(in English): The present diploma thesis analyses three translations, published with twenty years of difference, of novels featuring the commissioner Maigret character written by a Belgian writer Georges Simenon. As a baseline for our analysis of the translations, the theoretical part of the present paper outlines the current state of research in the topic, provides an introduction into the life and work of the writer. Further, we present an account of detective novels in general and their historical development in France, which will enable us to identify how the Maigret novels fit within the genre and where they differ from its general features. Next, we will review how Simenon's work was received by readers in the French speaking countries and within the Czech environment; we will also present an overview of the publications of the Maigret novels. We will then provide a detailed analysis of the original French version of the novels focusing on introduction and classification of the selected characteristics. Based on the analysis, we discovered certain areas such as translation of local names or translation of expressions of level of certainty, which allow for comparison of the translations in question. Using this comparison, we aim to track any potential development in translation strategy. The...

Cette thèse tente de présenter la vie et les ouvrages de Cheng Xiaoqing (1893-1976) et d’analyser les Huo Sang tan’anji [Enquêtes de Huo Sang], sa série policière, ainsi que leurs liens avec Les Aventures de Sherlock Holmes d’Arthur Conan Doyle d’une part, et avec Shi gong’an [Jugements de Shi], recueil anonyme traditionnel chinois, d’autre part. Cheng Xiaoqing, pionnier et promoteur des récits de déduction/détection chinois, fut le fer de lance du genre policier en Chine. Il a été le touche-à-tout de génie de ce mouvement littéraire : à la fois traducteur et écrivain, rédacteur en chef et éditorialiste de revues spécialisées et même auteur d’essais et d’études sur la technique du roman policier, on lui doit la série la plus importante centrée sur un seul héros : Huo Sang. Patriote, Cheng Xiaoqing n’a jamais rejeté le passé de son pays ni quitté le sol de la Chine. Héritier des caractéristiques du biji des dynasties Ming et Qing et de celles du huaben des Song, il a voulu jeter un pont entre la littérature narrative traditionnelle et un contexte en constante évolution, en faisant des emprunts stylistiques aux romans d’importation tout en laissant le devant de la scène à des personnages à l’identité chinoise fortement marquée. Son héros Huo Sang parvient ainsi à être une sorte de trait d’union entre le Juge Shi Shilun et le Holmes britannique. / This thesis attempts to present the life and works of Cheng Xiaoqing (1893-1976) as well as to analyze the Huo Sang tan’anji [Investigations of Huo Sang], his detective series and its links with The Adventures of Sherlock Holmes by Arthur Conan Doyle on one hand, and with Shi gong’an [Case Decisions by Shi], a traditional anonymous collection, on the other hand. A pioneer and promoter of Chinese stories of deduction and detection, Cheng Xiaoqing was the spearhead of the genre in China. He was the ingenious Jack of all trades of this literary movement: both translator and fiction writer, chief editor and leading writer of magazines specializing in detective stories, he even published essays analyzing these stories with their technical tricks. We can thank him for the creation of the most important series centered on one protagonist: Huo Sang. A true patriot, Cheng Xiaoqing never turned his back on the history of his country nor did he ever leave it. As heir to the tradition of the biji of the Ming and Qing dynasties, and that of the huaben of the Song dynasty, Cheng strove to unite the traditional literary narrative with the ever changing society of his times, by borrowing stylistic devices from foreign sources, but allowing protagonists with clear Chinese identities to take the spotlight. His main character Huo Sang thus turns out to be a kind of link between the Judge Shi Shilun and Sherlock Holmes.

