Esta tese traça um estudo comparativo entre o Romance policial contemporâneo e o discurso psicanalítico na produção ficcional de Luiz Alfredo Garcia-Roza (1936-) e Dennis Lehane (1963-), tomando, por base, relações de aproximação entre os métodos investigativos na literatura e na psicanálise. Para isso, o corpus constitui-se dos romances O silêncio da chuva (1996) e Espinosa sem saída (2006), ambos do escritor brasileiro e Sagrado [Sacred] (2004) e Paciente 67 [Shttter Island] (2005), do ficcionista norte-americano. A análise destas narrativas revela pontos de aproximação entre os dois discursos inseridos no cenário cultural caótico e desajustado. E questiona a emergência deste novo contexto sociocultural, onde personagens sem identidade definida, sendo o principal deles, o detetive, realizam sua flânerie através de deslocamentos constantes associados à paisagem e em busca do desvendamento do crime urbano. Como seres de ficção perdidos, estes private eyes precisam encontrar os desajustes psíquicos de toda espécie de criminosos daí a representação da cidade, que ora se converte no solo para a flânerie dos investigadores, ora contribui para o apagamento e/ou ocultamento das subjetividades criminais. A relação entre os discursos policial e psicanalítico aponta para a associação entre a obscuridade do texto literário e o da cultura onde estamos inseridos sem falar do mal-estar de um e de outro campo, que tem a ver com as transformações da esfera da sociedade contemporânea / This dissertation aims at outlining a comparative study between the contemporary detective novel and the psychoanalytical discourse in the fictional production by Luiz Alfredo Garcia Roza (1936- ) and Dennis Lahane (1966- ), approaching particular investigative methods in literature and psychoanalysis. To do so, the corpus consists of four novels altogether: O silêncio da chuva (1996) and Espinosa sem saída (2006) by the Brazilian writer and Sagrado [Sacred] (2004) and Paciente 67 [Shutter Island] (2005) by the American fictionist. The analysis on these narratives points out similarities and idiosyncrasies between two discourses within a conflictive and chaotic cultural environment. Moreover, it highlights this new social and cultural realm where characters with undefined identities (the detective, above all) strive to evade from the atmosphere in which they are set and search for the resolution of urban crimes. As lost subjectivities, these private eyes need to decipher psychic dysfunctions of every sort of criminal thence, the representation of the city, featuring sometimes as the ground on which investigators work for the law and, at other times, as a hiding space for murderers. The relation between detective and psychoanalytic discourses remarks the association between the obscurity of the literary text and our cultural background not to mention the overall discomfort triggered by changes in contemporary societies

Nessa pesquisa apresentamos uma proposta didática pautada no uso da literatura no ensino de ciências a partir do uso de um gênero literário específico, o romance policial juvenil, no ensino da Investigação Científica. A obra utilizada como modelo é O caso da borboleta Atíria de Lúcia Machado de Almeida, que possui um enredo pautado em mistério e investigação policial e faz parte da Série Vaga Lume da editora Ática. As obras literárias que compõe a Série estão presentes nas salas de aula e bibliotecas escolares, desde a década de setenta e fazem parte do repertório de leitura de muitos alunos atualmente. Além disso, elas estão repletas de conteúdos que permeiam várias áreas do conhecimento. Um dos procedimentos utilizados de análise da obra foi o uso da semiótica de Greimas (1976) que procura estabelecer as relações sintáxicas no interior de um texto, podendo auxiliar em um trabalho de interpretação mais profunda. Também realizamos a análise do discurso tendo como aporte teórico Maingueneau (2006), que estabelece parâmetros que nos permitem avaliar as principais características e as condições de êxito para os gêneros do discurso, estudando o processo de produção da obra, tendo como base o contexto sociocultural, evidenciando elementos a serem considerados no processo de ensino-aprendizagem relacionados à estrutura da obra e ao contexto sociocultural em que ela está inserida. Com essas análises, notamos que a obra tem como foco a busca do conhecimento por meio da investigação, possibilitando a elaboração de propostas didáticas para o ensino da Investigação Científica. Sendo assim, elaboramos propostas didáticas com o uso da obra para a abordagem da investigação científica no ensino de ciências voltadas para nível do Ensino