Роман на перетині жанрів: як Ґ. К. Честертон поєднав детектив, фантастику і трилер у «Людині, яка була Четвергом»

Indigenous voices emerged within Australian detective fiction with the greatest clarity in the 1990s. This chapter examines the figure of the Indigenous Aboriginal detective created by Indigenous writers as an underrepresented character and speaking subject within Australian detective fiction that both traverses and disrupts conventional elements of literary style. Certainly, the conventional characteristic elements of crime genre are present within detective fiction written by Indigenous writers, but this literary post-colonialist analysis explores how Indigenous writers such as Mudrooroo (“The Westralian,” “The Healer,” and “Home on the Range”), Philip McLaren (Scream Black Murder), and Sally Morgan (My Place) juxtaposed elements of style to both highlight constructs of reality in Australian detective fiction while simultaneously providing fresh perspectives on both the Indigenous detective as a figure of political interest and Australian Indigenous detective fiction as political writing.

The Web of Iniquity is a study of detective fiction written by American women between the Civil War and World War II. Refuting the idea that no American detective fiction of substance was produced between the times of Edgar Allan Poe and Dashiell Hammett, Catherine Ross Nickerson shows how these women writers blended Gothic elements into fiction to create a unique and all-but-ignored subgenre that she labels domestic detective fiction. Throughout the volume, Nickerson focuses on the narrative qualities of the novel tradition and the ways in which it reflected ideologies of domesticity and gender. Also included are a discussion of various rewritings of the Lizzie Borden scandal in this tradition and an afterword on the relation of detective fiction to the hard-boiled style. The Web of Iniquity places the detective fiction written by women between 1850 and 1940 into ongoing discussions regarding women, culture, and literature and will appeal to scholars and students of women's studies, American studies, and literary history.

A Vision of Complex Symmetry

Alternate history is on one level liberated from the narrative of history and verifiable fact, but it is also mercilessly reliant upon that narrative for its effectiveness. This paper analyses how William Gibson’s The Peripheral subverts familiar elements of the alternate history genre, combining it with similarly distorted conventions from detective fiction, manipulating the reader’s response, and causing them to question accepted truths, realities and roles, problematizing narratives of history and justice.

Karl Vocelka’s novel Der Dozent und der Tod, published in 2022, represents an intriguing combination of a campus novel and detective fiction, falling entirely within the subgenre of campus crime novel. The story, set in Vienna in 1986, revolves around an amateur detective, a lecturer at the University of Vienna, who finds himself in the middle of a murder investigation and begins a quest for the truth, which results not only in exposing the perpetrator, but also in revealing several hidden agendas in academic circles. The aim of this paper is to examine the characterization of fictional characters, as well as the determination of their functions in the context of the specific subgenre – the campus crime novel. The analysis of crucial characters of the novel will be based on their actions, physical appearances, language and interpersonal characterization. Their functions will be established by implementing Greimas’ actantial model, which offers an opportunity to describe elementary action relationships within narrative texts by taking specific generic characteristics into consideration, while creating a productive basis for analysis and further interpretations. The analysis will show that Vocelka’s novel follows the traditional line of campus crime fiction, but also differs at some points from the expected elements of this hybrid genre, most clearly in relation to the main character and the diversity of character functions.

This thesis aims at laying bare Agatha Christie’s poetics of detective fiction. In Chapter One, I deal with the reading experience from two main aspects: the reader and the text. In Chapter Two, I discuss the types of deception techniques used by Agatha Christie in her works to enhance the playfulness of the text. In this chapter, I point out that there are three major types of deception: concealing information, distraction with suspicious but irrelevant clues, and the use of the narrator to mislead the reader. In Chapter Three, I use And Then There Were None as my speaking example to show how Christie employs the deception techniques to subvert the norms of traditional detective fiction while still maintaining some of the basic elements of this genre. By blending the traditional with her new ideas, Agatha Christie has made the detective novel a more playful platform for crime fiction readers.

‘It is as though every … writer to prove his fitness for serious literature, had to write a detective story’. In her 1937 essay ‘the literature of detection’, composed for Oxford University's student newspaper The Cherwell, Penelope [Knox] Fitzgerald, in the course of reviewing her uncle Fr. Ronald Knox's detective novel Double Cross-Purposes, sets out to define the detective story, beginning with the claim that ‘[i]f a picture is half-way between a thought and a thing, a detective story stands half-way between a book and a soulless aberration’.1 It is not the most exalting point d'appui. Fitzgerald respects the form, yet if ‘[t]here is no idea of a modern novel’,2 for the reason that its practitioners – James, Conrad, Hemingway, Barnes, Stein, Joyce, Lawrence, Proust, Woolf, et al. – made definition a fraught undertaking, one can, she thinks, feel on safer ground when addressing oneself to the parameters of the detective novel: The detective novel commands respect in this – that it has a certain standard, a classic conception by which it may measure itself. There is no idea of a modern novel; but the serious detective writer should be conscious of a definite pattern, three hundred pages long (almost exactly) and selling at seven and six; containing not less than one murder and not more than three, with some comic relief, some sentimental passages describing local scenery and either a police detective or an amateur with some credentials for his investigation.3

