Denna uppsats utreder två frågeställningar rörande män och manlighet inom fiktion. Syftet med denna text är att försöka få en insikt i hur män porträtteras inom film och skönlitteratur, samt hur associationer påverkar gymnasielevers uppfattning av innebörden av att vara man. Skönlitteratur och film som inkluderar karaktärerna Odysseus, Batman, James Bond och Sherlock Holmes samt teoretisk litteratur med fokus på både genus och didaktik används för att besvara frågeställningarna. Dessutom används ett kvantitativt frågeformulär för att få in information om gymnasieelevers syn på män och manlighet. En av slutsatserna som kan dras utifrån undersökningsresultatet är att ideal och egenskaper som användes för att skapa fiktiva manliga karaktärer i antikens Grekland fortfarande är närvarande i moderna fiktiva karaktärer. En annan slutsats är att populärkulturen har en stor inverkan på vilka associationer till män och manlighet som människor har.

Neo-Victorian studies is a burgeoning subfield which seeks to examine contemporary representations of the Victorian period. For the last decade, neo-Victorian scholars have offered up definitions of what makes a text “neo-Victorian”; often, this has been via a description of what the neo-Victorian is not. The ‘ruling’ definition—i.e., the definition most consistently repeated—hails from the introduction to Neo-Victorianism: The Victorians in the Twenty-First Century by Ann Heilmann and Mark Llewellyn: “the Neo-Victorian is more than historical fiction set in the nineteenth century. […] texts (literary, filmic, audio/visual) must in some respect be self-consciously engaged with the act of (re)interpretation, (re)discovery and (re)vision concerning the Victorians” (4). This short delineation significantly comes at the expense of historical fiction, which is a move repeated throughout neo-Victorian efforts to define itself. Neo-Victorian studies has largely concerned itself with literary novels, operating with a heavy anxiety that ‘other’ fiction set in the nineteenth century is escapist and nostalgic in the sense that it simply perpetuates problematic past systems of oppression while evoking the fashionable aesthetic trappings of the Victorian. My dissertation argues that contemporary genre fiction, long derided as ‘simply’ escapist in nature, can also be neo-Victorian. In each of my chapters I analyze texts from a specific genre—steampunk, popular romance, detective fiction, and Sherlock Holmes pastiche—in order to offer a basis for investigating genre fiction with a neo-Victorian lens. I analyze the depiction of corsets and feminist protagonists in three steampunk novels, explore the exhibition of unlikely romantic heroines and Romany romantic heroes in Lisa Kleypas’ historical romance series about the Hathaway family, examine representations of class and gender as well as germane social issues in Anne Perry’s William Monk detective series, and highlight the feminist potential of Carole Nelson Douglas’ series of Sherlock Holmes pastiche featuring Irene Adler. Each chapter considers the Victorian period as represented alongside Victorian novels and literary periodicals in order to demonstrate the shape of these neo-Victorian revisions and make the case the genre fiction can be self-conscious despite its lack of metafictional content.

The aim of this thesis is to analyse the use of Gothic elements in Sir Arthur Conan Doyle&rsquo / s Sherlock Holmes stories. It begins with an overview of Gothic and detective fiction, pointing out the Gothic novels published in the late Victorian period, and referring to the Gothic influence on Poe, Dickens, and Collins who are important writers in the development of detective fiction. In this way, it is revealed that the presence of Gothic elements in the Sherlock Holmes stories is part of the writing fashion of the era. The thesis then analyses the Holmes stories which present significant Gothic elements in terms of terror, horror and the supernatural. In addition, it examines the whole Holmes canon in an endeavour to find out the Sherlock Holmes character&rsquo / s similarity to the Byronic hero who often appears in Gothic fiction. As a result, this study shows that Gothic elements contribute to the Sherlock Holmes stories in two ways. Firstly, they add to the depiction of minor characters, the setting, and the atmosphere of these stories. Secondly, they manifest themselves in the portrayal of the character of Holmes himself. Thus, the use of Gothic elements enables Doyle to create suspenseful and surprising stories with a strikingly memorable detective figure.

