Agatha Christie

the article proposes to reflect on how the kidnapping of the Lindbergh baby was a famous but also problematic criminal case, because of the lack of a satisfactory outcome of the media sequence it gave rise to. We will see how narrative fiction has tried to bring to this traumatic incident the closing that was missing in it. Through the example of Agatha Christie's novel inspired by this case, Murder on the Orient Express, we will consider how detective fiction can then be the place where a compensatory speech is set up.

Theatre and Theatricalization of the Crime in Novels of Agatha Christie
The main objective of the following article is the analysis of crime stories by Agatha Christie through the prism of theatricalization – understood as the usage of theatrical effects to create a literary thriller. Theatricalization in works of Agatha Christie can be observed in the area of language (usage of theatrical terminology, comparisons between real-life scenes and those presented on the stage), narrative techniques (for example the construction of dialogues and monologues), composition (references to the construction of acts and scenes), and construction of the portrayed reality (crime staging, the figure of criminal-director, assigning roles to characters, the phenomena of characterization, masquerade, etc.). The main purpose of the literary theatricalization
– aside from achieving an artistic effect – is the presentation of
life as various instances of the theatre of everyday life, which is close to the concept proposed by Erving Goffman in The Presentation of Self in Everyday Life.

Justice as Understood in And Then There Were None by Agatha Christie Agatha Christie was born on 15 th September 1890 in Torquay, England. She is an English writer, traveller, and playwright. 14 short story collections and 66 detective novels make her a prolific writer. Her novels have sold 2 billion copies listing her as the best-selling novelists by Guinness World Records. She is also the most translated individual author, translated into 103 languages.

Sono molti i testi che, nell’antichità classica, recano spunti di genere
suspense o giallo: parliamo  di uno di questi, con i suoi più di
2400 anni sulle spalle, ben portati (fu rappresentato infatti - si ritiene - intorno al 412 a.C.), cioè dell’Edipo Re di Sofocle, oggetto (e soggetto) di questo lavoro.

We hear every day of murders committed in the country. Brutal and treacherous murders; slow protracted agonies from poisons administered by some kindred hand; sudden and violent deaths by cruel blows, inflicted with a stake cut from some spreading oak, whose very shadow promised-peace. In the county of which I write, I have been shown a meadow in which, on a quiet summer Sunday evening a young farmer murdered a girl who had loved and trusted him; and yet even now, with a stain of that foul deed upon it, the spect of this spot is-peace. No crime has ever been committed in the worst rookeries about Seven Dials that has not been also done in the face of that sweet rustic calm which still, in spite of all, we look on with a tender, half-mournful yearning and associate with-peace. 1

The thesis formulated at the beginning of the present paper, assuming that the way of solving crime  puzzles  in  the novels  by  Agatha  Christie,  corresponds  to  the  principles  used  in  rhetoric  theory and argumentation practice, in a particular way fi nds its justifi cation in the plot of the novel: „Th  e clocks” where the argumentative tool is used by a private detective, Hercules Poirot. The initial  assumption  reaches  further  as  the attempt  was  taken  to  prove  that  the  small  Belgium  man  (and,  what follows, Lady Mallowan herself ) does it on purpose. The rhetoric  argumentation  is understood  as a process based on specifi c principles and constructed of specifi c elements (arguments) and its aim is to discover hitherto hidden elements of reality — in this case searching for the causes of crime by examining the facts and circumstances. This process is treated by Poirot as a proved and reliable tool  in  search  of  the  truth.  The  reliability  is  conditioned  by  outstanding  deductive  abilities  of  the  detective.  It  was  proved  that  the  initial  research  assumption  finds confi rmation, especially when Poirot describes the details of the method used in his work

An unresolved mystery at Mussoorie’s Savoy Hotel gave Agatha Christie her first novel, 'The Mysterious Affair at Styles' (1920). The death of an English spinster under mysterious circumstances in one part of the British Empire led to the birth of Christie’s avuncular aesthete, Hercule Poirot, in another. But there was something very distinct about the melancholy air of Mussoorie that enabled this transmogrification.

