in his stories: the space of the racial Other. This discovery of another Thirdspace proves Chandler isn’t as much a racist as alleged, and it is the counter-space that provides the possibility of resistance for many future hard-boiled detective fiction writers of different ethnicities, and this can explain why Chandler’s hard-boiled detective has been massively appropriated.

“The Problem of Immigration and Contemporary Spanish Detective Fiction” examines the viability of the detective genre as a forum to dispute the commonly held perception of contemporary immigration to Spain as a problem. Focusing first on popular series of the Transition and Disenchantment periods that followed the death of Francisco Franco, I identify the detective novel, and in particular the hard-boiled variety on which the Spanish tradition is based, as an ideal space for discussions of otherness. In the 1990s, as large-scale immigration to Spain became an increasing reality, North Africans, Latin Americans, and Eastern Europeans joined minority groups already marginalised within Spain and became the focus of well-known authors such as Jorge Martínez Reverte, Arturo Pérez-Reverte, and Andreu Martín and relative newcomers Yolanda Soler Onís, José Javier Abasolo, Lorenzo Silva, and Antonio Lozano. All use the conventions of the detective genre––suspense, pursuit, intrigue––to address misconceptions about immigration and to reveal that the ultimate culprits in these stories are ill-willed traffickers, corrupt security agencies, and the widespread apathy of parts of the Spanish population and its government. Through the twists and turns of their storylines, these politically committed authors show that while immigrants may be forced to inhabit Spain’s underbelly, they are not single-handedly responsible for Spanish society’s perceived demise. My dissertation is informed by a multi-disciplinary approach that draws on media, cultural, socio-anthropological, and postcolonial studies. The connection between crime literature and the mass media is especially intriguing given the latter’s power of influence over the conceptualisation of immigration. The detective texts juxtapose the media of the post-modern electronic information age, which is by definition frontier-less, with a nation designing ever-stronger borders. While analysing the various borders that divide a national and global society in the entangled tale of immigration to Spain, and the discursive roles they play within the codified genre of crime fiction, I argue that these authors use the conventions of their medium to provide internal views of the process of immigration as an alternative to the voyeuristic daily reporting that otherwise threatens to desensitise the Spanish public to the topic altogether.