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The article examines the development of such a genre variety as the photoeкphrastic detective, embracing the period of the 1950s to the 1980s of the 20th century. The paper reveals the genre-forming potential of photographic eкphrasis, presented in the texts in the form of photograph descriptions found in classical detective literature (analyzed on the bases of A. Christie’s novel Mrs McGinty’s Dead, 1952) and its postmodernist version – in T. Findlay’s novel The Telling of Lies: A Mystery, 1986. Photography in the novels by A. Christie and T. Findlay helps the detectives (H. Poirot and Vanessa Van Horn, respectively) in the process of investigating a crime, but the degree of its being solved remains different. This is explained by the writer’s understanding of photography as an artifact, primarily determined by the general cultural situation. In the fi rst instance, a photograph acts as a document characterized by the unambiguous force of evidence, it allows to fi nd and punish the perpetrator; in the second one, the photograph acts as a visual artifact that challenges the photo-detective: its interpretation being ambiguous and directly connected with the narrative of the Other. The investigation in the novel The Telling of Lies is accompanied by Vanessa’s traumatic memories of her past during the Second World War, refl ected in her diary, which actualizes the confessional discourse. The interweaving of various kinds of stories in the novel – detective and personal – contributes to the actualization of major social, historical and philosophical issues. Thus, as a result of the conducted research, the author of the article comes to the conclusion that the postmodern photo-ekphrastic detective is engaged in a dialogue with the classical detective tradition and at the same time promptly reacts to the changing social, historical, political conditions, which cannot but infl uence the transformation of its genre structure.

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper examines the crime works by Agatha Christie, mainly about Hercule Poirot and Jane Marple, from the point of view of anthroponymy. Anthroponyms can be considered as an element of a kind of “game” between the author and the reader as a kind of additional “test” of his intellectual abilities. Containing hidden symbolism, anthroponyms give the writer’s works a shade of an allegorical novel, which allows for their allegorical interpretation. Specific examples show how Christie selected first and last names for her characters, and what sources she used to do this.

Over the course of her autobiography, Agatha Christie makes some fascinating observations about cars, and what their growing ubiquity meant to a young woman transitioning from Victorian girlhood to interwar modernity. In her interwar novels, meanwhile, the car functions variously as a marker of status, an index of character and a symbol of female agency. However, this initially optimistic embrace of motoring modernity began to change in the second half of Christie's career, with the result that the car would come to signify not just a changing relationship between gender and mobility, but also a transition in detective methodology. Exploring novels from the interwar, war and postwar periods – including Why Didn't They Ask Evans? (1934), The Hollow (1946) and By the Pricking of My Thumbs (1968) – this article follows the car to map transitions in how, why, and what Christie detects. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The novel “Dead Man’s Folly” by Agatha Christie takes us far beyond the crime genre to philosophical questions. Its main character is stupidity which takes on different guises. It can be seen, heard, performed, all people are susceptible to it, regardless of social status, gender or occupation. Mrs. Folliat, who lives in the locality of Nassecombe, becomes a kind of personification of stupidity and her example shows the vanity and emptiness of the whole world. From the height of her years, Christie returns to the “follies” of her youth, analyses the causes and consequences of the collapse of family life which she herself experienced. There is clearly a motive for replacing the “real” wife with an “imaginary” one (mistress) in the novel. Christie concludes that both parties are at fault in a divorce, both the husband and the wife. However, as we were able to establish, the writer criticises female representatives most of all, which is similar to internal misogyny. She is also no stranger to self-criticism, which sometimes reaches the point of self-deprecation. Demonstrating a sceptical attitude towards science and education the novelist doubts that folly can somehow be overcome because this property is inherent in human nature.

Karel Čapek versus Agatha Christie. The poetics of Midcult This essay focuses on the issue of semantic and expressive specificity that is mid-level in the vertical model of literature (known as Midcult). It explores this issue through a comparative analysis of two short stories on the same theme. This essay focuses on two particular aspects: thematic construction (one thematic line versus multiple thematic lines) and the nature of the narrative (objective versus subjectivized narrative). The essay thus sees Povídky z jedné kapsy (translated by Norma Comrada as Stories from One Pocket) as a typical product of the middle literary level, which it considers an essential part of any developed literary culture with the important function of cultivating and mediating for the reader.

