This article suggests that the formal elements of Elizabeth Bowen's novel The Heat of the Day underscore both the changing practice of propaganda and the extant tension about Irish neutrality during World War II. Bowen has often been cited as an author who embraces opacity in her fiction, and often this practice is connected in her work to political tensions that she first experienced in Ireland as a result of colonial conflict. The article suggests that a similar strategy, at use in this London-based World War II novel about espionage, highlights this history of tension. Bowen's own position as an intermediary between the Ministry of Information and Irish public opinion provided her a keen insight into British strategy towards Ireland's neutrality. Her Blitz novel, The Heat of the Day, mirrors much of Bowen's formal techniques in her letters to the Ministry of Information, and this article suggests that this reflects the impact of modern propaganda techniques on her war-time novel.

This article suggests that the formal elements of Elizabeth Bowen's novel The Heat of the Day underscore both the changing practice of propaganda and the extant tension about Irish neutrality during World War II. Bowen has often been cited as an author who embraces opacity in her fiction, and often this practice is connected in her work to political tensions that she first experienced in Ireland as a result of colonial conflict. The article suggests that a similar strategy, at use in this London-based World War II novel about espionage, highlights this history of tension. Bowen's own position as an intermediary between the Ministry of Information and Irish public opinion provided her a keen insight into British strategy towards Ireland's neutrality. Her Blitz novel, The Heat of the Day, mirrors much of Bowen's formal techniques in her letters to the Ministry of Information, and this article suggests that this reflects the impact of modern propaganda techniques on her war-time novel.

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A presente dissertação propõe uma análise do romance A emparedada da Rua Nova, de Carneiro Vilela, com o objetivo de investigar de que forma os conceitos de modernidade e tradição se articulam com aspectos sociais da obra e do contexto em que ela foi escrita. A pesquisa investiga de que maneira a estrutura formal do romance-folhetim de Vilela uma narrativa de cunho policial está relacionada com a dinâmica das questões de classes, raças e gênero que compunham a sociedade recifense na segunda metade do século XIX. Verificou-se, por fim, a hipótese de que o princípio estrutural da obra formalizaria o deslocamento entre ideias liberais e prática brasileira, revelando uma relação de aparência e essência no seio de uma sociedade cuja modernização não passaria de um revestimento sobre os fortes alicerces de uma formação escravocrata e patriarcalista. / Our current research aims at studying the novel A emparedada da Rua Nova, by Carneiro Vilela, regarding in which ways the concepts of modernity and tradition are related to the social aspects of the novel and of the context in which it was written. Our goal is to examine the structure of Vilela\'s feuilleton, a kind of detective fiction, and how it relates to the dynamics of social classes, matters of races and gender in Recife\'s society from the second half of the nineteenth century. In this sense, we analyzed how the novels formal structure revealed the displacement between liberal ideas and social practice in Brazil, and it disclosed a system of appearances versus essence at the core of a society to which the modernization would be nothing more than coating over its enslaving and patriarchal foundations.

Despite the great popularity and increased prestige of classic detective fiction, as well as the American hard-boiled novel, since their introduction in the nineteenth century many readers and authors have perceived them as genres incompatible with Latin American realities. The inherent conventions of the whodunit, the presence of a detective whose legitimacy is never in doubt, and its conservative ideology, which presupposed the punishment of criminality and the reestablishment of the status quo, were incongruous in societies in which people had no faith in justice. The genre, then, was regarded as unrealistic for third world countries. In this way, in order to be plausible, the detective novel in Latin America needed a different approach. In broad terms, these pages propose the emergence of a new genre that can be observed in the works of contemporary authors such as Vicente Leñero's Los albañiles (1963), Ricardo Piglia's Nombre falso (1975), Jorge Ibargüengoitia's Las muertas (1977) and, most notably, in Roberto Bolaño's Los detectives salvajes (1998), which I consider the most prominent and complex example of this type. The present study examines how this innovative Spanish American detective fiction incorporates and restates some of the structures and conventions of the hard-boiled novel and shares some features of contemporary Spanish American fiction, while developing its own characteristics in contrast with both detective fiction schools. Due to the necessity of the native writers to adopt, formally and thematically, alternative approaches when creating credible detective stories, I have named this emergent genre: Spanish American alternative detective fiction. / text

In Marked Men: Sport and Masculinity in Victorian Popular Culture, 1866-1904 I examine the representation of the figure of the Victorian sportsman in different areas of nineteenth-century popular culture – newspapers, spectacular melodrama, and series detective fiction – and how these depictions register diverse incarnations of this figure, demonstrating a discomfort with, and anxiety about, the way in which the sporting experience after the Industrial Revolution influenced gender ideology, specifically that related to ideas of manliness. Far from simply celebrating the modern experience of sport as one that works to produce manly men, coverage in the Victorian press of sporting events such as the 1869 Oxford-Cambridge Boat Race, spectacular melodramas by Dion Boucicault, and series detective fiction by Arthur Conan Doyle and Arthur Morrison, all recognize that the relationship between men and modern sport is a complex, if fraught one; it produces men who are “marked” in a variety of ways by their sporting experience. This recognition is at the heart of our own understandings of this relationship in the twenty-first century. / Thesis (Ph.D, English) -- Queen's University, 2012-08-01 15:16:09.384

