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Crime fiction originated in the mid-nineteenth century, at a time of great positivistic confidence in the potential of human knowledge. Edgar Allan Poe’s short stories are considered as the beginning of the genre, and his character Auguste Dupin is the first modern literary detective. F. M. Dostoevsky did not write crime novels because the elements of the genre present in his novels participate in the construction of a different kind. However, this paper will try to look in more detail at the key differences between Dostoevsky and the classical rules of crime fiction, on the example of the novel “Crime and Punishment”.A deeper understanding of these differences reveals the limits of the genre, while in Dostoevsky one can recognize one of the early critiques of the fundamental principles and world picture that the genre represents.

This study investigates the contribution of the sense of the uncanny to the intensification of mystery in Edgar Allan Poe’s short story titled “Morella” using Freudian ideas as a backcloth. This paper aims to look at how Poe makes use of the psychodynamics of the characters at the intersection of the (m)other, death and the uncanny. In this sense, typical of Poesque literature is that his work is marked by tales of horror, mystery, the macabre, and morbid imagery; the sense of the uncanny is an indispensable part of a plotline which includes semantic loopholes and narrative ruptures. The unnamed male narrator of the story offers a retrospective account of his past memories from his marriage to Morella up to the death of his daughter, which reveals that this unreliable narrator suffers from a psychic regression by establishing intrasubjectivity with his wife. Using Freudian ideas as the conceptual backcloth, this paper will also discuss the ways in which how the mysterious bond established between this couple generates its uncanny effect. Such a reading of the short story is especially useful because although much has been written on Poe’s representation of women and death, this paper aims to open up a discursive space to discuss the operations of the psychodynamics of characters within the framework of the Freudian uncanny, which has not received adequate scholarly attention from psychoanalytic circles.

From its onset, the Gothic has attempted to challenge established norms and conventions, either for sensational effects or to question their homogenizing and reductive tendencies. The questioning or reinforcing of received notions of femininity in Gothic fiction has been much debated by critics, with the concept of masculinity coming second. The present paper discusses normative masculinity as it was perceived in the 19th century and how E.T.A. Hoffmann, Edgar Allan Poe and Guy de Maupassant challenge its validity by creating male characters who adopt a hysterical, almost feminine voice, contesting the belief that hysteria was a “female malady”. The characters expose their unconventional masculinity, which resists the model of the ‘ganzer Mann’ in Germany, ‘marketplace man’ in US and the ‘conjugal heterosexual’ in France.