In detective fiction written by Agatha Christie, the elderly characters are portrayed as being closely tied to the truth and consequently hold a crucial position in the narrative. As depicted in works centred on Miss Marple, old age represents a stage where one reaches the ability to understand human nature. The experience of the past enables the characters to recognize recurring patterns in human behaviour and use them in the search for the truth. Knowledge of this kind is subsequently elevated above rationality and deduction in the investigation process. The analysis conducted in the paper thus suggests that the elderly are the guardians and protectors of the truth that was purposefully hidden, twisted, or long forgotten, which is the case in Christie’s non-Marple works such as Elephants Can Remember (1971). Despite their inconspicuousness, the elderly become the decisive piece needed to solve the puzzle. It is the ultimate realization of old age that although the world keeps changing, human nature remains the same.

Copyright of Ceska Literatura is the property of ASCR Institute of Czech Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Suparto Brata (1932–2015) belongs to the pioneers of the Western model of the whodunnit in modern Javanese literature. His early (1962) work Pethité Njai Blorong (The Tail of Nyai Blorong) is a remake of the 1930 whodunnit While the Patient Slept by the US crime novelist Mignon G. Eberhart (1899–1996), which is a murder mystery in true Agatha Christie fashion. This article shows how Suparto Brata did not simply reproduce Eberhart's detective story in a postcolonial Indonesian setting but thoroughly and successfully reworked it until it hardly resembled its prototype anymore, turning a foreign example into a veritable modernist Javanese kind of Bildungsroman that mirrored 1960s Indonesian societal issues under the shadow of Sukarno's nationalist policies and catastrophic economic conditions. [ABSTRACT FROM AUTHOR]

While the relationship between modernism and its 'sister-genre' detective fiction [Brian McHale, Postmodern Fiction (New York: Methuen, 1987), p. 59] has tended to be characterised in oppositional terms, recent scholarship has challenged this conceptualisation, arguing that the two forms can be productively read in relation to each other. However, the ways in which detective fiction, like modernist writing, is invested in questions of temporality remains underexplored. This paper argues that detective fiction simultaneously asserts and challenges modernity's universal, standardised time-keeping regime. This argument is developed through a detailed examination of Agatha Christie's The Murder of Roger Ackroyd, in which the criminal's ability to elude the net of modern time is only exceeded by the detective's ability to reassert it, and then through a wider discussion of the way this pattern reappears throughout the genre. [ABSTRACT FROM AUTHOR]

Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines three film adaptations of Agatha Christie's Death on the Nile (1937), produced in 1978, 2004, and 2022, and will focus especially on the character of Salome Otterbourne. It will study how the character was being reimagined for each adaptation and how her ethical identity is constructed. The article will make sense of the different filmic recastings of Mrs Otterbourne as part of a process of moral revaluation, which entails her transformation from a minor character addicted to alcohol and rejected by Poirot as ethically aberrant. In the process, she is changed and ethically reinscribed, in the most recent film, from a writer of romance fiction into an empowered black blues singer, endowed with the ability to awaken feelings in the sleuth he had thought long dead. [ABSTRACT FROM AUTHOR]

Considering the literary works by Agatha Christie the author of the paper pays special attention to the writer’s insufficiently researched novels – “Elephants can remember” and “Curtain”, the former of which earned not entirely fair assessment from critics. There is evidence of possible connection between some Christie’s novels and Bram Stoker’s “Dracula”. The article studies the symbolism of Hercule Poirot image, and ideas about certain faces of his character and place in the “universe” of Agatha Christie are deepened. Her detective riddles are a kind of cipher, they are built on the techniques of substitution and repetition. New examples are noted, demonstrating Christie’s attitude to Shakespeare and Arthur Conan Doyle (Sherlock Holmes cycle). The historical element in the books by Agatha Christie is present not only explicitly in the form of historical events, etc., but also in a hidden form, penetrating into the deeper layers of her work.

