Fiction, Crime, and Empire: Clues to Modernity and PostmodernismUniversity of Illinois Press, 1993 - 200 páginas Reading fiction from high and low culture together, Fiction, Crime, and Empire skillfully sheds light on how crime fiction responded to the British and American experiences of empire, and how forms such as the detective novel, spy thrillers, and conspiracy fiction articulate powerful cultural responses to imperialism. Poe's Dupin stories, for example, are seen as embodying a highly critical vision of the social forces that were then transforming the United States into a modern, democratic industrialized nation; a century later, Le Carré employs the conventions of espionage fiction to critique the exhausted and morally compromised values of British imperialism. By exploring these works through the organizing figure of crime during and after the age of high imperialism, Thompson challenges and modifies commonplace definitions of modernism, postmodernism, and popular or mass culture. |
Dentro del libro
Resultados 1-5 de 54
Página 4
... traditional dismissal of genre fiction cannot logically be sustained because all fiction is genre fiction ; all fiction acquires an identity through its incorporation of genres ( Bakhtin 288-89 ) . This approach differs from those ...
... traditional dismissal of genre fiction cannot logically be sustained because all fiction is genre fiction ; all fiction acquires an identity through its incorporation of genres ( Bakhtin 288-89 ) . This approach differs from those ...
Página 5
... tradition , I examine the ways in which literary value itself is produced and how ideologies of literary value are then used to elevate certain forms of writing over others . My argument , developed in full in chapter 1 , is that the ...
... tradition , I examine the ways in which literary value itself is produced and how ideologies of literary value are then used to elevate certain forms of writing over others . My argument , developed in full in chapter 1 , is that the ...
Página 8
... traditions of crime fiction . And it is not a literary history of crime fiction , although it certainly has implications for literary history . What I have attempted to do is to use my analyses of crime fiction as a basis for ...
... traditions of crime fiction . And it is not a literary history of crime fiction , although it certainly has implications for literary history . What I have attempted to do is to use my analyses of crime fiction as a basis for ...
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Términos y frases comunes
Adorno adventure aesthetic alienation anarchists Baudrillard bourgeois British capitalism Carré character Christie Christie's Conrad consciousness contemporary Continental Op conventions crime fiction critical Crying of Lot Dashiell Hammett detective fiction detective figure detective novel detective stories dominant Doyle Dupin empire empiricism espionage fiction evaluation exists formal English novel Freud genre Glass Key Hammett's fiction hard-boiled fiction high modernism Holmes's human identity ideology imperial India individual Kipling Kipling's knowledge language Leamas literary literature Lukács Marx Marxism mass culture Miss Marple modernist moral Morstan mystery narrative novel of detection Poe's detective political popular culture popular fiction postmodern produced Purloined Letter Pynchon ratiocinative Raymond Williams reader realism reality relations represented Secret Agent sense Sherlock Holmes Sign of Four simulacra Sleeping Murder social society spy novel structure style subgenre suggests theory thriller tion tradition ultimately values Victorian writing York
Pasajes populares
Página 7 - To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world — and, at the same time, that threatens to destroy everything we have, everything we know, everything we are.