Le rayonnement de Sherlock Holmes dépasse de loin celui de son créateur (Arthur Conan Doyle) ou du roman qui l’a vu naître (Une étude en rouge, 1887) : ce personnage avalisé par ce que Cornelius Castoriadis appelle le « collectif anonyme » est ainsi devenu un mythe moderne. L’imaginaire collectif en fait l’incarnation même du détective et de l’Anglais : il habite Londres, voyage en hansom cab, prend le thé et porte son fameux deerstalker sur la tête. Son appartenance à l’identité nationale britannique est toutefois plus problématique qu’on ne serait spontanément porté à le croire. Effectivement, Conan Doyle s’est inspiré de deux personnages à la fois marginaux et représentatifs de l’identité nationale française pour imaginer son héros tout aussi marginal et représentatif de sa propre identité nationale : le chevalier Dupin d’Edgar Allan Poe (« Double Assassinat dans la rue Morgue », 1841) et monsieur Lecoq d’Émile Gaboriau (L’Affaire Lerouge, 1863). Mais il y a plus. Sherlock Holmes est non seulement né grâce à la France, mais a à son tour donné naissance à des personnages français, dont le gentleman cambrioleur de Maurice Leblanc, Arsène Lupin (« L’Arrestation d’Arsène Lupin », 1905), et le journaliste de Gaston Leroux, Joseph Rouletabille (Le Mystère de la chambre jaune, 1907). Tout se passe ici comme si la création de personnages incarnant l’identité nationale devait d’abord passer par la recherche de modèles paradoxaux liés à l’autre puissance nationale. Ancrés dans une période où chaque nation tente de définir son identité, les personnages du corpus incarnent le discours social de l’époque, tout en ayant été créés, paradoxalement, grâce à des personnages issus de la nation voisine. Balisée par le Second Empire et la Belle Époque, la présente thèse se divise en quatre chapitres, portant chacun sur un personnage français. La première partie, intitulée « En amont », se concentre sur Dupin et Lecoq, les deux figures françaises ayant mené Conan Doyle à créer son héros, alors que la seconde partie, « En aval », explore les personnages nés de l’influence de Sherlock Holmes, soit Lupin et Rouletabille. En adoptant une approche entre la socio et la mythocritique et en se basant sur l’herméneutique de la question et de la réponse proposée par Hans Robert Jauss, cette thèse cherche à objectiver les questionnements auxquels la société aurait trouvé des réponses au travers les corpus étudiés, permettant ainsi l’enracinement de Sherlock Holmes et d’Arsène Lupin dans l’imaginaire social et leur survie dans l’imaginaire collectif, et expliquant l’effacement progressif, voire l’oubli, des autres personnages.

In this thesis I analyze detective Sherlock Holmes method based on the semiotics of Ch. S. Peirce. I would like to show that although Holmes detective about his method claim that it is deductive, in-depth analysis shows that this method is far more complex and involves induction and abduction, and that each of these methods has its own importance in the detective's reasoning. The work is divided into three parts. The first part focuses on the Sherlock Holmes detective in terms of logical methods. The second part is focused on methods of reasoning by Ch. S. Peirce emphasizing abduction, a hypothesis. The third part is practical and includes analysis of the process of detective Sherlock Holmes based on the thesis of Ch. S. Peirce, as outlined in the second part.`

This thesis focuses on the various adaptations of Arthur Conan Doyles novel The Hound of the Baskerville and accentuate the episode The Hounds of Baskervilles from the BBC TV series Sherlock. Thus, this thesis is decribing the theme, which was not fully covered in Czech literature. The author used different sources, books, internet pages and cinematographic pieces. The thesis consists of two parts. In the first part the author is focusing on the theory of adaptation, Doyle's life and art, The Hound of the Baskervilles book and the TV series Sherlock. In the practical part the author narrates about the episode The Hounds of the Baskervilles and searching for definition of the adaptation process, which the makers of this episode used. This part also answers the question, why is this episode so popular and key for the whole series. The crucial final part of the thesis summarizes the main principles, which authors and film makers can use during the process of the adaptation. Keywords Adaptation, television series, Arthur Conan Doyle, BBC, Sherlock, The Hound of the Baskervilles Title/název práce Adaptations of the novel The Hound of the Baskervilles: The triumph of the television series's sociopath

