Sherlock Holmes

Hakkarainen and Sintonen (2002) praise the descriptive adequacy of Hintikka's Interrogative Model of Inquiry (imi) to describe children's prac- tices in an inquiry-based learning context. They further propose to use the imi as a starting point for developing new pedagogical methods and designing new didactic tools. We assess this proposal in the light of the formal results that in the imi characterize interrogative learning strategies. We nd that these results actually reveal a deep methodological issue for inquiry-based learning, namely that educators cannot guarantee that learners will successfully acquire a content, without limiting learner's autonomy, and that a trade-o between success and autonomy is unavoidable. As a by-product of our argument, we obtain a logical characterization of serendipity. (Less)

This article analyses the three most recent sets of Sherlock Holmes adaptations: the Warner Brothers film franchise, the BBC series Sherlock, and the CBS series Elementary. Asserting that the questions surrounding Sherlock Holmes adaptations, namely, why do they appear so frequently, and what qualities have they evolved to remain relevant since they began appearing on screen in 1901, should be fundamental to the field of Adaptation Studies as a whole, it seeks to interrogate the fresh conceptions of the character as he is made to appeal to a 21st century viewing audience in these adaptations. This interrogation shows that though they differ in several ways including genre, medium, setting, and target audience, taken together, these adaptations offer not only unique interpretations of the character, but a surprisingly uniform vision of how this hero of page and screen has evolved. It considers how that uniform vision is manifested in the various executions of each show’s particular vision and concept as well as how they are all motivated by the same drive to make a viable Sherlock Holmes for today’s audiences. It specifically focuses on the transition of the character from traditional detective fiction hero to a more complex postmodern antihero and how this transition is fundamental to the character’s journey into the 21st century.

This book aims to establish the position of the sidekick character in the crime and detective fiction literary genres. It re-evaluates the traditional view that the sidekick character in these genres is often overlooked as having a small, generic or singular role—either to act as the foil to the detective in order to accentuate their own abilities at solving crimes, or else to simply tell the story to the reader. Instead, essays in the collection explore the representations and functions of the detective’s sidekick across a range of forms and subgenres of crime fiction. By incorporating forms such as children’s detective fiction, comics and graphic novels and film and television alongside the more traditional fare of novels and short stories, this book aims to break down the boundaries that sometimes exist between these forms, using the sidekick as a defining thread to link them together into a wider conceptual argument that covers a broad range of crime narratives.

Sir Arthur Conan Doyle's Sherlock Holmes stories involve a hermeneutic game in which Holmes attempts to uncover the mystery of unsolved crime. The work of Hans-Georg Gadamer enables Holmes's methods to be seen as both playful and creative as he seeks to understand what G. K. Chesterton refers to as the poetry of the modern world. Holmes is therefore a creative and scientific detective, one who loses himself in the game of detection in order to find himself in the search for truth in the wider world. Through the agency of Dr Watson, the reader is invited to join the game and attempt to work out the solution to the mystery as the narrative unfolds before them. Peter Hühn's work on the detective as reader and writer is extended in relation to the work of understanding and creation carried out by authors who add new works to the genre of Holmesian fiction. This process is explored in the context of two playful writing workshops in which participants passed the opening of a piece of Holmesian fiction they had written to another participant to continue, before sharing the results with the group. Hans Robert Jauss's ideas about genre and other perspectives on reimagining Holmes help contextualize the strategies used by participants, while Gadamer's conception of the festive enables insights into the communal processes of creation and understanding.

Analiza “Der Hund von Baskerville” Richarda Oswalda z 1929 r.

Piszę o tym, co odróżnia film Oswalda od pozostałych ekranizacji przygód Sherlocka Holmesa. Wyjaśniam, czemu ten film zaginął na ponad pół wieku. Opisuję rolę, jaką odegrał fandom w procesie rekonstrukcji.

Staram się dociec, z jakiego powodu akurat ta adaptacja filmowa Psa Baskerville’ów jest kultowa.

ENGLISH SUMMARY

The book "Worlds To Be Continued. Analysing Possibilities of Serial Narrativity" (in Czech "Světy na pokračování. Rozbor možností seriálového vyprávění") is built upon the assumption that fictional stories presented as serials have been a longstanding part of nearly everyday experience with narrative arts; capitalizing on the case of TV shows, it presents the intellectual framework, research background and analytical tools to effectively describe, explore and explain serial fiction.

The approach is theoretically grounded in serial fiction poetics, which aims to (1) present a systemic explanation of serial fiction, (2) capture a variability of artistic possibilities of serial narrative and, (3) offer tools for the analysis of actual serial works.

