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Ekranizacje powieści Agathy Christie „Morderstwo w Orient Expressie”– obserwujesz i jesteś obserwowany

100%
Bartoszewicz I.
Studia Translatorica
|
2019
|
issue 10
113-133
EN
Agatha Christie (1890–1976), less known as lady Mallowan, an outstanding author, mainly of detective novels, published “Murder in Orient Express” in 1933/34. From the very beginning, the book was considered a masterpiece of this genre. The reason for that is not only brilliantly constructed plot with astonishing culminating point, but also the fact that the author of the book referred to an authentic event which evoked great emotions. The event that inspired this novel was kidnapping and murder of the little son of a known and admired American pioneer of intercontinental flights, Charles August Lindbergh, that happened in 1932. The novel was translated into almost all languages. There were also numerous stage adaptations. At least four films were based on this novel which indicates the cultural significance of the work. The subject of the considerations in the present paper is an attempt to search for the answer about the role of the so-called observer in the process of reconstruction, retransmission and assimilation of thematic threads, which can become the reference point not only for the author of the literary work. They may become an element of collective memory and, in this way, the element of culture constituting narration. However, as an object of general knowledge, they are at the same time subjected to common interpretation. The Heisenberg’s uncertainty principle, referred to in its basic range in quantum mechanics, indicates the significant role of the subject observing in this process. Heisenberg proved that the presence of an observer is not neutral from the point of view of the quality of the results. Referring to these considerations on the text as a cultural object, let us analyse the ways in which the theme was modified and the significance of these changes. We consider Agatha Christie’s novel and especially its screen adaptations an interesting object of research. The observer, as it turns out, is beside the researcher also the author of the literary text, screenwriter, translator…
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Hercule Poirot and the Tricky Performers of Stereotypes in Agatha Christie’s Murder on the Orient Express

100%
Eckert K.
Text Matters: A Journal of Literature, Theory and Culture
|
2021
|
issue 11
186-203
EN
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?
3
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Karel Čapek versus Agatha Christie: k poetice midcultu

94%
Mocná D.
Česká literatura (Czech Literature)
|
2024
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vol. 72
|
issue 1
28-52
EN
This essay focuses on the issue of semantic and expressive specificity that is midlevel 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.
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