The secret formula to Agatha Christie's murder mysteries - Jamie Bernthal

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2022-08-18 ・ TED-Ed


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The secret formula to Agatha Christie's murder mysteries - Jamie Bernthal

920,025 views ・ 2022-08-18

TED-Ed


μ•„λž˜ μ˜λ¬Έμžλ§‰μ„ λ”λΈ”ν΄λ¦­ν•˜μ‹œλ©΄ μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€.

λ²ˆμ—­: κ΄€μ›… λ¬Έ κ²€ν† : DK Kim
00:06
Agatha Christie is the best-selling novelist of all time.
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아가사 ν¬λ¦¬μŠ€ν‹°λŠ” μ—­λŒ€ 졜고의 λ² μŠ€νŠΈμ…€λŸ¬ μ†Œμ„€κ°€μž…λ‹ˆλ‹€.
00:11
But in 1916, she wasn’t even the most promising writer in her family.
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ν•˜μ§€λ§Œ 1916λ…„μ—λŠ”, κ°€μ‘± λ‚΄μ—μ„œλ„ κ°€μž₯ κΈ°λŒ€λ˜λŠ” μž‘κ°€κ°€ μ•„λ‹ˆμ—ˆμ£ .
00:16
Her older sister Madge had already written several short stories,
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μ–Έλ‹ˆ 맀지가 λ‹¨νŽΈ μ†Œμ„€μ„ 이미 μ—¬λŸ¬ 편 μ“°λŠ” λ™μ•ˆ
00:20
while Agatha hadn’t published any.
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μ•„κ°€μ‚¬λŠ” ν•œ νŽΈλ„ μΆœκ°„ν•˜μ§€ λͺ»ν–ˆμŠ΅λ‹ˆλ‹€.
00:22
So when Agatha shared her desire to write a mystery novel,
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κ·Έλž˜μ„œ 아가사가 좔리 μ†Œμ„€μ„ μ“°κ³  μ‹Άλ‹€κ³  λ§ν–ˆμ„ λ•Œ,
00:26
Madge scoffed.
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λ§€μ§€λŠ” λΉ„μ›ƒμ—ˆμ£ .
00:27
She bet that Agatha wouldn’t be able to create a compelling mysteryβ€”
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κ·Έλ…€λŠ” 아가사가 κ²°μ½” ν₯λ―Έμ§„μ§„ν•œ 좔리 μ†Œμ„€μ„ μ“Έ 수 μ—†λ‹€κ³  μƒκ°ν–ˆμ£ .
00:31
and certainly not something she couldn't solve.
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κ·Έλ…€κ°€ 풀지 λͺ»ν•  좔리 μ†Œμ„€μ€ 말할 것도 μ—†κ³ μš”.
00:34
Today, the novel that came of that bet
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μ˜€λŠ˜λ‚ , κ·Έ λ•Œλ¬Έμ— μΆœκ°„λœ μ†Œμ„€μ΄
00:37
stands alongside almost 100 other mysteries written by Christie,
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100편 κ°€κΉŒμ΄ λ˜λŠ” ν¬λ¦¬μŠ€ν‹°μ˜ 좔리 μ†Œμ„€λ“€ 쀑 ν•œ 편이고
00:41
each one a cleverly constructed puzzle box
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κ·Έ μ†Œμ„€λ“€μ€ λͺ¨λ‘ λ‹¨μ„œλ“€κ³Ό μ†μž„μˆ˜, 인간 λ“œλΌλ§ˆκ°€
00:44
of clues, misdirection, and human drama.
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κ΅λ¬˜ν•˜κ²Œ μ–½νžŒ 수수께끼 μƒμžμ™€λ„ κ°™μŠ΅λ‹ˆλ‹€.
00:48
So let's investigate how she crafted these perfect crimes.