The original concept of seriality serves as foundation for the first and second aims; it remains as mere background for analytical hypotheses with regard to the third aim. Serial fiction poetics, as presented here, assumes the presence of a space-time continuum, which is created by the work through interaction with its audience. This is process is termed a fictional macroworld: narrated stories take place within its conditions and settings. Each episode of a serial constitutes an episodic world; seriality denotes a relationship between the state of affairs in a macroworld at the end of a current episode and the state of affairs in the macroworld at the end of the previous one. Depending on the intensity of connectedness between these two states and the relations of fictional characters to them, the book presents a typology of seriality, which serves as a functional and heuristic categorization, yet not as a substantive one.

(1) In the case of a separate seriality type, no fictional characters share the state of affairs at the end of the current episode with the state of affairs at the end of the previous one (e.g. The Twilight Zone, 1959-1964).
(2) In the case of a non-sequential seriality type, the current episode shares at least one fictional character with the state of the macroworld at the end of the previous one, without any open connection between these episodic worlds on the level of narrative causality (e.g. Columbo, 1968-2003).
(3) In the case of a semisequential seriality type, episodic worlds represent rather closed narrative units but they include at least one causal line of events, which continues in the state of affairs in the following episode (e.g. most of House, M.D., 2004-2012).
(4) In the case of a sequential seriality type, there are prevalent causal connections among episodic worlds on various levels (e.g. most of Dallas, 1978-1991; Pride and Prejudice, 1995; Stranger Things, 2016-?).
(5) Lastly, in the case of a disrupted seriality type, the standing linear composition of episodic worlds is problematized; instead of a line, it creates a network of relations among fictional elements in both states of affairs in a macroworld, where the currently valid state of affairs in a macroworld is being rewritten or retrospectively changed (e.g. Arabela, 1980-1981; Day Break, 2006; Lost, 2004-2010).

Worlds To Be Continued is divided into three parts, which are all based on analyses of a sample of roughly four hundred television serials from various countries and times.

1. SERIALITY AS A SYSTEM

The first part of the book gives a systemic explanation of seriality, using the five types top-down, and in these contexts, it describes ways of mediating information (a narrative outline) and issues of identifying fictional entities across episodes (a fictional macroworld arrangement). Both aspects turned out to be functionally related, and they expose a logic of an inner composition of seriality as a specific kind of fictional representation. The first part stands for a theoretical-descriptive dimension of the serial fiction poetics. It deals with relationships of seriality within a theoretical frame and, while considering its systemic transformations, it aims at a clarity of explanations.

2. SERIALITY AS A REGISTRY OF POSSIBILITIES

The second part of the book explores variable possibilities of serial narrative. It approaches the types of seriality from its material, bottom-up, as it explores preferred registries of artistic solutions both within the types of seriality and in the crime serial as a mode of fictional worldmaking. In these contexts, it studies (1) narrative process through an original question-based model of the analysis of a work, one which is not based on knowledge of a whole work, as in various other narratological concepts, because knowledge of this kind cannot be assumed in case of a serial work. The second part further focuses on (2) a fictional macroworld dynamics, which it explains through an original composite model, understanding a fictional macroworld as a dynamic interaction between various areas of a macroworld (microworlds and subworlds); this dynamics can be utilized to explain its happening. The second part of the book stands for a descriptive-analytical dimension of the serial fiction poetics. It deals with the art of seriality in a creative frame, explores registries of preferred artistic solutions, and aims at a productive depiction of a field of possibilities.

3. SERIALITY AS ANALYTICAL BACKGROUND

It was deemed necessary in the last, analytical part of the book to limit the range of types of seriality considered appropriate for research interest. Despite the descriptive potential of the typology, it represents a limiting set of categories for a dynamic analysis, disregarding the fact that one serial work often uses various types of seriality in a variety of patterns (e.g. Doctor Who, 1963-1988; The X Files, 1993-2016). What is specifically focused upon in the third part of the book are those tools which have so far constituted the basis for an analytical framework (narrative outline, fictional macroworld arrangement, question-based model of a narrative process, and composite model of macroworld dynamics) or its auxiliary categories (a cultural encyclopaedia, immersive spectatorship, and analytical spectatorship). The last two chapters attempt to offer the greatest possible degree of aesthetic sensitivity towards those works analysed and those explanations presented. An analysis of the serial 24 (2001-2010) explores tactics applied to achieve clarity and coherence within a very diverse system of narrative situates the work in the contexts of complex serials and those of action films of motion. The closing analysis of Mr. Bean (1989-1995) as a serial addresses the more general question of how can we systemically analyse the narrative and macroworld of serials that seemingly consist of a number of rather independent sketches. The third part of the book considers the analytical dimension of serial fiction poetics. It explores issues related to the explanatory potential of analyses of individual serial works within an aesthetic frame and aims at a maximum degree of adaptability in relation to the artistic uniqueness of these works.

The three parts of Worlds To Be Continued develop and transform, with respect to these three aims, which differ from each other but are also interrelated, only to answer the questions posed, in correspondence with the individual dimensions of serial fiction poetics, in ways that are at the same time systematic and aesthetically sensitive.

