English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Although the figure of Pepe Carvalho, not as a private investigator, but as a CIA operative, appears for the first time in Yo mate a Kennedy (1972), it is not until 1974 that Manuel Vazquez Montalban places him in charge of his first case, which is narrated in the novel Tatuaje . The above-mentioned novel shares its name with a popular postwar Spanish copla performed by Conchita Piquer, a music theme that, apart from being one of the leitmotifs of the writer’s literary and essayistic production plays an essential role within Montalban’s whodunit debut feature. The main purpose of this study is to locate Conchita Piquer’s theme, Tatuaje , in the homonymous novel, and to establish its role and significance in solving the crime represented in the text. Furthermore, this analysis is complemented by a comparison between Tatuaje and Three Blind Mice and Other Stories (1950) by Agatha Christie – in order to determine a potential original source of the use of the song in the construction of the thriller – and also with another novel of the Barcelonian, La Rosa de Alejandria (1984), also belonging to the Carvalho series, and whose title, like Tatuaje , refers to a folk song. Key words : Conchita Piquer, Manuel Vazquez Montalban, detective novel, Pepe Carvalho, Tatuaje .

Cuestión de tatuajes: la influencia de la copla en el primer caso de Peppe Carvalho