A Narratological Approach To Lists In Detective Fiction

This open access book examines how the form of the list features as a tool for meaning-making in the genre of detective fiction from the nineteenth to the twenty-first century. The book analyzes how both readers and detectives rely on listing as an ordering and structuring tool, and highlights the crucial role that lists assume in the reading process. It extends the boundaries of an emerging field dedicated to the study of lists in literature and caters to a newly revived interest in form and New Formalist approaches in narratological research. The central aim of this book is to show how detective fiction makes use of lists in order to frame various conceptions of knowledge. The frames created by these lists are crucial to decoding the texts, and they can be used to demonstrate how readers can be engaged in the act of detection or manipulated into accepting certain propositions in the text.

This book provides a concise introduction to lists in literature from the early modern period to the twenty-first century. Tracing the changing functions of the literary list across time, it offers a broad range of case studies which situate selected enumerations in their respective contexts and demonstrate the versatility and creative potential of the list form. Starting with a review of previous research on the literary list, the book discusses four main constellations of enumeration: series and the great chain of being; itemization and enumerative realism; ‘letteracettera’ and experimental list-making; ‘white noise’ and creative exploits of enumeration between formal playfulness and existential exploration. The epilogue offers an analytical toolkit for the study of literary lists based on rhetorical theory.

Dr Pyrhönen's innovative study is the first comprehensive overview and analysis of the academic reception of the eternally popular detective story; the discussion, using both a chronological and thematic approach, considers the changing views, and methods of analysis, of this fascinating genre. The author begins by tracing the development of detective fiction criticism from its beginnings, often written by its best authors, such as Dorothy L. Sayers; goes on to examine the structuralists' and narratologists' interest in the genre as a test case for various theories of reading; and finally outlines the current debates about the ideological underpinnings of detective fiction and its relationship to 'serious' literature. This book will be of interest not only to students and scholars of literature, but also to the countless devotees of the detective story. DR PYRHÖNENteaches literature at the University of Helsinki in the Department of Comparative Literature and Theatre Research.

The contributors to this volume all pay tribute to, and seek to account for, the astonishing durability of the detective story as a narrative genre. The essays range generously, taking a variety of theoretical approaches and including detective fiction in languages other than English, but particular attention is paid to the `Golden Age' of English detective story writing and to the `hard-boiled' American version on the genre. This is a collection that will appeal to the scholar and to the devotee alike, to all those, in fact, who can never resist the lure of finding out whodunnit.

This collection of essays examines how college professors teach the genre of detective fiction and provides insight into how the reader may apply such strategies to his or her own courses. Multi-disciplinary in scope, the essays cover teaching in the areas of literature, law, history, sociology, anthropology, architecture, gender studies, cultural studies, and literary theory. Also included are sample syllabi, writing assignments, questions for further discussion, reading lists, and further aids for course instruction.

Although rarely distinguished from the detective story, the crime novel offers readers a quite different experience. In the detective novel, a sympathetic detective figure uses reason and intuition to solve the puzzle, restore order, and reassure readers that "right" will always prevail. In the crime novel, by contrast, the "hero" is either the killer, the victim, a guilty bystander, or someone falsely accused, and the crime may never be satisfactorily solved. These and other fundamental differences are set out by Tony Hilfer in The Crime Novel, the first book that completely defines and explores this popular genre. Hilfer offers convincing evidence that the crime novel should be regarded as a genre distinct from the detective novel, whose conventions it subverts to develop conventions of its own. Hilfer provides in-depth analyses of novels by Georges Simenon, Margaret Millar, Patricia Highsmith, and Jim Thompson. He also treats such British novelists as Patrick Hamilton, Shelley Smith, and Marie Belloc Lowndes, as well as the American novelists Cornell Woolrich, John Franklin Bardin, James M. Cain, and Fredric Brown. In addition, he defines the distinctions between the American crime novel and the British, showing how their differences correspond to differences in American and British detective fiction. This well-written study will appeal to a general audience, as well as teachers and students of detective and mystery fiction. For anyone interested in the genre, it offers valuable suggestions of "what to read next."

We Must Have Certainty surveys the development of the genre of the detective story from its origins in the mid-nineteenth century to its current profile in the early twenty-first century. It locates a principal appeal of the genre in the nature of the world that the detective necessarily inhabits: a world of more or less realistic violence and excitement and, at the same time, a world that always, in the end, makes sense. It suggests that there is a significance to a popular narrative formula that requires that an initial world of suspicion and uncertainty be inevitably transformed by the detective into a world of clarity and order. Though scholarship in the field is acknowledged, the author's citations are most often from detective stories themselves. The essays are written in an accessible style; those who have read a few novels in the genre, as well as those who have read many, will find the book stimulating and provocative.