Monika Uzar
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ƐPostƑModrn Marlo in Hard-Boild Vitorian Ag:
Gnri Classifiation of Trry Prathtt’s City Watch Cyl
Th j f m v , mm fh (p)mm, ll f , -vl vl - f h-, l h pl l . Th fm f fm mm fm h p fm ll pll fm v h l pp mx f pvl hh f. Sh ml f l fm v Bh ’, T PhĴ ’, f . I Ĝl pv h vl fm h h h h f (p)m lm. A ll f l, PhĴ ’ h mm f h f fm f fm fm fm, h vl, l, h m . I h PhĴ p ě ph f h pv (p)m l: - , p hh h h ll h lm mp ll h mv hm h hm, p lm f ě f . PhĴ ’ m mlm f 18h vl, 19h v , h-l , ll , h ll, h pq vl, -pll . Hv, p (p)m h-, PhĴ ’ m vl l (p)m v m. PhĴ h h p mx f ě lm --v , hh, p l p, p (p)m , pv xmpl f l v hh h v h ’ , p-v - h lh l . Dfining ƐPostƑModrnis
I h m Sceptical History Hl B R ll (p)m-m mll m1. Th p f l , hh h m l l v h , , hh mh Ĵmp pv l . Sm, l h Dv Hv, l fl h ě mm (p)mm2, h, h Fh phlph J-F L, h lll p3. Whv h mm (p)mm, Ĵmp h lĴ m v lh m f h fm. Wl Bjm, Gm h f l l , h h m h hh , l 4. Mm m h f h 20h, hhl h p f h lll l h ll 1 H. B. R, Sceptical History, L 2007, p.2.
2 S. Gl, Theorizing Modernism. Essays in Critical Theory, L 2008, p. 171. 3 S. Gl, op cit, p. 177.
4 D. F, Fragments of Modernity, Cm 1985, p. 36.
, l, h xp f Wl W I5. Th f f M h l h pm h v f h f h G W, l h l ll , hf, mm p l vl6. Mm h , hh, l, ll xpm h fm. Th l j f fv f fm, hh ml h mp f h l-v, j f l mlm f l, hh ml h l f h vl - l. Hv, p p h m “ l”7, m Ĵmp mh h j “ -v” f h l h 8. L Sv Gl h plm h mm (p)mm, m fm mll pl f9. Sl F Jm pp v ml-l f (p)mm10. A- Jm (p)mm h j f hh mm’ h ph- fv f pp-ll ; - f mm, hh h ; xpl f m f h m xm m mvm; f m- 11. Th p f h pp Hl B R h Sceptical History, h h : “Pmm […] »lvm,« »v lf« »plfl,« […] hll h h f l pl m hh”12. (P)mm f fm xll pl, h h hvl mm. Th (p)m v “ v”, h m h mp f l l ppl j h m j, 13. Th (p)mm m , f h pp f h l, l j mm’ Ĵmp l ‘ v’ l h . I, (p)mm m h lv m, hh l fm h xll v j f l l. (P)mm l pp h hh hm f mm lm f ppl l. W h h pv , mpl lf T PhĴ , (p)m . H h fm (p)m , p- lm f v h , ll lm f pp-l, p- fm v mll hĞ . Hv, h vl l h hl f (p)mm. Th vv f h ll vl h m . Th Gnrs of Cri Fition Cm , lhh mml pv p-m l, v h pp f l q , , l v. A S, pm h f -m , h f hl v “ ml h h mpm , 5 S. Gl, op cit, p. 175. 6 Ibidem, p. 172.