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그럼 κ·Έλ…€κ°€ μ–΄λ–»κ²Œ 이토둝 μ™„λ²½ν•œ 범죄 μ†Œμ„€μ„ μΌλŠ”μ§€ μ•Œμ•„λ΄…μ‹œλ‹€.
00:52
Christie designed her stories in many ways,
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ν¬λ¦¬μŠ€ν‹°λŠ” λ‹€μ–‘ν•œ λ°©λ²•μœΌλ‘œ μ†Œμ„€μ„ κ΅¬μ„±ν–ˆμ§€λ§Œ
00:55
but one of the most important decisions was the setting.
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그쀑 κ°€μž₯ μ€‘μš”ν•œ 것은 λ¬΄λŒ€μ˜€μŠ΅λ‹ˆλ‹€.
00:58
From a remote island to a snow-stalled train car,
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μ™Έλ”΄ μ„¬μ—μ„œλΆ€ν„° 폭섀에 κ°‡νžŒ μ—΄μ°¨κΉŒμ§€
01:02
she favored locations isolated from society.
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κ·Έλ…€λŠ” μ™ΈλΆ€λ‘œλΆ€ν„° λ‹¨μ ˆλœ 곡간을 μ„ ν˜Έν–ˆμŠ΅λ‹ˆλ‹€.
01:05
By restricting the scope of her stories,
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ν¬λ¦¬μŠ€ν‹°λŠ” μ†Œμ„€μ˜ λ¬΄λŒ€λ₯Ό μ œν•œν•˜λ©΄μ„œ
01:08
Christie limited possible suspects and built tension
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용의자의 수λ₯Ό ν•œμ •ν–ˆκ³ ,
인물듀이 λ²—μ–΄λ‚˜μ§€ λͺ»ν•˜κ²Œ ν•˜μ—¬ κΈ΄μž₯감을 μ‘°μ„±ν–ˆμŠ΅λ‹ˆλ‹€.
01:11
by forcing characters to stay putβ€”
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01:14
even with a killer among them.
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범인이 주변에 μžˆμ„ λ•Œμ‘°μ°¨λ„μš”.
01:16
Sometimes she further heightened the drama
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λ•Œλ‘œλŠ” 사건을 더 κ³ μ‘°μ‹œν‚€κΈ°λ„ ν–ˆλŠ”λ°
01:19
by making the characters strangers,
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인물듀을 λ‚―μ„  μ‚¬λžŒμœΌλ‘œ μ„€μ •ν•˜μ—¬
01:21
unsure who they can trust.
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λˆ„κ΅¬λ₯Ό λ―Ώμ–΄μ•Ό 할지 λͺ¨λ₯΄κ²Œ λ§Œλ“œλŠ” 방법을 썼죠.
01:24
But while her settings are eerie and extraordinary,
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κ·Έλ…€λŠ” λ¬΄μ‹œλ¬΄μ‹œν•˜κ³  λΉ„λ²”ν•œ 배경듀을 μ‚¬μš©ν–ˆμ§€λ§Œ
01:27
her characters are just the opposite.
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λ“±μž₯ 인물듀은 이와 μ •λ°˜λŒ€μž…λ‹ˆλ‹€.
01:30
One of the biggest criticisms of Christie’s novels
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ν¬λ¦¬μŠ€ν‹°μ˜ μ†Œμ„€μ΄ κ°€μž₯ 많이 λ°›λŠ” λΉ„νŒμ€
01:32
is that they’re full of two-dimensional people.
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λ“±μž₯ 인물듀이 ν•˜λ‚˜κ°™μ΄ ν‰λ©΄μ μ΄λΌλŠ” κ²ƒμ΄μ—ˆμ£ .
01:35
But Christie avoided complex characters for a reason.
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κ·ΈλŸ¬λ‚˜ λ³΅μž‘ν•œ 인물을 ν”Όν•œ λ°μ—λŠ” μ΄μœ κ°€ μžˆμ—ˆμŠ΅λ‹ˆλ‹€.