The suburb of Belleville is situated on the north-eastern outskirts of inner Paris. Its particular blend of social strata, race and architecture has made it a site of interest for historians, writers and artists since the Middle Ages. Thanks in part to the phenomenal success of Daniel Pennac’s six tome Malaussène series, published towards the end of the 20th century and situated in Belleville, the site has continued to enjoy a privileged status among the historical and cultural precincts of Paris. The representation of Belleville in the written and spoken word has a long history, part of which has been told, although in somewhat piecemeal fashion to date. Existing research may be divided into 3 categories, corresponding to the disciplines of history, sociology and literature. Historical studies are extensive and tend to support the suburb’s reputation as a site of revolution and social unrest. The sociological studies focus on immigration to the suburb and on the consequences of its physical transformation over the last half of the 20th century. The overall image presented by sociologists is one of a cosmopolitan suburb whose inhabitants manage to co-exist peacefully despite the multicultural mix; Belleville’s reputation as a melting pot success story sits at odds with that of its image as a centre of rebellion. Literature-based research conducted into the suburb is more sketchy; Belleville’s association with the noir genre and its inherent illicit elements also contrasts with the previous observations. If the existing studies present various pictures of historical and contemporary Belleville, they do not, however, give a comprehensive image of the suburb, nor do they provide an analysis of the role of Belleville in the noir genre, with particular reference to the Malaussène series. I have thus undertaken a multidisciplinary study of the suburb, with the objective of establishing links between the history, sociology and the literature of Belleville, of gaining an understanding of the function of Belleville as a setting for detective fiction and of offering a new explanation of the success of Pennac’s Malaussène series, by relating it to his representation of Belleville. The three focus areas of my research are its history from the Middle Ages until the end of the 20th century, its diverse representations in literature and popular culture, and its connection to a particular literary genre: the noir. The originality of my project lies in the method created to categorise existing research. Belleville rouge presents a view of the site as historically antiauthoritarian in its attempts to promote social justice. Belleville rose incorporates those studies which emphasise the suburb to varying degrees as a utopia, a model of social harmony or a centre of joyful festivities. Belleville noir focuses on the choice of the suburb as backdrop for the noir genre in literature and film; a hub of transgression and criminal activity, the antithesis of the positive space presented in the second category. The first part of my research project looks at the history of Belleville, the changing nature of its borders, which differ greatly from the administrative division according to author and historian, and the creation of a collective Belleville identity. Part two examines the representations of Belleville in literature and popular culture from the Middle Ages until the year 2000, and furthermore attempts to determine to what extent these cultural representations correspond to the suburb’s history. The third section deals with the role of Belleville in noir film and literature. If a single image corresponding to the décor of the neo-polar genre begins to emerge from the representations of Belleville by the film directors and various authors whose texts make up our corpus, this image differs greatly from the nostalgic one offered by Daniel Pennac; his representation of the suburb is hence treated separately. It is this strong sense of attachment to, and identification with, Belleville that is underlined by Pennac in his Malaussène series. Setting himself apart from his néo-polar contemporaries, Pennac draws heavily on all of the three faces of Belleville: the rouge, the rose and the noir. His refusal to adhere strictly to the néo-polar genre and his corresponding tendency to borrow from other genres such as the fairy tale, has resulted in a fusion of the real and the mythological which has engendered in his series a streak of optimism not found in the works of his contemporaries. Pennac draws on the history and traditions of the suburb to thus present an original view of contemporary Belleville as a peace-loving, cohesive community. If we accept that the cultural memory of a site is dictated in part by its inhabitants, and hence is in constant evolution, outlasting its physical appearance, Pennac’s role of guardian of the cultural memory of Belleville may extend to that of the cultural memory of the French nation. / Thesis (Ph.D.) - University of Adelaide, School of Humanities, 2009

A presente dissertação propõe uma análise do romance A emparedada da Rua Nova, de Carneiro Vilela, com o objetivo de investigar de que forma os conceitos de modernidade e tradição se articulam com aspectos sociais da obra e do contexto em que ela foi escrita. A pesquisa investiga de que maneira a estrutura formal do romance-folhetim de Vilela uma narrativa de cunho policial está relacionada com a dinâmica das questões de classes, raças e gênero que compunham a sociedade recifense na segunda metade do século XIX. Verificou-se, por fim, a hipótese de que o princípio estrutural da obra formalizaria o deslocamento entre ideias liberais e prática brasileira, revelando uma relação de aparência e essência no seio de uma sociedade cuja modernização não passaria de um revestimento sobre os fortes alicerces de uma formação escravocrata e patriarcalista. / Our current research aims at studying the novel A emparedada da Rua Nova, by Carneiro Vilela, regarding in which ways the concepts of modernity and tradition are related to the social aspects of the novel and of the context in which it was written. Our goal is to examine the structure of Vilela\'s feuilleton, a kind of detective fiction, and how it relates to the dynamics of social classes, matters of races and gender in Recife\'s society from the second half of the nineteenth century. In this sense, we analyzed how the novels formal structure revealed the displacement between liberal ideas and social practice in Brazil, and it disclosed a system of appearances versus essence at the core of a society to which the modernization would be nothing more than coating over its enslaving and patriarchal foundations.

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