The diploma thesis deals with analysis of Pavel Kohout's Novels, which were formed in the period of seventies to the nineties. This analysis is focused especially on observation of criminal and detective motifs in novels Katyně, Kde je zakopán pes, Hodina tance a lásky and Hvězdná hodina vrahů. Due to the close interconnection of works and their author, the first part deals with the life of the writer, and emphasis is put on the period after the year 1968. The thesis also deals with the topic of criminal literature, with its development and with definition of rules, which could be found out within this kind of literature. Our intention is to analyze individual works in the terms of particular motifs and methods, which appears in Pavel Kohout's novels. The roles of the main characters and their action in connection with crime are analyzed in particular works. We also observe to what extent are the works influenced by rules and principles of criminal literature. To the characteristic feature of selected novels belongs especially the work with suspense and with reader's expectation. Key words: detective story, criminal literature, investigator, victim, motive, rules, expectation, perspective, composition, versatility

The diploma thesis deals with the analysis of particular detective and Gothic elements in Christopher Pike's adventurous series Remember Me. The main aim of the thesis is to analyse themes and motifs of Pike's work with respect to the Gothic tradition and the development of detective prose. The thesis is formally divided into theoretical and practical parts. The theoretical chapter is devoted to the genre of the detective and Gothic literature, as well as metaphysical detective story. The theoretical part is followed by the practical analysis of selected Pike's works. The practical analysis involves the characteristics of the main protagonists and the influence of horror and metaphysical detective elements on the search of individual identity.

Made available in DSpace on 2014-12-17T15:06:45Z (GMT). No. of bitstreams: 1 LucianaFB.pdf: 713582 bytes, checksum: 2237a93a44c314be1531fe6b365198f5 (MD5) Previous issue date: 2008-12-15 / Conselho Nacional de Desenvolvimento Cient?fico e Tecnol?gico / The mirror has always been related to different symbols, usually connected to self-knowledge and truth. This is due to the fact that this object shows whoever looks oneself in it an image as close to reality as it is possible. On the other hand, the mirror is also associated to mysticism and to the supernatural for it can magically duplicate one who looks into it. This ambiguous characteristic turns the mirror into an element that is fantastic in itself and places it in the central position of our discussion. Therefore, in this study, we analyze the texts In a Glass Darkly, by Agatha Christie, The Oval Portrait, by Edgar Allan Poe, and The Picture of Dorian Gray, by Oscar Wilde, giving special attention to the study of the images and artificial representations of men: the mirror, as an ephemeral representation; and the portrait, as an attempt to eternize an ephemeral image. We also discuss themes such as jealousy, the double, and death in the several forms in which it appears in the texts: suicides, homicides, attempted murders, death in life (mourning, separation, and developmental phases) all of which are, somehow, related to the specular representations. The narrative resource of using a mirror to introduce the supernatural event, along with the theme of death in all the narratives we have studied, and the difficulty to place these texts within the pre-established genres led us to categorize them as being part of a hybrid genre that presents characteristics both of the fantastic and of the detective story which we have named fantastic-detective story / O espelho ? um objeto que sempre esteve carregado de diferentes simbologias, comumente ligadas ao autoconhecimento e ? verdade, devido ao fato de mostrar, a quem se olha nele, uma imagem t?o pr?xima da real quanto poss?vel. Por outro lado, o espelho tamb?m ? associado ao misticismo e ao sobrenatural pela m?gica de conseguir duplicar aquele que olha atrav?s dele. Esse car?ter amb?guo torna o espelho um elemento fant?stico por excel?ncia e de recorr?ncia comum nos textos deste g?nero, al?m de ponto alto de interesse para nossa discuss?o. Analisamos, neste trabalho, os textos In a Glass Darkly de Christie, The Oval Portrait de Poe e The Picture of Dorian Gray de Wilde a partir de uma metodologia comparativa, nos dedicando especialmente ao estudo das imagens, assim como das representa??es que o homem faz de si mesmo presentes nas narrativas: o espelho, enquanto representa??o ef?mera; e, o retrato, enquanto tentativa de eterniza??o de uma imagem ef?mera. Discutiremos ainda temas como o ci?me, o duplo e a morte nas diversas formas nas quais ela se apresenta nos textos aqui estudados: suic?dios, homic?dios, tentativas de assassinato, mortes em vida (luto, separa??o, fases de desenvolvimento), todos relacionados de alguma forma com as representa??es especulares. O recurso narrativo da utiliza??o do espelho como introdutor do evento sobrenatural, junto com a tem?tica da morte, presente em todos os textos do corpus, e a dificuldade de enquadramento das narrativas em um g?nero pr?estabelecido nos levou a categoriz?-los como um g?nero h?brido que apresenta caracter?sticas tanto do fant?stico quanto do policial, ao qual chamamos policial-fant?stico

