Jump to ContentJump to Main Navigation
Show Summary Details
More options …

arcadia

International Journal of Literary Culture / Internationale Zeitschrift für literarische Kultur

Ed. by Biti, Vladimir / Liska, Vivian


CiteScore 2018: 0.12

SCImago Journal Rank (SJR) 2018: 0.122
Source Normalized Impact per Paper (SNIP) 2018: 0.329

Online
ISSN
1613-0642
See all formats and pricing
More options …
Volume 53, Issue 1

Issues

Ex Uno Plures: Global French in, on and of the Rue Morgue and the Orient Express

Alistair Rolls
  • Corresponding author
  • University of Newcastle, Callaghan, NSW 2308, AustraliaUniversity of NewcastleCallaghan, NSW 2308Australia
  • Email
  • Other articles by this author:
  • De Gruyter OnlineGoogle Scholar
Published Online: 2018-06-05 | DOI: https://doi.org/10.1515/arcadia-2018-0004

Abstract

In the following paper, Edgar Allan Poe’s “The Murders in the Rue Morgue” and Agatha Christie’s Murder on the Orient Express are considered, and compared, as exemplars of what Andrea Goulet has labelled “Global French,” which is to say that both texts convey non-English, and especially French, language use through their own original English. Both texts will be shown to be born in, stage, and depart from primal linguistic scenes: the Babelian confusion of Poe’s multiple foreign witnesses will be embodied in the impediments that keep them from the scene of the crime; in Christie’s case, the multilingual investigation on board the Orient Express will stand in place of stilted and curtailed conversation held, in the Global French of Christie’s English, on the platform of another train. As sites of original translation and communicative excess and failure, these classic texts are about language first and crime second; indeed, the murder on Christie’s Murder on the Orient Express embodies taking place but, ultimately, does not take place at all.

Keywords: Agatha Christie; Edgar Allan Poe; Global French; primal scene; end-orientation; fiction; crime fiction mobility; différance

Works Cited

  • Apter, Emily. The Translation Zone: A New Comparative Literature. Princeton and Oxford: Princeton UP, 2006.Google Scholar

  • Bayard, Pierre. L’Affaire du Chien des Baskerville. Paris: Les Éditions de Minuit, 2008.Google Scholar

  • Bayard, Pierre. Enquête sur Hamlet. Paris: Les Éditions de Minuit, 2002.Google Scholar

  • Bayard, Pierre. Le Plagiat par anticipation. Paris: Les Éditions de Minuit, 2009.Google Scholar

  • Bayard, Pierre. Qui a tué Roger Ackroyd? Paris: Les Éditions de Minuit, 1998.Google Scholar

  • Chambers, Ross. Loiterature. Lincoln and London: U of Nebraska P, 1999.Google Scholar

  • Christie, Agatha. Murder on the Orient Express. 1934. London: Harper, 2013. Google Scholar

  • Erdmann, Eva. “Nationality International: Detective Fiction in the Late Twentieth Century.” Investigating Identities: Questions of Identity in Contemporary International Crime Fiction. Eds. Marieke Krajenbrick and Kate M. Quinn. Amsterdam and New York: Rodopi, 2009. 11–26.Google Scholar

  • Gorrara, Claire. “Introduction.” French Crime Fiction. Ed. Claire Gorrara. Cardiff: U of Wales P, 2009. 1–13.Google Scholar

  • Goulet, Andrea. Legacies of the Rue Morgue: Science, Space, and Crime Fiction in France. Philadelphia: U of Pennsylvania P, 2016.Google Scholar

  • Greenblatt, Stephen, et al. Cultural Mobility: A Manifesto. Cambridge: Cambridge UP, 2010.Google Scholar

  • Gulddal, Jesper. “‘Beautiful Shining Order’: Detective Authority in Agatha Christie’s Murder on the Orient Express.” Clues: A Journal of Detection 34.1 (2016): 11–21.Google Scholar