Ismail Fasih is one of the most famous and prolific writers in the field of fiction, especially police and detective literature. Some of his works such as Shahbaz and Jagdan, Sharab Kham, Dard Siavash, Del Kor etc. mostly have a police and detective aspect despite the fame of this author. As the results of this research show, he was strongly influenced by Agatha Christie and her detective novels. Thus, if we compare the police-related works of these two authors, we can find many common elements in the field of police literature in their works. Ismail Fasih was influenced by Agatha Christie not only in the choice of the narrator's language and the way of characterization, but also in the choice of the plot of some stories. This assertion can be proved by comparing the texts of the two authors. In this research, the authors have tried to explain and prove the influence of Agatha Christie's eloquence in a descriptive-analytical way and with the method of library documents. This is a work that has not been done before by the researchers and critics of fiction literature and it is new in its kind. Extended Abstract Introduction Detective fiction is one of the most popular branches of fiction all over the world. Mystery novels are one of the types of this literary genre that rely on the detective element and try to decipher the strange crime that has happened. The father of this style is Edgar Allan Poe and the queen is Agatha Christie. In Iran, the study of police stories in the style of Western literature began with the end of the Qajar period and gradually became one of the most popular genres in the years 1320-1300. The translation of such stories from the end of this period encouraged Iranian writers to create such works. Amir Ashiri (born in 1303 A.H. in Tehran) can be called one of the founders of police literature in Iran with 58 historical, criminal and police books. He was mainly influenced by the James Bond movies. Ismail Fasih is also one of the other authors of the police genre whose works were very popular in Iran in the 1960s and 1970s. Of course, Fasih also had a significant influence in this field, and by comparing literature, one can understand the similarities between these writers and the greats of the police genre. Although police literature is one of the new genres of literature, it has a long history, and in order to explore its roots, one should refer to the history of all the murders and the human efforts in the field of discovering the murderer. It can be said that the human desire for myth-making and storytelling and the discovery of the mysteries that are at the core of such stories have caused the emergence of such a genre. The main elements of detective-police stories and films are: "mystery", "murderer", "victim", "detective", "suspect". By studying these elements in the works of famous Iranian and foreign writers and based on the rules of comparative literature, it is possible to study the whole intellectual and literary exchanges of these writers on an extraterritorial level. As in this work, when a number of Ismail Fasih's works are studied on the basis of the principles of comparative literature, his entire intellectual and literary exchanges with Agatha Christie, one of the pioneers of crime literature in the West, are also studied. 2. Literature Review Fasih is one of the pioneers of police and crime literature in Iran, whose story-writing style is a combination of Western and Iranian narrative styles and is strongly influenced by the writing style of great writers such as Edgar Allan Poe and Agatha Christie. In this research, while analyzing and examining a number of Agatha Christie's eloquent novels, a comparative comparison and examination of the storytelling style and practical techniques of these two authors is also revealed, and it becomes clear that Agatha Christie's footprints can be seen in many of his eloquent works. 3.Methodology In this research, the authors have tried to explain and prove the influence of Agatha Christie's eloquence in a descriptive-analytical way and with the method of library documents. It is a work that has not been done before by the researchers and critics of fiction literature and it is new in its kind. 4. Results Detective literature is one of the most important branches of fiction literature, which has many fans all over the world, including Iran. The researches have shown that Fasih has artistic, literary and intellectual creativity and was able to create harmony between the dialogues and characters. However, in some of the themes and characterizations and story lines and the creation of plot spaces, similarities can be seen between his works and the works of Agatha Christie, although these similarities do not indicate a direct influence of the Iranian writer from the West; rather, it is mostly the result of the requirements of the detective genre. In the comparison of Agatha Christie's and Ismail Fasih's narrative style and techniques, an attempt has been made to examine these similarities as well as the differences to some extent; As in the eloquent detective novels, he has been very powerful in describing the characters, creating a state of suspense and using ambiguity and doubt in the audience's mind and creating a protagonist like Agatha. But in Agatha's works, the variety of fictional characters and the creation of complex puzzles and the creation of an atmosphere of terror are much more. In other words, Fasih's narrative style is a combination of Western and Iranian narrative styles, and it can be said that while studying and reviewing the works of Western writers in this genre, Fasih was able to implement the results of his studies in the best possible way. localize and attract the attention of the audience.