Made available in DSpace on 2016-04-18T21:48:51Z (GMT). No. of bitstreams: 2 Jose Eduardo Botelho de Sena1.pdf: 1022197 bytes, checksum: a0f44e1e020d6b89a2e95044e411cebe (MD5) Jose Eduardo Botelho de Sena2.pdf: 2986524 bytes, checksum: e092b516005f7a5a6cb9dba28217f43b (MD5) Previous issue date: 2008-08-19 / The aim of this paper is to discuss O mistério do cinco estrelas, by Marcos Rey, based on the assumption that this book, presents not only characteristics of the traditional detective story, but also some innovations concerning this gender an adolescent books. To do so, we outined a brief history of the detective story in and outside Brazil, folosing it s presence in Brazilian Literature for adolescent, as a background to discuss what is tradition, and what is innovation int the work of Marcos Rey. / Este trabalho tem como objetivo analisar O mistério do cinco estrelas, de Marcos Rey, a partir do pressuposto de que, nesta obra, manifestam-se tanto características que seguem a tradição do romance policial quanto aspectos inovadores em relação a este gênero e à literatura juvenil. Assim, o trabalho sistematiza características do gênero e os tipos de romance policial, traça uma breve história do gênero no exterior e no Brasil, bem como de sua presença na literatura juvenil aqui produzida como fundamento para discutir aquilo que é tradição e o que é inovação na obra de Marcos Rey.

As the title suggests, this essay is a postmodern and autobiographical analysis of the three detectives in Paul Auster´s widely acclaimed 1987 novel The New York Trilogy. The focus of this study is centred on a comparison between the three detectives, but also on tracking when and why the detectives devolve into madness. Moreover, it links their descent into madness to the postmodern condition. In postmodernity with its’ incredulity toward Metanarratives’ lives are shaped by chance rather than by causality. In addition, the traditional reliable tools of analysis and reason widely associated with the well-known literary detectives in the era of enlightenment, such as Sherlock Holmes or Dupin, are of little use. All of this is also aggravated by an unforgiving and painful never-ending postmodern present that leaves the detectives with little chance to catch their breath, recover their balance or sanity while being overwhelmed by their disruptive postmodern objects. Consequently, the three detectives are essentially all humiliated and stripped bare of their professional and personal identities with catastrophic results. Hence, if the three detectives start out with a reasonable confidence in their own abilities, their investigations lead them with no exceptions to a point where they are unable to distinguish reality from their postmodern paranoia and madness. And in the meantime, no crime is resolved and no social order restored. The autobiographical back drop of the three detectives and protagonists in the three novellas is the author´s own life in the late seventies and early eighties. In that sense the three protagonists all illustrate the parallel lives the author could have had, if chance and trivial every day decisions had not turned Auster´s life around, at certain critical junctures during the darkest moments of his life in connection with the painful divorce from his first wife.