Fundamental II. Essas propostas foram aplicadas em uma escola da cidade de São Paulo com o objetivo de reformular e aprimorar as propostas, possibilitando seu uso em diversos contextos escolares de forma interdisciplinar. / In this research we propose a guided didactic use of literature in science education from the use of a specific literary genre, the crime novel, in Scientific Research\'s teaching. The book O caso da borboleta Atíria was used as a model, written by Lucia Machado de Almeida, in which story is based in mystery and police investigation and is part of the publisher Ática, in Vaga Lume collection. The Literary that make up this collection are present in classrooms and school libraries since the seventies and are part of the repertoire of many students currently reading. Moreover, they are filled with content that permeate many areas of knowledge. One of the procedures used for analysis of the work was the use of semiotics of Greimas (1976) who seeks to establish syntactic relations within a text, and may help in a deeper interpretation work. We also conducted the analysis of discourse based in Maingueneau\'s theory (2006), which sets parameters that allow us to assess the main characteristics and the conditions of success for speech genres, studying the production process of the work, based on the social and culture contexts, showing elements to be considered in the process of teaching and learning related to the structure of the work and to the context in which it is embedded. With those analyses, we note that the work has a focus on to the search for knowledge through research, allowing the preparation of didactic proposals for the Scientific Research teaching. Thus, we elaborate didactic proposals using the book to approach scientific research in science teaching aimed at the elementary school. These proposals have been implemented in a school in the city of São Paulo in order to reshape and refine the proposals, enabling its use in different school contexts in an interdisciplinary way.

The thesis presented here with deals with an analysis and genre definition of the Nordic detective story, which is currently very popular in the Czech Republic. It is namely an interpretation of the works done by two contemporary Nordic authors in question, i.e. Stieg Larsson and Jo Nesbø. With the first of the two authors I will be looking into the complete trilogy The Millenium containing volumes of Män som hatar kvinnor (2005), Flickan som lekte med elden (2006) and Luftslottet som sprängdes (2007). As regards in Nesbø's works, I have chosen a series of detective stories with detective Harry Hole as the main character, especially two of them Panserhjerte (2009) and Snømannen (2007) and which appear to be the most successful and the most typical. On the grounds of the analysis of the particular literary categories such as the character of a detective and their investigative techniques, the narrative pattern, the narrator, and the continuum which are compared with the similar categories within individual historical detective schools itemized in the theoretical part of the thesis, and compared as well with other genres, it is to be stated that the Nordic crime fiction might be located somewhere on the border line between the detective story, the critical social novel and the thriller, taking on at...

This thesis focuses on the Israeli detective genre. The Israeli detective genre is quite new in Israeli literature, not many works of the detective genre exist in Israel before 1980's, and even today, the detective genre is not so widespread in Israel. The thesis introduces four authors who represent the period from the beginnings of Israeli detective fiction until today. Batya Gur and Shulamit Lapid were chosen as representatives of the older period, Jair Lapid and Dror Mishani for the 21st century. The works chosen for the analysis are those which are parts of the detective series. Another criterion is the detective has to operate in Israel. The aim of the thesis is to outline the development of the detective novel in Israeli based on the example of selected works of these significant authors. In the opening, the thesis shortly presents a detective novel as a literary genre and also, as a literary genre in Israel. The main body of the thesis consists of four chapters on the authors and their approach to the detective genre while investigating several aspects. Firstly, it focuses on the characters who appear in the chosen novels as a detectives, criminals, and other characters. Secondly, the thesis concentrates on the background of the crime and investigation; where and under which circumstances...

