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Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990sBaraban, Elena V. 05 1900 (has links)
The subject matter of my study is representations of Russia in Anglo-American
and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable
for representing the world split between good and evil, these genres played a prominent
role in constructing the image of the other during the Cold War. Crime fiction then is an
important source for grasping the changes in representing Russia after the Cold War. My
hypothesis is that despite the changes in the political roles of Russia and the United
States, the end of the Cold War and the demise of the Soviet Union continued to have a
significant impact on popular fiction about Russia in the 1990s. A comparative
perspective on depictions of Russia in the 1990s is particularly suitable in regard to
American and Russian popular cultures because during the Cold War, Soviet and
American identities were formed in view of the other. A comparative approach to the
study of Russian popular fiction is additionally justified by the role that the idea of the
West had played in Russian cultural history starting from the early eighteenth century.
Reflection on depictions of Russia in crime fiction by writers coming from the
two formerly antagonistic cultures poses the problem of representation in its relationship
to time, history, politics, popular culture, and genre. The methods used in this
dissertation derive from the field of cultural studies, history, and structuralist poetics. A
combination of structuralist readings and social theory allows me to uncover the ways in
which popular detective genres changed in response to the sentiments of nostalgia and
anxiety about repressed or lost identities, the sentiments that were typical of the 1990s.
My study of Anglo-American and Russian spy novels, mysteries, and action thrillers
contributes to our understanding of the ways American and Russian cultures invent and
reinvent themselves after a significant historical rupture, how they mobilize the past for
making sense of the present. Drawing on readings of literature and culture by such
scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen,
Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and
Russian representations of Russia are a result of cultural asymmetries and cultural
chronotopes in the United States and in Russia. I argue that Russian and American crime
fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and
historical sensibilities after the end of the Cold War and the fall of the Soviet Union.
Memories of the Cold War and coming to terms with the end of the Cold War played a
defining role in depicting Russia by Anglo-American detective authors of the 1990s; this
role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly,
reconsideration of Russian history became an essential characteristic in the development
of the new Russian detektiv.
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Frauenkrimi : generic expectations and the reception of recent French and German crime novels by women = Polar féminin /Barfoot, Nicola. January 2007 (has links)
Zugl.: London, University, Diss., 2004.
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Une jambe à mon cou, roman ; suivi de Élaboration de caractéristiques visant la création d'un roman policier de série commercialisableLamontagne, Yves. January 1997 (has links) (PDF)
No description available.
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Russia in the prism of popular culture : Russian and American detective fiction and thrillers of the 1990sBaraban, Elena V. 05 1900 (has links)
The subject matter of my study is representations of Russia in Anglo-American
and Russian spy novels, mysteries, and action thrillers of the 1990s. Especially suitable
for representing the world split between good and evil, these genres played a prominent
role in constructing the image of the other during the Cold War. Crime fiction then is an
important source for grasping the changes in representing Russia after the Cold War. My
hypothesis is that despite the changes in the political roles of Russia and the United
States, the end of the Cold War and the demise of the Soviet Union continued to have a
significant impact on popular fiction about Russia in the 1990s. A comparative
perspective on depictions of Russia in the 1990s is particularly suitable in regard to
American and Russian popular cultures because during the Cold War, Soviet and
American identities were formed in view of the other. A comparative approach to the
study of Russian popular fiction is additionally justified by the role that the idea of the
West had played in Russian cultural history starting from the early eighteenth century.
Reflection on depictions of Russia in crime fiction by writers coming from the
two formerly antagonistic cultures poses the problem of representation in its relationship
to time, history, politics, popular culture, and genre. The methods used in this
dissertation derive from the field of cultural studies, history, and structuralist poetics. A
combination of structuralist readings and social theory allows me to uncover the ways in
which popular detective genres changed in response to the sentiments of nostalgia and
anxiety about repressed or lost identities, the sentiments that were typical of the 1990s.