Agatha Christie’s literary heritage is studied from the point of view of various communication devices use, which are abundantly mentioned in the author’s works. Within the framework of a single work, heroes frequently use several devices to exchange information, which is associated with the development of science and technology in A. Christie’s era. Telephone, postal service, radio are used as evidence to introduce the situation to a reader, to intensify the plot. In a number of works they form the “core” of the intrigue. When developing crime schemes for her works, the writer resorted to techniques from the “arsenal” of radio shows. The author of the paper was the first to point out the intersection of A. Christie’s plots with the creativity of the mystical writer Edward Frederic Benson. Along with several other authors, A. Christie anticipated discussions about the “electronic voice phenomenon”, debates on which began in the second half of the 20th century. The article raises the idea of the inevitability of punishment: trying to use communication tools in their own interests, criminals find themselves exposed by them.

This essay looks at the literary relationship between two of Britain's great twentieth century figures, Agatha Christie and Winston Churchill. The two are rarely considered together, but did Christie, in 'The Augean Stables' (1940), cast Churchill as the warmonger Everhard? [ABSTRACT FROM AUTHOR]

A literatura policial tem ganhado cada vez mais espaço na academia e seu estudo é valorizado por autores como Stuart Hall, Raymond Williams e Ernest Mandel. Foram criadas associações responsáveis por reunir pesquisadores do gênero como a International Crime Fiction Association (2017), os periódicos científicos voltados à literatura policial: Clues: a Journal of Detection (2008) e Crime Fiction Studies (2020), e a publicação A Companion to Crime Fiction (2010). Agatha Christie é autora mais publicada, traduzida e adaptada à outras mídias, figurando ao menos duas vezes no Guinness World Records, pela venda de mais de dois bilhões de cópias dos seus livros, ficando atrás apenas da Bíblia e de Shakespeare, e sua peça de teatro The Mousetrap é a que está há mais tempo em cartaz, desde 1952. Segundo especialistas, no Brasil, a produção científica sobre a autora ainda é tímida e poderia ser mais aprofundada. Nosso objetivo é mapear tal produção em nível nacional de modo a compreender suas características, origens, tipos e áreas. Este estudo permite também conhecer preliminarmente a produção realizada em Letras, área do conhecimento que raramente é objeto de estudos bibliométricos: embora valorize as citações e recomende-se citação extensiva, a área cita textos de outras áreas bem como textos canônicos, que seriam considerados muito antigos, fugindo das recomendações de periódicos de dois a cinco anos considerados nos cálculos de índices como o fator de impacto. Realizamos um mapeamento da produção brasileira sobre Agatha Christie, tendo como base os currículos cadastrados no Lattes, por meio da busca temática da base de dados. A pesquisa resultou em 195 trabalhos entre trabalhos de evento, trabalhos de conclusão de curso, artigos de periódicos e de jornais, livros e capítulos de livros, teses e dissertações, escritos a partir de 1991. Letras é a área que mais produz, mas encontramos trabalhos ligados a outros saberes, e Jean Pierre Chauvin (Universidade de São Paulo) é o autor mais produtivos dos 151 encontrados. Percebemos que tal produção tem crescido, porém não consta de bases de dados comumente utilizadas em estudos métricos como Scielo, Scopus e Web of Science. Consideramos necessário expandir a pesquisa para o gênero policial para entender e comparar com pesquisas que focam em outros autores e temas, criando um caminho para compreender a produção científica da Letras e de outras áreas das Humanidades.

