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|a YSM
|c YSM
|d DLC
|d NLC
|d OCLCO
|d U@S
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|a lccopycat
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|a PR6013.R44
|b Z63 1996
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| 082 |
0 |
0 |
|a 823/.912
|2 21
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| 100 |
1 |
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|a Diemert, Brian,
|d 1959-
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| 245 |
1 |
0 |
|a Graham Greene's thrillers and the 1930s /
|c Brian Diemert.
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| 260 |
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|a Montreal ;
|a London ; :
|b McGill-Queen's University Press,
|c c1996.
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| 300 |
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|a viii, [2], 237 p. ;
|c 24 cm.
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| 504 |
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|a Incluye referencias bibliográficas (p. 211-230) e índice.
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| 505 |
0 |
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|a 1. Graham Greene and the 1930s -- 2. Exploring the popular in two early novels: Stamboul train and England made me -- 3. Aspects of detective fiction -- 4. Approaches to the thriller in Greene's early work: Rumour at nightfall and It's a battlefield -- 5. Thrillers of the 1930s: A gun for sale, Brighton rock, and The confidential agent -- 6. The ministry of fear -- 7. The end of this affair: summing up.
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| 520 |
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|a In Graham Greene's Thrillers and the 1930s Brian Diemert examines the first and most prolific phase of Graham Greene's career, demonstrating the close relationship between Greene's fiction and the political, economic, social, and literary contexts of the period. Situating Greene alongside other young writers who responded to the worsening political climate of the 1930s by promoting social and political reform, Diemert argues that Greene believed literature could not be divorced from its social and political milieu and saw popular forms of writing as the best way to inform a wide audience.
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| 520 |
8 |
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|a Diemert traces Greene's adaptation of nineteenth-century romance thrillers and classical detective stories into modern political thrillers as a means of presenting serious concerns in an engaging fashion. He argues that Greene's popular thrillers were in part a reaction to the high modernism of writers such as James Joyce, Gertrude Stein, and Virginia Woolf, whose esoteric experiments with language were disengaged from immediate social concerns and inaccessible to a large segment of the reading public.
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| 520 |
1 |
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|a "In Graham Greene's Thrillers and the 1930s Brian Diemert examines the first and most prolific phase of Graham Greene's career, demonstrating the close relationship between Greene's fiction and the political, economic, social, and literary contexts of the period. Situating Greene alongside other young writers who responded to the worsening political climate of the 1930s by promoting social and political reform, Diemert argues that Greene believed literature could not be divorced from its social and political milieu and saw popular forms of writing as the best way to inform a wide audience." "Diemert traces Greene's adaptation of nineteenth-century romance thrillers and classical detective stories into modern political thrillers as a means of presenting serious concerns in an engaging fashion. He argues that Greene's popular thrillers were in part a reaction to the high modernism of writers such as James Joyce, Gertrude Stein, and Virginia Woolf, whose esoteric experiments with language were disengaged from immediate social concerns and inaccessible to a large segment of the reading public."--Contratapa.
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| 600 |
1 |
0 |
|a Greene, Graham,
|d 1904-1991
|x Criticism and interpretation.
|
| 600 |
1 |
0 |
|a Greene, Graham,
|d 1904-1991
|x Political and social views.
|
| 600 |
1 |
4 |
|a Greene, Graham,
|d 1904-1991
|x Crítica e interpretación.
|
| 600 |
1 |
4 |
|a Greene, Graham,
|d 1904-1991
|x Opiniones políticas y sociales.
|
| 650 |
|
0 |
|a Politics and literature
|z Great Britain
|x History
|y 20th century.
|
| 650 |
|
0 |
|a Political fiction, English
|x History and criticism.
|
| 650 |
|
0 |
|a Nineteen thirties.
|
| 650 |
|
7 |
|a Política y literatura
|z Gran Bretaña
|x Historia
|y Siglo XX.
|2 UDESA
|
| 650 |
|
7 |
|a Ficción política inglesa
|x Historia y crítica.
|2 UDESA
|
| 650 |
|
7 |
|a An̋os treinta (Siglo XX)
|2 UDESA
|
| 651 |
|
0 |
|a Great Britain
|x Social life and customs
|y 1918-1945.
|
| 651 |
|
7 |
|a Gran Bretaña
|x Vida social y costumbres
|y 1918-1945.
|2 UDESA
|