01:38
By reducing people to a handful of simple traits,
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μ†Œμˆ˜μ˜ λ‹¨μˆœν•œ μ„±κ²©λ“€λ§Œ λ“±μž₯μ‹œν‚€λŠ” λ°©μ‹μœΌλ‘œ
01:42
she provided readers with predictable suspects.
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λ…μžκ°€ μš©μ˜μžλ“€μ„ μΆ”μΈ‘ν•  수 있게 ν•œ κ±°μ£ .
01:45
Well, usually predictable.
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항상 μ˜ˆμΈ‘λ˜λŠ” 건 μ•„λ‹ˆμ—ˆμ§€λ§Œμš”.
01:48
Christie also used the audience's expectations against them.
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ν¬λ¦¬μŠ€ν‹°λŠ” λ…μžλ“€μ˜ μ˜ˆμƒμ„ μ—­μ΄μš©ν•˜κΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
01:52
However, this typecasting sometimes relied on
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ν•˜μ§€λ§Œ, λ•Œλ•Œλ‘œ μ΄λ ‡κ²Œ λ»”ν•œ 배역은
κ·Έ μ‹œλŒ€ λ…μžλ“€μ˜ 뢀정적인 고정관념을 λ³΄μ—¬μ€λ‹ˆλ‹€.
01:55
what contemporary readers know to be harmful stereotypes.
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01:59
She frequently caricatured particular occupations and ethnic groups
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νŠΉμ • μ§μ—…μ΄λ‚˜ 민쑱을 자주 ν¬ν™”ν•΄μ„œ μ›ƒμŒκ±°λ¦¬λ‘œ μ‚Όμ•˜κ³ 
02:03
for comic effect,
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02:05
reinforcing the prejudices of her time.
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λ‹Ήμ‹œμ˜ 편견이 λ”μš± κ΅³μ–΄μ§€κ²Œ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
02:07
This is certainly not an element of Christie’s work worth emulating,
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ν¬λ¦¬μŠ€ν‹° μž‘ν’ˆμ˜ μš”μ†Œ μ€‘μ—μ„œ 따라해선 μ•ˆ 될 뢀뢄이죠.
02:11
and fortunately, many modern mystery writers
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λ‹€ν–‰νžˆλ„, ν˜„λŒ€μ˜ λ§Žμ€ 좔리 μ†Œμ„€κ°€λ“€μ€
02:14
have found less problematic ways to use this technique.
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같은 기법을 λ…Όλž€ 없이 μ‚¬μš©ν•˜λŠ” 방식을 μ°Ύμ•„λƒˆμŠ΅λ‹ˆλ‹€.
02:17
Even when she got it wrong,
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방법은 μ’€ 틀렸을지라도,
02:19
Christie worked to make her characters feel authentic.
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ν¬λ¦¬μŠ€ν‹°λŠ” 인물듀이 μ§„μ§œμ²˜λŸΌ λŠκ»΄μ§€κ²Œ λ§Œλ“€κ³ μž ν–ˆμŠ΅λ‹ˆλ‹€.
02:22
She closely observed the people around her,
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μ£Όλ³€μ˜ μ‚¬λžŒλ“€μ„ 주의 깊게 μ‚΄νˆκ³ ,
02:25
and constantly scribbled down details from overheard conversations.
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μ–΄κΉ¨ λ„ˆλ¨Έλ‘œ λ“€λ¦¬λŠ” λŒ€ν™”μ—μ„œ μ„Έμ„Έν•œ 점을 μ μ–΄λ’€μŠ΅λ‹ˆλ‹€.
02:30
She would then rearrange these details to piece her mysteries together,
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그리곀 그것듀을 ν•œλ° λͺ¨μ•„ μ†Œμ„€μ˜ μš”μ†Œλ‘œ μž¬λ°°μΉ˜ν•˜λ©΄μ„œ,
02:34
often switching who the murderer was as she worked.
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μ‚΄μΈμžκ°€ λˆ„κ΅¬μ˜€λŠ”μ§€λ§Œ λ’€λ°”κΏ” μ£Όμ—ˆμ£ .
