FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2560382507> ?p ?o ?g. }

• W2560382507 endingPage "357" @default.
• W2560382507 startingPage "335" @default.
• W2560382507 abstract "Fables of the Material World in James Ellroy’s Los Angeles Joshua Meyer (bio) As he walked, Stillman did not look up. . . . Every now and then he would stoop down, pick some object off the ground, and examine it closely, turning it over and over in his hand. It made Quinn think of an archaeologist inspecting a shard at some prehistoric ruin. —Paul Auster, City of Glass James Ellroy’s detective stories detail an urban landscape in which crime is inseparable from its relationship to a grossly material world. In Ellroy’s Los Angeles, gothic bloody serial murder, rape and incest, violent armed robberies and assassinations, terrorism, institutional corruption, and petty crimes from property theft to mail fraud are everywhere tied to large-scale urban development and land deals—to the physical structures of the city. Thus, Ellroy’s work gives radically substantial form to the generic pattern in which the world of the detective story is saturated with the traces of crime. This study investigates the effects of this imbrication of crime into the fabric of the city in Ellroy’s fiction. It examines the way Ellroy’s LA concretizes the narrative and semiotic tensions that run through his work, as the shifting terms of the exchange between the semiotic possibilities produced by mysterious crimes, and the potential significances of the clues discovered through the course of their investigation, are hypostasized in the city’s relentless material activity. Thus, in the context of a critical discourse that has tended to use spatial metaphors to describe the often complex relationships among the genre’s physical spaces, the interpretive possibilities these spaces present, and the investigative action of the detectives who inhabit them, this study focuses on tracking [End Page 335] these relationships at street level, through their expression in two material scenes from Ellroy’s work—the first from The Black Dahlia (1987) and the second from his 2004 short story “Jungletown Jihad.” But it is also concerned with the way these specific scenes signal the broader implications of the fact that every detective story describes a landscape marked by traces of the crime, and that the story’s significance is therefore always crucially enmeshed in its materiality and its narrative temporality—in the dialectical tension between subject and fable that is essential to the generic form.1 Space and Signification in the Detective Story More, perhaps, than any other genre, detective fiction demands that its readers pay careful attention to the material world it describes. Here, after all, anything might be a clue, and every surface is charged with latent meaning, potentially of the most crucial significance.2 Detective stories are therefore typically rich with extensive descriptions of objects, designed to cater to the needs of the heroes and the readers of a genre in which the search for evidence is inseparable from the narrative form and from the pleasures of literary consumption. Put another way, detective fiction involves a deep reticulation of space and signification. However, few studies have examined the material significance of the genre’s settings,3 and these have generally been distinct from the semiotic readings that make up the majority of writing on the world of the detective story. Nevertheless, it is perhaps reflective of the crucial relationship between space and signification in the genre that our discourse on detective fiction has been characterized by some fundamentally spatial ways of thinking about signification. A number of studies have focused on mapping the interpretative possibilities produced by the mysterious crime by way of spatial metaphors. The most popular such metaphor is surely the labyrinth, which has enjoyed popular usage on dust jackets and in book reviews (Ellroy’s “labyrinthine plotting is superb,” writes Modern Review’s David Pascoe, on the back of White Jazz), in theoretical examinations of the genre (Jorge Hernández Martin’s Readers and Labyrinths, for one), and in detective stories that offer reflexive commentary on the epistemological conventions of the form, often labeled “metaphysical,” “postmodern,” or “antidetective” detective [End Page 336] stories. (Consider, for example, the way Eco’s labyrinthine library in The Name of the Rose opens an intertextual passage to Borges’s labyrinth in “The Library of Babel.”) In..." @default.
• W2560382507 created "2016-12-16" @default.
• W2560382507 creator A5078447806 @default.
• W2560382507 date "2016-01-01" @default.
• W2560382507 modified "2023-10-17" @default.
• W2560382507 title "Fables of the Material World in James Ellroy’s Los Angeles" @default.
• W2560382507 cites W1497998576 @default.
• W2560382507 cites W1600728171 @default.
• W2560382507 cites W1604240511 @default.
• W2560382507 cites W1967517168 @default.
• W2560382507 cites W1988428887 @default.
• W2560382507 cites W1998921366 @default.
