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1

NARATÍVNA GRAMATIKA KLASICKEJ DETEKTÍVKY

100%
Hudymač M.
Slovenská literatúra (Slovak Literature)
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2013
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vol. 60
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issue 1
19 – 43
EN
The structural analysis was used to draw attention to the fact that some properties of narrative structures are noticeably often repeated and their repeated presence is strikingly regular. „Narrative grammar“ – concepts thus develop a high degree of abstraction, generalization whilst they only contain a limited number of the organizational principles of the narrative unit structure along with the rules of combination. So – as a matter of fact – what is being discussed here is establishing a highly abstract story structure which is supposed to produce an infinite number of specific and individual manifestations. The main part of this study is therefore a specific narration structure analysis based on a particular detective story. The author analysed the novella The Advetnure of the Resident Patient by Arthur Conan Doyle using R. Barthes´s theory complemented by T. Todorov´s concept. The structure analysis thus enabled him to outline the „narrative grammar“, which is „identical“, i.e. it is repeated in most of the Sherlock Holmes stories. The simple text of a detective story exposed to the structural analysis showed and demonstrated how simple text units work and combine, which makes the story coherent and despite the fact that the story is composed of various elements, it does not fall apart and keeps together. At the same time, the „narrative grammar“ drew attention to the way a literary character functions in and becomes a part of the text, as well as it clarified what role the „effects“ of time and space in various forms play in the making a story. The traditional distinction between classic detective fiction (E. A. Poe, A. C. Doyle, A. Christie, D. Sayers) and „hardboiled“ crime fiction typical of American writers (D. Hammett, R. Chandler and R. MacDonald) is examined in the author ś study in terms of various questions and answers. While classic detective fiction raises questions such as „who“ the crime was committed by and „how“, „hardboiled“ crime fiction asks „why“ the crime was committed. Moreover, the author tried to expand on the motifs outlined in the chapter of Czech philosopher in Miroslav Petříček´s book, i.e. the motifs of face, town, room and story, which are approached in a fundamentally different way in the two types of crime fiction in question.
2

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)
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2009
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vol. 56
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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.
3

EDGAR ALLAN POE AND A DETECTIVE STORY: A NEW CONFIGURATION OF THE OLD ONE AND ITS VARIATIONS

100%
Horvath T.
Slovenská literatúra (Slovak Literature)
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2005
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vol. 52
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issue 3
176-212
EN
In the study we analyse Poe's 'tales of ratiocination', inaugurating a detective genre. No one of the Poe's short stories as a whole fully fits with an 'ideal' model of a detective story 'according to the rules', but particular short stories are realisations of certain units of that model. A detective story was constituted as a real non-existing variant derived from the particular short stories as a connection, their single units: great detective; breaking the perspective creating a Watson like type of a narrator, who is opposite to a detective, secret of a locked room; 'analytical' discernments, distance from a victim (all that in Dupin trilogy), a murderer as the least suspicious character in the text (in the short story Thou Art the Man). A real text, 'a detective story according to the rules', which fully fits with the model, comes just in the next step of development of the genre. The same structural model - connection of single units, which had worked independently in the literary texts - is also to organize also Poe's inaugurating gesture in the relationship with previous qualifications of development of the genre. Poe applies to the theme of a crime (constituted in pitavals, black chronicles and calendars, in the novel feuilletone and theatrical melodramas) logic discernment (ratiocination, 'serendipity'), which appeared in rebuses (puzzle stories, or riddle stories). Horror (originally coming from a gothic and robbery novel) goes side by side with deduction. Detailed analysis of detective's solutions shows, that results is not formulated through an abstract deduction, but abduction: stating a hypothesis (with references to knowledge within cultural encyclopaedia), which can explain (presented) state of the cause. Also impossibility for the police to decode a secret in the short story 'The Murders in the Rue Morgue' is not caused by a mistake in their logic derivation, but in stating the false premise. It is shown how a detective 'observation' is immerged in judgement ('it is necessary to know what to observe').
4

