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This book creates a taxonomy for the major bestselling fictional genres: romance (e.g., authors Heyer, Cartland, Woodiwiss and Roberts), religious and inspirational (Corelli and Douglas), mystery and detective (Conan Doyle, Christie and Mankell), and science fiction, horror and fantasy (Wells, Tolkien, Orwell, Niven, King and Rowling). Chapters look at a genre from its roots to its most recent works. The structural patterns in the plot, characters and setting of these genres are then explained. The book also provides a critique of currently popular hyper-formulaic, hack, unliterary writings that have multiplied in recent decades. Special topics such as the publishing oligopoly and the resulting homogeneity among bestselling works and the steady movement from literary to unliterary fiction are also examined.
In Ragged Dick, Horatio Alger’s most successful book, Alger codified the basic formula he would follow in nearly a hundred subsequent novels for boys: a young hero, inexperienced in the temptations of the city but morally armed to resist them, is unexpectedly forced to earn a livelihood. The hero’s exemplary struggle—to retain his virtue, to clear his name of accusations, and to gain economic independence—was the basis of the Alger plot. Hugely popular at the turn of the twentieth century, Alger’s works have at different times been framed as a model for the “American dream” and as dangerously exciting sensationalism for young readers; Gary Scharnhorst’s new introduction separates the myth of Alger as “success ideologue” from the more complex messages conveyed in his work. Ragged Dick is paired in this edition with Risen from the Ranks, another coming-of-age story of a young man achieving respectability. Historical appendices include extensive contemporary reviews, material on the “success myth” associated with Alger, and parodies of Alger’s work.
Contributors delineate the range of relationships among women writers, women detectives in mystery fiction, and women readers, examining detective fiction through the eyes of actual and hypothetical women readers in a gender- and genre-specific analysis. They offer a theoretical and critical investigation of both historical and contemporary models of mystery fiction. Authors discussed include Sara Paretsky, Joan Hess, Sue Grafton, and D.R. Meredith. No index. Paper edition (unseen), $12.95. Annotation copyright by Book News, Inc., Portland, OR
Dove states that the purpose of this book is "to develop a theoretical base for a critical approach to the interpretation of the formula story." Such an approach should take into account the relationship between author and reader that determines such tacit agreements as the two axioms of formula fiction, the reader-knowledge convention, and the signals that pass between author and reader. Specifically, the chief concern of this book will be the criticism/interpretation of the mystery.
The English Novel in History 1700-1780 provides students with specific contexts for the early novel in response to a new understanding of eigtheenth-century Britain. It traces the social and moral representations of the period in extended readings of the major novelists, as well as evaluatiing the importance of lesser known ones. John Richetti traces the shifting subject matter of the novel, discussing: * scandalous and amatory fictions * criminal narratives of the early part of the century * the more disciplined, realistic, and didactic strain that appears in the 1740's and 1750's * novels promoting new ideas about the nature of domestic life * novels by women and how they relate to the shift of subject matter This original and useful book revises traditional literary history by considering novels from those years in the context of the transformation of Britain in the eighteenth century.
»Our society has undergone a paradigm shift. In the information age, you and I are the alpha males,« Dr Leonard Hofstadter, experimental physicist and protagonist of the hit sitcom »The Big Bang Theory«, assures himself and his fellow scientists. The success of this and similar formats in American popular culture proves his point: Science has finally discovered the formula for cool. This interdisciplinary study examines how »cool«, a key aesthetic and affective category in the American imagination, informs contemporary representations of technoscience. Analyzing selected audiovisual productions, Judith Kohlenberger sheds light on current processes of interaction between science and popular culture, two pivotal sources for change in post-industrial America.
Introducing a comprehensive update and complete revision of the authoritative reference work from the award-winning daily paper, this one-volume reference book informs, educates, and clarifies answers to hundreds of topics.