• W2560382507 cites W2034769775 @default.
• W2560382507 cites W2081735977 @default.
• W2560382507 cites W2082492404 @default.
• W2560382507 cites W2142128962 @default.
• W2560382507 cites W2153798183 @default.
• W2560382507 cites W216710082 @default.
• W2560382507 cites W2420466778 @default.
• W2560382507 cites W2529585633 @default.
• W2560382507 cites W2798492687 @default.
• W2560382507 cites W300643088 @default.
• W2560382507 cites W581697258 @default.
• W2560382507 cites W582904404 @default.
• W2560382507 cites W595903063 @default.
• W2560382507 cites W602807869 @default.
• W2560382507 cites W628815811 @default.
• W2560382507 cites W657273022 @default.
• W2560382507 doi "https://doi.org/10.1353/wal.2016.0044" @default.
• W2560382507 hasPublicationYear "2016" @default.
• W2560382507 type Work @default.
• W2560382507 sameAs 2560382507 @default.
• W2560382507 citedByCount "0" @default.
• W2560382507 crossrefType "journal-article" @default.
• W2560382507 hasAuthorship W2560382507A5078447806 @default.
• W2560382507 hasConcept C124952713 @default.
• W2560382507 hasConcept C138885662 @default.
• W2560382507 hasConcept C139997677 @default.
• W2560382507 hasConcept C142362112 @default.
• W2560382507 hasConcept C144024400 @default.
• W2560382507 hasConcept C166957645 @default.
• W2560382507 hasConcept C17744445 @default.
• W2560382507 hasConcept C199033989 @default.
• W2560382507 hasConcept C199539241 @default.
• W2560382507 hasConcept C203133693 @default.
• W2560382507 hasConcept C2779343474 @default.
• W2560382507 hasConcept C2780027415 @default.
• W2560382507 hasConcept C2781238097 @default.
• W2560382507 hasConcept C41895202 @default.
• W2560382507 hasConcept C73484699 @default.
• W2560382507 hasConcept C95457728 @default.
• W2560382507 hasConceptScore W2560382507C124952713 @default.
• W2560382507 hasConceptScore W2560382507C138885662 @default.
• W2560382507 hasConceptScore W2560382507C139997677 @default.
• W2560382507 hasConceptScore W2560382507C142362112 @default.
• W2560382507 hasConceptScore W2560382507C144024400 @default.
• W2560382507 hasConceptScore W2560382507C166957645 @default.
• W2560382507 hasConceptScore W2560382507C17744445 @default.
• W2560382507 hasConceptScore W2560382507C199033989 @default.
• W2560382507 hasConceptScore W2560382507C199539241 @default.
• W2560382507 hasConceptScore W2560382507C203133693 @default.
• W2560382507 hasConceptScore W2560382507C2779343474 @default.
• W2560382507 hasConceptScore W2560382507C2780027415 @default.
• W2560382507 hasConceptScore W2560382507C2781238097 @default.
• W2560382507 hasConceptScore W2560382507C41895202 @default.
• W2560382507 hasConceptScore W2560382507C73484699 @default.
• W2560382507 hasConceptScore W2560382507C95457728 @default.
• W2560382507 hasIssue "3" @default.
• W2560382507 hasLocation W25603825071 @default.
• W2560382507 hasOpenAccess W2560382507 @default.
• W2560382507 hasPrimaryLocation W25603825071 @default.
• W2560382507 hasRelatedWork W1953287673 @default.
• W2560382507 hasRelatedWork W2076528457 @default.
• W2560382507 hasRelatedWork W2317692872 @default.
• W2560382507 hasRelatedWork W2347657197 @default.
• W2560382507 hasRelatedWork W2392456815 @default.
• W2560382507 hasRelatedWork W2748952813 @default.
• W2560382507 hasRelatedWork W2800752778 @default.
• W2560382507 hasRelatedWork W2809917844 @default.
• W2560382507 hasRelatedWork W2933608806 @default.
• W2560382507 hasRelatedWork W3133547471 @default.
• W2560382507 hasVolume "51" @default.
• W2560382507 isParatext "false" @default.
• W2560382507 isRetracted "false" @default.
• W2560382507 magId "2560382507" @default.
• W2560382507 workType "article" @default.