ARTFUL ANALYSIS OF CRIMES AND PUNISHMENTS IN JAN JOHANIDES' FICTIONS (THE CRIME OF A SHY LESBIAN, THE BLACK FROST, PUNISHING CRIME) (Slovak title - below)

88%
Csiba K.
Slovenská literatúra (Slovak Literature)
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2009
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vol. 56
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issue 5-6
470-473
EN
(Title in Slovak - 'Rafinovana analyza zlocinov a trestov v prozach Jana Johanidesa (Zlocin plachej lesbicky, Holomraz, Trestajuci zlocin)'). The article focused on the motif of crime. Because of the motif some of Jan Johanides' fictions concern a basic plot typical for the detective genre. The article doesn't mean to interfere a discussion on the history and rules of the genre. Instead of that the intention is to identify some features of crime literature influencing in various ways and intensity and semantic field of the researched fictions. Their form the norm overlaps of the popular writings and it still keeps character of fine literature that becomes a demonstration of auctorial opinions and attitudes. The moral issue is a specific feature of the reflections.
5

COMPOSITION OF A DETECTIVE STORY. REVERSE MOVEMENT FORWARD

88%
Horvath T.
Slovenská literatúra (Slovak Literature)
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2008
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vol. 55
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issue 1
27-57
EN
The story level of composition in the detective genre is dominant. It dominates over other elements in the structure and keeps coherence of it. Stanko Lasic characterises that composition of a detective story (and also criminal genre) as linearly-reflexive. The starting point of narration is breaking the narrative balance, which is based on a motive of secrecy (mysterious crime, mostly murder with unknown criminal) and in the following block of searching the motives are organised in a specific way - during investigation new facts are revealed (that is the linear narrative movement forward). The revealed facts concern an event from past (that means retrospective movement back). One motive within a segment of investigation is simultaneously participating also in both perspective and retrospective movement; that means it contains two contrary vectors. Arranging activity of plot reverses chronologically causal order of motives in the story through inversion: first it distributes consequences, the result of a murdering act (mysterious crime) and only then - in the scene of solution - the causes, 'past' of the crime. Detective story is based on another story - the reconstruction of that story. It is a story of investigation (that is the story) of the story of murdering (plot). The story board of the detective story is searching of the plot of the crime and in the bock of solution it is transformed into that plot (in a summary of the acts and events). The beginning of the story of investigation is at the same time the end of the story of murdering.
6

IN THE HEART OF SECRET. MYSTERIOUS MURDER OF THE LITERARY CRITIQUE

75%
Horvath T.
Slovenská literatúra (Slovak Literature)
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2007
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vol. 54
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issue 4
255-276
EN
The author of the article analyses a classical type of a detective story written by S. S. Van Dine 'The Greene Murder Case' (1928). He uses it as a reference and representative text (as a 'textbook of generic grammar') indicating all formulated genre, referring also to the generic variations in other texts. The description of the characters already in static characteristic introduces elements of iteration, repeating on the successive axis of the text and they form that way a stabile characterization of a hero. In the focal narrative sequence of solution there are two types of a motif set in confrontation: theme distribution of enigmatic motives without their sense and correct arrangement of motives. The detective has to deduce it from enigmaticaly distributed data through his own mechanism of judgement. In the Van Dine novel a holistic type of problem shooting operates: one introduced hypothesis explains 'in one move' all morphemes of the secret and that is why it is correct. (If whoever else murders except of the right murder, it will not be necessary to let the lights switched on in all the rooms, the woman, a murder, would not be found in the lit up room shot in front of the mirror just because to be able to shoot herself etc.) The author shows the strategies of the text through which a model reader is deceived to construct incorrect possible world of the own hypothesis and also to construct an incorrect possible world in the hypothesis excluding a real perpetrator from the list of the suspicious persons. As an illustration the author uses and example from famous Holmes' solution concerning a dog in the short story 'Silver Blaze'.
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