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The Moral Virtues and Theological Ethics
All rights in this book are reserved. No part of this work may be used or reproduced in any manner whatsoever or transmit- ted in any form or by any means, electronic or mechanical, in- cluding photocopy, recording, or any information storage and retrieval system, without written permission from the copy- right owner except in the case of brief quotations embodied in critical articles and reviews. For information address the pub- lisher, Salem Press, Inc.
Box , Pasadena, California Essays originally appeared in Critical Survey of Mystery and Detec- tive Fiction, ; new material has been added. Includes bibliographical references and index. Contents: v. Margery Allingham—Harry Kemelman — v. Baynard H. Kendrick—Israel Zangwill. ISBN set : alk. Detective and mystery stories—History and criticism. Detective and mystery stories—Bio-bibliography. Detec- tive and mystery stories—Stories, plots, etc.
Title: One hun- dred masters of mystery and detective fiction. Kelleghan, Fiona, -. Critical survey of mystery and detective fiction.
D4 A16 Margery Allingham. James M. Len Deighton. Mignon G. Robert L. Austin Freeman. Erle Stanley Gardner. Dashiell Hammett. Since Edgar Allan Poe invented the mod- ern mystery genre in the mid-nineteenth century, the number of authors writing in this field has steadily grown, as have the appetites of growing numbers of readers.
The latter half of the twentieth century saw an explosion in the number of books in the genre, and it was accompanied by a proliferation of subgenres and styles. At the begin- ning of the twenty-first century, mystery and detective fiction arguably ranked as the most popular genre of fiction in the United States.
That four-volume reference work covered more than noteworthy authors from around the world. With the help of the Fiona Kelleghan, the editors of Salem Press have se- lected the one hundred writers who have had the greatest ongoing impact on the field.
All these writers are known primarily for their work in the genre, and most of them have made signal contributions to the field. Articles on living authors have been brought up to date, as have the secondary bibliographies for all the essays. Articles in this set range in length from 2, to 6, words, with the longest ar- ticles on such major figures as Raymond Chandler, Ellery Queen, and Georges Simenon. Like the origial Critical Survey volumes, this set is organized in a format designed to provide quick access to information.
Titles are given in the languages in which the works originally appeared. Titles of English-language versions follow for the works that have been translated. A select secondary bibliography provides essential and accessible references for additional study. Each article is signed by its original contributor and, in many cases, the contributor who updated it. Appendices at the end of the second volume include a time line of authors, ar- ranged by their dates of birth; a list of plot types; and an index of series characters.
As always, we would like to express our thanks to the many contributors whose fine essays make this reference set possible. We would particularly like to thank Fiona Kelleghan for overseeing the complex work of updating the articles. The names of all contributors, along with their affiliations, are listed at the beginning of the first volume. Garbett Richard P. Gardner Robert L.
Gidmark Cynthia A. Broadus Douglas G. Brockington, Jr. Horn Roland E. Butler C. Conlon E. Chandice M. Johnson, Jr. David W. Palmer Marilynn M. Peden Michael J. Larson William E. Canfield-Reisman Kathryne S. Robinson Victoria E. All mysteries, from the English cozy to the courtroom drama to the international es- pionage thriller, have one thing in common: They seek to locate and confine Evil. Since its origins in the nineteenth century, the story of crime and detection has had a single, fundamental impulse—to draw the reader into the realm of the unsafe, the ta- boo, the worlds of physical threat and metaphysical unease.
The field of mystery fiction is conservative: It presents a situation of judicial, moral, and even theological imbalance, and rights wrongs to restore a balance that will satisfy the reader. Yet it is also progressive: It evolves to meet the fears and anxieties of its day. Over the decades and centuries, mystery fiction has identified Good and Evil in many shapes. The murderer and the blackmailer were preferred embodiments of Evil from the beginning—never mind that most readers would not make the acquaintance of such villains in their whole lifetimes—and soon after, the ambitions of the bank robber, the gold digger, the frightener, the embezzler, and the traitor filled the pages of pulp magazines.
Late in the twentieth century, when such things could be presented, grotesqueries such as child molestation and incest became crimes ranking almost equal to murder—always the crime of choice—in the literature.
The English cozy, with its rural manors and little old ladies whose chitchat camou- flages a shrewd cunning, remains as popular as in its heyday of the early twentieth cen- tury, perhaps because it treats Evil as a curiosity, a local aberration which can be easily contained. Typically, the cozy stars an amateur detective whose weapon is wit and who finds clues in small domestic anomalies—in the inability to boil water properly for tea, perhaps.
For example, the works of Agatha Christie , Dorothy L. Sayers , and Margery Allingham reveal more about the society of pre-World War II England than they do about the psychology of real criminals. The villains pursued by Miss Marple or Albert Campion are mere opponents to be outwit- ted in a mental game whose stakes may be life and death but are never terrifying.
The era of the cozy or classic mystery, in which crime was solved as an upper-class pastime and class distinctions were always preserved, was in the years following the end of World War I. In Europe, nostalgia always hovers over the proceedings, as though harking back to the good old days when Sherlock Holmes kept the peace. Lee and S.
