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①Julian Symons,Bloody Murder:From the Detective Story to the Crime Novel(New York:Warner Books.1980),pp.1-6,pp.191-193.(下文引用，在正文中随文标注页码。) ②Stephen Knight,Form and Ideology in Crime Fiction(Bloomington:Indiana UP,1980). ③Stephen Knight,Crime Fiction 1800-2000:Detection,Death,Diversity(Houndmills.Pasingstoke.Hampshire:Palgrave Macmillan,2004). ④Warren Chernaik et al.eds.,The Art of Detective Fiction(Houndmills/Pasingstoke/Hampshire:Palgrave Macmillan,2000). ⑤Ed Christian ed.,The Postcolonial Detective(Houndmills.Pasingstoke/Hampshire:Palgrave Macmillan,2001). ⑥Bruce Murphy ed.,Encyclopedia of Murder and Mystery(Houndmills/Pasingstoke/Hampshire:Palgrave Macmillan,2002); Hans Bertens and Theo D' Haen eds.,Contemporary American Crime Fiction(Houndmills/Pasingstoke/Hampshire:Palgrave Macmillan,2001). ⑦Martin Priestman ed.,The Cambridge Companion to Crime Fiction(Cambridge:Cambridge UP,2003). ⑧Ian A Bell,"Eighteenth-Century Crime Writing",The Cambridge Companion to Crime Fiction,pp.7-17. ⑨Lyn Pykett,"The Newgate Novel and Sensational Fiction,1830-1868",The Cambridge Companion to Crime Fiction,pp.19-39. ⑩Stephen Knight,"The Golden Age",The Cambridge Companion to Crime Fiction,pp.77-94. (11)Andrew Pepper,"Black Crime Fiction",The Cambridge Companion to Crime Fiction,pp.209-226. (12)Maureen T.Reddy,"Women Detectives",The Cambridge Companion to Crime Fiction,pp.191-207. (13)Martin Priestman,"Introduction:Crime Fiction and Detective Fiction",The Cambridge Companion to Crime Fiction,pp.1-2. (14)Tzvetan Todorov,"The Typology of Detective Fiction",Poetics of Prose(Ithaca,New York:Cornell UP,1977),p.43.(下文引用，在正文中随文标注页码。) (15)道格拉斯·克尔：《英国小说与犯罪现场》，王理行译，载《外国文学》2000年第2期，66页。 (16)Peter Huhn,"The Detective as Reader:Narrativity and Reading Concepts in Detective Fiction",Modern Fiction Studies 33.3(1987),p.452. (17)对“情节”一词在学术界的不同理解和阐释，详见申丹：《叙述学与小说文体学研究》，北京大学出版社2001年版，30-35页。 (18)详见申丹：《叙述学与小说文体学研究》，42-43页。 (19)Edgar Allan Poe,"The Black Cat",Tales by Edgar Allan Poe(New York:Cornwall Press,1952),p.655. (20)Susan Amper,"Untold Story:The Lying Narrator in 'The Black Cat'",Studies in Short Fiction 29(1992),pp.475-476; Joseph Stark,"Motive and Meaning:The Mystery of the Will in Poe's 'The Black Cat'",Mississippi Quarterly 57.2(2004),pp.258-262. (21)Stephen Knight,Form and Ideology in Crime Fiction,pp.42-43. (22)Howard Haycraft,Murder for Pleasure:The Life and Times of the Detective Story(New York:D.Appleton-Century Company,1941),pp.8-9. (23)爱伦·坡推理作品与19世纪实证主义的联系，参见道格拉斯·克尔：《英国小说与犯罪现场》，67页。 (24)这类作品关注的是社会核心阶层中所发生的绑架、通奸、谋杀、重婚、欺诈、伪造等罪行，犯罪嫌疑人也多为中产阶级、甚或是上流社会的成员。这无疑可以触动普通人的阅读神经，牵扯其潜意识中的隐含恐惧，正因如此奇情小说才会被批评借助感官刺激而鼓励低级趣味。参见Rebecca Martin,"On Crime and Detective Fiction:Perversities and Pleasure of the Texts",Critical Insights:Crime and Detective Fiction,ed.Rebecca Martin(Massachusetts:Grey House Publishing,2013),xvii页。 (25)R.Morrison,"Poe's De Quincey,Poe's Dupin",Essays in Criticism 51.4(2001),p.424. (26)Thomas De Quincey,"On Murder Considered as One of the Fine Arts",On Murder(New York:Oxford UP,2006),pp.12-13. (27)See John Samuel Harpham,"Detective Fiction and the Aesthetic of Crime",Raritan 34.1(2014),p.127. (28)Thomas De Quincey,"On Murder Considered as One of the Fine Arts",p.10. (29)Thomas De Quincey,"On Murder Considered as One of the Fine Arts",p.10. (30)Thomas De Quincey,"On the Knocking at the Gate in Macbeth",On Murder.p.5. (31)袁洪庚：《现代英美侦探小说起源及演变研究》，载《国外文学》2005年第4期，64页。 (32)参见George Orwell,"Decline of the English Murder",Shooting an Elephant and Other Essays(New York:Harcourt,Brace & World,Inc.,1952),156-160页. (33)John Scaggs,Crime Fiction(London:Routledge,2005),p.20. (34)Raymond Chandler,Raymond Chandler:Later Novles and Other Writings,ed.Frank MacShane(New York:Library of America,1995),p.992. (35)Eva Erdmann,"Topographical Fiction:A World Map of International Crime Fiction",The Cartographic Journal 48.4(2011),p.279. (责任编辑：admin) |