The Intertextual Use of Greek Mythology in Agatha Christie’s Detective 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.
Aldridge, M. (2016). gatha Christie on Screen. Palgrave Macmillan. https://doi.org/10.1057/978-1-137-37292-5
Alexander, M. (2009). Rhetorical structure and reader manipulation in Agatha Christie’s Murder on the Orient Express. Miscelánea: A Journal of English and American Philology, 39, 13-27. http://eprints.gla.ac.uk/32230/1/id32230.pdf
Berger A.A. (2013). Hercules (aka Herakles) and Hercule Poirot. In A. A. Berger. Media, Myth, and Society (pp. 90-98). Palgrave. https://doi.org/10.1057/9781137301673_6
Cade, J. (2011). Agatha Christie and the Eleven Missing Days. Revised edition. Peter Owen Publishers.
Christie A. (1934). The Oracle at Delphi. In Christie A. Parker Pyne Investigates. Collins Mystery. https://royallib.com/read/Christie_Agatha/Parker_Pyne_Investigates.html#0
Christie A. (1947). The Labours of Hercules. Dodd, Mead & Co. http://booksonline.com.ua/view.php?book=157951
Christie A. (1971). Nemesis. Collins Crime Club. http://booksonline.com.ua/view.php?book=98843
Christie A. (1977). An Autobiography. Collins.
Christie A. (2010) The Face of Helen. In Christie A. The Mysterious Mr. Quin. HarperCollins. https://libcat.ru/knigi/detektivy-i-trillery/klassicheskij-detektiv/176865-35-agatha-christie-the-mysterious-mr-quin.html#text
Christie A. (2011). Philomel Cottage. London: HarperCollins. https://litportal.ru/avtory/agata-kristi/read/page/1/kniga-philomel-cottage-an-agatha-christie-short-story-841503.html
Dash, F. L. (1975). Miss Marple Goes to Spain. Modern Languages, 56, 177-180.
Gerald, M. (2010). The Poisonous Pen of Agatha Christie. University of Texas Press.
Jackson, K. (2015). Classical Allusions and Miss Marple. https://crossexaminingcrime.wordpress.com/2015/10/20/classical-allusions-and-miss-marple/
Hamblen, A. (2014). The Inheritance of the Meek: Two Novels by Agatha Christie and Henry James. Discourse, XII, 409-413.
Hudácskó, B. (2016) And Then There Were Many: Agatha Christie in Hungarian Translation. In Bernthal J.C (Ed.), The Ageless Agatha Christie: Essays on the Mysteries and the Legacy. McFarland & Company.
Knight, S. (2004). Crime Fiction 1800-2000: Detection, Death, Diversity. Palgrave Macmillan.
Losev. A. (1982). Moiry. [The Moirai]. In Tokarev S.A. (Ed.), Mify narov mira. [Myths of the World]. (p. 169). Sovetskaya Yenciclopediya.
Lovitt. C. (1990). Controlling Discourse in Detective Fiction: or, Caring Very Much Who Killed Roger Ackroyd. In Walker R. & Frazer J. (Eds.), The Cunning Craft: Original Essays on Detective Fiction and Contemporary Literary Theory. (pp. 68-85). Western Illinois University.
Makinen, M. (2006). Agatha Christie: Investigating Femininity (Crime Files). Palgrave Macmillan. https://doi.org/10.1057/9780230598270
Makinen, M. (2016). Agatha Christie in Dialogue with To the Lighthouse: The Modernist Artist. In Bernthal J.C (Ed.), The Ageless Agatha Christie: Essays on the Mysteries and the Legacy. McFarland & Company.
Margaret (2012). The Labours of Hercules by Agatha Christie: a Book Review. BooksPlease. A book lover writes about this, that and the other. https://booksplease.org/2012/03/17/the-labours-of-hercules-by-agatha-christie-a-book-review
McCall, H. (2001). The Life of Max Mallowan: Archaeology and Agatha Christie. British Museum Press.
Mesomedes (2011) Hymn to Nemesis (Trans. Foreman A.Z.) http://poemsintranslation.blogspot.com/2011/05/mesomedes-hymn-to-nemesis-from-greek.html
Molin Ju. A. (2010). Tvorchestvo Agaty Kristi – Medicinskie aspekty (k 120-letiju so dnya rozhdeniya). [Works of Agatha Christie – Medical Aspects (dedicated to her 120 anniversary)]. Medicinskaya ekspertiza i pravo, 6, 49-50.
Morgan, J. (1985). Agatha Christie: A Biography. Fontana/Collins.
Rowland, S. (2010). The Wasteland and the Grail Knight: Myth and Cultural Criticism in Detective Fiction. Clues: A Journal of Detection, 28(2) (Fall), 44-54. https://doi.org/10.3172/CLU.28.2.44
Takho-Godi, A. (1982). Procna. [Procne]. In Tokarev S.A. (Ed.), Mify narov mira. [Myths of the World]. (p. 337). Sovetskaya Yenciclopediya.
Takho-Godi, A. (1982). Nemesida. [Nemesis]. In Tokarev S.A. (Ed.), Mify narov mira. [Myths of the World]. (p. 209). Sovetskaya Yenciclopediya.
Zavyalova, G. (2014). Osobennosti funkcionirovanija precedentnyh fenomenov v detektivnom diskurse (na materiale anglijskogo i russkogo jazykov). Dissertacija na soiskanie uchenoj stepeni kandidata filologicheskih nauk. Kemerovo. [Peculiarities of the functioning of precedent texts in detective fiction (with examples from Russian and English fiction]. [Unpublished doctoral dissertation]. Kemerovo.
Zavyalova, G. (2017). Istochniki precedentnosti v detektivnom diskurse. Vestnik Kemerovskogo gosudarstvennogo universiteta, 2017, 2, 195-199 [Sources of precedent texts in detective fiction. Bulletin of Kemerovo State University]. https://doi.org/10.21603/2078-8975-2017-2-195-199
Copyright (c) 2020 Tatiana Ternopol
This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License.
All published articles in the ESNBU are licensed under the Creative Commons Attribution-NonCommercial 4.0 International License (CC BY-NC 4.0). This license lets others remix, tweak, and build upon your work non-commercially, and although their new works must also acknowledge you and be non-commercial, they don’t have to license their derivative works on the same terms.
In other words, under the CC BY-NC 4.0 license users are free to
Share — copy and redistribute the material in any medium or format
Adapt — remix, transform, and build upon the material
Under the following terms:
Attribution (by) - All CC licenses require that others who use your work in any way must give you credit the way you request, but not in a way that suggests you endorse them or their use. If they want to use your work without giving you credit or for endorsement purposes, they must get your permission first.
NonCommercial (nc) - You let others copy, distribute, display, perform, and modify and use your work for any purpose other than commercially unless they get your permission first.
If the article is to be used for commercial purposes, we suggest authors be contacted by email.
If the law requires that the article be published in the public domain, authors will notify ESNBU at the time of submission, and in such cases the article shall be released under the Creative Commons 1 Public Domain Dedication waiver CC0 1.0 Universal.
Copyright for articles published in ESNBU are retained by the authors, with first publication rights granted to the journal. Authors retain full publishing rights and are encouraged to upload their work to institutional repositories, social academic networking sites, etc. ESNBU is not responsible for subsequent uses of the work. It is the author's responsibility to bring an infringement action if so desired by the author.
Occasionally ESNBU may co-publish articles jointly with other publishers, and different licensing conditions may then apply.