Quaderno n. 5 –– Conferenze 1998, stampato per conto del Circolo da De Bastiani ed., Vittorio Veneto, ottobre 1998 –– Sommario: (1) IMPERIO Loredana, La Seconda Crociata: 1147-1149 pp. 1-21; (2) TOMASI Giovanni, L’elemento germanico del Dialetto Cenedese pp.  21-26; (3) PEZZELLA Nicola, L’architettura sacra dei Templari nella Francia centro-meridionale pp. 27-34; (4) NETTO Giovanni, Il Lottatore. Prese il posto del “giocatore di volata” allo Stadio dei Marmi pp. 35-50; (5) RUZZA Vincenzo, 1848 pp. 51-56; (6) ZOCCOLETTO Giorgio, Il conduttor elettrico di S. Francesco della Vigna (titolo della conferenza: Il Parafulmine, un'invenzione veneziana) pp. 57-80; (7) RUZZA Vincenzo, Statuti di Ceneda e Serravalle pp. 81-115; (8) GUSSO Massimo, Edipo in Giallo. Una rilettura di Sofocle pensando ad Agatha Christie pp. 117-141

Although the so-called Golden Age of Detective Fiction was pretty much dominated by female authors like Agatha Christie and Ngaio Marsh, and even though the genre continues to produce plenty of contestants for the unofficial title of ‘Queen of Crime’, detective fiction has also been traditionally known for its patriarchal, misogynist bias. This concerns the institutional level of writing and publishing as much as it does the ideological subtexts of many detective novels, which frequently focus on male investigators protecting a patriarchal system of inheritance against interlopers and reformers. This means that female detectives often find themselves caught in a double-bind, what with their investigations helping to sustain the very system that discriminates against them.
This article highlights this conundrum by examining the oeuvre of the late P.D. James (1920-2014). James produced nearly twenty highly successful whodunits, yet she famously retired her only female investigator, Cordelia Gray, after a mere two adventures ("An Unsuitable Job for a Woman" [1972] and "The Skull beneath the Skin" [1982]). By subjecting James’s second Cordelia Gray mystery to a close reading, the article shows how she exposes the genre’s patriarchal bias and how she juxtaposes her heroine with the tragic protagonist of John Webster’s tragedy "The Duchess of Malfi" (1613) in order to highlight her protagonist’s lack of agency, resulting in a deconstruction of the genre’s very foundations.

This essay examines the double-layered perspective structure in Agatha Christie's Five Little Pigs (Murder in Retrospect). Poirot's technique for solving the old mystery is to apply a multiperspectival mode of narration. In addition to talking with the related law officials who dealt with the Crale case at the time of its trial, Poirot interviews the five witnesses to the murder and reads their (written) verbal accounts of the crime day. By following his psychological method in conjunction with comparing and contrasting the multiple perspectives, Poirot reconfigures the events which lead to the crime and finally identifies the real murderer through reinterpreting the crime scene with the help of both what the witnesses acknowledge in their oral and verbal narratives and what they do not say. The total narrative structure,

Pierre Bayard is a polarizing figure in contemporary French criticism: on the one hand, he is brilliant, innovative and daring; on the other hand, he seems to delight in deception and sleight of hand, particularly in the way that he revisits, and arguably transvalorizes, theoretical discourse reminiscent, inter alia, of poststructuralism and deconstruction. In this paper, we wish to reveal the double-sidedness of Bayard’s new detective criticism in order to see how his new solutions to classic crime texts carry within themselves clues to their own undoing as well as alternative solutions that can be deemed to have been sown consciously or unconsciously into the weave of Bayard’s analysis. This is the irony of Bayard’s criticism: it references the work by reverting to a study of the text while keeping both, work and text, in view and, effectively, by being both, that is, by exposing the textuality of canonical literary works and presenting his criticism as transparently readable, even as ‘easy reading’, he offers his ideas as works, which the reader can read as such but can also reread, à la Pierre Bayard, as text.

