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. |
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... writing , I would like to thank Ann Lowry of the University of Illinois Press . For his rigorous and helpful readings of this book , I am indebted to Bruce Henricksen and the other , anonymous outside reader for the University of ...
... writing , I would like to thank Ann Lowry of the University of Illinois Press . For his rigorous and helpful readings of this book , I am indebted to Bruce Henricksen and the other , anonymous outside reader for the University of ...
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... writing on the subject . Julian Symons's history of crime fiction , Bloody Murder , in many ways the standard literary history of crime fiction , is also an exercise in the evaluation of literary merit . This has the side effect of ...
... writing on the subject . Julian Symons's history of crime fiction , Bloody Murder , in many ways the standard literary history of crime fiction , is also an exercise in the evaluation of literary merit . This has the side effect of ...
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... writing over others . My argument , developed in full in chapter 1 , is that the dismissal of crime fiction and other popular forms of writing is based on one version of high - modernist aesthetics , which in turn depends on a number of ...
... writing over others . My argument , developed in full in chapter 1 , is that the dismissal of crime fiction and other popular forms of writing is based on one version of high - modernist aesthetics , which in turn depends on a number of ...
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... writers whose theories of culture , I believe , allow for a much more conjunctural , flexible understanding of the relations between high and low culture than that permitted by those who see mass culture as aesthetically inferior . In ...
... writers whose theories of culture , I believe , allow for a much more conjunctural , flexible understanding of the relations between high and low culture than that permitted by those who see mass culture as aesthetically inferior . In ...
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... writing practices that , for lack of a better word , have still to be designated as porously modernist . Thus each of the historical divisions adopted in this study - the late - nineteenth - century age of high imperialism , the post ...
... writing practices that , for lack of a better word , have still to be designated as porously modernist . Thus each of the historical divisions adopted in this study - the late - nineteenth - century age of high imperialism , the post ...
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.