By Jack Higgins
Following the good fortune of the repackaged and retitled Higgins vintage The Bormann testomony, we proceed the motion with detailed Agent Paul Chavasse. Now his research into the homicide of a gangland boss uncovers a perilous conspiracy that reaches in the course of the global and results in the doorways of a few very ruthless and robust men-and they aren't approximately to enable Chavasse intervene with their plans.
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Additional resources for A Fine Night for Dying (Paul Chavasse, Book 6)
These paradigms, which in linguistics are called registers, are established by convention and usage, and are thus relatively more ﬂexible than the paradigm of the words of the language itself (which changes very slowly). A paradigm itself is deﬁned by a certain similarity between its units – for example, words appropriate to ‘a family meal time’. But within the paradigm, the units are clearly distinguished from each other. Thus, a unit in a paradigm has two dimensions of meaning: its relationship with and at the same time distinctiveness from its fellow units.
This showed that all those concerned with the law had power values well above average, with judges, attorneys and police oﬃcials being the most powerful of all television occupations; their power values were exceeded only by the more rarely represented occupations of foremen, ranch owners and clergymen. So we might infer that television’s over-representation of particular occupations may not be a distortion of reality, but may reﬂect the esteem given in our social value system to power over others, particularly when it is exerted by white males in their physical prime.
Violence is not in itself seen as good or evil, but when correlated with eﬃciency it is esteemed, for eﬃciency is a key socio-central value in a competitive society. Violence on television, then, is not a direct representation of real-life violence. Unlike real violence, its internal rules and constraints govern what it ‘means’ in any particular context to the observer, rather than to the combatants themselves. Its signiﬁcance in a television ﬁction is that it externalizes people’s motives and status, makes visible their unstated relationships, and personalizes impersonal social conﬂicts between, for example, dominant and subordinate groups, law and anarchy, youth and age.