My study of Anglo-American and Russian spy novels, mysteries, and action thrillers
contributes to our understanding of the ways American and Russian cultures invent and
reinvent themselves after a significant historical rupture, how they mobilize the past for
making sense of the present. Drawing on readings of literature and culture by such
scholars as Mikhail Bakhtin, Tzvetan Todorov, Siegfried Kracauer, Andreas Huyssen,
Fredric Jameson, and Svetlana Boym, I show that differences in Anglo-American and
Russian representations of Russia are a result of cultural asymmetries and cultural
chronotopes in the United States and in Russia. I argue that Russian and American crime
fiction of the 1990s re-writes Russia in the light of cultural memory, nostalgia, and
historical sensibilities after the end of the Cold War and the fall of the Soviet Union.
Memories of the Cold War and coming to terms with the end of the Cold War played a
defining role in depicting Russia by Anglo-American detective authors of the 1990s; this
role is clear from the genre changes in Anglo-American thrillers about Russia. Similarly,
reconsideration of Russian history became an essential characteristic in the development
of the new Russian detektiv. / Arts, Faculty of / English, Department of / Graduate
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Sherlock's pharmacy : drugs in detective stories, 1860s to 1890sKareno, Emma January 1996 (has links)
This work examines the significance of drugs in Victorian stories of detection through a selection of detective fiction published between the years 1860 and 1890. The main purpose of the work is to show how these texts make a specific link between drugs and detection, and use this link to engage themselves in questions concerning reading and the consumption of fiction. I wish to argue, first, that drugs play a significant role in Victorian detective stories as a device to produce a sense of mystery and excitement in these texts. Secondly, I shall hope to show how this is achieved especially by presenting detection as having the drug-like qualities of intoxication and addiction. And thirdly, I shall examine how this particular characterisation of detection evokes a conception of detective fiction as a drug and invites the reader to consider her experience of reading in terms of an experience of drugs. In short, drugs, in these narratives, do not appear as a mere theme or a plot element, but can be seen to affect the very narrative form and structure of the fiction.
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Character development through non-linear story format : its creation, use, and applicationsCrosier, Erik R. January 2008 (has links)
The purpose of this creative project is to explore the concept of character development as it appears in non-linear story formats. These formats are those of relatively recent technological advances that have paved the way for stories to be related to an audience in ways that are completely unique to each individual audience member. This project specifically is a murder mystery story, told in such a non-linear fashion. The story is capable of being viewed in a completely unique manner by each individual audience member. From this story, viewer's opinions have been examined, and conclusions have been drawn of the value and significance of non-linear story formats in relation to character development. / Department of Telecommunications
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A critical evaluation of D.N. Moloto's Tshipu e rile : ke lebelo as a detective novel13 October 2015 (has links)
M.A. (African Languages) / The main aim of this study is to make a critical evaluation of the detective story, and to draw a line of demarcation between a detective and a crime story. This chapter is based on the theoretical arguments of different scholars. However, an extensive study needs to be done to come up with a clear and convincing difference between the two ...
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Vicarious power : masculinity, access and the hard-boiled detectiveWinsor, Shiloh 13 September 2001 (has links)
Dashiell Hammett's fiction and detective pulps
generally, offered the reader a chance to participate in
vicarious power, by giving them a sense of the profession of
detection, both in and out of the stories. It was the
realism of the detective figure that allowed the audience to
relate to him. What the detective offers the reader is an
intensely powerful performance of masculinity that is at
once ordinary in physicality and intelligence and
extraordinary in the power it affords him. This power comes
from his professional abilities, which allow him to
transcend physical and class limitations. The detective
story allows the reader to identify with the detective, and
the detective pulps both in the stories and in their other
sections offer the reader lessons in the profession of
detection. Through this identification and education there
is a kind of transference of the detective's power to the
reader. The detective story offers the reader a chance to
be powerful in a corrupt world, but since the detective is
never able to fully rid the world of corruption, the story
also offers the reader an opportunity to escape the corrupt
world by putting the story down (essentially locating the
corruption of the world within the pulp itself). In this
escape, the reader inevitably feels happiness and
contentment because his real world (though not as exciting
or powerful as the detective's) is safe. / Graduation date: 2002
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Characterization of detective figure as a site of negotiation of modernism and postmodernism in the 21st centuryMa, Chun-laam., 馬鎮嵐. January 2011 (has links)
published_or_final_version / Literary and Cultural Studies / Master / Master of Arts
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The apprehension of criminal man, 1876-1913 : an intertextual analysis of knowledge productionLeps, Marie-Christine January 1985 (has links)
No description available.
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