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In 1975, Leonardo Sciascia published a best-selling book on the mysterious disappearance of Ettore Majorana, professor of Theoretical Physics at the University of Naples, who vanished in 1938 and was never seen again. Despite lack of direct evidence, the writer claimed that the scientist sought refuge in a monastery after foreseeing the horrors of Hiroshima and Nagasaki. This idea sparked a national debate and angered the majority of Italian physicists, especially the so-called «via Panisperna boys» who had worked with Majorana in Rome during the 1930s under the supervision of Enrico Fermi. One of them was Gian Carlo Wick, professor of Theoretical Physics at Columbia University. His unpublished correspondence with his former colleagues (Edoardo Amaldi, Emilio Segrè, etc.) sheds light not only on their contempt for Sciascia, whom they considered as a liar, but also on the troubling memory of the Italian racial laws and the social responsibilities of scientists in the atomic age. [ABSTRACT FROM AUTHOR]

The No. 1 Ladies' Detective Agency is both a successful series of novels and a television series which ran for one series on the BBC in 2008. While the books have been criticised on a number of aspects, including its representation of Botswana, the television series has received very little academic attention at all. The television series was an international co-production between the United States, United Kingdom and South Africa, using a mix of American and South African actors in regular and recurring roles with British guest artists and production team despite being shot in Botswana. While the main features of the adaptation were primarily related to a reordering of vignettes from the books into the series, the television series added in a new character, the camp, gay hairdresser BK. At the time the series was airing, same-sex sexual activity was illegal in Botswana though that has since been changed. As such, this paper will discuss the addition of this liminal character into the series through close reading of the text and paratexts (including industrial context). Ultimately the paper will contextualise the addition with regard to both national and sexual identity and debates surrounding African queer identities. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Faculty of Letters / Trakya Üniversitesi Edebiyat Fakültesi Dergisi is the property of Trakya University, Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It is axiomatic that crime fiction is not considered "literary" and is excluded from prestigious and mainstream literary prizes. Although Ruth Rendell's later "standalone" and Barbara Vine novels have often been successful in gaining specific crime fiction awards, her Chief Detective Inspector Wexford series have been passed over in this regard, and it was only with the beginning of the Vine publications that her work was considered to take a literary turn. In response to this misapprehension, her early writing has received comparatively little attention, even within the still limited range of Rendell scholarship. This should be surprising as, beginning with the first Wexford, From Doon with Death in 1964, her work, whether writing as Rendell or Vine, is without exception comprised of layers of narrative complexity, literary references, and textual mosaics. This article, through its analysis of Rendell's first three novels, From Doon with Death, To Fear a Painted Devil, and Vanity Dies Hard, will explore the centrality of texts and textuality within her work, from the minutiae and range of texts that form her mosaic of clues, to the centrality of the acts of reading and writing, but most importantly to the revelation of the extent that the novels are steeped in literary knowledge and understanding, and the extent to which Rendell's readers should equal that knowledge and understanding to fully engage with the narrative process. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Litarature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper seeks to study select adventures of Feluda (Pradosh C. Mitter), Satyajit Ray's private detective created in 1965. For over two centuries, since the 1890 s, the popular literature of Bengal (India) has been featuring detectives in the detective story called "Goenda Kahini" in Bangla. An acclaimed Bengali litterateur and one of the world's greatest filmmakers, Ray penned 35 adventures on his detective between 1965 and 1990. Initially created for a children's magazine "Sandesh," these adventures along with the magazine's transformation gradually followed a more serious tone. Written in postcolonial India, the time frame of the stories is the 1960s and the 70 s. The texts that this paper proposes to study reflect the social milieu in the aftermath of India's independence – the latent conflicts dealing with stark reality embedded in the narratives that apparently appear innocently fictitious to the readers now. The paper attempts to study beyond the Whodunit crime-inquest-discovery pattern. It looks into aspects of the adventures that go beyond the genre of detective fiction per se. The stories are not merely about crime and criminals; they are excellent travelogues, adventure stories, a source of interesting information about a diverse range of things – history, places, nature, literature, society and culture. The paper argues that these adventures of crime draw to a large extent from the realm of truth – social stigmas and the dark underworld of dons, narcotic mafias and smugglers of the times. Further, the stories based on the actual crises of the fast-fading old-world gentility of the educated Bengali middle-class of the 1960s and the 70 s; the picture of old Calcutta, make the crime narratives of Feluda, an overwhelming metamorphic presentation of fact to fiction. [ABSTRACT FROM AUTHOR]