AbstractThe Mid-Atlantic: Fantasmatic Genealogies of the French and American New WavesbyJonathan E. HaynesDoctor of Philosophy in Film & MediaUniversity of California, BerkeleyProfessors Kaja Silverman and Kristen Whissel, Co-ChairsThis dissertation re-imagines the contexts for the paradigmatic film movement of the sixties. The French New Wave, I argue, was made and remade in translation, as texts circulated among French and American scholars, critics, and filmmakers. Subtending this circulation was a genealogical fantasy, with deep roots in the 19th century of Charles Baudelaire and Edgar Allan Poe. The Baudelaire-Poe liaison has become the defining symbol of la rencontre franco-américaine and is often invoked to characterize the transformative effects of Truffaut's and Godard's politique des auteurs on the reputations of key American filmmakers, like Howard Hawks and Nicholas Ray. Ambiguously connected to official traffic between the two nations, and manifest in a decades-long labor of translation that Baudelaire himself compared to prayer, l'affaire Baudelaire-Poe illuminates the degree to which French-American exchange was transferential. In Poe, Baudelaire saw the reflection of his own desire, and he spent the last years of his life making Poe's work his own. In so far as the Nouvelle Vague belongs to this lineage, the film movement cannot be confined to France and the early sixties; nor are the texts of the Nouvelle Vague (the films and the criticism) fully answerable to the exigencies of post-War phenomena, such as the Marshall Plan and generation gaps. Rather, these designators of historical specificity mediate a more complex, even subversive, family drama, in which French authors write themselves into the history of American art, while American authors re-invent French works in their own image. To capture the Oceanic qualities of a cultural exchange in which transnational logics are subordinate to intersubjective ones, I produce a new term - The Mid-Atlantic. The Mid-Atlantic refers to the actual space between France and America, where planes and boats crossed, transferring materials between the two nations. But the Mid-Atlantic has its own history, independent of its status as a shipping route. In the dissertation's introduction, I examine how the Mid-Atlantic has been figured by authors like Herman Melville, Gilles Deleuze, and Jean-Luc Godard, in order to make the case that the Mid-Atlantic constitutes a fantasmatic origin for the Nouvelle Vague. In Chapter One ("Beyond the Zero: Jacques Rivette on Fritz Lang") I argue that la politique des auteurs re-tailored film history in the image of desire. Through a close reading of Jacques Rivette's 1957 review of Fritz Lang's Beyond a Reasonable Doubt (1956), the German emigré's last Hollywood film, I attempt to show the devious ways in which Rivette assumes "authorship" of Fritz Lang through an act of critical exegesis that re-doubles and sublates the film it describes. Beyond a Reasonable Doubt and its author dissolve into Rivette's poetic description (which is also a depiction, the "stylo" transformed into the "caméra"). For the contemporary reader, who can only read this article in the foreknowledge of the legendary Nouvelle Vague films soon to appear, the article is doubly prophetic. It augurs the author Rivette - Paris nous appartient (1961) - as well as the future history of the Auteur "Lang," who ever-after would belong to the past of the Nouvelle Vague. Chapter Two, "Corresponding Vessels: Truffaut-Hitchcock" develops the larger argument about Franco-American transference through a close analysis of François Truffaut's legendary book of interviews with the master of suspense. In Truffaut's "Hitchbook," each auteur plays a part in the other's film: Hitchcock becomes a character in Baiser volés(Stolen Kisses 1968), while Truffaut, his merciless interlocutor, adopts the prosecutorial features of the detectives from The Wrong Man (1956). Like its literary ancestor, Baudelaire's Histoires Extraordinaires, which spawned a great deal of 20th century modernist art (from Symbolist poetry to le policier), I argue that the "Hitchbook" was the Big Bang of modern film studies in France and America. Published almost simultaneously (in 1967) on both sides of the Atlantic, this classic text was the root of New Hollywood, as well as gaze theory - here, Hitchcock becomes an Absolute Cinematic Value. In "Downtown Godard," my third chapter, I examine Amos Poe's 1976 "No Wave" film, Unmade Beds. Poe's film restages Godard's A bout de souffle (1959) on the bombed-out streets of New York's Lower East Side, and discloses unexpected affinities between the American Underground of Andy Warhol and Jack Smith and the Nouvelle Vague of Godard and Truffaut. I argue that the eponymonous "unmade beds" refer to one unmade bed - the ransacked hotel mattress in Godard's first feature, around which Jean-Paul Belmondo and Jean Seberg orbited, like twin galaxies of French-American connotation. A Mid-Atlantic figure par excellence, the unmade bed stands for the primal scene of sixties and seventies experimental film. My fourth and final chapter ("The Resurrection and the Life") examines the preponderance of the "death of the cinema" metaphor in current film and media discourse, in order to bring into focus how this crucial Nouvelle Vague concept (la fin de cinéma) operates in Mid-Atlantic terms. I read two "post-cinematic" films - Luc Moullet's 1971 "western," A Girl is a Gun: Une aventure de billy le kid and Alexandre Aja's shocking 2003 horror film, Haute tension - in parallel. Both films occupy the modality of le cinéma mort, as emblematized by important films like Godard's Weekend (1967) and Pier Paolo Pasolini's Salò (1975), which put "revolt" under the sign of revulsion. Yet, both also demonstrate the degree to which the "death of the cinema," however taken - as a militant call (Death to Cinema!) or as a simple fact of the mediatic society (the totemistic "cinema" of digital culture) - necessitates the appearance of a new kind of image, which will form the mythological basis for a New Cinema. In the dissertation's conclusion ("The Embryonic Image"), I extrapolate the consequences of this "new image" for film historiography and theory. Here I turn to Godard's Histoire(s) du cinéma (1988-1998), in particular a sequence from that work in which a portrait of a young woman overlays a scene from Charles Laughton's Night of the Hunter (1955). Godard's image, I argue, brings Mid-Atlantic figuration to a late-20th century apotheosis. It invokes the prayerful mood of Baudelaire's Poe translations ("Le voyage" is read on the soundtrack), and it postulates that the Cinema Itself was born in a single spasm of recognition: a French poet seeing his own features reflected in the words of an American poet.

The highly-acclaimed American TV show known as The Simpsons has become a referent in the development of several studies related to a variety of disciplines. Notwithstanding, little attention has been devoted to the impact of literature on this program. The central issue addressed in this paper, then, is the way in which literature is frequently presented within these cartoons. Given this orientation, it will be convenient to explain the concept of intertextuality together with the different ways in which this notion normally operates within the series. Special attention will be paid to three canonical authors, namely Mark Twain, William Shakespeare and Edgar Allan Poe. A major trait will be given to the classic works Hamlet and “The Raven” by Shakespeare and Poe, respectively. The analysis will conclude with the assets and drawbacks that can be derived from the study of literature along with The Simpsons

The highly-acclaimed American TV show known as The Simpsons has become a referent in the development of several studies related to a variety of disciplines. Notwithstanding, little attention has been devoted to the impact of literature on this program. The central issue addressed in this paper, then, is the way in which literature is frequently presented within these cartoons. Given this orientation, it will be convenient to explain the concept of intertextuality together with the different ways in which this notion normally operates within the series. Special attention will be paid to three canonical authors, namely Mark Twain, William Shakespeare and Edgar Allan Poe. A major trait will be given to the classic works Hamlet and “The Raven” by Shakespeare and Poe, respectively. The analysis will conclude with the assets and drawbacks that can be derived from the study of literature along with The Simpsons

