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This Sliding Bar can be switched on or off in theme options, and can take any widget you throw at it or even fill it with your custom HTML Code. Its perfect for grabbing the attention of your viewers. Choose between 1, 2, 3 or 4 columns, set the background color, widget divider color, activate transparency, a top border or fully disable it on desktop and mobile.

The Comic in Satyajit Ray’s Detective Stories

Sunit Kumar Barui

Research Scholar

Seacom Skills University

ddtoton@gmail.com

 

 

Abstract

Detective fiction is one of the most popular literary genres of our time. Since its full-fledged development in the late 19th century  its practitioners have been   carrying out a bewildering array of experiments in respect of theme and technique. Consequently it is more easily recognized than defined. Conventionally it seeks to thrill the reader in the midst of a grim and suspenseful atmosphere, wherein, though it occasionally allows for psychic or physical horror and even romance , fun and humour usually face a restricted entry. Arthur Conan Doyle and Agatha Christie are the most perceptible and potent influence on Satyajit Ray as a detective story writer. Comic elements are almost rare in the Sherlock Holmes series, whereas, Agatha Christie dabbles in the comic through humorous comments on her genre and overtly hilarious characteristic traits of her detectives like Poirot and the Beresfords. Ray in his celebrated Feluda detective series has struck a consistent comic note, which is  both unprecedented and daring, considering the rigid formal and tonal features of classical detective fiction. The present article proposes to study the causes, forms and consequences of  the comic in select detective stories and novellas of Satyajit Ray.

Key Words : fiction , detective , comic , genre , classic

journal of english

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2017-10-03T08:06:32+00:00
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