LEADER 04489nam 22006495 450 001 9910728946203321 005 20230810181618.0 010 $a9783031298493$b(electronic bk.) 010 $z9783031298486 024 7 $a10.1007/978-3-031-29849-3 035 $a(MiAaPQ)EBC30558435 035 $a(Au-PeEL)EBL30558435 035 $a(OCoLC)1381093342 035 $a(DE-He213)978-3-031-29849-3 035 $a(BIP)089067219 035 $a(CKB)26816395800041 035 $a(EXLCZ)9926816395800041 100 $a20230531d2023 u| 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aOcular Proof and the Spectacled Detective in British Crime Fiction /$fby Lisa Hopkins 205 $a1st ed. 2023. 210 1$aCham :$cSpringer Nature Switzerland :$cImprint: Palgrave Macmillan,$d2023. 215 $a1 online resource (194 pages) 225 1 $aCrime Files,$x2947-8359 311 08$aPrint version: Hopkins, Lisa Ocular Proof and the Spectacled Detective in British Crime Fiction Cham : Springer International Publishing AG,c2023 9783031298486 327 $aPart I: Through a Glass Darkly -- Chapter 1: Introduction: What the Spectacled Detective Sees -- Chapter 2: Out of Focus: Ariadne Oliver -- Part II: Seeing the Unseen -- Chapter 3: Scouting Skills: Max Carrados, Sherlock Holmes? Blind Rival -- Chapter 4: An Unseen Hook and an Invisible Line: Father Brown -- Part III: Seeing Through Glass -- Chapter 5: The Man with the Monocle: Lord Peter Wimsey -- Chapter 6: An Ass in Horn-Rims: Albert Campion -- Part IV: Binocular Vision -- Chapter 7: Seeing Double: Inspector Alleyn -- Chapter 8: The Double Vision of Dornford Yates -- Chapter 9: Conclusion. 330 $aFrom Sherlock Holmes onwards, fictional detectives use lenses: Ocular Proof and the Spectacled Detective in British Crime Fiction argues that these visual aids are metaphors for ways of seeing, and that they help us to understand not only individual detectives? methods but also the kinds of cultural work detective fiction may do. It is sometimes regarded as a socially conservative form, and certainly the enduring popularity of ?Golden Age? writers such as Christie, Sayers, Allingham and Marsh implies a strong element of nostalgia in the appeal of the genre. The emphasis on visual aids, however, suggests that solving crime is not a simple matter of uncovering truth but a complex, sophisticated and inherently subjective process, and thus challenges any sense of comforting certainties. Moreover, the value of eye-witness testimony is often troubled in detective fiction by use of the phrase ?the ocular proof?, whose origin in Shakespeare?s Othello reminds us that Othello is manipulated by Iago into misinterpreting what he sees. The act of seeing thus comes to seem ideological and provisional, and Lisa Hopkins argues that the kind of visual aid selected by each detective is an index of his particular propensities and biases. Lisa Hopkins is Professor Emerita of English at Sheffield Hallam University, UK. She has published widely on Renaissance drama (particularly Shakespeare, Marlowe and Ford), adaptation studies, and more recently crime fiction. She is co-editor of Shakespeare, the journal of the British Shakespeare Association, and of the Arden Guides to Early Modern Drama. Her previous books include Shakespearean Allusion in Crime Fiction: DCI Shakespeare (Palgrave, 2016) and Burial Plots in British Detective Fiction (Palgrave, 2021). 410 0$aCrime Files,$x2947-8359 606 $aLiterature, Modern$x20th century 606 $aFiction 606 $aPopular Culture 606 $aMass media and crime 606 $aTwentieth-Century Literature 606 $aFiction Literature 606 $aPopular Culture 606 $aCrime and the Media 610 $aEnglish Literature 615 0$aLiterature, Modern$x20th century. 615 0$aFiction. 615 0$aPopular Culture. 615 0$aMass media and crime. 615 14$aTwentieth-Century Literature. 615 24$aFiction Literature. 615 24$aPopular Culture. 615 24$aCrime and the Media. 676 $a823.087209 700 $aHopkins$b Lisa$0518401 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 912 $a9910728946203321 996 $aOcular Proof and the Spectacled Detective in British Crime Fiction$93384438 997 $aUNINA