The double, the labyrinth and the locked room metaphors of paradox in crime fiction and film /
I tiakina i:
Kaituhi matua: | |
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Kaituhi rangatōpū: | |
Hōputu: | Tāhiko īPukapuka |
Reo: | Ingarihi |
I whakaputaina: |
New York :
Peter Lang,
c2011.
|
Ngā marau: | |
Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- Introduction
- The deconstruction of reason in Poe's Tales of ratiocination. The double. Existential doubles : Dashiell Hammett's The Maltese falcon
- Subversive doubles : Patricia Highsmith's The talented Mr. Ripley
- Doubles : Christopher Nolan's Memento
- The labyrinth. Avatars of the labyrinth : Jorge Luis Borges's Death and the compass
- Justice as a labyrinth : the Coen Brothers' The man who wasn't there
- The book as a labyrinth : Mark Danielewski's House of leaves
- The locked room. The locked room of the self : Paul Auster's The New York trilogy
- Conclusion.