Saint with a Gun: The Unlawful American Private Eye, and: Dashiell Hammett: A Life, and: Private Investigations: The Novels of Dashiell Hammett (review)

1985 ◽  
Vol 31 (4) ◽  
pp. 769-773
Author(s):  
Peter Wolfe
Keyword(s):  
Dashiell Hammett ◽  
Private Eye

ENT private eye for unknown primary metastatic lymph nodes

ORL ro ◽  
2019 ◽  
Vol 1 (42) ◽  
pp. 20
Author(s):  
Daniela Vrînceanu ◽  
Mihai Dumitru ◽  
Adriana Nica
Keyword(s):  
Lymph Nodes ◽  
Unknown Primary ◽  
Metastatic Lymph Nodes ◽  
Metastatic Lymph ◽  
Private Eye

scholarly journals “Philip Marlowe in drag?” – The construct of the hard-boiled detective in feminist appropriation and translation

Ars Aeterna ◽  
2017 ◽  
Vol 9 (2) ◽  
pp. 39-52 ◽  
Author(s):  
Karen Seago
Keyword(s):  
Gender Norms ◽  
Social Expectations ◽  
German Translation ◽  
Philip Marlowe ◽  
Private Eye ◽  
Sara Paretsky

Abstract Hard-nosed female investigators Sara Lund and Saga Norén from the extraordinarily successful Scandinavian TV crime series The Killing and The Bridge are the latest examples of female hard-boiled detectives - dysfunctional loners who solve crimes where no one else succeeds. This article looks at the character construct of the hard-boiled male detective, maps these tropes against social expectations of gender norms and then considers how Sara Paretsky constructs an explicitly feminist “tough guy” private eye in V.I. Warshawski. It then analyses how Paretsky’s negotiation and partial subversion of the tropes of the hard-boiled genre are handled in translation, drawing on the German translation of Indemnity Only.

Press: Private Eye Special Report on MMR

BMJ ◽  
2002 ◽  
Vol 324 (7347) ◽  
pp. 1224-1224
Author(s):  
D. Elliman
Keyword(s):  
Special Report ◽  
Private Eye

Welty’s Moonlighting Detective

2019 ◽  
pp. 189-213
Author(s):  
Jacob Agner
Keyword(s):  
Civil Rights ◽  
Detective Fiction ◽  
White Supremacy ◽  
Femme Fatale ◽  
Chester Himes ◽  
Systemic Racism ◽  
Black And White ◽  
Left Behind ◽  
Dashiell Hammett ◽  
Noir Fiction

This essay argues that Eudora Welty’s 1966 civil rights story, “The Demonstrators,” casts a spotlight on the “crime” of systemic racism in the U.S. South through the popular crime genre of American noir fiction and film. Although a mid-twentieth-century category mainly recognized for its depictions of dark cities and shadowy “mean streets,” noir’s stylized world collides with the Closed Society in Welty’s late story and throws into stark relief the subtler effects of white supremacy. Turning noir’s key traits on their head (e.g., black-and-white chiaroscuro lighting, the femme fatale, and the tropes of hard-boiled detective fiction), Welty throughout “The Demonstrators” brilliantly illuminates the subtle tactics of, and clues left behind by, criminalized acts of whiteness. In so doing, Welty’s masterful crime story pays homage to classic noir artists such as Dashiell Hammett, Chester Himes, and Alfred Hitchcock.

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