In the thesis I would like to focus on the very topical literary work: Millennium trilogy by Stieg Larsson who died in 2004. The trilogy consists of three parts: The girl with the dragon tattoo, The girl who played with fire and The girl who kicked the hornets' nest. The trilogy will be examined from the perspective of genre determination. With the professional literature I would like to describe each genre and it's possibility of use. I would also like to find a typical features of particular genre in different forms: situations, characters, conflicts, etc. One part of my thesis will be dedicated to the writer and his autobiography traits. I would also like to turn to the fourth part of the trilogy by David Lagercrantz. I will try to answer the question why the trilogy has been extended, what literature genre is characteristic for the writer and what changes have been made in content or formal features of the story. During my work I would like to compare the trilogy with other Nordic literature pieces to find the cause of increasing sale of this kind of literature nowadays.

2000年以來，台灣出版社大量引進翻譯推理小說，日本及美國籍推理作家相繼來台舉辦簽書會，顯現推理小說在台灣有一定市場版圖。相對之下本土推理作品卻寥寥可數，本土推理創作者也鮮為人知。本研究以Bourdieu提出的文化場域理論為研究架構，探討創作者與文化中介者的資本組合與美學標準，如何影響本土推理小說的生產機制、交換條件與流通過程，並形成台灣推理市場以翻譯為主的現象。 本研究先以次級文獻分析法調查彙整近年推理小說市場概況，再透過半結構式深度訪談法相關行動者15位。研究發現2000年後歐美與日本推理小說出版產業成熟，相對於1980年代後才重新起步的本土創作，使台灣出版業者傾向引進翻譯作品，其中文化中介者的特定品味扮演了關鍵影響力。本土創作則以文學獎為生產關鍵。創作者不僅能透過文學獎獲得象徵價值，也能獲得出版社與其他創作者的社會資本，是進入本土推理創作文化生產場域的管道。 本研究也發現，這些本土創作者儘管部分堅持推理小說獨特的美學，但主要是受到翻譯書市場排擠，只能以文學獎獲得出版機會，被迫形成小眾市場。本土推理創作因此在台灣形成「小眾」的「通俗文學」。 / Since 2000 A.D, lots of translated detective novels have being published in Taiwan, and noted American and Japanese novelists come to Taiwan to do signing for new books, which demonstrates that detective novel is popular in Taiwan. Nevertheless, there are seldom local detective novels to be published compared to the large market. The paper quoted the theory of field of cultural production by Pierre Bourdieu, and analyzed how the creators and cultural intermediaries’ form of capitals and aesthetic standards have constructing the production mechanism and logistics process of local and foreign novels in order to understand how the market of detective novels in Taiwan are dominated by foreign products. As for the research method, the paper adopts second documentary analysis and in-depth interview. The former is to calculate the published detective novels from 2001 to Sep. 2015 sold in the dominant on-line bookstore, “Books”, in Taiwan, while the latter is to interview 15 related agencies included writers, editors, translators, and manager of bookstore to understand how the whole market of detective novels has changed in recent 15 years and the process of every agency interact with each other through their own capitals and form the production mechanism. The results contain 3 following issues. First, local production has re-started since 1980’s after a long-time decline, while the publishers in west and Japanese have developed into matured system and produced well-known novelist every years. In contrast with spending large costs to cultivate local writers on their own, Taiwanese publishers prefer to produce noted foreign works, while their taste have an influence on the judgement of works. Secondly, literary awards are the vital way in the production of local works, served as the way that the local creators enter into the field of cultural production. The creators receive symbolic capital through awards, and even obtain more opportunities to publish their works or cooperate with other related organization, which means the acquirement of social capital. Nevertheless, the publishers mainly promote those local works through the reputation of awards, so the novelists are still little-known in the popular market, and they still cannot survive through the creation of detective novels. Finally, the market of local detective novels is forced to be the field of restricted production as a result of supplanted by translated novels. There the local works can only be published through literary awards. As a consequence, the production of local detective novels becomes popular literature of niche market.