阿嘉莎•克莉絲蒂一般被視為是一位傳統及經典的偵探小說作家。此類小說家通常會在小說裡強調「最後的真相」以及一個穩定社會秩序的回歸。然而，在此論文中，我將試著去證明克莉絲蒂的作品其實已超越了傳統偵探小說家的境界。由於她另類地在小說裡鋪陳「不確定真相」並且展現了一個介於工業社會以及後工業「風險社會」現代化變遷過程中的不穩定社會秩序，她甚至可以說是一位「反身性」的現代主義作家(“reflexive” modernist)呈現「高度現代性」(high modernity)的社會寫實。 本論文共分為六個章節；主要探討了克莉絲蒂對英國工業社會的「現代化進程」(modernizing process)的反身性及批判性的思維。在她的小說裡，所呈現的所謂「現代化進程」，包含了對理性真理的建構、規律化的時間及空間實踐以及國家之各法制機關的運作。在克莉絲蒂的小說裡，此過程與深受資本主義所影響下的工業化以及都市化的英國社會的關係是密不可分的。 因此，貝克(Ulrich Beck)對「風險社會」(risk society)以及「反身性現代化」(reflexive modernization)的見解，被用來廣泛地討論克莉絲蒂的作品。此外，其他談論「現代性」的幾位學者，例如哈維(David Harvey)、列菲弗爾(Henri Lefebvre)、瑟鐸(Michel de Certeau)以及班雅明(Walter Benjamin)的理論也被運用來解析她的文本。之所以涉及到這幾位學者的學說的原因，主要是他們都對工業社會下的理性化及紀律化的日常生活提出他們的質疑，也對現代科技及都市生活影響下的全新空間/時間的感知，發表了他們的見解。這些都有助於以文化研究的方法來暸解克莉絲蒂在其小說裡所呈現的社會情景。 總之，本論文的主要目標是要探討克莉絲蒂的小說文本與小說的社會背景兩者的關係。以「高度現代性」的理論架構，而非以傳統結構主義以及文類研究的方式，來審視她的小說。藉此，我期盼克莉絲蒂的小說能在英美現代文學作品的研究裡，能夠被重視並且能有重新的評價。 / Agatha Christie is often regarded as a traditional and classic detective writer who accentuates an ultimate truth and promotes the restoration of a stable social order in her novels. Yet, my study attempts to evidence that, with her writings transcending the limits of traditional detective fiction, she acted as a “reflexive” modernist by alternatively dealing with an uncertainty truth and demonstrating a shaky social order in a transitive changing reality from an industrial society to a post-industrial risk society. My dissertation is divided into six chapters, which focus on examining her reflexive and critical consciousness of a modernizing process, including the construction and deconstruction of a rational truth, disciplinary spatiotemporal practices, and legal institutions in her contemporary society of industrialization and urbanization under the impact of capitalism. The study of Christie’s works will be based on Ulrich Beck’s notions of ‘risk society” and “reflexive modernization.” The theories of other modernist scholars, including those of David Harvey, Henri Lefebvre, Michel de Certeau, and Walter Benjamin, are also applied to witness Christie’s transformation from a conventional detective writer to a modernist one. These four theorists interrogate the rational and disciplinary control of everyday life in an industrial society and deal with brand new spatio-temporal perceptions rising from the development of advanced technologies and modern city life. Their theoretical perspectives are helpful to analyze Christie’s texts. Christie’s writings exhibit a changing social reality, a change from an early modernity to a later development of high modernity. Other than applying traditional approaches like structuralism and genre study, I employ a high-modernist perspective to discuss the interactions between Christie’s literary texts and their social background. My study is expected to relocate Christie as an experimental writer in the literary history of detective fiction.