In this article, we explore the concept of criminal psychology and will explicate some of its major tenets in characterization of Hercule Poirot. Using an interdisciplinary approach, by close reading and drawing from crime and psychological theories (especially Behaviorism), we investigate the criminal profiling techniques in Agatha Christie’s detective novels. Particularly, we adduce Ian Marsh’s theory in introducing a set of explanations for criminal behavior and Westera et al.’s propositions in identifying features that make a detective’s endeavors effective. We focus on the psychological procedures that exist in the process of mystery (making and solution), as well as on the detective’s task to decodify riddles in light of the internal and external forces acting on him and how these affect his final decision. Then, we expand the notion of profiling as conducted by a detective and will illustrate some of the recurring biases that influence the final verdict about a case. Finally, we depict how the abovementioned proceedings are implemented in Murder on the Orient Express (1934), The A.B.C Murders (1936), and Hickory Dickory Dock (1955), three of Christie’s best-selling novels with Hercule Poirot as their leading character. The character of Poirot, with his immaculate criminal profiling, bears witness to how Christie drew from and, at the same time, contributed to the concept and practice of criminal psychology in fiction.

The author examines the narrative structure of The Murder of Roger Ackroyd, emphasizing the self-reflexive quality of the novel and seeking to establish its parodic intentions. Through the use of formulaic unreliability, clichéd characters, facile plot devices, and a comic detective, Agatha Christie deliberately constructs her text against the conventions of the genre.

Книга является первым опытом энциклопедического описания, наверное, одного из самых известных героев детективного жанра – бельгийского сыщика Эркюля Пуаро, созданного британской писательницей Агатой Кристи. Даются подробные сведения о самом частном детективе, его соратниках, героях сочинений Дамы Агаты, анализируется окружавший Пуаро мир вещей и явлений. Добавляются новые данные о расследованиях бельгийца («Убийство Роджера Экройда», «Смерть лорда Эджвера», «Убийство в Восточном экспрессе», «Смерть в облаках»,
«Убийства по алфавиту», «Зло под солнцем» и др.). Особое внимание обращено на рассказы Кристи, сюжеты которых были задействованы в гораздо большем числе крупных шедевров романистки, чем принято сегодня считать. Предпринимается попытка выяснить время написания последнего произведения о Пуаро – романа «Занавес», тщательно разбираемого в данной энциклопедии. Также автор книги стремится обнаружить истоки вдохновения Кристи, находит примеры творческого обмена между Дамой Агатой и современными ей писателями. Многое из написанного о Пуаро было основано на реальных событиях. Для тех, кому интересен захватывающий мир детектива.

All classical detectives are story-tellers, even though they rarely narrate their adventures themselves, delegating the task to their assistants. Many crime writers have adapted this setup and strengthened the privileged position which the detective enjoys – infinitely enlarged through the perspective of the loyal deputy whose limited intellectual and abductive abilities act as the proverbial magnifying glass and allow the detective to take on larger-than-life dimensions.
This article scrutinises the detective's privileges in detail, first of all by characterising the narrative conventions to which it is tied. It primarily draws upon novels from the 1930s, a decade frequently singled out as the most productive one of Christie’s career,  and the last one to be associated with the ‘Golden Age’ of detective fiction, when writers tended to adhere to genre guidelines playfully set down in prescriptive rule-books. 
The chapter outlines some critical strategies that set out to deconstruct both and to strengthen the position of the reader, including a number of parodies and Pierre Bayard’s ‘detective criticism’.

As alarms about "internal treachery" and a possible Fifth Column were raised in Britain near the beginning of World War II, fear of refugees and migrants became nearly ubiquitous. N or M? (1940), Agatha Christie's most accomplished spy novel, reroutes the rising paranoia and fear of foreign spies to channel it against the xenophobic and misogynist common sense of wartime. In so doing, Christie turns derisive paranoid attention away from some of those groups who were most vulnerable to it in the nerve-wracking spring of 1940: refugees, Irish migrants, and women.

