[{"data":1,"prerenderedAt":-1},["ShallowReactive",2],{"detail-sidebar-cat-0-en-105":3,"doc-seo-139820-105":59,"doc-detail-139820-en":130},{"code":4,"msg":5,"data":6},0,"success",[7,13,18,23,28,33,38,43,48,51,55],{"id":8,"doc_module":4,"doc_module_name":9,"category_name":10,"show_sort_weight":11,"slug":12},1,"Document","Story & Novel",90,"story-novel",{"id":14,"doc_module":4,"doc_module_name":9,"category_name":15,"show_sort_weight":16,"slug":17},2,"Literature",80,"literature",{"id":19,"doc_module":4,"doc_module_name":9,"category_name":20,"show_sort_weight":21,"slug":22},4,"Exam",70,"exam",{"id":24,"doc_module":4,"doc_module_name":9,"category_name":25,"show_sort_weight":26,"slug":27},5,"Comic",60,"comic",{"id":29,"doc_module":4,"doc_module_name":9,"category_name":30,"show_sort_weight":31,"slug":32},6,"Technology",50,"technology",{"id":34,"doc_module":4,"doc_module_name":9,"category_name":35,"show_sort_weight":36,"slug":37},7,"Healthcare",40,"healthcare",{"id":39,"doc_module":4,"doc_module_name":9,"category_name":40,"show_sort_weight":41,"slug":42},8,"Research & Report",30,"research-report",{"id":44,"doc_module":4,"doc_module_name":9,"category_name":45,"show_sort_weight":46,"slug":47},9,"Religion & Spirituality",20,"religion-spirituality",{"id":46,"doc_module":4,"doc_module_name":9,"category_name":49,"show_sort_weight":46,"slug":50},"World Cup","world-cup",{"id":52,"doc_module":4,"doc_module_name":9,"category_name":53,"show_sort_weight":52,"slug":54},10,"Lifestyle","lifestyle",{"id":56,"doc_module":4,"doc_module_name":9,"category_name":57,"show_sort_weight":24,"slug":58},19,"General","general",{"code":4,"msg":60,"data":61},"ok",{"site_id":62,"language":63,"slug":64,"title":65,"keywords":66,"description":67,"schema_data":68,"social_meta":123,"head_meta":125,"extra_data":127,"updated_unix":129},105,"en","spatial-representation-in-three-detective-fiction-subgenres","Spatial Representation in Three Detective Fiction Subgenres","","Study examines a focused dimension of spatial representation across Golden Age, hard-boiled, and postmodern detective fiction. The analysis situates crime-related spaces within a theory of architectural enclosure and Tschumi’s pyramid/labyrinth distinction, then applies Gestalt theory to show an ideological tendency in floor plans and diagrams. John Dickson Carr’s The Problem of the Wire Cage functions as a test case, followed by analyses of Hammett’s stories and Auster’s City of Glass, emphasizing context-specific readings and critique.",{"@graph":69,"@context":122},[70,84,105],{"@type":71,"itemListElement":72},"BreadcrumbList",[73,77,79,82],{"item":74,"name":75,"@type":76,"position":8},"https://docshare.wps.com","Home","ListItem",{"item":78,"name":9,"@type":76,"position":14},"https://docshare.wps.com/document/",{"item":80,"name":40,"@type":76,"position":81},"https://docshare.wps.com/document/research-report/",3,{"item":83,"name":65,"@type":76,"position":19},"https://docshare.wps.com/document/spatial-representation-in-three-detective-fiction-subgenres/139820/",{"url":83,"name":65,"@type":85,"image":86,"author":91,"headline":65,"publisher":94,"fileFormat":97,"inLanguage":63,"description":67,"dateModified":98,"datePublished":99,"encodingFormat":97,"isAccessibleForFree":100,"interactionStatistic":101},"DigitalDocument",{"url":87,"@type":88,"width":89,"height":90},"https://docshare.wps.com/thumbnails/spatial-representation-in-three-detective-fiction-subgenres/139820.png","ImageObject",300,407,{"name":92,"@type":93},"Riley","Person",{"url":74,"name":95,"@type":96},"DocShare","Organization","application/pdf","2026-10-31","2026-08-24",true,{"@type":102,"interactionType":103,"userInteractionCount":39},"InteractionCounter",{"@type":104},"ViewAction",{"@type":106,"mainEntity":107},"FAQPage",[108,114,118],{"name":109,"@type":110,"acceptedAnswer":111},"What spatial dimension does the study focus on in detective fiction?","Question",{"text":112,"@type":113},"It examines a limited aspect of spatial representation, especially the floor plans and diagrams that depict how crime is contained and spaces are normalized.","Answer",{"name":115,"@type":110,"acceptedAnswer":116},"How does the study use theoretical frameworks to interpret detective spaces?",{"text":117,"@type":113},"It places spatial representations within architectural enclosure theory, uses Tschumi’s pyramid/labyrinth distinction, and applies concepts derived from Gestalt theory to uncover ideological tendencies.",{"name":119,"@type":110,"acceptedAnswer":120},"Which works are analyzed as main case studies?",{"text":121,"@type":113},"John Dickson Carr’s The Problem of the Wire Cage is used as a test case, followed by spatial analyses of Dashiell Hammett’s “The Whosis Kid” and “Dead Yellow Women,” and Paul Auster’s City of Glass.