As we progress into the digital age, text is experiencing a resurgence and reshaping as blogging, tweeting and phone messaging establish new textual forms and frameworks. At the same time, an intrusive layer of text, obviously added in post, has started to feature on mainstream screen media-from the running subtitles of TV news broadcasts to the creative portrayals of mobile phone texting on film and TV dramas. In this paper, I examine the free-floating text used in BBC series Sherlock (2010-). While commentators laud this series for the novel way it integrates text into its narrative, aesthetic and characterisation, it requires eye tracking to unpack the cognitive implications involved. Through recourse to eye tracking data on image and textual processing, I revisit distinctions between reading and viewing, attraction and distraction, while addressing a range of issues relating to eye bias, media access and multimodal redundancy effects. Link: https://refractory-journal.com/dwyer/

A fanfiction como a conhecemos hoje é um gênero textual digital, que apresenta como característica principal seu caráter híbrido, o qual possibilita a integração entre os vários tipos de semioses, como os signos verbais, os sons, as imagens e as formas em movimento (MARCUSCHI, 2002). O termo fanfiction, que une as palavras fan (fã) e fiction (ficção), é usado para designar a produção ficcional de fãs com base em obras e personagens preexistentes e geralmente não tem fins lucrativos. Esse gênero textual apresenta vários subgêneros, entre eles o slash, que trata de histórias que envolvem relacionamentos homoafetivos masculinos. Existem diversos fandoms – grupos de fãs que compartilham o gosto por algo em comum – produtores de fanfictions slash. Entre eles, destaca-se o fandom de Sherlock Holmes, cujas histórias de amor que envolvem o casal Johnlock – união de John e Sherlock – são bastante populares, principalmente as que se referem ao universo da série televisiva da BBC. O amor, aliás, é um dos principais temas abordados em fanfictions slash. O amor romântico, cujo ideário tem raízes na Grécia Antiga e que teve como ápice o período de ascensão da burguesia, é recorrente em fanfictions desse subgênero. No entanto, embora tanto o amor romântico quanto as fanfictions slash sejam assuntos populares, há poucos estudos brasileiros que tratam da relação entre esses temas. Tendo isso em vista, este estudo, de cunho bibliográfico, teve como objetivo analisar como se dá a representação do ideário romântico nas fanfictions slash de Sherlock Holmes e buscou responder à seguinte problemática: Como o ideário romântico é representado em fanfictions slash de Sherlock Holmes? Para tanto, foram analisadas duas histórias slash – Alone on the Water e Heart on a String – e utilizados como base estudos de autores como Vainfas (1986), Giddens (1993) e Costa (1999a; 1999b). Para fundamentar a análise, foi utilizado como base o conceito de representações sociais advindo da Teoria das Representações Sociais (TRS), desenvolvida pelo psicólogo social Serge Moscovici (2007), de modo a fazer uma ponte com as representações do ideário romântico na literatura ocidental e as representações desse ideário em fanfictions slash. A análise das duas fanfictions slash mostrou que elementos do amor romântico, como o amor platônico e o amor paixão, ainda são bastante presentes em nosso imaginário amoroso.

Regendering, where fan creators change the gender of an existing character as part of the adaptation, offers a deconstruction of gender via the simultaneous examination of the engendering of the original character, and the manifestation of gender performance in the regendered cipher. It also highlights and then occupies the absence of non-male, non-white characters; an absence being identified by researchers and fans as endemic to mainstream media. A close examination of several works (e.g. Joan Watson and Jamie Moriarty in Elementary, and a selection of characters in non-commercial fanworks) and paratexts, and the fannish engagement with those texts, reveals the methods and the reasoning behind the act as a sort of feminist praxis. It is also a manifestation of subversion and dissatisfaction - theorised by Jenkins and Sandvoss - with Butler-influenced understandings of gender performance and oppositional heterosexuality.

Лисенкова О.А. Арка главного героя в сериале ««Шерлок» (на основе четырёх сезонов) // Медийные процессы в современном гуманитарном пространстве: подходы к изучению, эволюция, перспективы: Материалы V Научно-практической конференции. М.: Издательство «Спутник +», 2020. С. 92-99.
В статье рассматривается арка героя в сериале «Би-би-си» «Шерлок»: в отличие от книг Конан Дойла здесь происходит трансформация персонажа. На протяжении четырёх сезонов отмечается духовный рост главного героя, развитие его эмоционального интеллекта. В итоге герой становится более цельным, сумев разрешить для себя конфликт между разумом и чувствами. Ключевые слова: трансформация, арка героя, эмоциональный интеллект, Шерлок Холмс, разум и эмоции

