Search

Emerging in the 19th century, detective fiction is a literary genre that glorifies reason and analytical thinking. It is also possible to read "The Murder on Morgue Street", the first example of detective fiction written by Edgar Allan Poe in 1841, as a text describing the analytical thinking method. In addition, detective literature includes works that depict crime, which is a social phenomenon. In this literary genre, which does not have a single and precise definition, the definition of crime and the criminal varies according to the period and the author. The unchanging element of detective literature, which has changed and diversified until today, is rationality. The quality of detective fiction that relies on reason brings with it a contradiction. Because crime fiction examines the concepts of crime, which reflect an irrational reality, with a rational analysis method. The works of Ahmet Karcılılar, one of the representatives of the detective genre in Turkish literature, question and deepen these concepts. The author's latest novel, "The Rejection of Blue" (Mavinin Reddi), published in 2016, presents a unique example of detective fiction with its aspect linking art and crime, while conveying the investigator's point of view in all its aspects. In "The Rejection of Blue" (Mavinin Reddi), a classic Karcılılar detective story, different readings of a painting merge with the investigation of a shady death. In this work, which is the testimony of a police officer, the narrator is the police officer Nedim Elermiş. In this study, the appearance of crime in the detective work "The Rejection of Blue" (Mavinin Reddi) will be evaluated. The elements that shape the appearance of crime in the work are Nedim's life, fictions, and paintings. The point where these elements come together is Nedim's desire for understanding. As a result of the study, it is revealed that "The Rejection of Blue" (Mavinin Reddi), with its quality that shakes the aspect of detective literature that relies on reason, is a work that suggests that crime is like a work of art and is shaped according to its receiver. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe 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.)

Born in 1974 in Antibes, France, Guillaume Musso is one of France's most popular contemporary writers, whose novels have been translated into more than forty languages. Musso, whose some novels have also been adapted into movies, generally writes in the genres of mystery, thriller and detective fiction. Musso has become a best-seller in France in recent years thanks to his striking and abbreviated narrative technique, usually chooses the big metropolises of America as his setting, reflecting the "American lifestyle" that stands out prominently in his novels. In this article, our aim is to trace the mystery and suspense in the author's novel Lost and Found (original title: Parce que je t'aime). We try to discuss the relationship between the elements of mystery and suspense, which are usually associated with detective novels, and the reality that the novel, as itself, should reflect. In addition to stimulating curiosity and increasing interest, we question the function of mystery and suspense in creating the aesthetic texture of the novel by creating a texture of meaning between the fictional reality of the novel and the reality of the outside world. We will also draw attention to the attraction and tension between the mystery that emerges as a result of an unexpected design, assumption or misconception and the reality that is expected to be in relation and integrity with human existence, the world and life. Moreover, we will discuss how far these opposing forces can carry the novel forward as an art, isolating it from the concern of selling more copies. In this article, we examine whether a widely read novel can also be a good novel, drawing on the views of a number of novel theorists such as Milan Kundera, Michel Raimond and notably Lukács. [ABSTRACT FROM AUTHOR]

Copyright of Mediterranean Journal of Gender & Women's Studies (KTC) / Akdeniz Kadın Çalışmaları ve Toplumsal Cinsiyet Dergisi is the property of Mediterranean Journal of Gender & Women's Studies (KTC) 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 RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 Folklor / Edebiyat is the property of Cyprus International University 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 Turkbilig/Turkoloji Arastirmalari Dergisi is the property of Turkbilig/Turkoloji Arastirmalari Dergisi 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.)