Pour minoré et ignoré qu’il fût, le roman policier est désormais légitimé par l’institution littéraire. À parcourir les livres publiés dans la Caraïbe francophone, le genre demeure dans la marge de cette production [issue de la Caraïbe francophone (Haïti, Guadeloupe, Guyane française, Martinique)]. Quoiqu’il en soit, on notera que les années 1990 ont inauguré une véritable éclosion de publications de polars. Tout cela augure d’une acclimatation de ce genre qui ne s’accompagne pas moins de questionnements sur les spécificités éventuelles du polar caribéen francophone. Se situe-t-il dans la convention? Tente-il au contraire d’établir une distanciation avec la norme? C’est pour répondre à ces interrogations que cette thèse se propose d’explorer les enjeux de l’appropriation du polar provenant de cette aire géographique. À l’aune de la poétique des genres, de la sociocritique et de l’intermédialité, un corpus composé de quatorze romans fait l’objet d’une étude approfondie. Dans le premier chapitre, un bref récapitulatif permet de situer les œuvres à l’étude dans l’histoire littéraire du genre tout en soulignant l’adaptation du polar dans la Caraïbe de langue française. Il en ressort qu’un nombre significatif d’écrivains, attentifs à la latence du magico-religieux dans leur société, mettent en scène le surnaturel alors que le roman policier conventionnel plébiscite la méthode logico-déductive. C’est la raison pour laquelle le second chapitre s’intéresse à l’usage de l’inexplicable et son rapport avec le cartésianisme. Quant au troisième chapitre, il se penche sur un topos du genre : la violence telle qu’elle surgit dans ses dimensions commémoratives et répétitives de l’histoire tumultueuse de la Caraïbe. Notre corpus tend à relier la notion du crime, fut-il d’emprise originelle, à l’histoire post-coloniale. Dans la mesure où les personnages constituent un élément clé du genre, ils sont sondés, dans un quatrième chapitre, en regard de la critique sociale qu’ils incarnent et véhiculent. Le dernier chapitre cherche à circonscrire l’intermédialité qui structure et qualifie l’œuvre au sein du roman policier depuis sa genèse. Somme toute, ces divers axes contribuent à mieux comprendre le phénomène de transposition du polar dans cette région du monde. / Although long looked down on and given short shrift by the literary establishment, the detective novel now enjoys legitimacy. Yet a survey of such books published in the French-speaking Caribbean (Haiti, Guadeloupe, French Guiana, Martinique) indicates that this genre remains marginalized there. Be that as it may, the 1990’s ushered in a publishing surge on detective novels. While this attests to the genre’s acculturation, it nevertheless raises questions about which, if any, characteristics distinguish the Caribbean, francophone detective novel. Does it fit mould, or conversely seek to establish distance between itself and the norm? To answer such questions this thesis will explore the dynamics of appropriating the detective novel in said geocultural space. And in-depth study of fourteen novels in light of the poetics of genres, sociocriticism, and intermediality, forms the body of this thesis. Its first chapter sets out a brief overview so as to contextualize these fourteen novels within the literary history of this genre, while at the same time highlighting the detective novel’s adaptation to the French-speaking Caribbean. This overview demonstrates that a significant number of writers pay heed to the magic and sorcery implied in their society so that they incorporate the supernatural, whereas the standard detective novel overwhelmingly adopts the logico-detective mindset. This explains why the second chapter addresses the use of the inscrutable and its relationship to Cartesianism. Meantime, the third chapter focuses on a topos of the genre, namely violence, with its commemorative and recurring manifestations in the Caribbean’s tumultuous history. Regardless of its immediate cause, the fourteen novels tend to conceive crime as linked to postcolonial history. Those characters who prove key to the genre make up the fourth chapter which examines them from the perspective of the social critique the articulate and personify. The final chapter endeavours to delineate the intermediality that structures the detective novel and has constituted its touchtone from the start. In short, the different avenues of inquiry enable one to grasp the confrontation between this genre’s traditional canon and its creative variants. This contributes to a better understanding of the phenomenon of transposing the detective novel to this region of the world.

