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>Feminist hard-boiled detective fiction as political protest in the tradition of women proletarian writers of the 1930s (Sara Peretsky, Sue Grafton, Marcia Muller).
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Feminist hard-boiled detective fiction as political protest in the tradition of women proletarian writers of the 1930s (Sara Peretsky, Sue Grafton, Marcia Muller).
Contemporary feminist hard-boiled detective fiction has been studied as an adaptation of the traditional masculine hard-boiled detective genre. Writers such as Sara Paretsky, Sue Grafton, and Marcia Muller create compelling feminist protagonists to fill the role of detective. The successes and failures of these feminist detectives have then been measured against the standards created in the classic genre by Raymond Chandler, Dashiell Hammett, and James M. Cain.; The classic hard-boiled masculine genre came of age in the 1930s and 1940s at the same time as proletarian literature. The two genres share many characteristics including reliance upon first person narrative, the tough guy voice, an awareness of political and social hierarchies, and the utilization of realism. While women writers such as Josephine Herbst and Catherine Brody were drawn to the political cause of the proletarian, they were separated from the working class by their socioeconomic ties and from the literary proletarian hero by its masculine conception. Consequently, their fiction often included the middle-class woman intellectual struggling to help the oppressed worker. In these works, gender, class, politics, and social order are intertwined. The characters explore these concepts and what avenues of rebellion and power were open to women at the time.; The struggles explored in the writing of women proletarian writers from the 1930s have much in common with the issues examined in contemporary feminist hard-boiled detective fiction. Both genres show women characters with an awareness of the power of language to include and exclude, the importance of physical presentation and performance, the prestige of being associated with specific social classes, the power found in ties to communities and family, a problematic relationship with violence, and the power of revealing and interpreting information. It is clear that feminist hard-boiled detective fiction is then a genre of political protest in the tradition of women proletarian writers of the 1930s.
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机译：人们对现代女性主义的水煮侦探小说进行了研究，作为对传统男性化的水煮侦探小说的改编。萨拉·帕列茨基（Sara Paretsky），苏·格拉夫顿（Sue Grafton）和玛西娅·穆勒（Marcia Muller）等作家创立了引人注目的女权主义主角，以填补侦探的角色。然后，根据雷蒙德·钱德勒（Raymond Chandler），达西耶尔·哈米特（Dashiell Hammett）和詹姆斯·凯恩（James M. Cain）经典流派创建的标准，对这些女权主义侦探的成败进行了衡量。经典的男性化煮熟风格在无产阶级文学的同时出现于1930年代和1940年代。这两种类型具有许多特征，包括对第一人称叙事的依赖，硬汉的声音，对政治和社会等级制度的意识以及对现实主义的利用。虽然像约瑟芬·赫伯斯特和凯瑟琳·布罗迪这样的女作家被吸引到无产阶级的政治事业，但她们由于其社会经济联系而与工人阶级分开，而由于其男性观念而与文学无产阶级英雄分开。因此，他们的小说通常包括努力帮助被压迫工人的中产阶级女性知识分子。在这些作品中，性别，阶级，政治和社会秩序相互交织。角色们探索了这些概念，以及当时女性对叛逆和权力的开放方式。 1930年代女性无产阶级作家的写作中探索的斗争与当代女权主义的水煮侦探小说所探讨的问题有很多共通之处。两种体裁都表明女性角色了解语言包括和排除的力量，身体表现和表现的重要性，与特定社会阶层相关联的声望，与社区和家庭的联系中发现的力量以及与人之间关系的问题。暴力以及揭示和解释信息的力量。显然，女权主义的水煮侦探小说是1930年代女性无产阶级作家传统中的一种政治抗议形式。
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