Türk sinemasının Yeşilçam öncesi uzun süren dönemi polisiye türü konusunda pek üretken değildir. Yeşilçam sinemasının oluşum döneminde (1948-1959) kitlesel film üretiminin sistemleşmesiyle birlikte beş hâkim sinema türü (melodram, tarihi film, komedi, polisiye ve köy filmi) standartlaşır. Bu türsel bağlamda yapımcılığına dönen Kemal Film için Lütfi Akad-Osman Seden ikilisi, suç melodramı ile sembiyotik ilişkiye giren polisiyeler üretir: Kanun Namına, Katil, Öldüren Şehir, Kanlarıyla Ödediler ve İntikam Alevi gibi melez filmler 1952-1956 arasında melodram ile polisiye estetiğini suç ve macera temaları etrafında harmanlar. Kemal Filmin basmakalıplaştırdığı polisiye türe toplumsal, siyasal ve iktisadi yeni bir eleştirel görünüm kazandıran, ayrıca bu türü hem içerikte hem de biçimde modernleştiren eser toplumsal gerçekçi sinema hareketinin öncüsü Gecelerin Ötesi’dir. Böylece, melodramın klişeleşmiş uzlaşımlarından nihayet kurtulan polisiye türü realizm ile senkretik bir bağ kurar. Film sanatının olmazsa olmazları biçime ve biçeme olduğu kadar sinemasal türlere de odaklanan “estetik tarih” perspektifinden hareket eden bu makalenin amacı, Türk sinema tarihyazımında türsel kimliği görmezden gelinip sadece sosyal ve realist temsilleri hatta sosyolojik yönleri etrafında değerlendirilen Gecelerin Ötesi’nin polisiyeyi nasıl yenilediğini kanıtlamaktır. Gecelerin Ötesi hangi estetik özellikleriyle hem polisiye türüne hem de toplumsal gerçekçi harekete girer? Bu film, Akad-Seden tandeminin temellerini attığı polisiye film geleneğinden neden ve nasıl farklılaşır? Çalışmanın problematiği bu çerçevede belirlenmiştir. Makalenin teorik çerçevesi ve analitik yöntemi ise “sinema türü kavramını” basit bir taksonomi etkinliği ya da etiketleme şekli olarak değil de, ciddi bir “yorumlama kategorisi” olarak kabul eden Raphaëlle Moine’ın kuramsal yaklaşımına dayanır.

Copyright of Journal of International Social Research is the property of Journal of International Social Research 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.)

Dil ile söylem bir bütündür; edebi eserler yolu ile söylemin bir parçasını oluşturan ve tarihsel, sosyal, psikolojik birçok olgu hakkında bilgi veren edebiyat, Dilbilim dışındaki bilim dalları tarafından da incelenmektedir; multidisipliner bir özelliğe sahip olan Adli Bilimler de bu bilim dallarından biridir. Polisiye, edebiyatın bir parçasını oluşturduğundan, bu parçanın Adli Bilimler ile ilişkisi kaçınılmaz derecede ön plandadır. Zira insanoğlunun ortaya çıkışından itibaren, suç olgusu insanlığın yaşantısında yer tutmakta, bu durum edebi eserlerde de kendini göstermektedir. Suç-suçlu-araştırmacı üçgeninin oluşturduğu polisiye, böylesi bir dünyada Adli Bilimler’in yararlandığı bir kaynak mahiyetindedir. Bu çalışma, polisiyenin Türk ve dünya edebiyatındaki konumunu değerlendirerek, polisiyenin gelişim evrelerini incelemek için gerçekleştirilmiştir. Çalışma kapsamında literatür taraması yapılmış, polisiyenin gelişim evrelerinin Türk ve dünya edebiyatındaki izi sürülmüştür. Bu bağlamda nitel bir çalışma hazırlanmış ve Türk ve dünya edebiyatında hüküm süren polisiye kültürünün en önemli ve canlı eserleri, kronolojik bir şemada toparlanmıştır. İnceleme sonucunda, polisiyenin doğuşunun polis gücünün etkisi ile geçekleştiği, tarihe adını yazdırmış polis ve dedektiflerin günümüzde hâlâ gizemini koruyan edebi eserlere ışık tuttuğu bilgisine ulaşılmıştır.

Maurizio De Giovanni, one of the most interesting writers of contemporary Italian literature, is well known for his works in detective literature. His first novel, “Le lacrime del pagliaccio” (The Tears of the Clown), published in 2005 by the Graus Publishing House, is welcomed by a grand interest in all Italy. The book is published again in 2006 by Einaudi, one of the biggest publishers of Italy, by the title “Il senso del dolore-L’autunno del comissario Ricciardi”. Having the fundamental aspects of detective literature, the novel mirrors XX.th century Italian society and the history of Italy. De Giovanni uses the Mussolini period as background of his novel and the city of Naples as a venue. In addition to being a detective literary work, “Le lacrime del pagliaccio” is significant in the context of reflecting and dealing with the social structure and history of the Mussolini period. The main aim of this article is to examine the work of Maurizio De Giovanni, entitled “Le lacrime del pagliaccio”, and to analyze how it reflects the Italian society and its history. [ABSTRACT FROM AUTHOR]

Copyright of Culture & Communication / Kültür ve İletişim is the property of Imge Publishing House 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 Diyalektolog - Uluslararası Sosyal Bilimler Dergisi is the property of Diyalektolog 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 Electronic Turkish Studies is the property of Electronic Turkish Studies 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 Electronic Turkish Studies is the property of Electronic Turkish Studies 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.)