La literatura criminal : Viajes de ida y de vuelta

Los g��neros literarios se constituyen a trav��s de pr��cticas hipertextuales. El caso del g��nero criminal tanto en Espa��a como en Hispanoam��rica no es menos. Aunque nace con conciencia de g��nero gracias a las primeras creaciones de Edgar Allan Poe, llega a la lengua hispana para establecerse y transculturalizarse sobre la base de las propias tradiciones aut��ctonas. A partir de las relaciones entre los escritores de ambos continentes, el g��nero va a desarrollarse en las dos ��ltimas d��cadas con un hibridismo y dinamismo que, sin ese movimiento, no ser��a posible. En esta ponencia se analizar��n as�� las incursiones de novelas criminales que traspasan el oc��ano en viajes de ida y de vuelta. As��, estudiar�� los viajes del detective hispano Pepe Carvalho a Buenos Aires y M��xico, pero tambi��n las investigaciones ficticias -metal��pticas y p��stumas- de V��zquez Montalb��n en Muertos inc��modos del Subcomandante Marcos y de Taibo II. Para, en segundo lugar, analizar de qu�� forma la literatura criminal hispanoamericana llega a Espa��a, centr��ndome en las novelas y otros textos narrativos de Ra��l Argem��, que tratan temas de ac��, para dejar sus huellas argentinas all��, desde la perspectiva de este congreso, detr��s del charco.

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the ���pulps,��� that gave birth to the realism of the Hardboiled School. Taking seriously Chandler���s obsession with the art of murder, I engage with how authors pre-empt their readers��� knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

Selections from the world's greatest short stories; illustrative of the history of short story writing;

Patient Griselda, from the "Decameron" of Boccaccio. Rewritten in English by the editor.--Aladdin, or The wonderful lamp, from "The Arabian nights".--Rip Van Winkle, by Washington Irving.--A passion in the desert, by Honore�� de Balzac. Rewritten in English by the editor.--A child's dream of a star, by Charles Dickens.--A Christmas carol, by Charles Dickens.--A princess's tragedy, from "Barry Lyndon", by W.M. Thackeray.--The gold-bug, by Edgar Allan Poe.--The great stone face, by Nathaniel Hawthorne.--The necklace, and The string, by Guy de Maupassant. Rewritten in English by the editor.--The man who would be king, by Ruyard Kipling.--How Gavin Birse put it to Mag Lownie, from "A window in Thrums", by J.M. Barrie.--On the stairs, from "Tales of mean streets", by Arthur Morrison.

Meistererza��hlungen fremder dichter fu��r die jugend ausgewa��hlt,

Der weltverbesserer, von Rudyard Kipling.--Meine konterbande, von Luisa Alcott.--Meine heldin, von M. Barrie.--Ruperts weihnachtsgeschenk, von Bret Harte.--Der maelstrom, von Edgar Allan Poe.--Der selbstsu��chtige riese, von Oscar Wilde.--Ein einseidler, von M. Wilkins.

Should old acquaintance, formerly American pilgrimage,

Expanded from the author's radio program "American pilgrimage."

More essays on books,/

"Reprinted from the Times literary supplement."

OEuvres comple��tes de Charles Baudelaire.

Contains critical reference to Edgar Allan Poe.

All manner of folk; interpretations and studies,

Concerning personalities.--Lords of whim.--Masters of nonsense.--Of the self-sufficient.--Vagabonds.--John M. Synge.--Max Beerbohm.--On a certain arrangement in gray and black.--Edgar Allan Poe.--Walt Whitman.--Edward Carpenter.--Henry David Thoreau.--Richard Jefferies.--William Morris.--A quartet of potters.--Henry Mayers Hyndman.--The ideas of George Meredith.--An impressionist of sculpture.--Superman.

Beyond. A drama of the soul.

At head of title: "Several days before the death of Edgar Allan Poe he had a dream, which, with characteristic vividness, he related to a friend of his, a Baltimore physician. Poe dreamed he was murdered, and in heaven his soul met that of his murdurer. The dream of Poe has furnished the basis of this drama."

Dreams for Dead Bodies : Blackness, Labor, and the Corpus of American Detective Fiction /

Robinson argues that the detective genre���s lineage lies in experimental works on the margins of what we recognize as classical detective fiction today. Authors like Edgar Allan Poe, Mark Twain, Pauline Hopkins, and Rudolph Fisher drew on detective fiction���s puzzle-elements to wrestle with complicated questions about race and labor in the U.S.

Contes grotesques /

Translated from the English.

Poets of America /

Includes index.

Great writers of America /

American edition (New York, H. Holt and company) published under title: Great American writers.

Fleshing Out and Losing Flesh: The Decomposing Corpse as Narrative Object in American Hardboiled Detective Fiction

This dissertation examines the corpse as an object in and of American hardboiled detective fiction written between 1920 and 1950. I deploy several theoretical frames, including narratology, body-as-text theory, object relations theory, and genre theory, in order to demonstrate the significance of objects, symbols, and things primarily in the clever and crafty work of Dashiell Hammett (1894-1961) and Raymond Chandler (1888-1959), but also touching on the writings of their lesser known accomplices. I construct a literary genealogy of American hardboiled detective fiction originating in the writings of Edgar Allan Poe, compare the contributions of classic or Golden Age detective fiction in England, and describe the socio-economic contexts, particularly the predominance of the ���pulps,��� that gave birth to the realism of the Hardboiled School. Taking seriously Chandler���s obsession with the art of murder, I engage with how authors pre-empt their readers��� knowledge of the tricks of the trade and manipulate their expectations, as well as discuss the characteristics and effect of the inimitable hardboiled style, its sharpshooting language and deadpan humour. Critical scholarship has rarely addressed the body and figure of the corpse, preferring to focus instead on the machinations of the femme fatale, the performance of masculinity, or the prevalence of violence. I cast new light on the world of hardboiled detective fiction by dissecting the corpse as the object that both motivates and de-composes (or rots away from) the narrative that makes it signify. I treat the corpse as an inanimate object, indifferent to representation, that destabilizes the integrity and self-possession, as well as the ratiocination, of the detective who authors the narrative of how the corpse came to be. The corpse is all deceptive and dangerous surface rather than the container of hidden depths of life and meaning that the detective hopes to uncover and reconstruct. I conclude with a chapter that is both critical denouement and creative writing experiment to reveal the self-reflexive (and at times metafictional) dimensions of hardboiled fiction. My dissertation, too, in the manner of hardboiled fiction, hopes to incriminate my readers as much as enlighten them.

9 Lives of the Black Cat

This is a short essay included in the accompanying booklet for Arrow Video's Blu-ray collection titled "Edgar Allan Poe's Black Cats": The Black Cat (Lucio Fulci, 1981) & Your Vice is a Locked Room and Only I have the Key (Sergio Martino, 1972)