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 tendencies 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. [ABSTRACT FROM AUTHOR]

Copyright of Anaquel de Estudios Árabes is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

References to the concept of evil can be found scattered throughout Agatha Christie's novels. It is, however, rare to encounter this as a prevalent theme, especially in the novels which feature her private detectives Poirot, Marple and Tommy and Tuppence. It is my contention in this article that it is not until two of her late novels Endless Night (1967) and The Pale Horse (1961) that Christie foregrounds the issue of evil and concurrent themes of psychotic and obsessive love and desire. Of course, there are multiple examples of the intersections between love and evil, involving betrayal, trickery and duplicity throughout her work, but these are generally secondary to plot structure and, in the case of love, romantic and often neat endings. The article contends that a 'new' Christie starts to emerge late in her work, one who has, however obliquely still, begun to engage with evil as a fundamental question, post-WW2 and the Holocaust. [ABSTRACT FROM AUTHOR]

Agatha Christie’s Murder on the Orient Express (1934) remains well-read, and its hero Hercule Poirot continues to enjoy popular currency. Yet the text has not aged well due to some of its now clichéd plot developments and dialogue, as well as Christie’s depiction of class, ethnic and national prejudices in it and her other novels. This study hopes to re-energize discussion on Murder by finding defensible reasons for its apparent flaws. Not only do the stereotypical behaviors of the passengers narratively distract Poirot and the reader from a solution, but their flaws serve as foils against which Poirot’s heroic gravitas and cultural values are positively contrasted. Further, criticism often misses the point that the passengers are performing their behaviors, and if so, the deployment of stereotypes as only acted performances destabilizes them as permanent aspects of national or ethnic identity. Can Murder then be read as an anti-racist text?

