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Acknowledgments | |
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Introduction: The Design of This Book | |
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The Study of Literary Formulas Formulas, Genres, and Archetypes The Artistic Characteristics of Formula Literature Formulas and Culture | |
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Notes toward a Typology of Literary | |
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Formulas Adventure Romance Mystery | |
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Melodrama Alien Beings or States | |
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The Mythology of Crime and Its Formulaic Embodiments | |
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The Godfatherand the Literature of Crime | |
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Elements of the New Formula | |
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The Cultural Function of Popular Crime Formulas | |
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The Formula of the Classical Detective | |
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Story Patterns of the Formula Cultural | |
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Background of the Formula | |
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The Art of the Classical Detective | |
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Story Central Artistic Problems of the Genre | |
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Artistic Failures and Successes: Christie and Sayers | |
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The Art of Simenon Detective Stories and Detection as an Element in Other | |
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Literary Genres | |
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The Future of the Classical Detective Story | |
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The Hard-Boiled Detective Story Hard-boiled and Classical | |
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Detective Stories Patterns of the Formula | |
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Cultural Backgrounds of the Formula | |
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Hammett, Chandler, and Spillane | |
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The Western: A Look at the Evolution of a Formula Cooper and the Beginnings of the Western | |
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Formula Nick of the Woodsand the | |
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Wister's Virginian and the Modern Western | |
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The Romantic Western of the 1920s | |
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The Classic Western: John Ford and Others | |
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The Jewish Cowboy, the Black Avenger, and the Return of the Vanishing | |
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American: Current Trends in the Formula | |
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The Best-Selling Social Melodrama | |
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The Social Melodrama | |
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The Aesthetics of Social Melodrama | |
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The Evolution of Social Melodrama Irving Wallace | |
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Conclusion | |
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Notes Bibliographical | |
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Notes Index | |