In the crime fiction, the theme is primarily the crime: accordingly, the narration is focused on the investigation and unraveling of the unknown details relevant to the specific criminal act. It should also be emphasized that most theoreticians believe that prose works of criminal fiction genre are characterized by linearreturning narrative, considering the fact that the uncovering of the crime directs the plot both towards the past (the time when the criminal act took place), but also towards the future (the time in which the criminal puzzle gets solved and in which the criminal is justly punished): with regard to the cause-and-effect sequence, the templated time perspective, it is a ring sequence: the beginning is the end and the end is the beginning. In the classic crime genre literary piece, the key characters are the criminals and, of course, the detective, even though in the works of the bestselling author of novels in general (Agatha Christie), it is possible to detect elements that go beyond the framework of the established crime genre work (or detective story): this means that attention is paid not only to the final goal - the uncovering of the crime, but to a greater extent to the process itself, and also to a kind of psychologizing when it it comes to the person who is a criminial. The paper will try to describe the model(s) of the crime fiction story of one of the most influential Portuguese authors of the 20th century in the period of modernism, Fernando Pessoa, since his literary strategies differ greatly when he is surrounded by what we have described as a classic crime text: here we primarily mean construction the story, on a regularly disappointed horizon of expectations and when it comes to the construction of the classic roles of detective and criminal, but even more so the process of investigation that Pessoa, in accordance with his unusual literary script, will raise to a completely innovative level. Contemplation, philosophical discussions, emphasizing logic and thought processes, and the very analysis and clarification of all aspects of the art of reasoning undoubtedly go beyond the scope of a detective story. The most complete explanation of this text would be that it represents a theoretical-scientific approach to the crime/detective story, actually its crucial links, with e exemplifications. The autoanalytical monologue becomes the fundamental method both for uncovering of the crime and for building the character of the investigator. The research is focused on reading Quaresma's Police stories from the collection Novelas Policiárias [Police and Other Stories] and detecting elements of the crime fiction genre, as well as elements that leave this framework and in some way have a subversive effect on the genre itself. This research is primarily focused on the analysis of Pessoa's crime stories and their comparison with the classic crime/detective story model. The differences that would appear in the process of comparative reading would represent the basis for the description of Pessoa's model of the crime story. [ABSTRACT FROM AUTHOR]

This research paper examines Seishi Yokomizo's first postwar detective novel, The Honjin Murders (1946), which scrutinizes Japanese culture and society, specifically the rural area. This study engages in a thematic analysis of the novel within the context of Japan's experience with the Meiji Enlightenment, the decline of feudalism, the import of Western detective literature, and Japan's postwar shift to democracy. By placing the murder mystery genre in a feudal milieu as the characters struggle to grapple with changing times, Yokomizo enacts the transition of a traditional society into its progression to a modern one. Looking at honor entwined with the act of hara-kiri or seppuku and the contention between traditional and contemporary values, it is found that tradition itself has broken down with the family structure of the Ichiyanagi family as its symbolic representation. While the head of the family, Kenzo Ichiyanagi, has the appearance of a rational individual, he is wrought with the ambivalence of his rural and urban identities; thus, the only true herald of modernity present within the rural boundary is the detective Kosuke Kindaichi. [ABSTRACT FROM AUTHOR]

This study presents a unique technique of creating awareness of white-collar crime by allowing students to interact with actual criminals via Zoom©. After hearing stories about fraud, students completed a survey and wrote reflection papers. Results show that the interaction with stories from the criminals made students more aware of ethical dilemmas and their anticipated responses. Some students articulated the importance of drawing on their Christian faith to make the right decision in these situations. [ABSTRACT FROM AUTHOR]

This paper explores the shifting position of "readers" and "writers" within serialized works by Japanese detective fiction author Edogawa Rampo. The essay focuses on two works published at the end of the 1920s and early 1930s: the novella "Beast in the Shadows" and Edogawa's first long-form serialized novel, The Demon of the Lonely Isle. By examining the kinds of magazines in which Edogawa published, as well as the expected readership of those magazines, we discover several important stylistic shifts in Edogawa's writing as he transitions from being a genre fiction short story writer to an author of popular novels. In Edogawa's short detective fiction for niche magazines, the position of the reader and writer overlap, mirroring the way readers of detective fiction magazines often became writers themselves. Edogawa parodies his simultaneous position as dedicated reader and writer of detective novels. Moving to popular magazines and long-form fiction causes those self-parodies to shift into the background. Edogawa severs the correlative or dual position of writer/reader in favor of a detached "author" and consuming "reader". This paper explores the genesis of this change in relation to the development of magazine media in modern Japan. [ABSTRACT FROM AUTHOR]