Introduction Agatha Christie (1890-1976), as one of the most prominent writers of crime fiction genre, has created many works that can be examined from the perspective of criminal psychology and criminology. One of her most difficult and complicated novels, in terms of plot, is the Ten Little Indians, which was originally published in 1939. This novel, like many other novels of Christie, raises this question that “Who is the murderer?” and with focalizing this question/suspension Christie keeps her audience attracted to story from the beginning to the end. The novel narrates the life of a murderer who invites his victims to a ceremony but secretly kills them. His victims have one experience in common: a murder. The central killer of this novel chooses his victims from characters who can be classified under the gray category. They have committed crimes in the past and due to their crimes, victims are left behind, yet these criminals have not been punished. Now, all these criminals are called as ordinary people on a mission outside the city’ they are going to be be punished though none of them knows what awaits them. On the other side of this comparative study is the Iranian novel The Alphabet of Death, written by Mehrdad Morad and published in 2017. In this novel, Morad, with a similar style to Christie, put this question in the core of his plot: "who is the murderer?" The Alphabet of Death unfolds the story of several detectives who work day and night to find a serial killer, who lives in the shadows. His victims, like the victims of Christie's novel, are criminals and have committed various crimes. Methodology This study has used a descriptive-analytical method, for which archival studies have been conducted, especially through the perspective of criminal psychology. In this research, and with close archival reading, the researchers attempted to answer the following questions: What are the characteristics of the murders in these novels? What factor or factors made them a criminal? How does victimization affect a person's delinquency? Discussion In both novels, there is a serial murderer who chooses his victims among the villains and criminals. Yet they have different reasons for killing and to execute it. As Raymaund Gassin classifies it, crimes are divided into two categories: deception-oriented and violence-oriented. Judge Wargrave’s, Christie’s villain, crime falls into the category of phosphoric and deceptive crimes, because his delicacy and his attention to details allows him to commit murders in an unpredictable and flawless manner. Also, he takes action for each person according to their personality traits, which shows his great intelligence, genius, and using the power of reason. As a result of his creative plans, no one suspects him, and if it was not for the found letter, no one would have known the silent murders of those ten people on the island. On the other hand, in The Alphabet of Death, Khosrow Kouhyar's crime is in the category of calcium crimes and is carried out with violence. He carries out all his murders with physical force and uses weapons. He is eventually arrested because of his not-so-conscious plans and because of the smartness of the novel’s detective. The killers of both stories, despite their differences, have commonalities in neutralizers. They both are aware of their vicious acts and violating the law, but by making excuses, they continue committing murders. They do not regret to become notorious or to be called a serial killer, as they think their killings are justified because their victims deserve death. As mentioned above, despite the similarities between both killers, in etiology of crime, their contradictions become apparent. Judge Wargrave suffers from an antisocial and slightly narcissistic personality disorder, which is due to the violent nature he had experienced since his childhood. People with this type of personality think they have to seek justice in the world. They might attempt killing several offenders in order to establish justice in the world. At the end of the novel, Wargrave commits suicide to complete this masterpiece of art. His behavior is a perfect example of the behavior of an untreated patient who has an easy access to social facilities and that put them in trustworthy position and they easily can harm individuals. He did not have a partner to help him to reach his goals, until he needed someone to be a part of his own dramatic murder, he chose Armstrong. On the other hand, Khosrow Koohyar is not sick. He is a victim himself. A person who loses the ability to come to terms with the truth following a criminal incident. Because of not going through a mourning period and being instilled in a period of anger, he engages in revengeful behaviors. Yet, he shows some traces of thoughtfulness: he chooses a partner and adopts an identity of a dead person and hides in some places. But in the end, all his plans are revealed. It could be said that his only goal is to punish the villains and to prevent their criminal acts. He acts completely emotionally. In contrast to Wargrave, he is not aware of other aspects of his plans. Both stories are written in such a way that readers follow them with curiosity from the beginning to the very end. In this process many people are under suspicion. Yet. there are significant differences between the two texts as well. Agatha Christie's work focuses on characterization; she delicately portrays the killers as well as the central character. Her attention to psychological matters in characterization, the use of appropriate suspensions, accuracy in the characters' criminal behavior, and apropos resolution in the story, has distinguished her from the other writers in this genre. One of the points that makes this novel distinct from the other works of Christie is the absence of a detective and that the murder is solved by the hands of the main killer. On the other hand, Mehrdad Morad's novel can be called a plot-oriented work. A work that accompanies the audience with its story and does not provide accurate information about the characters. What attracts attention in this novel is the presence of several detectives. Although the absence of a detective in Agatha Christie's novel does not damage the essence of the story, it can be boldly said that Mehrdad Morad's story depends on the presence of detectives and they play the main role. One of the features of this novel is gripping story line, the appropriate complications, and creating enough drama, which is less visible in Christie's work. Ultimately, it is not farsighted to say that The Alphabet of Death is influenced by Agatha Christie. This can be seen in the general form of the narrative, which is looking for the killer. Also, the name of the work reminds us of the Christie’s novel A, B, C Murders, in which the killer finds his victims in alphabetical order, and this feature is also seen in the murderer's character of Morad's work. What distinguishes his novel from the Ten Little Indians is his attention to the progression of the story through cause-and-effect relationships and minimal focus on the characters in the story. 4.Conclusion In The Ten Little Indians and The Alphabet of Death, some serial killers secretly choose their victims and create ambiguity for other characters in the story. The similarity between the two characters is that they think to be rightful. According to Matza and Sykes' theories on the neutralization of crime, they use reason and excuses as neutralizers in their consciences to remove the sense of remorse and achieve a criminal purpose by justifying themselves. But the difference is that the character of the murderer, in Morad's novel, is one day traumatized by a criminal, and also with the loss of his wife, he decides to kill the criminals, which is the result of his grief crisis. The murderer in Christie's novel committs the crimes as a result of psychological factors and due to the existence of a mental disorder in him which is revealed at the end of the novel. Criminological perspectives such as "neutralization techniques," which are based on the perpetrator's wisdom, fit well with the actions of the main characters in both novels. The five techniques that criminals use in their minds before committing the crime to justify the criminal act in their mind and to commit it as their inalienable right have been examined in this article. Also, the theory of "routine activity", which is based on the convergence of three factors in the occurrence of the crime, is analyzed in these crime novels and examples of these convergences and heterogeneity are observed in the mentioned works.

