Abstract
Taking television into account, it is arguable that the two most prevalent fictional forms of our time are the series and the serial. But while the serial or soap opera can be discussed as a variant of the single extended storyline, reflecting its ancestry in Dickens and other Victorian writers of novels that were episodically presented in periodicals, the series demands to be discussed in its own unique terms. Such discussion is still somewhat fitful and quite often the two forms are blurred together, as in the noun ‘seriality’, which seems to spring from the word ‘serial’s’ double life as a noun and as the adjectival form of ‘series’. The series as such is the form which repeats, theoretically ad infinitum, the same kind of action in roughly the same narrative space or time-slot, featuring at least one character continuously throughout. Its particular qualities deserve a more accurate name than ‘seriality’: ‘seriesicity’, perhaps.
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Notes
See Derek Longhurst, ‘Sherlock Holmes: Adventures of an English Gentleman 1887–1894’, in Derek Longhurst (ed.), Gender, Genre and Narrative Pleasure (London: Unwin Hyman, 1989), p. 65.
see George Theodore Wilkinson, The Newgate Calendar, ed. Christopher Hibbert (London: Cardinal, 1991).
see Stephen Knight, Form and Ideology in Crime Fiction (London: Macmillan, 1980), Chapter 1.
See Dana Brand, ‘From the Flâneur to the Detective: Interpreting the City of Poe’, in Tony Bennett (ed.), Popular Fiction: Technology, Ideology, Production, Reading (London and New York: Routledge, 1990), pp. 220–37.
Umberto Eco, ‘The Myth of Superman’, in The Role of the Reader: Explorations in the Semiotics of Texts (London: Hutchinson, 1981), p. 108.
See also Karl Marx and Friedrich Engels, The Holy Family, or Critique of Critical Critique (London: Lawrence & Wishart, 1956), esp. pp. 217–75.
Dennis Porter, The Pursuit of Crime: Art and Ideology in Crime Fiction (New Haven: Yale University Press, 1981).
Franco Moretti, ‘Clues’, in Signs Taken for Wonders: Essays in the Sociology of Literary Forms, revised edn (London and New York: Verso, 1983).
See also Arthur Conan Doyle, ‘A Case of Identity’, in The Penguin Complete Adventures of Sherlock Holmes (London: Penguin, 1981), p. 191,
and Michel Foucault, Discipline and Punish: The Birth of the Prison (London: Allen Lane, 1977).
Arthur Conan Doyle, Memories and Adventures (London: Hodder & Stoughton, 1924), p. 95.
See Owen Dudley Edwards, The Quest for Sherlock Holmes (Harmondsworth: Penguin, 1984), p. 15.
Martin Priestman, Detective Fiction and Literature: The Figure on the Carpet (Basingstoke and London: Macmillan, 1990), p. 86.
G.K. Chesterton, The Innocence of Father Brown (Harmondsworth: Penguin, 1950), p. 12.
See Arthur Morrison, The Dorrington Deed-Box (1897);
Maurice Leblanc, Arsène Lupin, Gentleman Cambrioleur (1907);
E.W. Hornung, Raffles the Amateur Cracksman (1899);
Marcel Allain and Pierre Souvestre, Fantômas (1911, English translation London: Pan, 1987);
Patricia Highsmith, The Talented Mr Ripley (1957),
See Michel Foucault, Madness and Civilization: A History of Insanity in the Age of Reason (London: Tavistock Publications, 1967);
The Birth of the Clinic (London and New York: Pantheon, 1973);
The History of Sexuality (London: Allen Lane, 1979).
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© 2000 Martin Priestman
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Priestman, M. (2000). Sherlock’s Children: the Birth of the Series. In: Chernaik, W., Swales, M., Vilain, R. (eds) The Art of Detective Fiction. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-62768-4_5
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