Un estudio de la genealogía madre-hija de Irigaray en Brush Back de Sara Paretsky.

Luce Irigaray, la filósofa feminista psicolingüista, afirma que la subjetividad femenina es alcanzable a través de algunas conductas activas de las cuales la genealogía madre-hija es la más prominente. El conocido mito de Perséfone y su madre, Demeter, es la base inspiradora de la relación madre e hija de Irigaray, que también se puede identificar en el Brush Back de Sara Paretsky. Analizar las similitudes y las diferencias entre la noción de Irigaray de la genealogía de madre e hija en el mito y la forma en que Paretsky utiliza el tema en su novela, sería el resultado concluyente de este estudio que también recordaría indirectamente al lector la necesidad de reconocer la genealogía madre-hija para construir una cultura mundial.

“Philip Marlowe in drag?” – The construct of the hard-boiled detective in feminist appropriation and translation

Hard-nosed female investigators Sara Lund and Saga Norén from the extraordinarily successful Scandinavian TV crime series The Killing and The Bridge are the latest examples of female hard-boiled detectives - dysfunctional loners who solve crimes where no one else succeeds. This article looks at the character construct of the hard-boiled male detective, maps these tropes against social expectations of gender norms and then considers how Sara Paretsky constructs an explicitly feminist “tough guy” private eye in V.I. Warshawski. It then analyses how Paretsky’s negotiation and partial subversion of the tropes of the hard-boiled genre are handled in translation, drawing on the German translation of Indemnity Only.

Strange Birds: Rewriting The Maltese Falcon

Hammett's formative role in establishing the conventions of the hard-boiled detective formula is widely acknowledged, but the formative influence of his masterpiece, The Maltese Falcon, on specific texts by subsequent innovators has remained largely unexplored territory. Both Sara Paretsky and Chester Himes have paid tribute to Hammett's influence, with particular reference to The Maltese Falcon. An examination of Indemnity Only and For the Love of Imabelle in relation to The Maltese Falcon offers a unique perspective on Paretsky's and Himes's stylistic choices and the social perspectives these articulated. It also helps to explain the critical reception of their work. Paretsky, writing within the grain of a type of social realism associated with both protest literature and hard-boiled detective fiction, achieved early recognition. Himes, writing against the grain, did not. Those of his detective novels most closely allied to his protest writing have received the most critical attention, but in For the Love of Imabelle, Himes used techniques allied to surrealism. These effectively disrupted and destabilized important, socially privileged discourses – and discomforted audiences and wrong-footed critics.