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The question of power legitimacy and violence justification opens this discussion of the logic, epistemology and rhetoric of espionage. Going from the logical status of the statement “I spy” to Peirce’s abduction and to Descartes’ methodical doubt, the argument leads to disjunctions between policing and spying, and to a discussion of the “reading in the crossfire,” a characteristic of modern cultures of suspicion. Spy fiction is focused on in the last section of the article, which contains forays into two types of spy-readers: Ian Fleming’s entertaining James Bond and, more significantly, John le Carré’s melancholy George Smiley. In his methodical trappings, Smiley shows to be as crafty as Ur-detective Oedipus in his defusing of both the Sphinx and himself.

In: Policing Literary Theory

The question of power legitimacy and violence justification opens this discussion of the logic, epistemology and rhetoric of espionage. Going from the logical status of the statement “I spy” to Peirce’s abduction and to Descartes’ methodical doubt, the argument leads to disjunctions between policing and spying, and to a discussion of the “reading in the crossfire,” a characteristic of modern cultures of suspicion. Spy fiction is focused on in the last section of the article, which contains forays into two types of spy-readers: Ian Fleming’s entertaining James Bond and, more significantly, John le Carré’s melancholy George Smiley. In his methodical trappings, Smiley shows to be as crafty as Ur-detective Oedipus in his defusing of both the Sphinx and himself.

In: Policing Literary Theory

The question of power legitimacy and violence justification opens this discussion of the logic, epistemology and rhetoric of espionage. Going from the logical status of the statement “I spy” to Peirce’s abduction and to Descartes’ methodical doubt, the argument leads to disjunctions between policing and spying, and to a discussion of the “reading in the crossfire,” a characteristic of modern cultures of suspicion. Spy fiction is focused on in the last section of the article, which contains forays into two types of spy-readers: Ian Fleming’s entertaining James Bond and, more significantly, John le Carré’s melancholy George Smiley. In his methodical trappings, Smiley shows to be as crafty as Ur-detective Oedipus in his defusing of both the Sphinx and himself.

In: Policing Literary Theory
The present age of omnipresent terrorism is also an era of ever-expanding policing. What is the meaning — and the consequences — of this situation for literature and literary criticism? Policing Literary Theory attempts to answer these questions presenting intriguing and critical analyses of the interplays between police/policing and literature/literary criticism in a variety of linguistic milieus and literary traditions: American, English, French, German, Japanese, Korean, Russian, and others. The volume explores the mechanisms of formulation of knowledge about literature, theory, or culture in general in the post-Foucauldian surveillance society. Topics include North Korean dictatorship, spy narratives, censorship in literature and scholarship, Russian and Soviet authoritarianism, Eastern European cultures during communism, and Kafka’s work.

Contributors: Vladimir Biti, Reingard Nethersole, Călin-Andrei Mihăilescu, Sowon Park, Marko Juvan, Kyohei Norimatsu, Péter Hajdu, Norio Sakanaka, John Zilcosky, Yvonne Howell, and Takayuki Yokota-Murakami.
In: Policing Literary Theory
In: Policing Literary Theory
In: Policing Literary Theory
In: Policing Literary Theory
In: Policing Literary Theory
In: Policing Literary Theory