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1

SOME WEIRD EVENTS HAVE BEEN TOLD IN THE BAKER STREET - THE 2ND PART (Niekolko cudnych udalosti vyrozpravanych na Baker Street - 2. cast)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 2
98-124
EN
The author goes on with analysis of composition, motifs and stylistic structure of Doyle´s Holmes detective stories (see the first part of it in Slovak Literature, 2009, vol.: 56, number: 1, pages: 28 - 56).
2

SOME WEIRD EVENTS HAVE BEEN TOLD IN THE BAKER STREET - THE 1ST PART (Niekolko cudnych udalosti vyrozpravanych na Baker Street - 1. cast)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 1
28-56
EN
The study analyses composition, motifs and stylistic structure of Doyle's Holmes detective stories. The author tries to determine their value in the context of their development within transformations of the detective genre. He studies the Doyle's texts in regard with the Victorian cultural code and parallel literary worldview movements. For the most important category of the construction of Holmes' rebuses he determines a category of weird and bizarre, sometimes even grotesque. The evil plan or breaking an order (natural or social) comes forth onto phenomenal level in the form of series of weird and absurd events appearing the way to a person, who is trapped in 'hands' of criminals. If the intellect embodied in the person of a genial detective reveals the right motivation, the odour of strange disappears: detective's achievement (searching and resolving) brings back the rational order to absurdly looked world. Only minority of later texts fulfil the rules of the 'standard' type of a classical detective prose. Progressing schematisation of the genre eliminated the most characteristic part of Doyle's heritage: category of strange which is finally suppressed by operation of shifting and reduction: in the further development of the genre which is applied to motif of murder (it makes murder more peculiar and masks it). It is not applied the general motif of rebus as it was in case of Doyle.
3

HARD-BOILED SCHOOL: THE BIRTH OF LITERATURE COMING FROM THE PULP MAGAZINES AND A BACKWARD (Drsna skola: Zrod literatury z ducha pulp magazinov a cesta spat)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
|
2010
|
vol. 57
|
issue 3
226-258
EN
The paper maps the process of constitution of the literary stream of so called 'hard-boiled school' from the simple illustrations in the form of literary extracts published in the pulp magazine Black Mask to the most representative novels by the main representatives and to the epigones. Dashiell Hammett internally transformed literary grammar of the detective genre through the change of a chronotop (mega city, gangland) and also by determining realistic motivation for murders. He took the element of rebus and a mystery scheme - logical solution from a formula of a classical detective story. In the novels he uses also methods of other genres (western in The Red Harvest, gothic novel in The Dain Curse). In interpretation we stress an open character of the heroes - sleuths (a detective from the Continental, Sam Spade and Ned Beaumont) with their 'misty' motivation, for which a film technique of narration seems to be helpful. In interpretation of the work of Raymond Chandler we are interested in depicted process of 'cannibalism' - using motifs from his older short stories in his later novels. We also follow gradation of disillusionment in the ends (a novel Long Goodbye versus his short story The Curtain, a novel Farewell, my Lovely versus his short story Try the Girl). The term 'hard-boiled school' overlaps the genre boarders of a detective story and covers wider genre field (e.g. gangster novel and criminal story of a murder in case of James Caine a Jim Thompson). In the novels of the epigone of the 'hard-boiled school' Mickey Spillane we can follow also a semantic line of schizophrenia in the main hero's plan- the detective (mixing thematic outer and narrator's inner perspective).
4

AT THE EDGE OF CODES: AGATHA CHRISTIE AND THE OTHER EMBRANCHMENT (Na hrane kodov: Agatha Christie a ine rozvetvenia)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 5-6
400-429
EN
In the paper the author pays attention to how A. Christie in particular texts rewrites the fixed codes of the detective genre by their variations. For instance in the 'Murder on the Orient Express', she symmetrically turns the code of the detective story: a criminal used to be found as one of the persons from the closed circle of suspicious people - in case of the Orient Express - each of those who took part in the case are the criminals except the one who was considered to be a suspicious. In the story 'The Murder of Roger Ackroyd' the murderer is a narrator, who concealed his crime (that course was not new: before Christie it had been used by Cechov, M. Leblanc a S. Elvestad). In 'The A.B.C. Murders', Christie first simulated the method typical for the criminal genre, than the text finally resulted in the detective story according to all literary rules. She also introduced 'topoi' of camouflaging murders later used many times in the detective stories. We can follow up further plots in the texts transforming the mentioned proto-text of A. Christie (M. P. Schaffer, J. Symons, A. Kristof, F. Vargas).
5

DOWNCOME TO THE DEPTH OF THE BASEMENT, ASCENSION TO THE HEIGHT OF THE CEILING (Zostup do hlbin suterenu, vystup do vysin povaly)

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
|
2009
|
vol. 56
|
issue 3
221-232
EN
The author stated in the study introduction that the social and literary crisis in the period of schematism, which suppressed 'low', entertaining genres as 'bourgeois relic', had also its non intentional positive consequences on writing on crime story. In the 60s of the 20th century following boom of publishing detective novels brought also a need of their defence, what happened with help of scholarly reflection on literary scholarship (J. Skvorecky, J. Zabrana, F. Jungwirth, K. Földvari, R. Stukovsky, V. Petrik, T. Schwarz, E. Klinger and the others). The author comes to the 'basement' of a detective genre in the study and makes analysis of literary courses of Nick Carter, Tom Shark and Leon Clifton. He analysis e.g. Tom Shark's stories keeping the schemes of classical type of a crime story: a criminal is always mysterious, then narrative block follows the investigation (in 'Tom Shark's like stories' adventurous and dominant in all composition) and finally the criminal is disclosed in scene presenting solution as one of the participating characters, usually 'the least-likely person'. In spite of classical crime story those stories do not follow the fair play rules, articulated by former establishers of the detective genre. Nowadays thrillers become close to 'Tom Shark's like stories', of course, they are more worked out in plot and in stylistics.
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