Agatha Christie’s outlook on gender, as depicted in her novels, has been described as conservative or even criticised as anti-feminist. However, more recently, a growing number of feminist scholars (Alison Light, Susan Rowland, Merja Makinen) have begun to oppose this view and instead argue that Christie’s approach to the various social phenomena depicted in her novels, including gender, is more nuanced and ambiguous than previously assumed. This paper explores the role of domesticity in general, and of food, eating and cooking in particular, in constructing such ambiguous portrayal of femininity in three of Agatha Christie’s detective novels: Cards on the Table (1936), The Hollow (1946), and 4.50 from Paddington (1957). The novels depict three groups of female characters possessing varying degrees of power and independence: the salt of the earth, i.e., the conservative homemaker, the eccentric, and the murderess. It is the aim of this paper to demonstrate that, paradoxically, it is o en through these female characters’ roles within the domestic setting and their engagement with food that they are able to overcome the limitations imposed on them by patriarchal society and achieve a certain level of autonomy within it.

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.

This study investigates the intertextual use of Greek mythology in Agatha Christie’s short stories Philomel Cottage, The Face of Helen, and The Oracle at Delphi, a short story collection The Labours of Hercules, and a novel, Nemesis. The results of this research based on the hermeneutical and comparative methods reveal that A. Christie’s intertextual formula developed over time. In her early works, allusions were based on characters' appearances and functions as well as on the use of motifs and themes from Greek myths. Later on, she turned to using allusory character names; this would mislead her readers who thought they already knew the formula of her stories. Although not a postmodern writer, A. Christie enjoyed playing games of allusion with her readers. She wanted them not only to solve a case but also to discover and interpret the intertextual references.

Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista Ibero-Americana de Ciência da Informação is the property of Revista Ibero-Americana de Ciencia da Informacao and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Agatha Christie's Murder on the Orient Express (1934) remains well-read, and its hero Hercule Poirot continues to enjoy popular currency. Yet the text has not aged well due to some of its now clichéd plot developments and dialogue, as well as Christie's depiction of class, ethnic and national prejudices in it and her other novels. This study hopes to re-energize discussion on Murder by finding defensible reasons for its apparent flaws. Not only do the stereotypical behaviors of the passengers narratively distract Poirot and the reader from a solution, but their flaws serve as foils against which Poirot's heroic gravitas and cultural values are positively contrasted. Further, criticism often misses the point that the passengers are performing their behaviors, and if so, the deployment of stereotypes as only acted performances destabilizes them as permanent aspects of national or ethnic identity. Can Murder then be read as an anti-racist text? [ABSTRACT FROM AUTHOR]

The article focuses on the investigation of detective fiction in general and detective stories in particular which in this research is understood as a narrative where the plot hinges on a crime that the characters investigate and attempt to solve. The research also deals with various genre types of detective stories, such as police-department procedurals, hardboiled, locked room mysteries, cosy mysteries. Special attention is paid to the genre development of detective stories from a historical perspective. It is worth underlining that the period between World War I and World War II (the 1920s and 1930s) is generally referred to as the Golden Age of Detective Fiction. The purpose of the study is to highlight the main plot elements of a cosy mystery, such as the protagonist, the antagonist, the setting, the crime event, and definite narrative mechanisms involved in a story. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Comparative Literature is the property of Shahid Bahonar University of Kerman, Department of Persian Language & Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines the ways in which Agatha Christie's fictional villages may be interpreted as fundamentally gothic spaces. It makes the case that within the novels The Murder at the Vicarage (1930) and The Moving Finger (1943), outdoor spaces do not offer the potential release from captivity that is set out in more traditional gothic paradigms. Instead, exterior landscapes surrounding and connecting homes function as a continuation of domestic interiority, thus acting as able accomplices in a gothic transformation of 'home' into 'prison'. By examining the shifting meanings of panoptic surveillance present within these villages, and the outward extension of private family romances into more public forms of cruelty and humiliation, this article suggests that far from creating idyllic exemplars of English rurality, Christie's fictional villages work to unmask the dark, 'unhomely' core that lies buried at the very heart of the English 'Home Counties'. [ABSTRACT FROM AUTHOR]