7 Rf T. S. Ell’ Waste Land. 8 H. B. R, op. cit., p.2. 9 S. Gl, op. cit., p. 176.
10 F. Jm, Postmodernism, or the Cultural Logic of Late Capitalism, Dhm 1984, p. 59. 11 Ibidem.
12 H. B. R, op. cit., p.2. 13 S. Gl, op. cit., p. 4.
h h x h p l f pl m pl, l f Ĵmp p – ml – f h m pl”14. B p h p f v m h m p ’ v h f , vl, h l pl pl f ml - f vl. Th hh pv ph mlm f ml, h f hh l. Th pv p f h jl m, h h h ll pl f fl l f vl f j h v vlpm . F h f l, h l hll lm h l f m h : 18h vl, 19h v , h-l . All h ll x hll f El h Elh , h h f PhĴ ’ . Th 18h v f Ĝl m , hv, lm f m p h vl f h m. Th h’ pp f m h -pll h lv . I h 18h El h x ěv pl
f15. Th h h l h the Bloody Code. Th l f h C
pv m hh f, v h lh mm ph h h. The Bloody Code h f h ’ l f . I m h mpl16. Wh l , h v ll fm h v f h j p17. Th l “pv h”, .. f h m, .. vl, h hlf f h vm. Th p h f pv f m. I l vlm – pv, - fm f jv j. A h m, m l h pl xp . Th , vl, mml h f h lp jxp h h , p, mml h f h l 18. Th 19h h m f v . Smll h 18h vl, v f h l m h f ml f . I E-l, 19h h f Q V’ . Th Gl A f h Emp, h hp f h f lf p h l , hh l ě ’ v h pl pl. L PĴ , l pl V S, f : “h h ll m f m h ml, mvm fm ll h pl f phm mll m pl”19. Th h h h -l h ph f pl . Th f h fm the Bloody Code mp h fm f ěv l pl f. L l h j f pv p, m x h .
Th mph f l jl fm v h, h ll -m h m ll- f f -m - h v. Th h “ f l ”20. H l pv h x l “[]
14 W. S, Critical Investigations: Convention and Ideology in Detective Fiction, “Tx S L
L-”, 1989, p. 571.
15 M. Pm, The Cambridge Companion to Crime Fiction, Cm 2003, p.8. 16 Ibidem, p.7.
17 Ibidem, p.8. 18 Ibidem, p.12. 19 Ibidem, p.34. 20 Ibidem, p.8.
v[] h f h ml, mĴ h pp , m h h h ml m ”21. I hv h l, h v mpl l mh. H , fm, h p f f hll p. Dp lf , h v l Ĝl f h l22. H ll pv vl, -l h vl. Th v v -m’ jv f j. I h h h fm f lh h-. Th l f f h v h f 23. Th v vl v pv l , h hmlf f , h m ph h ml. Th ě hm hm h v h h v24. Th f h-l v m h f h 20h Am m h h f h 19h v . Whl V v vl vv, Ĝm h h q pll, l ml , h h-l vl h x l , h p mpf f l ml m h p. F h h-l h mhvll ppl h vl’ p p -m h l pl, .. h m pfl lh p h m h ll, h l h ll f h . Th l v vl hhlh . I h--l v “h x f fl ll Ĵh pm v- h m -pll m ll pv ppl f l v h lv h hp hm h f h h hm m hm vm”25. Th v h-l vl “ , -h, m h”26 lv p “lp, -h l f j Am”27. N l h v lhl lm h pp phl h x . Th h-l v ll “m f h”28, h h f j, hv, j mm fm h l ml h fl l 29. Th h-l j h f pv h x l pl -, h, hv, v p-p f fm.
Invstigating th Gnr: Gnri Classifiation of Prathtt’s Cri Fition
Wh h Dl vm T PhĴ v h l. O f hm, h C Wh , p h f h mm f h pl f f h h D, h p pl f Ah-Mp. Th , h , f h vlm: Guards! Guards!, Men at Arms, Feet of Clay, Jingo, The Fifth Elephant,
21 J. A. H, The Recoil of ‘The Speckled Band: Detective Story and Detective Discourse, 1992, p. 316. 22 M. Pm, op. cit., p.34.
23 Ibidem, p.44. 24 Ibidem, p.44.
25 L. Hl, American Hard- Boiled Crime Fiction, 1920s – 1940s.,
hĴ p://.ml.m/C/H-Bl.hml, 04.05.2012
26 M. Pm, op. cit., p.96. 27 Ibidem, p.96.
28 R. Chl, The Simple Art of Murder, N Y 1999, p.533. 29 M. Pm, op. cit., p.100.
Night Watch, Thud! a Snuě . Whl Jingo, The Fifth Elephant, Night Watch, Thud! Snuě p fm h f v fv f m plll- l, h -l h f h m h h f . I m hh T’ m vl l l h lm: h --l, h f h v, h f h v.