Cette thèse examine l’importance de la figuration dans le récit policier et ce sous le signe de l’En-Quête – figure centrale de cette étude – qui se développe en deux parties, chacune divisée en trois chapitres. La première partie se penche sur le roman policier en tant que genre et analyse la pertinence, voire la nécessité de s'en extraire afin de saisir l'importante charge des récits policiers. La deuxième partie reprend les éléments soulevés dans la première en plongeant cette fois dans les récits, dans les textes, dans le littéraire. La division en chapitres, quant à elle, permet d'identifier les engrenages de cette pensée en construction, de placer les bornes importantes au déploiement de l'argument. C'est en créant, en plaçant au centre de la pensée la figure de l'En-Quête, que j'invente petit à petit au fil de la réflexion, que j'aborde les récits policiers en tant que textes mettant en scène la quête du savoir par la mise en mots, la mise en figures de la pensée. En commençant par l’analyse des textes policiers classiques, pour ensuite me diriger vers ceux de la modernité, il s’agit de réfléchir sur la figure de l’En-Quête et la manière dont elle se place comme un potentiel de création dans ces textes – abordés d’abord et avant tout comme des récits –, opérant comme une sorte d’auteure dans le texte qui, par les figures qu'elle crée, invente ou découvre, réfléchit à l'objet même qui la fait advenir, soit le littéraire, en tant qu'accès aux savoirs. Cette réflexion permet de voir combien riches sont ces textes souvent ignorés par l'institution, combien importantes sont les réflexions présentées sous la forme de personnages, de mises en scène, puisque celles-ci donnent accès à un langage riche, une mise en mots toujours nouvelle, qui réfléchit le pouvoir du littéraire dans les figures. La figure de l'En-Quête, figure génératrice de figures, d'un savoir indissociable de la rhétorique, permet quant à elle de voir ce qui unit les textes dits policiers tout en déplaçant le focus pour insister non plus sur les thèmes, mais bien sur la construction des savoirs dans le littéraire et, par la mise en scène, la mise en figure justement. / This dissertation examines the importance of figuration in crime fiction, under the sign of the In-Quest, the central figure of this study which is developed into two parts, each one divided in three chapters. The first part looks into the notion of “detective novel” understood as a genre and analyses the relevance, and even the necessity of thinking outside of this category in order to grasp the full significance of this kind of fiction. The second part revisits these observations, this time diving into the texts and stories and into their literary components. The division in chapters enables us to get a glimpse of the key elements of this thought-in-process and to set the conceptual groundwork needed for deploying the argument. Focusing my reflection on the In-Quest figure, which I invent and create progressively through the course of the essay, I address crime fiction as texts that stage a quest for knowledge in their recourse to words and figures of thought. I begin by analysing classic detective tales and continue with more modern texts in order to observe how the In-Quest figure places itself as a potential of creation within those narratives, working through the literary device it is creating as a sort of author in the text reflecting upon the object from which it arises, namely the literary as a way of knowing. This conceptual drive allows us to see the richness of these texts frequently ignored by the institution and the importance of the reflections they embody in the form of characters and mises-en-scène; these elements give access to a diversity of language that creates renewed forms of writing showcasing the power of the literary, in and through figuration. Thus, the In-Quest as a figure of figuration, of knowledge that is inseparable from rhetoric, enables us to see what unifies the texts known as “detective novels” by changing the focus and insisting not on the themes, but on the construction of knowledge within their literary form, through figures of speech and their particular mises-en-scène.

The aim of the diploma thesis The Picture of a Journalist in the 20th century British novel is to map the space dedicated to characters of journalists in literature, the 20th century British novels in particular. Depiction of the journalistic characters is based on fifteen selected literary works within three different novel types - comic novel, detective novel and social-critical novel. Using a detailed analysis of a sum of both the narrative and the extra-literary elements the thesis compares various characters of male and female journalists appearing in the selected novels. It tries to compare the differences as well as the similarities within portrayals of journalists in different novel types. As a conclusion the thesis evaluates the overall picture of journalists in these works and attempts to trace any similarities or recurring trends in depiction of journalists in literature.