Марк Гэйтисс и Стивен Моффат, создатели сериала «Би-би-си» /Hartswood Films/ «Шерлок», перенесли героя Конан Дойла в XXI век и воспользовались современным арсеналом для продвижения проекта: для героев были созданы сайты и блоги, после второго сезона ввели хэштеги, которые поклонники включали в посты (Мориарти действительно существовал/ Шерлок жив/ Я верю в Шерлока Холмса/ Соскучились по мне?), а фанатские теории из Интернета получили отражение в третьем сезоне. Авторы по-своему трактуют образ главного героя, превратив его в нашего современника. В числе причин, по которым образ героя отличается от канонического, можно назвать представления авторов о том, что актуально для зрителя сегодня. В центре внимания оказались понятие эмпатии и эмоционального интеллекта, его соотношения с собственно интеллектом, идея о важности развития эмпатии и о тех проблемах, которые влечёт за собой ее отсутствие. Главное отличие сериального Холмса от канонического заключается в том, что каждый рассказ или повесть представляет собой законченное приключение сложного, но статичного героя, их можно читать в любом порядке (не считая интриги с «гибелью» Холмса и его возвращением), тогда как создатели сериала подчёркивают, что

Este trabajo hace un repaso de las tres primeras temporadas de 􏰇􏰎la serie de la BBC en las que Sherlock Holmes y el Doctor Watson se reinventar para adaptarse a los retos propios del siglo XXI en esta trepidante serie de la BBC: ¿Qué semejanzas y diferencias hay entre la versión original literaria y la actual audiovisual? ¿Cómo se conocieron ambos protagonistas? ¿Qué les llevó a convertirse en un equipo inseparable? A estas preguntas de investigación intentará dar respuesta este trabajo basado en el análisis de contenido desde la perspectiva de las Humanidades Digitales y la Comunicación Audiovisual.

This paper explores the connection of BBC's Sherlock, Terror and technology. It takes a closer look at Sherlock as a Cyborg, Bombs, Cell phones, the Internet and other devices used to create a thrilling atmosphere as well as to question societal standards.

Sherlock Holmes is arguably the world's most famous fictional detective. Similarly, the characters created by Sir Arthur Conan Doyle to share the pages with his consulting detective are some of the most recognized names within the crime fiction canon. This article explores the most important men in the life of Sherlock Holmes with particular focus on his loyal friend Dr John Watson and his archenemy Professor James Moriaty. These novels and short stories are regularly adapted with numerous stage, radio, film and television versions made since the mid-1890s. Some adaptations have been faithful to the original texts while others have pushed various creative boundaries. Of special interest for this article is the CBS television production Elementary (2012-present) which re-imagines the most important men in the life of Sherlock Holmes as women with the central narratives of the original works reconstructed to facilitate Dr Joan Watson and Ms Jamie Moriaty.

This article explores the relationship between fictionality and ideology in Maurice Leblanc's wildly popular Arsène Lupin stories. If Lupin's popularity is partly a function of his status as a trickster, he is also an exemplary figure of a certain idea of Frenchness.  This article examines how the Lupin's stories produce a certain image of French national identity through considering two strands in their complex web of intertextuality, namely its relationship with the Sherlock Holmes's stories and with Dumas's historical fictions.

Due to its formulaic nature, detective fiction is not only highly interesting with regard to generic change in its own right, but also an indication of, or, one might say, a clue to cultural change. In such a vast field, my interest here lies specifically in the significance of the sidekick narrator of Arthur Conan Doyle’s Sherlock Holmes narratives, namely John H. Watson, M.D., whose importance for the genre is almost proverbial and yet who has so far been granted relatively little extended scholarly scrutiny.

Doctor Who and Sherlock Holmes are two of the most famous characters in popular British culture. In this paper I examine the links between the two in terms of their actors, their writers, and their personal attributes. The strongest connection seems to be in the people who write stories of Doctor Who and also of The Baker Street Irregulars.

This piece, written originally during my postgraduate studies of Humanities and Social Sciences at the Anglo-American University in Prague, analyzes the 2009 Guy Ritchie's film "Sherlock Holmes" in terms of it presenting an apparent clash between the rational and the supernatural, and in terms of how this contention ties in to the Enlightenment Project and the Enlightenment mentality.

The Worst Man in London: A Facsimile of the Original Manuscript of “Charles Augustus Milverton” by Arthur Conan Doyle, with Annotations and Commentary. Ed. Daniel Stashower and Constantine Rossakis. New York: The Baker Street Irregulars, 2019. 165-70. Print.

Una nuova poderosa trattazione che sviscera le relazioni tra le donne del Canone, Holmes e, inevitabilmente, Conan Doyle. Questo lavoro si discosta dal Grande Gioco per approfondire le ragioni storiche, sociali e  letterarie della natura e dello sviluppo dei personaggi femminili rappresentati nelle storie canoniche.