The sublime is a common subject in European literary studies, particularly in Victorian and Romantic period literary scholarship. The Greek writer Longinus proposed the concept in the 1 st century in On the Sublime (first printed in 1554), and Edward Burke later popularized it in his work A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757). The sublime is less discussed in anime studies due to its European origins, but it has a robust history in Japanese literature and philosophy. Recently, scholars have begun discussing its presence in anime. This paper examines European and Japanese definitions of the sublime and then applies the European Romantic definition to Psycho-Pass. Psycho-Pass’s focus on horror, selfknowledge, and European philosophy makes it an ideal subject for examining the sublime in anime. Rikako Oryo is a schoolgirl who murders her classmates and is hunted by the protagonists in one of the show’s side arcs. Her art emphasizes how the sublime's "horror" element can stimulate critical thought and concurs with the Kierkegaardian theory of the sublime. The primary antagonist, Shogo Makishima, represents the more transcendent aspects of the sublime and its role in self-knowledge and identity. After examining Rikako and Makishima, the paper takes a step back and apply the principles of the sublime to anime as a medium and Psycho-Pass as a whole. Psycho-Pass reminds viewers that violent media like horror anime and crime stories can use the sublime as a catalyst for critical thinking without endorsing violence. [ABSTRACT FROM AUTHOR]

The article discusses the application of modern science in medicine and correlates it with reference of modern science in detective novel. Many medical students are often told that diagnosis is as exciting as the action in a detective novel. Doctor-scientists have unraveled many facts related to medicine, including human physiology, agents of disease, the defenses of the immunological system and others. These achievements have encouraged the role of science in medicine.

Copyright of Citaliste: The Scientific Journal on Theory & Practice of Librarianship is the property of Citaliste: The Scientific Journal on Theory & Practice of Librarianship and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Scholars have been investigating detective stories and crime fiction mostly as literary works reflecting the societies that produced them and the movement from modernism to postmodernism. However, these genres have generally been neglected by literary geographers. In the attempt to fill such an epistemological vacuum, this paper examines and compare the function and importance of geography in both classic and late 20th century detective stories. Arthur Conan Doyle's and Agatha Christie's detective stories are compared to Mediterranean noir books by Manuel Montalbán, Andrea Camilleri and Jean Claude Izzo. While space is shown to be at the center of the investigations in the former two authors, the latter rather focus on place, that is space invested by the authors with meaning and feelings of identity and belonging. From this perspective, the article argues that detective investigations have become a narrative medium allowing the readership to explore the writer's representation/construction of his own territorial context, or place-setting, which functions as a co-protagonist of the novel. In conclusion, the paper suggests that the emerging role of place in some of the later popular crime fiction can be interpreted as the result of writer's sentiment of belonging and, according to Appadurai's theory, as a literary and geographical discourse aimed at the production of locality. [ABSTRACT FROM AUTHOR]

This paper depicts how writers from colonizing nations often use the genre of crime fiction as a colonizing force through the literary appropriation of a country and its inhabitants. It examines how the detective who functions as a cultural informant uses the power or authority of his knowledge to ful fill his imperial cultural enterprise. Further, this paper explores the relationship between crime fiction and postcolonial consciousness by comparing the story of a white mainstream author, Arthur Conan Doyle, with that of a native Indian writer, Satyajit Ray. Finally, the paper probes how indigenous authors of crime fictions ‘mimic’ the style of mainstream white writers as a means of subtly undermining their quasi-colonial oppression. [ABSTRACT FROM AUTHOR]

Crime fiction was introduced to the Greek reading public at an early period, first through the translation of works of Émile Gaboriau (1878) and later through the works of Arthur Conan Doyle from 1905 onward. Their effect can be seen in the first Greek crime fiction novel, by an anonymous writer, serialized in 1913 in the periodical Hellas, entitled Sherlock Holmes Saving Mr. Venizelos, who was the Greek Prime Minister of the time. The novel, that takes place in London, is a hybrid of a political and a crime fiction novel, using Doyle's forensic methods and electrical devices for its resolution. In this paper we will try to see how far this Greek by-product of the Holmes tradition follows the scientific approach of the original Doyle works, using his forensic methods as well as technological inventions of the time to solve the case. [ABSTRACT FROM AUTHOR]