The Halo Effect, a psychological bias where a single positive trait, such as charm or status, distorts overall perception, often leads to misjudgments in social and professional contexts (Thorndike, 1920). In detective fiction, this cognitive bias serves as a powerful narrative tool, enabling authors to endow villains with appealing characteristics that conceal their true motives, thereby deceiving readers and sustaining suspense. This dynamic aligns with the genre’s emphasis on misdirection, crafting intricate plots that challenge assumptions and deliver unexpected revelations (Knight, 2004). This paper aims to examine how Agatha Christie’s Endless Night (1967) and Gillian Flynn’s Sharp Objects (2006) leverage the Halo Effect to manipulate reader perception, mislead fictional investigations, and enhance narrative complexity. Through case studies and comparative analysis, supported by psychological and literary scholarship, it explores the mechanisms by which these novels disguise antagonists, fostering a false sense of trust. The analysis highlights parallels between fictional deception and real-world biases, encouraging critical scrutiny of superficial judgments. By illuminating the interplay between narrative artistry and cognitive biases, the paper underscores detective fiction’s role in both entertaining and educating readers about the pervasive influence of perception. Keywords Halo Effect, Detective Fiction, Narrative Misdirection, Societal Biases, Plot Twists, Unreliable Narration, Psychological Realism, Critical Thinking

Nightly dynamics of emotional content in dreams.

Edgar Allan Poe (1809-1849) is an influential writer in the history of American literature and even in world literature. He is a novelist, a poet and a literary theorist, who is known as a pioneer of horror fiction, science fiction and detective fiction. The style of his works is unique and fills with rich connation and it involves dual personality and non-communication between people. In particular, the animal images account for most proportion in his all works, and this is the focus of this thesis. The present study is to analyze some typical animal images in Poe’s works from the perspective of symbolism. Animal images in Poe’s literary works are divided into two categories for analysis. One is about the real-world animals, which suggest the darkness and complexity of human nature and reveal people’s living state and psychological state. Poe uses these animal images as tools to show a certain person’s personality or instinct and manifest the inner world or spirit situation of social beings. The other group concerns the virtual unknown animal images, such as gold bug. In his works, Poe expresses the desire of mankind to know themselves and the world. This study is supposed to analyze the symbolic meaning and functions of animal images, weather the real ones or the imaginable one in Poe’s works, which is expected to expand the perspective of animal image analysis in Edgar Allan Poe’s works, and provide a broader development space for the study of Edgar Allan Poe. It helps to deepen readers’ understanding of human nature and human life in Edgar Allan Poe’s works.

In Other Inquisitions, 1937-1952, Jorge Luis Borges affectionately mentions G. K. Chesterton's Father Brown stories and hints that along with Poe's they are influences on his own stories of mystery, crime, and detection. Borges' stories may be understood better by looking at Chesterton's priest, and at the way both authors experiment with conventions of the mystery genre to examine the supernatural and the nature of evil. Because of the enigmas and paradoxes of his character, the unprepossessing Father Brown, a small man with a dough-face and sea-flat eyes, has a distinct personality which especially appeals to Borges and affects his own detective fiction: the perfect figure for the butt of a joke, Borges sees, Father Brown is also the perfect figure for getting in the way and solving metaphysical jokes. Out of place in the physical world, Father Brown is always in the right place for the supernatural. His mind was all of a piece, and he was unconscious of many incongruities (The Crime of the Communist).' As a priest he is a believer in magic and mystery who consistently produces the most mundane and naturalistic solutions. He works by reason and faith both, and the two are never at odds owing to a middle sense, intuition, which keeps him from acting mistakenly even if truth is not revealed to his intellect: he has a mystic's cloud on him when evil is near. When he doubts, he doubts only because he is not certain whether a case calls for a policeman, a doctor, or a priest. But if Father Brown, as a professional celibate, has a sexlessness about him which puts him further outside the human ordinary (unresponsive to the power of sex, he is not corruptible like ordinary men), nevertheless he is thoroughly a gentleman. The traditionally distinguishing features of the gentleman-power, rationality, and responsibility-mingle in Father Brown with the spy's invisibility and unreality, although in the priest these last two are treated as virtues, not as defects of character. Invisibility comes from his being so unobtrusively in the middle of things (he is, after all, a good priest doing his job), and his unreality is a supremely other-worldly quality. Detachment is his superiority. It fits him for super-impressions and mystical illuminations as well as reasoned solutions. The priest's sense of environment and his comfortable fondness for obscure, unique oddities and trinkets make him a perfect Borgesian character. Mysteries of Good and Evil, God and Devil, Body and Soul, Reason and Faith, Innocence and Guilt, Truth and Falsehood, Appearance and Reality, Time and Eternity, come up continually in the fantastic Father Brown tales.