Van Dine continued this tradition, a new tone and color created new forms of the mystery genre. The premier American detective fiction of the Golden Age was not nostalgic. Sometimes hailed as the father of realistic crime fiction, Dashiell Hammett.
The hard-boiled thriller finds Evil less easy to contain because it is pervasive and increasingly difficult to identify. The lone-vigilante protagonists of Hammett, Raymond Chandler , and Chester Himes know that Evil is everywhere, as often concealed behind rouged lips and mascara as behind the ugly mug of a frightener.
In , as World War II ended, Mystery Writers of America was founded as a pro- fessional organization seeking to celebrate, reward, and improve mystery writing. At their first convention, they presented the Edgar Award for best of the previous year fiction and nonfiction.
The award, not surprisingly, was named after Edgar Allan Poe. For the cozy, villainy changed on the page after World War II. Evil and corruption are contagions that begin increasingly to be identified and restrained by professionals, rather than amateur sleuths, in the police procedural and the courtroom drama.
These subgenres eclipsed the popularity of hard-boiled fiction, with its increasingly formu- laic action and mindless violence, after the war. These British authors vaunted English qualities such as superior organization, a code of honor supported by specialized training and talents, and a sense of responsibility for the maintenance of civilized behavior everywhere. In the infancy of espionage fiction, villains were usually French, German, or Russian.
After the Berlin Wall was torn down in , Evil was often to be found in the guise of the smugglers or weapons merchants of the Middle East, Northern Ireland, and South American dictatorships. Daily news headlines testify that these regions of the globe are likely to supply writers with a steady casting pool of villainy for some time to come. With crime fiction reigning, decade after decade, as the most popular of all fiction genres, how does one choose a mere one hundred authors to be representative of the best and brightest of the many, many categories of the mystery field?
With anguish and lots of crumpled lists. The criteria used were, in this order, influence, quality, popularity, and prolificity. The key measure of influence was the question of whether the author had written a landmark work in some category of mystery. For example, Edgar Allan Poe is credited with having invented the amateur detective tale—and, in fact, the mys- tery story itself as it is now known.
The Moonstone , by Wilkie Collins , is considered to be the first British detective novel. Israel Zangwill wrote the first novel-length locked-room mystery. Baroness Orczy popularized the armchair detective. Mary Roberts Rinehart invented the had-I-but- known school of young women who stumble into peril—a subcategory of mystery fic- tion now denigrated but still influential on the genre of romantic suspense.
Christianna Brand pioneered the medical thriller.
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Published August by University Press of the Pacific. Written in English. Book Description: Christopher Ryan's study of Dante and Aquinas, touching on issues of nature and grace, of explicit and implicit faith, and of desire and destiny, is intended to mark the difference between them in key areas of theological sensibility. Thomas Aquinas and Dante Alleghieri. The first is a theologian, a. What is more, it seems clear that his theological vision Dante and Aquinas book indebted to St. Thomas Aquinas.
The Practice of Science in the Culture of Absolutism,. In for mation Science s—Permanence of Paper for. Diagrams of the motions of the Medicean Stars in Sidereus. Second and third illustrations of the lunar surface in Sidereus. Maps of Jupiter and its satellites in Sidereus nuncius Belt and Sword of Orion and the constellation of the Pleiades.
Lee H. Yearley Request Full-text Paper PDF Schwitzgebel ;Carr and Ivanhoe ;Y. Wang ; Yearley ; and Moeller
100 Masters of Mystery and Detective Fiction
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Dante and Aquinas
Заподозрила, что с терминала Стратмора скачивается информация, и вот-вот выйдешь на. Правдоподобно, но маловероятно. - Зачем же ты убил Чатрукьяна? - бросила. - Я не убивал его! - Крик Хейла перекрыл вой сирены. - Его столкнул вниз Стратмор. Я все это видел, потому что прятался в подсобке. Чатрукьян хотел вызвать службу безопасности, что разрушило бы все планы Стратмора.
Мое тело мне больше не принадлежит. И все же он слышал чей-то голос, зовущий. Тихий, едва различимый. Но этот голос был частью его. Слышались и другие голоса - незнакомые, ненужные.
Lee H. Yearley 1 Zhuangzi's more dramatic statements manifest this feature especially well: for similar case; see Yearley for an analysis, as well as approach, that links bad pride distorts lives and good pride perfects them, as well as how cul- In the Inferno, they produce pity, but a pity that needs education.
Проверка на наличие вируса, - решительно сказал он себе, стараясь успокоиться. - Я должен сделать проверку на наличие вируса. Чатрукьян знал: это первое, чего в любом случае потребует Стратмор. Выглянув в пустую шифровалку, он принял решение. На загрузку программы и поиск вируса уйдет минут пятнадцать. Скажи, что ничего нет, - прошептал. - Абсолютно .
Конечно. Почему вы не позвонили мне раньше. - Честно говоря, - нахмурился Стратмор, - я вообще не собирался этого делать. Мне не хотелось никого в это впутывать. Я сам попытался отправить твой маячок, но ты использовала для него один из новейших гибридных языков, и мне не удалось привести его в действие. Он посылал какую-то тарабарщину. В конце концов пришлось смирить гордыню и вызвать тебя .