02:37
This approach kept information murky and disoriented even the sharpest readers.
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이 방식은 μ• λ§€ν•œ μ •λ³΄λ§Œμ„ μ œκ³΅ν•˜μ—¬
λ‚ μΉ΄λ‘œμš΄ λ…μžλ“€μ‘°μ°¨λ„ κ°ˆν”Όλ₯Ό λͺ» 작게 ν–ˆμŠ΅λ‹ˆλ‹€.
02:43
However, there’s an important balance to strike
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ν•˜μ§€λ§Œ, κΈ°λ°œν•œ μ†Œμ„€κ³Ό κ·Έλƒ₯ ν˜Όλž€μŠ€λŸ¬μš΄ μ†Œμ„€ μ‚¬μ΄μ—μ„œ
02:46
between being clever and being confusing.
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κ· ν˜•μ„ λ§žμΆ”λŠ” 것이 μ€‘μš”ν•©λ‹ˆλ‹€.
02:48
Nobody wants to read a predictable mystery,
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λ»”ν•œ 좔리 μ†Œμ„€μ„ μ’‹μ•„ν•  μ‚¬λžŒμ€ 아무도 μ—†μ§€λ§Œ,
02:51
but if things get too convoluted you can lose your reader altogether.
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λ„ˆλ¬΄ λ‚œν•΄ν•œ μ†Œμ„€λ„ λ…μžλ“€μ—κ²ŒλŠ” λ§ˆμ°¬κ°€μ§€μ΄μ£ .
02:55
Christie handled this in part by keeping her language simple and accessible.
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ν¬λ¦¬μŠ€ν‹°λŠ” κ°„λ‹¨ν•˜κ³  μΉœμˆ™ν•œ ν‘œν˜„μ„ μ‚¬μš©ν•˜μ—¬ κ· ν˜•μ„ λ§žμΆ”μ—ˆμŠ΅λ‹ˆλ‹€.
03:01
She used short sentences and clear, snappy dialogue
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κ·Έλ…€λŠ” 짧고 λͺ…λ£Œν•œ λ¬Έμž₯κ³Ό λŒ€ν™”λ“€μ„ μ‚¬μš©ν•˜μ—¬
03:05
to help readers follow information.
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λ…μžλ“€μ΄ 정보λ₯Ό μ΄ν•΄ν•˜κΈ° μ‰½κ²Œ λ§Œλ“€μ—ˆμŠ΅λ‹ˆλ‹€.
03:07
This kind of clarity is essential,
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μ΄λŸ¬ν•œ λͺ…확성이 κΌ­ ν•„μš”ν•œ μ΄μœ λŠ”
03:09
because the best mysteries string their audience along
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졜고의 좔리 μ†Œμ„€λ“€μ€ κ΅λ¬˜ν•˜κ²Œ 놓여진 λ‹¨μ„œλ“€κ³Ό 흔적을 톡해
03:12
with a carefully laid trail of clues.
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λ…μžλ“€μ„ 함정에 빠뜨리기 λ•Œλ¬Έμž…λ‹ˆλ‹€.
03:15
With Christie, a good clue is one the reader will remember,
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ν¬λ¦¬μŠ€ν‹°κ°€ μƒκ°ν•˜λŠ” 쒋은 λ‹¨μ„œλž€, λ…μžκ°€ 기얡은 ν•˜μ§€λ§Œ
03:18
but usually, fail to completely understand.
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보톡 μ™„μ „ν•˜κ²Œ μ΄ν•΄λŠ” ν•˜μ§€ λͺ»ν•˜λŠ” λ‹¨μ„œμž…λ‹ˆλ‹€.