2 The 1890s, Detective Fiction, and the Nature of Evil

My essay focuses on the ontological crisis articulated in the film Blade Runner 2049, the sequel for Ridley Scott’s Blade Runner. This film is based on the conflict between humans and androids called replicants who would like to live equally to humans. In my opinion the root of their opposition lies on the inability to give a proper definition of what we normally call ‘human’. In this writing I present and analyse the nature of this conflict and also the philosophical questions (representation, freedom, self-identity etc.) arising from it based on the ideas of philosophers like Michel Foucault. Jean-Paul Sartre, Jacques Derrida and Ferdinand de Saussure.

Introduction. The article is focused on studying the area of intersection of contemporary art and philosophy, it is a continuation of the research project on conceptual art and its intersection with philosophy, which we started earlier. By conceptual art, we mean art aimed at intellectual comprehen- sion of what has been seen, art that appeals to thinking and generates philosophical meanings. But if earlier we explored conceptual cinema and mainly visual art of the early 20 th century, then in this article we want to turn to the visual art of the second half of the 20 th century — the beginning of the 21 st century, which is also called contemporary art by art critics. The empirical material of the study was the works of such contemporary artists as E. Warhol, D. Koons, D. Hirst, J. Ono, F. Bacon, I. Kabakov, D. Kos- suth, the movement of “new realists” and photo- realists, the movement of Moscow conceptualists and etc. Contemporary art is one of the ways of understanding the world, visual philosophy, which is of interest for philosophical understanding. The purpose of the article is to conduct a philo- sophical analysis of visual art of the second half of the 20 th — early 21 st I centuries in order to identify its philosophical sources and content. Methods. The author uses the following gen- eral scientific methods: analysis and synthesis, induction, deduction, abstraction. When analyzing works of conceptual art, we use hermeneutic and phenomenological methods, a semiotic approach. We also use the symbolic-contextual method of analyzing exhibition concepts, which is based on identifying the philosophical meanings and ideas of exhibitions of contemporary art. Scientific novelty of the study. We regard con- temporary art as a visual philosophy. Philosophiz- ing, in our opinion, can exist in various forms and forms from everyday practical (the so-called naive philosophizing) to artistic-figurative, that is, visual. Philosophical ideas or concepts are born not only from professional thinkers, but also from artists. The artistic concepts of contemporary artists are similar to the concepts of philosophers, since the goal of both is to cognize the world and grasp be- ing. We find and describe the area of intersection of modern philosophy and contemporary art, each of which is in a situation of crisis separately and continuous dialogue together. Results. In the course of our research, we identify and describe the philosophical origins of visual art in the second half of the twentieth century - early twenty-first century: postmodern philosophical consciousness, conceptualism, the idea of “death of the author” and “death of art”, simulacrum, kitsch and camp, the method of deconstruction and its application in modern art. Conclusions. Visual art of the second half of the 20 th century — early 21 st century is a visual form of philosophical questioning about the essence of art itself, about the existence of a person and be- ing in general. The works of contemporary artists are based on philosophical problems: meaning, speech and meaning, the ratio of the rational and the irrational, the problem of abandonment and loneliness of a person, the problem of the “death of the author” and the alienation of the creator from his work, the idea of the impossibility of objective knowledge of reality.

Both Iris Murdoch's A Word Child, despite her claims to the contrary, and E. M. Forster's Howards End deal in philosophical ideas. addition, their goals remain the same, the attainment of a state of appreciation for the value of hope and love, even though the emphasis in Howards End is on connecting and in A Word Child on disconnecting. Murdoch states in a 1977 interview, can't be sure, of course, but I don't feel any wave of influence there. I don't think philosophy influences my work as a novelist.' Yet she recognizes the philosophical function of literature, since In morals and politics we have stripped ourselves of concepts. Literature, in curing its own ills, can give us a new vocabulary of experience and a truer picture of freedom.2 Claiming that We need a new vocabulary of attention, she states in 1961, It is here that literature is so important, especially since it has taken over some of the tasks formerly performed by philosophy.3 this way in the early sixties, Murdoch recognizes and takes on the chore Richard Rorty assigns to the philosopher in the 1980s.4 No longer can philosophical questions be addressed solely by the dry philosophical essay. Frederick J. Hoffman concurs: Philosophy and art never exactly touch or converge in Miss Murdoch's work. This is partly because the two disciplines remain adamantly apart, and have quite different tones. But she is also responsible for a feminine view of philosophy. She says, in many ways, to her masculine colleagues: let's have done with this abstracting nonsense and see how human beings do, after all, torture one another; perhaps if we do, we can see eventually how they may come to love one another. (20)