Cette thèse porte sur l’étude comparée des œuvres de trois romanciers contemporains : Andreu Martín, Yasmina Khadra et Giorgio Todde. Si ces trois écrivains diffèrent par la nationalité, la langue et le style d’écriture, ils ont élu à un moment ou à un autre de leur carrière le roman policier et plus particulièrement le « noir » comme genre d’écriture. L’analyse de leur production policière de 1980 à 2010 tend à montrer les points de convergence et de divergence révélateurs d’une présupposée culture méditerranéenne. Entre Espagne, Algérie et Italie la Méditerranée s’impose comme espace géographique commun, mais également comme lieu de rencontre de différentes cultures. Les objectifs prioritaires ont été d’inscrire dans un cadre théorique les enjeux du roman policier face à la modernité et plus particulièrement les aspects significatifs à la vue des caractéristiques des trois auteurs comme la relation à l’Histoire, l’articulation entre individuel et collectif ou encore le rapport entre Histoire, mythe et vérité. Les particularités de chacun des trois romanciers et l’insertion de leur production dans le cadre géographique spécifique de leur pays d’origine constituent un axe de recherche majeur de la thèse. Pour ne pas restreindre le champ d’investigation il a été opéré une ouverture des perspectives : la Méditerranée comme espace géographique, historique et culturel en partage ; le concept d’insularité comme double condition, à la fois géographique et d’esprit ; ou encore le « noir méditerranéen » ont ainsi bénéficié d’un développement particulier. / This doctorial dissertation encompasses a comparative study of three contemporary authors: Andreu Martín, Yasmina Khadra and Giorgio Todde. Although the three writers differ in their nationality, language and writing style, they have all selected the detective novel and more particularly hardboiled fiction as their genre of choice. The body of this study focuses on the works created between 1980 and 2010. Through the analysis of these novels several revealing commonalities and differences have been discovered about a possible “Mediterranean culture”. Whether it be Spain, Algeria or Italy, the Mediterranean emerges then not only as a shared geographical space, but also as a meeting point between these diverse cultures. The principal objectives of this study are to place the specific tools and aspects of the detective novel within the theoretical domain of “modernity”, and an analysis of the significant articulations made by these three authors such as: their use of History, their representation of “the individual” versus “the collective”, and the relationship between History, myth, and truth in their novels. The particularities of all three novelists and the insertion of their literary production within the specific geographical environment of their country of origin constitute the focal point and principal axis of research of this dissertation. However, an open perspective has lead to the analysis of various concepts which particularly develop an understanding of that focal point. Among them the Mediterranean as a geographical, historical and cultural space shared by many; the concept of insularity as a double condition, as in a condition that is at the same time geographical and emotional; and the concept of a “Mediterranean hardboiled” fiction have revealed themselves as the most significant. / Questa tesi si basa sull’analisi comparata delle opere di tre scrittori contemporanei: Andreu Martín, Yasmina Khadra eGiorgio Todde. Sebbene questi tre romanzieri differiscano per nazionalità, lingua e stile di scrittura, si accomunanoper aver eletto ad un dato momento della loro carriera il romanzo poliziesco e più precisamente il “noir” come generedi scrittura. L’analisi della loro produzione poliziesca, dal 1980 al 2010, tende a dimostrare i punti di convergenza edivergenza rivelatori di una presupposta cultura mediterranea. Tra la Spagna, l’Algeria e l’Italia il Mediterraneos’impone come spazio geografico comune, così come luogo d’incontro di diverse culture. Gli obiettivi prioritari sonostati quelli di iscrivere in un quadro teorico i meccanismi del romanzo poliziesco, il suo rapportarsi alla modernità epiù precisamente gli elementi significativi che emergono dallo studio delle caratteristiche dei tre autori. Tra questi sievidenziano la relazione alla Storia, il rapporto tra l’individuale e il collettivo o ancora l’articolarsi tra Storia, mito everità. Le caratteristiche di ognuno dei tre autori e l’inserimento delle loro produzioni letterarie nello specifico quadrogeografico dei rispettivi paesi d’origine costituiscono un asse di ricerca della tesi. Per non limitare il campod’investigazione si è proceduto ad un ampliamento delle piste di ricerca: il Mediterraneo come spazio geografico,storico e culturale in comune; il concetto d’insularità come doppia condizione, geografica e d’animo e infine il “noirmediterraneo”.