03:22
For example, when a character cries that β€œEverything tastes foul today,”
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예λ₯Ό λ“€μ–΄, λ“±μž₯ 인물이 μ‚¬λ§ν•˜κΈ° λ°”λ‘œ λͺ‡ λΆ„ 전에
β€œμ˜€λŠ˜ μŒμ‹μ΄ 죄닀 맛이 쓰ꡰ” 이라고 λ§ν–ˆλ‹€λ©΄,
03:27
just minutes before he dies,
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03:29
the reader races to determine who poisoned his beverage.
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λ…μžλŠ” μ•žλ‹€νˆ¬μ–΄ μŒλ£Œμ— 독을 탄 μ‚¬λžŒμ„ μ°Ύμ•„λ‚΄λ € ν•  κ²λ‹ˆλ‹€.
03:32
But they’re likely failing to truly consider this clue.
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ν•˜μ§€λ§Œ κ·Έ λ‹¨μ„œλ₯Ό κΏ°λš«μ–΄ λ³΄λŠ” λ°λŠ” μ‹€νŒ¨ν•œ 것이죠.
03:37
If everything tasted foul that day,
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κ·Έλ‚  λͺ¨λ“  μŒμ‹μ΄ 맛이 썼닀면
03:39
then he’d been poisoned long before that drink.
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음료λ₯Ό λ§ˆμ‹œκΈ° ν•œμ°Έ 전에 이미 μ€‘λ…λœ κ²λ‹ˆλ‹€.
03:43
Christie also used clues to intentionally mislead her audience.
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ν¬λ¦¬μŠ€ν‹°λŠ” λ…μžλ“€μ„ 속이기 μœ„ν•΄ μ˜λ„μ μœΌλ‘œ λ‹¨μ„œλ₯Ό μ‚¬μš©ν•˜κΈ°λ„ ν–ˆμŠ΅λ‹ˆλ‹€.
03:48
For example, readers might recognize a clue associated with one suspect,
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예λ₯Ό λ“€μ–΄ ν•œ μš©μ˜μžμ™€ μ—°κ΄€λœ λ‹¨μ„œλ₯Ό λ°œκ²¬ν•œ λ…μžλŠ”, λ‚˜μ€‘μ—μ•Ό
03:53
only to learn that it was being used to frame them.
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κ·Έμ—κ²Œ λˆ„λͺ…을 μ”Œμš°κΈ° μœ„ν•΄ μ‚¬μš©λœ κ²ƒμž„μ„ μ•Œκ²Œ 될 μˆ˜λ„ μžˆμŠ΅λ‹ˆλ‹€.
03:56
Other times, she built misdirection directly into the story’s structureβ€”
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λ•Œλ‘œλŠ”, μ†Œμ„€μ˜ ꡬ쑰 속에 직접 함정을 심어 넣기도 ν–ˆμŠ΅λ‹ˆλ‹€.
04:01
like when a narrator reporting the murder is revealed to be the killer.
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살인 사건을 μ „ν•˜λŠ” μ‚¬λžŒμ΄ 사싀은 μ‚΄μΈλ§ˆμΈ κ²ƒμ²˜λŸΌ 말이죠.
04:06
Outside crime and clues,
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범죄와 λ‹¨μ„œ 외에도,
04:08
there’s one more ingredient in Christie’s formula:
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ν¬λ¦¬μŠ€ν‹°μ˜ λ°©μ‹μ—λŠ” ν•œ 가지 μš”μ†Œκ°€ 더 μžˆμŠ΅λ‹ˆλ‹€.
04:11
the detective.
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λ°”λ‘œ 탐정이죠.
04:12
Christie created many sleuths,
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ν¬λ¦¬μŠ€ν‹°κ°€ μ°½μ‘°ν•œ 탐정은 λ§Žμ§€λ§Œ
04:14
but her most enduring are Hercule Poirot and Miss Jane Marple.
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그쀑 ν—ˆν˜ ν”„μ™€λ‘œμ™€ 제인 λ§ˆν”Œ 여사가 κ°€μž₯ μ˜€λž«λ™μ•ˆ λ“±μž₯ν–ˆμŠ΅λ‹ˆλ‹€.