The keynote of the essay is proving the ironic and satirical nature of Poe’s only drama “Politian”. For the first time, the influence of Thomas Nashe (“The Unfortunate Traveler, or The Life of Jacke Wilton”, 1594) and Robert Burton (“The Anatomy of Melancholy”, 1621) was indicated. The essay also proves the original source of the unusual name Lalage for Edgar Allan Poe. It was not the Horace ode, as was commonly thought, but a specific epigram by Martial. The most competent researchers supposed the names of the characters were taken from an unidentified book on Italian Renaissance. The essay introduces an original issue instead — all the names were taken by Poe from the enological vocabulary, which includes the names of wines, and specific bottles, or were associated with the aesthetics of wine consumption, ascending to the classical literature (onomatopoeia).

Edgar Allan Poe, one of the most powerful names inAmerican and Anglo-Saxon literature, was a writer, poet, editor and literarycritic associated with the American Romantic Movement. He became known for hismysterious and horrible stories. He was one of the first American writers ofthe short story genre. Poe was also respected in the field of literature forhis contributions to the science fiction genre that emerged during the sameperiod. His best-known works were generally Gothic and focused on issues suchas separation, death, the resurrection of the dead and mourning. Poe's style isconsidered one of the cornerstones of the dark-romantic movement. It isgenerally seen as a desperate and mysterious figure hidden in the shadows ofmoonlit gravestones or hidden in the ruins of the ruined castles. But ofcourse, this image is a characterized and inadequate description of theexisting Poe. Poe was not the first Gothic writer, but he was undeniably one ofthe strongest. This article focuses on the probable psychological analysis ofwhy Poe's stories work so intensely and "live" in death, gloom, andgrief.

This article explores the construction of narrative suspense in Edgar Allan Poe’s and Alfred Hitchcock’s works. Central to their creations is a dual narrative structure that builds tension by articulating two stories in one. Narratological analyses of Poe’s tales and of Hitchcock’s thrillers indicate that their suspense does not stem from gothic topoi, but from plots skilfully wrought to manipulate the readers/viewers’ attention. The first part of the article introduces the concept of narrative suspense. Next, structural principles defended by Poe and Hitchcock are presented. The last two parts discuss narrative techniques in the works by both authors. Given the authors’ influence within their respective media, the analysis has implications for studies of the short story and of the suspense thriller as a narrative genre., English Literature

International audience; Focusing on Edgar Allan Poe and Roald Dahl's short-stories, this paper's main framework aims at demonstrating that although it may not seem initially obvious, the works of the two authors share not only one, but many characteristics. Before writing his famous children's fiction, Roald Dahl established his reputation as a writer of deathly short stories with unexpected twists that may recall Poe's Gothic tales. Therefore Dahl, who has never been considered part of the Neo-Gothic stream, has nevertheless incorporated Neo-Gothic elements in his work. The first part of this paper will focus on the Gothic genre of the two authors (and its characteristics) as it appears to be their common playground. In the second part of this study, the theme of the tortured body will be treated and will attempt to highlight the idea that the body, in Poe's and Dahl's works, stands for an externalization of the narrators' tortured minds.

New England has the special specifics caused by her historical and cultural heritage and also a recognizable image in mass culture. Existence of such factor as the rich literary heritage including beating stereotypes about New England allows to speak about a possibility of creation of the concept of the tour across the region connected, on the one hand, with the culture of the historic area and, on the other hand, based on the stereotypes existing in mass consciousness about New England, first of all the horrors connected with culture in which special role was played by «founding fathers» of a genre: Edgar Allan Poe, Howard Phillips Lovecraft and Stephen King, whose works are also connected with the mystical region. Новая Англия обладает особой спецификой, обусловленной ее историческим и культурным наследием, а также узнаваемым образом в массовой культуре. Наличие такого фактора, как богатое литературное наследие, в том числе обыгрывающее стереотипы о Новой Англии, позволяет говорить о возможности создания концепции тура по региону, соотносящегося, с одной стороны, с культурой исторической области и, с другой стороны, основывающегося на существующих в массовом сознании стереотипах о Новой Англии, в первую очередь связанных с культурой ужасов, особую роль в которой сыграли «отцы-основатели» жанра: Эдгар Аллан По, Говард Филлипс Лавкрафт и Стивен Кинг, чьи произведения также связаны с этим мистическим регионом.

Lizzie Doten, a famous 19th century American poet, was best known for being a medium through whom the spirits of popular poets such as Edgar A. Poe could still transmit their verses even dead by using her as a channel. The characteristics of the trances in which she would recite a poem supposedly under the influence of a spirit were mostly oral and improvised. Lizzie Doten wrote two books: Poems from the Inner Life (1863) and Poems of Progress (1871). They are both a compilation of poems created by spirits through her. In this paper we will focus on the former, for it is the best example of Doten's work where we can find those types of poems. It is also a challenging text to translate, for what we must take into account some of the main items that appear in Doten's poetry: intertextuality, the mediumship process, rhythms, and metrics.