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الرئيسية > شخصية الأسود في الرواية البولي...>الوصف

شخصية الأسود في الرواية البوليسية الواقعية : دراسة لرواية موسلي شيطان في ثوب أزرق

المصدر: المجلة الأردنية للغات الحديثة وآدابها
الناشر: جامعة اليرموك - عمادة البحث العلمي
المؤلف الرئيسي: جيزاوي، حنان (مؤلف)
المجلد/العدد: مج 4, ع 1
محكمة: نعم
الدولة: الأردن
التاريخ الميلادي: 2012
الصفحات: 35 - 50
ISSN: 1994- 6953
رقم MD: 455702
نوع المحتوى: بحوث ومقالات
قواعد المعلومات: AraBase
مواضيع:
النقد الأدبي | الأدب الانجليزي | الروائيون الإنجليزيون | الروايات البوليسية | الجريمة والمجرمون | الشخصيات الروائية | رواية شيطان في ثوب أزرق | الزنوج | مستخلصات الأبحاث
رابط المحتوى:

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المستخلص: تبحــث هــذه الدراســة فــي تطــوير الــروائيين الأمــريكيين مــن أصــل افريقــي لجيــل جديــد مــن الروايــة البوليســية الأمريكية يمكن تسميته بجيل الرواية البوليسية الواقعية جدا Hard-boiled detective) novel). بينمـا كـان تركيـز كتاب الجيل السابق مـن الروايـة البوليسـية ينصـب علـ ى حـل لغـز الجريمـة و اكتشـاف المجـرم، بـدأ كتـاب الجيـل الجديـد وبخاصة الروائيون الأمريكيون السود بالتركيز في رواياتهم على المشاكل الاجتماعية التي واجههم في أمري ا، مما ساعد في تغيير الرواية البوليسية وتغيير خصائصها مقارنة بروايات الجيل السابق لها. لتوضيح التغييرات التي طرأت على الرواية البوليسية الأمريكية على أيدي هؤلاء الروائيين السـود تسـتخدم هـذه الدراسة مجموعة عناصر أطلقها ستيفن سويتوس تحت مسمى عبارات المجاز((Tropes وربطها بأعمال الروائيين الأمريكيين السود على أنها تشكل عـاملا أو قاسـما مشـتركا بينهـا يتمحـور حـول علاقـة شـخوص الروايـة مـن السـود مـع أقرانهم البيض في هذه الروايات. تلك العلاقة التي تقوم على ادراك السود كـونهم يعـدون " الاخـر" ((The Otherمـن وجهة نظر البيض من مواطنيهم. تعالج هذه الدراسة فكرة ادراك السـود لمـوقعهم فـي مجـتمعهم بنـاء علـى كـونهم " الاخـر" و تـأثير ادراكهـم هـذا على ادائهم و سلوكهم في الرواية البوليسية الواقعية "شيطان فـي ثـوب أزرق " للكاتـب الأمريكـي مـن أصـل افريقـى والتـرموس لى ((Walter Mosley، وهي رواية ممثلة للرواية الأمريكية من الجيل الجديد المسمى " الرواية البوليسية الواقعية جدا" ((Hard-boiled detective novel ، ويتبين من تحليل نص الرواية أن كاتبها يعـزو ميـل شخصـيات الرواية من السود الى ارتكاب شتى أنواع الجرائم، وبخاصة منها تلك المرتبطة بالطبقة الكادحة والمسماة "جرائم الكراهية" ((Blue crimeالى شعور السود بالظلم والدونية، وعدم استعداد البيض من مـواطنيهم لتقبـل انـدماجهم فـي مجتمعهم كمواطنين على قدم المساواة مع غيرهم. \

African American authors of detective fiction helped develop a new generation of the American detective novel, called the hard-boiled detective novel. While writers of the classical detective novel concentrated on solving the crimes and finding the criminal at the end of the novel, the writers of the new generation of detective fiction, mainly Black American authors, effected a significant change in this genre. They started using it to serve their ethnic social groups by highlighting the social problems that face them in America and presenting their viewpoints. This paper is an attempt at analyzing Walter Mosley's Devil in a Blue Dress as an example of American Hard-Boiled detective fiction. The theme, setting, and characters, in this novel, are typical and representative of their counterparts in other American hard-boiled detective novels by Black American authors. In its implications for the history and development of American detective fiction in general, this novel forms a kind of microcosm of the macrocosm of American hard-boiled detective fiction. These implications are explored in this paper in the light of Soitos' tropes of black detective fiction. These tropes provide significant help in defining and explaining race conflict in American society between the blacks and the whites. When applied to the hard-boiled novel in question, these tropes help us see how the black characters in the novel, the detective persona included, are aware of being the "Other", how they are affected by this awareness, and how the race conflict that results from this awareness leads to Crime. Detective fiction naturally deals with crime and is associated with mystery. American detective fiction is no exception. However, the twentieth century Black American authors of detective novels developed a new generation of detective fiction that came to be called hard-boiled detective fiction. Ray Browne observes that the previous phase of detective fiction, which was called in the late nineteenth and early twentieth century the classical detective fiction, has been criticized for being far from real life (327). This kind of fiction is meant for entertainment; the plot in the typical novel focuses on a kind of "puzzle": a mysterious crime is committed, and the protagonist's main aim is to discover the criminal and solve the mystery at the end of the novel. Thus, this kind of novel, as Scott McCracken observes, is called "whodunit" (454). It followed that some of the American detective writers, such as Dashiell Hammet and Raymond Chandler, in the late 1930s, developed this genre into the so-called "hardboiled detective fiction" (Nyman 15). Like its counterpart in classic detective fiction, this new phase of the hard-boiled fiction includes crime and is associated with mystery. However, the writers of the new phase effected significant change in the common view about the detective novel; they started using it to serve their society by highlighting the social issues that face the American society. One of the major issues that affect people in the United States is racism: the superiority of one group over another according to skin color. Racism is a major cause of the division of the American society into classes. White Americans usually look down upon ethnic groups, like Black Americans, Asian Americans, Mexican Americans, and others. The supposed inferiority of these groups is treated widely in the hard-boiled detective novels. The assumption of the inferiority of the black person, the Black American, in particular, began with slavery. Black Americans originally were brought to be exploited as cheap labor to work in America. They were either enslaved or employed as laborers, and in both cases they suffered extreme poverty. The inequality of wealth, which causes class conflict, was a major cause of crimes committed by the poor against the rich. Such crimes are called "blue crimes," as opposed to "White- Collar Crimes," a designation of crimes committed by the upper class. Both kinds of crimes are in a way or another related to class conflict. Philip Rubio observes that at the end of the19th century and the beginning of the 20th century American society witnessed what was called the nadir of American race relations (57). It was the worst period of discrimination; during it, Black Americans had no civil rights and they were systematically ill-treated, even killed violently. The hatred between the blacks and the whites leads to the so-called "hate crimes". These are criminal acts that take place usually between racial groups, when one group or a member of it attacks another for religious, gender, or color reasons. The victims of hate crimes include both blacks and whites. These crimes started after the civil war when slaves became free and the whites became afraid that they would demand, or try to be, equal with them; thus, they began to persecute the Black Americans as a preemptive measure, so to speak. Such acts of persecution increased hatred, and, as a result, the Black Americans defended themselves by attacking the whites, who in their turn became the victims of hate crimes.
وصف العنصر: ملخص لبحث منشور باللغة الانجليزية
ISSN: 1994- 6953

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