  • Hutton, Margaret-Anne. French Crime Fiction 1945–2005: Investigating World War II. Farnham, UK: Ashgate, 2013.Google Scholar

  • Jahshan, Paul. “The Deferred Voice in ‘The Murders in the Rue Morgue’.” The Edgar Allan Poe Review 3.2 (2002): 78–91.Google Scholar

  • James, P. D. Talking about Detective Fiction. London: Faber and Faber, 2010.Google Scholar

  • Johnson, Barbara. “The Critical Difference.” Critical Essays on Roland Barthes. Ed. Diana Knight. New York: G. K. Hall, 2000. 174–82.Google Scholar

  • Kadir, Djelal. “To World, To Globalize – Comparative Literature’s Crossroads.” Comparative Literature Studies 41.1 (2004): 1–9.Google Scholar

  • King, Stewart. “E Pluribus Unum: Reading Agatha Christie’s Murder on the Orient Express as American Detective Fiction.” Clues: A Journal of Detection 36.1 (2018). In press.Google Scholar

  • King, Stewart, and Alice Whitmore. “National Allegories Born(e) in Translation: The Catalan Case.” The Translator 22.2 (2016): 144–56.Google Scholar

  • Knight, Stephen. Secrets of Crime Fiction Classics: Detecting the Delights of 21 Enduring Stories. Jefferson, NC: McFarland, 2015.Google Scholar

  • Makinen, Merja. Agatha Christie: Investigating Femininity. Houndmills: Palgrave Macmillan, 2006.Google Scholar

  • Nygaard, Loisa. “Inductive Reasoning in Poe’s ‘Murders in the Rue Morgue’.” Studies in Romanticism 33.2 (1994): 223–54.Google Scholar

  • Plain, Gill. Twentieth-Century Crime Fiction: Gender, Sexuality and the Body. Edinburgh: Edinburgh UP, 2001.Google Scholar

  • Platten, David. “The Emergence of Detective Fiction in France.” French Crime Fiction. Ed. Claire Gorrara. Cardiff: U of Wales P, 2009. 14–35.Google Scholar

  • Poe, Edgar Allan. “The Murders in the Rue Morgue.” The Fall of the House of Usher and Other Writings. Ed. David Galloway. London: Penguin, 1986. 189–224.Google Scholar

  • Pollin, Burton R. “Poe’s ‘Murders in the Rue Morgue’: The Ingenious Web Unravelled.” Studies in the American Renaissance (1977): 235–59.Google Scholar

  • Rolls, Alistair. “An Ankle Queerly Turned, Or The Fetishized Bodies in Agatha Christie’s The Body in the Library.” Textual Practice 29.5 (2015): 825–44.Google Scholar

  • Rolls, Alistair. “Creative, Critical, Intertextual: Agatha Christie’s The Murder of Roger Ackroyd.” Text: A Journal of Writing and Writing Courses 37 (2016), www.textjournal.com.au/speciss/issue37/Rolls.pdf. Accessed 7 Aug. 2017.

  • Rolls, Alistair, and Clara Sitbon. “‘Traduit de l’américain’ from Poe to the Série Noire: Baudelaire’s Greatest Hoax?” Modern and Contemporary France 21.1 (2013): 37–53.Google Scholar

  • Stott, Carolyn. “Writing Up Close and From a Distance: French and North-American Representations of Belleville (Paris) in Contemporary Roman Noir.” Australian Journal of French Studies 53.1–2 (2016): 79–85.Google Scholar

About the article

Published Online: 2018-06-05

Published in Print: 2018-06-04


Citation Information: arcadia, Volume 53, Issue 1, Pages 39–60, ISSN (Online) 1613-0642, ISSN (Print) 0003-7982, DOI: https://doi.org/10.1515/arcadia-2018-0004.

Export Citation

© 2018 Walter de Gruyter GmbH, Berlin/Boston.Get Permission

Comments (0)

Please log in or register to comment.
Log in