04:19
Neither this petit Belgian refugee nor this elderly amateur detective
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μ΄λ ‡κ²Œ 별것 μ—†λŠ” 벨기에 λ‚œλ―Όμ΄λ‚˜ λ‚˜μ΄λ“  μ•„λ§ˆμΆ”μ–΄ 탐정은
04:23
are traditional heroes.
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전톡적인 μ˜μ›…μƒκ³ΌλŠ” 거리가 있죠.
04:25
But their outsider status is exactly what helps them slip past security
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ν•˜μ§€λ§Œ 그런 겉λͺ¨μŠ΅μ΄μ•Όλ§λ‘œ κ²½λΉ„λ₯Ό 슬쩍 ν†΅κ³Όν•˜κ±°λ‚˜
μš©μ˜μžλ“€μ΄ 경계λ₯Ό λŠ¦μΆ”λŠ” 데 큰 도움을 μ£Όμ—ˆμŠ΅λ‹ˆλ‹€.
04:30
and make suspects let their guard down.
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04:32
As you might have guessed, Agatha won her sister’s bet.
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μ—¬λŸ¬λΆ„μ˜ μ˜ˆμƒλŒ€λ‘œ, μ•„κ°€μ‚¬λŠ” μ–Έλ‹ˆμ˜ 생각이 ν‹€λ ΈμŒμ„ 증λͺ…ν–ˆμŠ΅λ‹ˆλ‹€.
04:36
Her eccentric detectives, clever clues, and simplified suspects
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κ·Έλ…€λŠ” 괴짜 탐정, κΈ°λ°œν•œ λ‹¨μ„œμ™€ λ‹¨μˆœν•œ μš©μ˜μžλ“€λ‘œ
04:40
form a blueprint that has stumped countless readers.
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μˆ˜λ§Žμ€ λ…μžλ“€μ„ μ©”μ©”λ§€κ²Œ λ§Œλ“€μ—ˆμ£ .
04:43
And now that you've uncovered her strategies,
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이제 κ·Έλ…€μ˜ 비결을 μ•Œμ•„λƒˆμœΌλ‹ˆ,
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the only mystery left is what stories you can tell with these secrets.
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λ§ˆμ§€λ§‰ 남은 μˆ˜μˆ˜κ»˜λΌλŠ” 이 λΉ„λ°€λ“€λ‘œ μ–΄λ–€ 이야기λ₯Ό ν’€μ–΄λ‚Ό κ±΄μ§€μž…λ‹ˆλ‹€.
이 μ›Ήμ‚¬μ΄νŠΈ 정보

이 μ‚¬μ΄νŠΈλŠ” μ˜μ–΄ ν•™μŠ΅μ— μœ μš©ν•œ YouTube λ™μ˜μƒμ„ μ†Œκ°œν•©λ‹ˆλ‹€. μ „ 세계 졜고의 μ„ μƒλ‹˜λ“€μ΄ κ°€λ₯΄μΉ˜λŠ” μ˜μ–΄ μˆ˜μ—…μ„ 보게 될 κ²ƒμž…λ‹ˆλ‹€. 각 λ™μ˜μƒ νŽ˜μ΄μ§€μ— ν‘œμ‹œλ˜λŠ” μ˜μ–΄ μžλ§‰μ„ 더블 ν΄λ¦­ν•˜λ©΄ κ·Έκ³³μ—μ„œ λ™μ˜μƒμ΄ μž¬μƒλ©λ‹ˆλ‹€. λΉ„λ””μ˜€ μž¬μƒμ— 맞좰 μžλ§‰μ΄ μŠ€ν¬λ‘€λ©λ‹ˆλ‹€. μ˜κ²¬μ΄λ‚˜ μš”μ²­μ΄ μžˆλŠ” 경우 이 문의 양식을 μ‚¬μš©ν•˜μ—¬ λ¬Έμ˜ν•˜μ‹­μ‹œμ˜€.

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