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},139820,1790834483,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":39,"category_name":40,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":39,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},1374391975076,"https://ap-avatar.wpscdn.com/avatar/14000253ca4ec9f6853?x-image-process=image/resize,m_fixed,w_180,h_180&k=1783305029341752051","Spatial Representation in Three Detective Fiction  \nSubgenres 􀀍  \nZi-ling Yan  \nDepartment of English National University of Tainan, Taiwan  \nAbstract  \nIn this study I examine a limited aspect of spatial representation in Golden Age, hard-boiled, and postmodern detective fiction. I situate these representations within a theory of architectural enclosure, Tschumi’s pyramid/labyrinth distinction, then employ concepts derived from Gestalt theory as pointing up an ideological tendency in the Golden Age floor plans and diagrams by which crime is contained and spaces are normalized. John Dickson Carr ’s The Problem of the Wire Cage (1939) serves as a test case. The subsequent sections offer spatial analyses of Dashiell Hammett ’s “The Whosis Kid” (1925) and “Dead Yellow Women” (1925) and Paul Auster ’s City of Glass (1987) . Hammett’s stories illustrate the breakdown of visual mastery in disorienting spaces whose textual representation parallels the Op ’s own limited knowledge. Auster ’s diagrams appear to offer a synthesis of prior positions: he incorporates plans which seem to promise meaning but which ultimately fail to establish certainty. I argue, however, that Auster ’s plans are most effectively read in their specific socio-historical and political context and that the performative loss of referential certainty in his protagonist reflects a form of critique that differs from earlier genres ’ use of these figures.  \nKeywords  \ndetective fiction, space, floor plans, Gestalt theory, representation  \n􀀍 Material support for this project was provided by Ministry of Science and Technology grant MOST \\#105-2410-H24-003.  \nThe crime scene, central to all subgenres of detective fiction, consists of abounded space circumscribing the criminal event. Little has been written, however, about the nature of this spatial configuration. Michael Cook’s Narratives of Enclosure is the only book-length study that systematically examines an aspect of the problem, in this case, the locked room mystery. Cook remarks parallels between architectural and narrative enclosures, though without reference to theories of spatial production and only a brief mention of the diagrams, floor plans, and maps that form the curious addenda to some Classical and Golden Age stories.1 In this essay, I take the relatively narrow focus of the floor plan, and to a lesser degree, the map, to theorize the representation of space vis-à-vis these pictorial elements and to consider how their use and meaning differs in the Golden Age, the hard-boiled, and the postmodern detective fiction subgenres.  \nThe dearth of interest in the use of such figures is not confined to literary texts. Scant critical attention has been given to the discursive or diagrammatic representations of architecture generally, as it is concretized in plans. This absence is surprising since such plans ostensibly enable a degree of mastery over space, an access to a totality pregnant with philosophical implications. Plans invoke “a regulative ideal—and a unifying abstract structure” for the spaces they portray (Temple 12), a tendency which Anthony Vidler believes to be self-consciously and progressively articulated in modern architectural drawing since the French Revolution (9-10). Reaching a high point in Le Corbusier, the unifying nature of the plan itself serves as a station en route to the postmodern. Standing beyond the Modernist architect’s diagrammatic reduction, postmodern architectural and spatial“design” dematerializes into a “set of instructions” or “an ordering system”(Tierney 81) . In this sequence we note the plan’s apparent reflective relation to major shifts in cultural sensibilities.  \nThe intensification of critical awareness concerning this historical transformation remains indebted to Henri Lefebvre’s seminal The Production of Space, which interrogates the notion of space as a frame or container while also explicitly addressing the ideological beneficiaries of this construct and the hegemo","cbCaiaLk1fj201DV","https://ap.wps.com/l/cbCaiaLk1fj201DV","pdf",616550,29,"English","# Abstract\n# The crime scene and spatial configuration\n# Architectural plans as mastery and ideology\n# Lefebvre’s Production of Space and critical dialectics\n# Tschumi and Hollier’s pyramid and labyrinth metaphors\n# Case studies and spatial analyses","[{\"question\":\"What spatial dimension does the study focus on in detective fiction?\",\"answer\":\"It examines a limited aspect of spatial representation, especially the floor plans and diagrams that depict how crime is contained and spaces are normalized.\"},{\"question\":\"How does the study use theoretical frameworks to interpret detective spaces?\",\"answer\":\"It places spatial representations within architectural enclosure theory, uses Tschumi’s pyramid/labyrinth distinction, and applies concepts derived from Gestalt theory to uncover ideological tendencies.\"},{\"question\":\"Which works are analyzed as main case studies?\",\"answer\":\"John Dickson Carr’s The Problem of the Wire Cage is used as a test case, followed by spatial analyses of Dashiell Hammett’s “The Whosis Kid” and “Dead Yellow Women,” and Paul Auster’s City of Glass.\"}]","Spatial Representation in Three Detective Fiction Subgenres | PDF",1787562822,73]