Th ƐUnƑholy Trinity: City-Soity-La
Th Ĵ f h m vl Ah-Mp, l mpl, hh pl h h plm vppl l l plm h ql, l, h30. I Guards! Guards! h h h “[] h l
p-p fm h […, ] f v p [] h l . U h’ mp l , hv hv, h hl. A ”31. Th p- h l, hh q vl p pv, hh m p f v lf. Sh mph mlm f h h-l . Hv, h l h h , hv, p mm f lll l32. Th m hm p lm f h l , hh l h f h-l , h m m p ll. Th pplh-ll “ ppl”. Ah P,hlf Ah-M-p, p Men at Arms, ll h l h lf ll lvl p33. Th mh f h f j, l ě hm pll. Vm hmlf : “h mm ppl? [...]Th’ h pl. Th’ ě fm h h pfl xp h’v m p”34. Th ppl f Ah-Mp ll . Th f h v l f h V A 19h v . V h lf . Th f h Emp l p Ah-Mp, hh, mll El, h ml f f h D ll hl l 35. Al, h pl f ml pp, hh mp p f , h hmxl, , lh. Il f h l mml. Th h , h h x f l – h pv h pl. Hv, v h pv l ll llf. Ehfhl f Ah-Mp,..h A’ Gl, h Gml’ Gl, h Sm’l36. Th pl, ml l h m , v f , h-l l hv pp, h , j l V El, ll f l, h h . Th l, hh h h ppl v mlm f h - fm m : h 18h vl 19h v . Ah-Mp l hlf-h, hlf-m m, h l l Ĝl, h 30 All l, PhĴ l f h ll, v, vmp, lv fml- h x l-l . 31 T. PhĴ , Guards! Guards!, L 1989, p. 2. 32 T. PhĴ , Men at Arms, L 1993, p. 48. 33 Ibidem, p.71. 34 Ibidem, p. 281. 35 Ibidem, p. 162. 36 Th Gl f P.
P, hlm. Th l h h l f p – h l. Th l v h vl l , hh l f l f jl h f 18h m vl. Hv, h lm
j-m fll h h l f h P. Th h l h mv h vl fm h ph f 18h . Th l f h m
f the Bloody Code, h l f Feet of Clay. I f h h m m , hh v m f h hh phm, hh h pp37. Hv, “[]h h h m pv Ĝ f l h h f pl qm”38. Th p h h ll m f Ah-Mp fm, ml h f V El. Dp p lm f h h-l 18h mm fm P-hĴ ’ f h (p)m ffm, h Ĵ f PP-hĴ ’ m vl p h f 19h v . I h vl, PhĴ p l hh -, h ěv pl f f l lh , l -h.
Th Naolons of Cri: th Criinals of Ankh-Morork
Th f l h f h h m m . 18h vl m l, mmĴ v, .. pmv vl. N l pl f ml p hl. Wh h 19h v h fl h l l h ml, h . Cm -l, mh h l m, l, hh pv l l f m mpl f h lf-mp f f . T mm m mm f h39. O h h h, h h--l v m h m, p p lm f h l f h l pll vm, l h l fl f vl. PhĴ ’ f f h , h v xpl h p h l f vl. Guards! Guards! h lm h C Wh h ml : , hh j h h mhm vl pl vh h P, h l f Ah-Mp. Th p f h h h . I h p v xpl , h m f Beowulf’s Gl, lv h f h , f l m. Hv, h h’ f h p h p f . Th, m m h f h vl, h plĴ h mh40. I h h h h p p v fm h m, mh pp x pl v. Th lv f h m, v h lp h h pl h f m pl m mlm f V f j – ph h l, pv h l pll , l lv f h v. Thf p p l-37 T. PhĴ , Feet of Clay, L 1997, p. 212. 38 Ibidem, p. 212. 39 Ibidem, p 22. 40 T. PhĴ , Guards! Guards!, L 1989, p. 209.
m f h 18h v f ml, Guards! Guards! pv xmpl
f 19h v vl.
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pv p h l . Th vl, ll f l h. Th lm hv h l, hmlv f v, h , h Ĵmp hv fm, h h f h x .