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Abstract The great detective Sherlock Holmes casts a long shadow on the previous research on the short stories by Sir Arthur Conan Doyle, where Mr. Holmes has been given the main attention. On the periphery, however, a woman named Irene Adler is recognizable. Adler makes her single entrance in the Sherlock Universe in “A Scandal in Bohemia” from 1891 when she outsmarts Mr. Holmes and makes him reconsider the entire female sex as a consequence. In the BBC adaptation Sherlock, the case is however different for the early feminist icon Adler. The portrayal of Adler in the episode “A Scandal in Belgravia” from 2012 is mainly focusing on her sexuality, nudity and seductive personality when meeting Holmes, which has resulted in this essay that aims to study the transformation of Adler from text to screen from a gender perspective. By conducting a comparative study based on gender theory and adaptation theory, the essay finds that there has been a sexualisation and diminishing of independence on behalf of Adler, which relates to common stereotypes in the portrayal of women in film. Through a successive degradation of the female character, it is possible to detect a form of reversed emancipation where the hundred year older predecessor shows greater feminist characteristics than the modern adaptation. / Sammanfattning Mästerdetektiven Sherlock Holmes kastar en lång skugga efter sig och har stått i centrum för majoriteten av forskningen om Sir Arthur Conan Doyles noveller. I periferin återfinns emellertid en kvinna vid namn Irene Adler som i ”A Scandal in Bohemia” från 1891 överlistar Holmes och får honom att omdefiniera hela sin syn på det kvinnliga könet på grund av Adlers intelligens och agens. I BBC:s filmatisering av den berömde detektiven i serien Sherlock har dock stora förändringar skett i transformationen av den feministiska förgrundsgestalten Adler. Porträtteringen av Adler i avsnittet ”A Scandal in Belgravia” från 2012 fokuserar till stor del på hennes sexualitet, avkläddhet och förföriska person i mötet med Holmes, vilket också föranlett denna uppsats vars syfte är att studera porträtteringen av Adler från text till filmduk ur ett genusperspektiv. Genom en komparativ metod grundad i genusteori och adaptionsteori finner uppsatsen att det skett en sexualisering och ett osjälvständiggörande av Adler som överensstämmer väl med många av de vanligt förekommande stereotypiska porträtteringarna av kvinnor på filmduken. Genom en successiv nedbrytning av den kvinnliga karaktären kan ett slags omvänd emancipation skönjas, där den hundra år äldre förlagan visar starkare feministiska förtecken än den moderna adaptionen.

In contemporary crime drama there has been a shift of main character from the forensic scientist to the consultant. This put the representation of knowledge in a different light. In this study the focus is on how, and what kind of cognitive processes and knowledge are represented in two crime dramas with consultants as main characters; CSI: Crime Scene Investigation and Sherlock. Basing the analysis on concepts of cognitive processes and knowledge, it becomes evident that due to the shift in main character the representation of knowledge also has changed; from an institutionalized and science based view on knowledge to the legitimization of a personal, uncritical and fast way of gathering knowledge.

The aim of this thesis is to introduce, justify, and apply a better framework for analysing Sherlock Holmes, one of the most adapted characters of all time. The project works to resituate the focus of those involved in studying adaptations of Sherlock Holmes from an examination of the discrete transition of a text from page to screen, to the evolution of the character as it changes across various intertexts and through time. The purpose is to show that it is the character specifically, and not the literary text with its narrative, genric, and aesthetic qualifications, that is being adapted, and that with this in mind, studying adaptations of Sherlock Holmes should involve a study of the various processes, pressures, and mechanisms that shape, change, and define the character throughout its hundreds of screen afterlives. This thesis then analyses many of these processes with the aim of contributing to our understanding of how a character like Holmes is moulded through remediation. It takes into account how the character’s indices shift and accumulate as they are variously performed. It also considers how the mechanisms of selection function to privilege certain incarnations of the character, and how that privileging becomes a part of future readings. Finally, it addresses how reception and perception by audiences influence how the character is read, and thus how it is understood. By considering all of these aspects of the evolutionary process, and by avoiding a chronological or even a linear organization of the texts under scrutiny, this work seeks to offer a more complete answer to the question of how a single source can support a multitude of varied, even contradictory adaptations and remain relevant and interesting through the years.