Agatha Christie's 1934 novel Murder on the Orient Express focuses on Hercule Poirot, the internationally renowned detective of Belgian origin, who has to leave Istanbul immediately after arriving. The novel is not only a murder story that uses the tropes of detective fiction, but also a novel revolving around the conflicts stemming from orientalist discourse and that of multiculturalism. Peyami Safa's 1934 novel Arséne Lupin in Istanbul, written under the nom de plume Server Bedi, is a novel of murder and theft focusing on the stories of a Turkish thief called Cingöz Recai, and a mysterious Belgian thief called Arséne Lupin, in Istanbul. The murders and thefts that occur in the novel are depicted in the narrative style of detective fiction, which was quite new to Turkish literature at the time of its publication, while the multicultural Istanbul lies in the background. This article reads Murder on the Orient Express and Arséne Lupin in Istanbul comparatively in terms of multiculturalism and orientalism, questioning, in the process, whether or not the multicultural background common to both novels may be considered as the very source of mystery behind the stories themselves.

This study is intended to examine the deceptive strategies utilized in the well-renown Agatha Christie's (1926/2002) detective fiction The Murder of Roger Ackroyd to fill a gap in the literature by conducting a pragma-stylistic analysis of the novel. To do so, the researchers have set two objectives which are phrased as follows: firstly, examining the pragma-stylistic choices that are used to surface the deceptive strategies on the character-character level in the pre-dénouement stage and secondly, investigating the pragma-stylistic choices that are used to surface the deceptive strategies on the narrator-reader level in the pre-dénouement stage. The stylistic idiosyncrasies of Christie's Dr. Sheppard are carried out through an eclectic pragma-stylistic approach to expose his deceptive strategies for the fulfillment of his selfish ends. Therefore, the study at issue follows an eclectic conceptual framework which comprises Merzah and Abbas's deceptive principle (2020) and Chen's (2001) self-politeness, along with the stylistic effects achieved via the manipulation of such linguistic tools, to explore the two levels of discourse, namely, character-character level and narrator-reader level proposed by Black (2006). The qualitative analysis of the novel has exhibited that Dr. Sheppard is an expert deceiver who principally relies on indirect strategies, as he is cognizant of the power of what is insinuated but left unsaid.

http://www.zenginyayincilik.com/urun.php?k=4&ak&u=145&urun=AV-ZAMANI-DRAM&fbclid=IwAR2fiKU2GoO06KtN4a2eYFGHpwfJD3XJ6QVMvs0j_RRmm4xWoQ_lO7JF4Sc

Yazar adı : ANTON ÇEHOV
Eser Orijinal Adı: Драма на охоте
Rusçadan Tercüme ve Ön Söz : MELAİKE HÜSEYİN
Editör : ERTURAN ELMAS
Yayınevi : ZENGİN YAYINCILIK
Türü : ROMAN
Cilt Bilgisi: KARTON KAPAK
Basım Tarihi: 2021
Sayfa Sayısı: 200
Eserin ilk yayın bilgileri: Moskova, 1884
ISBN: 978-605-2315-82-8

A variety of psychoanalytic readings of late-Victorian and early-twentieth century crime fiction often place the detective at the centre of their analysis, depicting them as a conduit through which readings of other aspects of the genre can be articulated. Samantha Walton, for example, explores the idea that the ‘the detective [acts as the] diagnostician of the self’, and goes on to argue that ‘[t]he central place of psychological discourses in the golden age novel both incites and responds to specific cultural anxieties about selfhood’ (2015: 275). Consequently, however, the psychological effects of performing the role of ‘detective’ remain under-examined. Arthur Conan Doyle’s famous Sherlock Holmes performs his detection under constant scrutiny from those around him who fail to understand his mental processes. In the early twentieth century, Dorothy L. Sayers’s Lord Peter Wimsey struggles to reconcile the tension between his position as ‘aristocrat’ and ‘detective’, and also has difficulty with disassociating his activities as a detective with his experiences in the First World War. Agatha Christie’s Hercule Poirot’s ‘othered’ position as of a different nationality to most other characters psychologically isolates him, whilst his compunction for the domestic does not mesh with his activities as an externally-othered figure. This article performs a reading of Doyle’s Sherlock Holmes, Sayers’s Lord Peter Wimsey, and Christie’s Hercule Poirot and offers a tentative exploration of how these classic ‘detectives’ are often physically, socially, narratively and psychologically isolated by performing their role.