Convition or Witӓ Phili Marlo vs. Shrlok Hols
Th l h f m h m, hh f m , , m p, h h h hh h f m . PhĴ h pl f h vl , l , pl f. Th l pl f h vl h h 18h . Hv hll fllvl: Sm Vm. Thlmhfm pl, p ě l f q: Ĝ l h 19h v h-l . Al h v ll ll m, hh l . S T’ v h vl. A ml-, m, h m Ph-lp Ml’43 p. H h Guards! Guards! h “ [...] [] ll h , fl[] l h Ĵ h Wh H l[] h”44. Th p p Sm Vm h f h-l -h. Hv, h h ql h , h vl h l h , l v f h 45. F, lhh Vm m m h ll
j, h m h lv h Ah-Mp. I Feet of Clay Vm : “Th Whm’ hlm ’ l . Ev h ě ’ ll ”46. H p-f h v h v f h pm f l47, l mh Phlp Ml, lv h l ml , l . Th fll p- fm Feet of Clay pv Vm’ h h x l : “Th P l Vm h j, knew h’ h j, h h x f h hh h mĴ. Wll, , Vm l... l... l l ll h j, f , h ’ h h l”48. Th hm f pl “h j” h / mlm f 19h v . Th (p)m m h f h v h plm l v PhĴ ’ h h f v vl: h v f h l l lm.
AĜ l f h fm p h f Men at Arms, h Sm Vm lv h p f l49. B m h h , PhĴ h ml hm h f l v . Km h h v , m pv h lv 50. Vm’lv h mv hm fm h fml l x. A h hmlf : “A jmp-p pp h h ”51. H l lv l p Vm ll h m p ěvl p h , pl fm f j vlpm f h ’ pl f. 43 Th hv , ll v Rm Chl’ h-l vl. 44 T. PhĴ , Guards! Guards!, L 1989, p. 10. 45 Ibidem, p. 170. 46 Ibidem, p. 170. 47 Ibidem, p. 172. 48 Ibidem, p. 147.
49 T. PhĴ , op. cit., Men..., L 1993, p. 313.
50 M. Pm, The Cambridge Companion to Crime Fiction, Cm 2003, p. 44. 51 T. PhĴ , op. cit., Feet..., L 1997, p. 14.
Clf PhĴ ’ m vl hf . D h h’ - f h f-m ě- (p)mm, ll h f h p- vl hv h h mlm f h 18h vl, 19h v vl, h-l v . Fm h h pv l f h l v h f h ml. Fm h , h f h v lf h m. Fm h lĴ, h mph f ml fll llm, mp . Sh mx l l p h vl’l h (p)m . Y, p h l v vlm f h 18h vl h l f h h-l, h vl ll l h V- f m , f h p f h v h m f h v. R h (p)m q ml v mpl l f p52. Th mh h PhĴ , h hh xl hm fm h (p)m , p h l f h (p)m mhl f mp. PhĴ ’ m vl Ĝm f h -l mpl f -pll p, h l j hm. Th hm f h v’ pl “h j” h , hh h ml f h , p ll h vl. Sm Vm ll l f pv f h x l pll , ll pv fm h ml Oh, vl h h pfl x f h 53. Th h x l pl f h ml -vl f l m ll PhĴ ’ m h h f 19h v . Work itd
Chl R., The Simple Art of Murder, N Y1999.
F D., Fragments of Modernity: Theories of Modernity in the Works of Simmel, Kracauer and Benjamin, Cm 1985. Gl S., Theorizing Modernism. Essays in Critical Theory. L 1993.
H J. A., The Recoil of ‘The Speckled Band’: Detective Story and Detective Discourse, “P T”,13.2, 1992. Jm, F. Postmodernism, or the Cultural Logic of Late Capitalism, “N LĞ Rv”,146, 1984. PhĴ T., Feet of Clay, L 1997.
PhĴ T., Guards! Guards!, L 1989. PhĴ T., Men at Arms, L 1993.
Pm R The Cambridge Companion to Crime Fiction. Cm, 2003.
R H. B Sceptical History. Feminist and Postmoderns Approaches in Practice. L 2007.
S Wllm W., Critical Investigations: Convention and Ideology Detective Fiction, “Tx S L L-”, 31.4, 1989.
Intrnt Rsours
Hl L., American Hard-Boiled Crime Fiction, 1920s – 1940s. hĴ p://.ml.m/C/H-Bl.hml, 4.05.2012.
Chandlroski Marlo ƐostƑodrnistyzn o iktoriaҞski Secee Pp ï fm, pmm mČlÙ Ù¿ l¿, lj¿ p h hh pólh ó lh. DÙ óm mČlï° fm ¿ h 52 H. B. R, op. cit., p.10. 53 W. S, op. cit., p. 574