This book establishes the genealogy of a subgenre of crime fiction that Antoine Dechêne calls the metacognitive mystery tale. It delineates a corpus of texts presenting 'unreadable' mysteries which, under the deceptively monolithic appearance of subverting traditional detective story conventions, offer a multiplicity of motifs – the overwhelming presence of chance, the unfulfilled quest for knowledge, the urban stroller lost in a labyrinthine text – that generate a vast array of epistemological and ontological uncertainties. Analysing the works of a wide variety of authors, including Edgar Allan Poe, Jorge Luis Borges, and Henry James, this book is vital reading for scholars of detective fiction.

A detailed examination of the growing genre of British fiction featuring archives and archival research, from A.S. Byatt's Booker Prize-winning Possession to the paperback thrillers of popular novelists.

Truth to Post-Truth in American Detective Fiction examines questions of truth and relativism, turning to detectives, both real and imagined, from Poe’s C. Auguste Dupin to Robert Mueller, to establish an oblique history of the path from a world where not believing in truth was unthinkable to the present, where it is common to believe that objective truth is a remnant of a simpler, more naïve time. Examining detective stories both literary and popular including hard-boiled, postmodern, and twenty-first century novels, the book establishes that examining detective fiction allows for a unique view of this progression to post-truth since the detective’s ultimate job is to take the reader from doubt to belief. David Riddle Watson shows that objectivity is intersubjectivity, arguing that the belief in multiple worlds is ultimately what sustains the illusion of relativism.

This analysis of the genre shows that the fictional world portrayed by the mystery writer parallels the actual world of the reader. Because daily life is so implausible, readers willingly suspend disbelief as they are absorbed by the pages of detective fiction. This apparent unity of the fictional thriller and veritable circumstance produces a code of modernity that is the essence of the genre. In the light of this concept of modernity Mystery Fiction and Modern Life examines works by Arthur Conan Doyle, Edgar Allan Poe, John Buchan, Eric Ambler, Dashiell Hammett, Ross Macdonald, Tony Hillerman, Agatha Christie, Helen MacInnes, Patricia Cornwell, Marcia Muller, Sara Paretsky, Anthony Price, and others.

This open access book examines how the form of the list features as a tool for meaning-making in the genre of detective fiction from the nineteenth to the twenty-first century. The book analyzes how both readers and detectives rely on listing as an ordering and structuring tool, and highlights the crucial role that lists assume in the reading process. It extends the boundaries of an emerging field dedicated to the study of lists in literature and caters to a newly revived interest in form and New Formalist approaches in narratological research. The central aim of this book is to show how detective fiction makes use of lists in order to frame various conceptions of knowledge. The frames created by these lists are crucial to decoding the texts, and they can be used to demonstrate how readers can be engaged in the act of detection or manipulated into accepting certain propositions in the text.

Levay analyzes representations of the criminal in British and American modernism from the late nineteenth century to the 1950s.

The fictionalized Los Angeles of television's Angel is a world filled with literature--from the all-important Shansu prophecy that predicts Angel's return to a state of humanity to the ever-present books dominating the characters' research sessions. This collection brings together essays that engage Angel as a text to be addressed within the wider fields of narrative and literature. It is divided into four distinct parts, each with its own internal governing themes and focus: archetypes, narrative and identity, theory and philosophy, and genre. Each provides opportunities for readers to examine a wide variety of characters, tropes, and literary nuances and influences throughout all five televised seasons of the series and in the current continuation of the series in comic book form.

American crime fiction has developed into writing that has a commitment to democracy and the democratic way of life, a compassion and empathy and a style which has created a significant branch of American literature.

The primary aim of Studying Crime in Fiction: An Introduction is to introduce the emerging cross-disciplinary area of study that combines the fields of crime fiction studies and criminology. The study of crime fiction as a genre has a long history within literary studies, and is becoming increasingly prominent in twenty-first-century scholarship. Less attention, however, has been paid to the ways in which elements of criminology, or the systematic study of crime and criminal behaviour from a wide range of perspectives, have influenced the production and reception of crime narratives. Similarly, not enough attention has been paid to the ways in which crime fiction as a genre can inform and enliven the study of criminology. Written largely for undergraduate and graduate students, but also for scholars of crime fiction and criminology interested in thinking across disciplinary boundaries, Studying Crime in Fiction: An Introduction provides full coverage of the backgrounds of the related fields of crime fiction studies and criminology, and explores the many ways they are reciprocally illuminating. The four main chapters in Section 1 (Orient You) familiarize readers with the history and contours of the broad fields within which Studying Crime in Fiction: An Introduction operates. It introduces the history of crime and criminology, as well the history of crime fiction and the academic field dedicated to its study. In its final chapter it looks at the ways these areas of study can be conceptually interrelated. Section 2 of the book (Equip You) is dedicated to examining aspects of criminological theory in relation to various forms of crime fiction. It highlights a range of the most relevant theories, paradigms, and problematics of criminology that appear in, shed light on, or can be effectively illuminated through reference to crime fiction. Its five chapters deal with the definition of crime; explanations for crime and criminal behaviour; investigations into crime; the experience of crime; and, finally, punishments for crime. All of these areas are examined alongside examples of crime fiction drawn from across the genre’s history. Section 3 (Enable You) presents six case studies. Each of these reads a work of crime fiction alongside one or more criminological approaches. Each case study is supplemented with a set of questions addressing issues central to the study of crime in fiction.

Knowledge is a very seductive, but elusive concept. Following the wider debate about the emergence of the information age and the knowledge society, recent years have seen an explosion of writings about organizational knowledge from different disciplinary and theoretical perspectives. Yet, theoretical development has not always been accompanied by sound empirical research. Methodologies for studying knowledge as an empirical phenomenon are still lagging behind. This book aims to fill the gap between theory, method, and practice by developing a phenomenological approach to the study of knowing in the context of organizing. The book contributes to the fields of strategy and organization in three ways. First it provides a critical review of the concepts, debates, and epistemological assumptions underpinning existing theories of organizational knowledge. Second, it develops a methodological framework for studying knowledge processes as an empirical phenomenon that is based on three methodological lenses: time, breakdowns, and narratives. Third, drawing on the three-lens framework, the book presents a phenomenological enquiry on knowing and organizing processes within two large car-manufacturing plants at Fiat Auto, Italy. The book highlights the need to re-think organizational knowledge from an action-based perspective and suggests a new vocabulary for understanding knowledge-oriented phenomena in organizations. The book is addressed both to scholars of strategy and organization and to reflective practitioners. Academics will be stimulated to reflect upon concepts they normally take for granted and habitually use in their research. The book is also suitable for young researchers and doctoral students whose research interests lie in the areas of knowledge and organization. The Fiat case study, on which the book is based, offers interesting insights to practitioners as far as classical themes like change, innovation, and organizational design are concerned. Contrary to mainstream knowledge management texts, however, this book does not provide any recipes about alleged best ways for managing organizational knowledge. Rather, it invites managers and practitioners to reflect about the repertoire of knowledge they possess and yet cannot articulate.