Between the two world wars, the development of British and Americanclassical detective novels reached a climax and a “golden age” emerged. AgathaChristie, known as the queen of detective novels, was one of the mostrepresentative writers of this period. She created more than 80 novels, 100short stories, and 17 plays. Her detective works were welcomed by readers allover the world, translated into 103 languages and published in more than 100countries. Their sales and popularity are second only to the Bible andShakespeare’s works.

However, the research on detective stories is only in the status of amarginal discipline. According to Hong Yu, a scholar of foreign literatureresearch, “Professional writers seldom write in such literary styles, and theythink that such novels are not elegant and lack theoretical research in thisarea.” This paper states that And ThenThere Were None has created a large number of characters with realistic meanings on the basisof fictional realism; by setting up story suspense and delaying murders, it hasopened up space for exchanges between authors and readers, readers and texts; ithighlights the character and creates a dramatic situation. Therefore, Agatha’snovels are both popular and literary in terms of thematic content, socialconnotation, and other minor content, as well as the character art form,storyline, and scene description.

Some studies chooseto analyze the artistic features like Song Lingling’s On the Artistic Characteristics of Agatha Christie's Detective Novels whichexplores the profound social significance, open writing space, and dramaticnarrative traits of her works from three aspects: character, story structure,and scene, in order to support her creation’s excellence and transcendence.

A Study on the Translation of Chinese Versionsof And Then There Were None from the Perspective of Acceptance Theory by Yuan Li and Deng Tianwen is from the perspectiveof a new theory—acceptingthe theoretical perspective, and Wang Lili and Liu Wanyong’s Chinesetranslation of And Then There Were None is the object of study. From the perspective of readers’ center and expectationhorizon, the translation strategy of the mystery novel is proposed, attemptingto provide some suggestions for translating the research of domestic mysterynovels. This paper comes to the conclusion of the translation strategies of thetexts of detective novels from the perspective of theory of acceptance which ismainly reflected in the following three aspects: establishing the reader’scentral position, fully considering all factors that influence the readershipof the target language readers, adopting translation methods supplemented byforeignization, and assisting in translation. Based on the theme and fullunderstanding of the original text, the independent structures and clauses thatdo not conform to the Chinese expression habits will be separated andreorganized, and the “hedging” language will be changed into “meaningful”Chinese. It is not limited to the original sentence pattern. What’s more,another paper about translation aspects is Analysisof Translator's Subjectivity from the Choice of Translating Strategies of TwoTranslation Versions of “And Then There Were None” by Ruan Xinpei; thetraditional view of translation advocates that the translation should becompletely faithful to the original text, and the translator must always besubordinate to the author. The translator’s subjectivity cannot be reflected,and many modern translators begin to pay attention to the translator’smanifestation of the subjectivity in translation activities.

Except the translation research of this novel, taking On The Adaptation of Film and Television and the Re-creation of Literary Works—Taking the Novel And Then There Were None as An Example, the research starts from the theme,characters, and structure of the novel NoLife, the key to exploring the adaptation of the film and television is toreconstruct the literary works according to different cultural contexts in linewith the current aesthetic habits, and to find the relationship betweenbusiness and art. Balance points, to achieve the intrinsic unity of theadaptation of works of art and humanistic spirit.

Another paper about this novel is AnExploration into Agatha Christie’s And Then There Were None from thePerspective of Foregrounding Theory by Wang Ke; in his abstract he saysthat crime fiction is the literary genre that centers on the investigation of acrime, usually by a detective, professional or amateur, on the basis of logicalreasoning and criminal psychology. Crime fiction draws less academic attentionthan it should, forit is commonly regarded as one element of popular culture. There are relativelyfew studies on crime fiction compared with other literary genres. However, as adistinctive genre, crime fiction can provide a typical example of how an authormanipulates the reader for plot construction. It attempts to explore howChristie foregrounds the irrelevant or false information and provides the keyinformation in a misleading way on “pre-solution stage” (in Emmott’s terms) aswell as foregrounds the plot-significant information on the “solution stage”(in Emmott’s terms) to manage plot-reversals and to justify herself and make the solution credible andtext coherent. This paper is to argue that Christie’s writing skills liegreatly in her ways of presenting the information: firstly, set time-consumingred herrings to distract the reader’s attention away from the key information;secondly, use “unreliable narrator” to distort the key information; thirdly,overtly tell the reader the number of the murderers and exclude the possibilityof having an accomplice; fourthly, keep the real murderer off the suspect list;fifthly, use ambiguous expressions to manage plot-reversals; lastly, let themurderer admit the crime and give the explanations by himself, and tell thereader the solution is feasible and clever. By successfully designing thetwists and turns and managing the plot reversals, crime fiction like And Then There Were None definitelyprompts the reader’s interest and gets the reader fully involved in the plot,thus make the fiction-reading fascinating and thrilling.

Besides this, some studies focus on thecreation of characters without life is beyond the limits of this type ofcharacter, and it shows readers an encyclopedia-like image of a group of peopleby On The Realization of The Polysemy of AndThen There Were None written by Huang Wei. As Wang Anyi pointed out, “Theclues that Christie woven into the stories are all about human nature.” In Li Xiaofei’s A Narrative Study of Agatha Christie'sDetective Novels, she shows thesequence of appearance of the three levels in different works is also not thesame, thus creating different narrative effects. And some studies about Agatha Christie and Higashino Keigo'sDetective Fiction, this article analyzes and compares the characteristicsof the two artists’ creations and the focus of the selection by discussing theworks of Agatha Christie and Higashino Keigo. The Creation of Horror in And Then There Were None by Xuxiao, thispaper shows that the creation of horror is usually presented in detective orwhodunit novels. The horror atmosphere helps the development of the story andenhances the effect of mystery, intenseness in the language.

From the preview ofthe domestic and foreign literatures, the research status, researchers andlevel of this can be mastered, which can provide some basis for researchers. Asa result, literature review can provide important reference for my futureresearch.

This paper willsystematically analyze the dialogues in detective stories from the perspectiveof discourse stylistics, so that not only the function of their dialogues butalso their unique artistic charm can be revealed. The first part of this paperwill be the brief introduction of Principle of Cooperation, and the second partwill be in conjunction with the dialogues in the novel, analyzes in detail whatprinciples violated and analyzes the linguistic characteristics of thecharacters and how language expresses characters.

As regards discoursestylistics, it emerged in the 1980s and mainly refers to the stylistic schoolthat uses discourse analysis as its model. In the analysis of objects,discourse stylistics focuses on the analysis of conversations, focusing on theinteraction process between the two sides of communication. The principle ofcooperation was first proposed by Grice in Harvard University’s speech in 1967.Later in his book Logic and Conversation (1975) he once again put forward the concept of CP and pointed out fourcriteria, namely, the quantity criterion (make your contribution as informationas is required and do not make contribution more informative than is required);quality guidelines (do not say what you believe to be false, and do not saythat for which you lack adequate evidence), relation criteria (be relevant),manner guidelines (speech is clear, orderly and brief). In many of her works,the proportion of conversations is as high as 80%, and even higher. The highproportion of conversations is beyond the reach of other detective novelists inthe world. Through the dialogues between the detective and the suspect, thereader not only understood the information and background of the case, but alsoreasoned with the detective.