Afin d'explorer la transition du genre Gothique vers le Policier dans la fiction de Dickens, notre étude suivra un plan général en trois grandes parties, divisées elles-mêmes en trois chapitres chacune. Il s'agira tout d'abord de présenter le contexte sociétal qui a conduit à la collision de deux genres littéraires, le Gothique et le Policier. Pour cela nous définirons les caractéristiques du Gothique dickensien. Dickens met en scène un univers doublement familier – un univers qui appartient au passé, un monde réel connu de ses lecteurs, mais également un univers qui appartient à l'histoire de la fiction, qui relève d'une intertextualité forte, que l'on pourrait qualifier de typique, aisément partagée par ses lecteurs. En second lieu, nous nous tournerons vers les effets de cette transition violente sur la mémoire des personnages, en définissant d'abord l'expression du trauma dans la fiction de Dickens. Nous verrons que le trauma repose en particulier sur le trouble identitaire que créent le sentiment d'une faillite de l'appartenance, ainsi que la disparition des repères que les Victoriens, et les personnages que Dickens met en scène, pensaient immuables. Dans un troisième temps, nous montrerons comment le Gothique et le Policier interagissent dans la fiction de Dickens, en analysant les éléments de société qui expliquent, à notre avis, cette rencontre presque contre nature – puisqu'on pourrait supposer que l'explication rationnelle obtenue au terme d'une fiction policière résolve les tensions gothiques. Nous verrons qu'il n'en est rien, et que la résolution des enquêtes ne libère pas complètement la fiction d'un après-coup gothique. Afin d'illustrer cette ligne d'analyse, nous étudierons la passation des pouvoirs entre les hommes de loi et les détectives, une passation des pouvoirs visible à la fois dans la société victorienne et dans le texte dickensien, et enfin la rémanence du Gothique qui fait des détectives les antiquaires d'un nouveau genre. / In order to investigate the transition from the Gothic genre to the detective fiction in Charles Dickens's works, our study will first concentrate on the Victorian social context that led to the collision of two literary genres, the Gothic and the detective fiction. We will define Dickensian Gothic. Actually, Dickens stages a twofold familiar universe. One universe belongs to the past – a real world that is well known to the readers. The second universe shows an insertion in literary history of an intertextual fabric – described as typical and easily shared by his readers. We will then deal with the effects of this violent collision upon the characters' memories and will define the expression of trauma in Dickens's fiction. Trauma primarily rests upon identity confusion. It originates from a sense of failure of identity belonging together with a sense of loss of society bearings that Dickens's characters experience and thought to be immutable. Finally, we will show how Gothic and Detective fictions interact in Dickens's fiction. We will analyse the societal elements that explain this almost against nature meeting for we could assume that the rational explanation that comes at the end of the detective novel should solve the Gothic tensions. But in fact, the solving of the inquests doesn't free the fiction from a Gothic aftermath. We will then study the transfer of powers from lawyers to detective police officers. This transfer of powers is noticeable both in Victorian society and the Dickensian text. We will then conclude with the persistence of Gothic in Dickens's fiction that makes detective police officers some sort of antiquarians of a new genre.

Die vorliegende Seminararbeit zeigt anhand einer breit gefächerten Analyse von Mystery die Vielfältigkeit des Mystery-Begriffes und -Genres auf, besonders im Hinblick auf die Parallelen und Unterschiede zu seinem englischen Ursprung. Es erfolgt eine detaillierte etymologisch-lexikografische Betrachtung. In dieser wird auf die verschiedenen Bedeutungsfacetten von Mystery eingegangen sowie eine Anglizismus-/Pseudoanglizismus-Debatte geführt. Ausgangspunkt bildet der ursprüngliche Sinn von Mystery als Unerklärliches, generelles Rätsel, Geheimnis oder religiöses Mysterium. Es werden Verbindungen zu englischen Rätselgeschichten (mystery stories) gezogen, die allgemein von unerklärlichen Begebenheiten erzählt. Diese mysteries umfassen sowohl Rätsel im verbrechensbezogenen Kontext (detective stories) als auch die im Deutschen vorherrschenden Verbindungen zum Übernatürlichen sowie Geheimnisvoll-Rätselhaftes in den vielfältigsten Kontexten (Gothic novels, moderne American mystery story). Somit wird eine Annäherung der englisch-deutschen Mystery-Bedeutung sichtbar. Ferner versucht die Arbeit, auf Ursprünge und Entwicklungen des deutschen Mystery-Trends einzugehen und die Faszination Mystery zu erklären. Eine bedeutende Rolle kommt der Serie Akte X zu. Denn im Zuge ihrer Ausstrahlung und Vermarktung im deutschen Fernsehen wurde die englische Mystery-Bezeichnung aufgegriffen. In die gesamte Aufarbeitung werden verschiedenste Meinungen von Rezipientenseite, Vermarktung, Medien, Wissenschaft einbezogen. So entsteht ein Überblick zum Dargestellten im Mystery-Genre. Es wird belegt, dass im deutschsprachigen Raum ein relativ einheitliches Bewusstsein dafür besteht, was das Genre Mystery im filmischen und literarischen Bereich ausmacht.