Copyright of Romanica Olomucensia is the property of Palacky University in Olomouc and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the intersections between trauma and literature and crime fiction, more specifically. By looking at the representations of trauma in crime fiction, it is argued here that trauma in crime novels involves a multilayered and complex discourse that generates its own narrative, one that relies on techniques like fragmentation, repetition, puzzle-solving, deliberate vagueness, and obscurity. It is also proposed that the use of trauma as a lens to examine crime narratives is both valuable and problematic, as it brings forth the conflict and the tension in the trauma discourse regarding words and wounds; expression and silence; representation and unspeakability. This paper will highlight that exploring the meeting points between trauma and crime narratives can also function as a as a point of departure from the conventional readings of crime fiction and contemplates a reading of the crime novel as trauma fiction. By so doing, this paper stresses the configurations of trauma in crime fiction beyond the medical framework and addresses the aspects and techniques in which trauma is centrally positioned in crime narratives. [ABSTRACT FROM AUTHOR]

Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Faculty of Philosophy in Sarajevo / Radovi Filozofskog Fakulteta u Sarajevu is the property of Faculty of Philosophy in Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A literary criticism is presented of fiction which depicts the life of author Ernest Hemingway and deals with an incident in Hemingway's life when a suitcase containing manuscripts of his work was either lost or stolen in 1922. Literature, including detective and mystery stories, which portray the manuscripts as having been stolen are considered including "The Paris Pilgrims," by Clancy Carlile, "The Hemingway Papers," by Vincent Cosgrove, and "Papa's Suitcase," by Gerhard Köpf.

Satō Haruo's "Okāsan" ("Mother") is a story that was published in Josei (Woman) magazine in October 1926. The plot follows "I" as he listens to the words of the parrot he bought from the pet store and deduces and fantasizes freely about her previous home. In this paper, I spotlight the fact that the home that "I" envisions through the voice of the parrot, Laura, corresponds to the family image that was being presented concurrently in Josei magazine and showcased that the ideal family was simply nothing more than an ideal. In relativizing Josei's familial discourse, and in this relationship between the published magazine and the story, I argue for the latter's importance. [ABSTRACT FROM AUTHOR]

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Acta Universitatis Lodziensis. Folia Litteraria Polonica is the property of Wydawnictwo Uniwersytetu Lodzkiego and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper tackles the issue of scientifically reconstructing past identities from remains of bodies by putting together the pieces and developing them into narratives of a unified entity. It is the area explored by forensics and the experts specialized in the field-anthropologists, archaeologists, linguists, pathologists or geneticists - in detective/crime fiction, thus demonstrating how justice can be done by using an interdisciplinary approach. [ABSTRACT FROM AUTHOR]

Feminist discourses on the "New Indian Woman" focus on the woman's body as a surface upon which modernity is inscribed. Sexual transgression has been the only lens through which the New Woman has been usually studied and analyzed until now, thus offering a superficial definition of modernity by women being defined only by the corporeal. This is problematic not only because it offers a reductionist view of modernity but also "constructs a boundary around the notion of modern womanhood that excludes woman whose bodily autonomy has been compromised, for example through sexual assault" (Daya, "Embodying Modernity" 97). This paper will study two novels, Kishwar Desai's Witness the Night (2010) and Kalpana Swaminathan's I Never Knew It Was You (2012), closely analyzing the women sleuths as portrayed in these texts: Simran Singh in the former, Lalli and Sita in the latter. The paper will move beyond the existing discourses on the New Indian woman and demonstrate how the New Woman in these narratives of detection is transgressive in contesting dominant ideals of femininity. The aim will be to understand how these women detectives contest and challenge patriarchal hegemonies through their behavior and how their acts of detection also are essential acts of rebellion against a largely misogynistic system. Swaminathan's Lalli and Sita and Desai's Simran can be seen as a reflection of the uninhibited, independent, professional, twenty-first century Indian woman. The paper seeks to reconstruct the figure of the New Indian woman through the representations of these women fighting crimes against women in modern-day India, enacting their autonomy and rebellion in the process by deftly taking on the role of a detective, traditionally a profession for men. The aim will also be to discuss how these works provide a space for creating new roles for women, while also illustrating a wide spectrum of women's experiences. Lastly, the paper will explore these works in the context of India's economic growth and how they affect and are affected by India's publishing industry. [ABSTRACT FROM AUTHOR]