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	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7698</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7698"/>
		<updated>2012-01-20T21:35:08Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Short Stories ==&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources:&#039;&#039;&#039;&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005. p. 255f.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;br /&gt;
&lt;br /&gt;
* Ousby, Ian.&amp;quot;Christie, Dame Agatha&amp;quot;. The Wordsworth Companion to Literature in English (ed.) Ian Ousby.Cambridge: Cambridge University Press 1988. 175-176.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7696</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7696"/>
		<updated>2012-01-20T16:44:01Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Short Stories ==&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources:&#039;&#039;&#039;&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005. p. 255f.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7695</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7695"/>
		<updated>2012-01-20T16:42:32Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Short Stories ==&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources:&#039;&#039;&#039;&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005. p. 255f.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;br /&gt;
&lt;br /&gt;
* Ousby, Ian. “Agatha Christie”. The Wordsworth Companion to Literature in English. Ed. Ian Ousby. Cambridge: Cambridge University Press, 1988. 276-277.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7694</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7694"/>
		<updated>2012-01-20T16:35:10Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Short Stories ==&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources:&#039;&#039;&#039;&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7693</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7693"/>
		<updated>2012-01-20T16:34:39Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Short Stories ==&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources:&#039;&#039;&#039;&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7692</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7692"/>
		<updated>2012-01-20T16:33:52Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Short Stories ==&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7691</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7691"/>
		<updated>2012-01-20T16:33:20Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920s ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
&lt;br /&gt;
=== 1930s ===&lt;br /&gt;
&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
&lt;br /&gt;
=== 1940s ===&lt;br /&gt;
&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
&lt;br /&gt;
=== 1950s ===&lt;br /&gt;
&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
&lt;br /&gt;
=== 1960s ===&lt;br /&gt;
&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
&lt;br /&gt;
=== 1970s ===&lt;br /&gt;
&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Short Stories =&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924)&lt;br /&gt;
* Murder in the Mews (1937)&lt;br /&gt;
* The Labours of Hercules (1947)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997)&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7690</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7690"/>
		<updated>2012-01-20T16:30:42Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;= The Master Detective =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Appearance =&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= His Life as a Private Detective =&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Movies =&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Bibliography =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Books ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
=== 1920 ===&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Short Stories =&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924, ss)&lt;br /&gt;
* Murder in the Mews (1937, ss)&lt;br /&gt;
* The Labours of Hercules (1947, ss)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960, ss)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974, ss)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991, ss)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997, ss)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Read more: http://wiki.answers.com/Q/What_are_the_hercule_poirot_titles#ixzz1k14jerkd&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7689</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7689"/>
		<updated>2012-01-20T16:29:45Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Bibliography ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Books =&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= 1920 =&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
= Short Stories =&lt;br /&gt;
&lt;br /&gt;
* Poirot Investigates (1924, ss)&lt;br /&gt;
* Murder in the Mews (1937, ss)&lt;br /&gt;
* The Labours of Hercules (1947, ss)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960, ss)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974, ss)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991, ss)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997, ss)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Read more: http://wiki.answers.com/Q/What_are_the_hercule_poirot_titles#ixzz1k14jerkd&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7688</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7688"/>
		<updated>2012-01-20T16:27:06Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Bibliography ==&lt;br /&gt;
&lt;br /&gt;
* The Mysterious Affair at Styles (1920)&lt;br /&gt;
* Murder on the Links (1923)&lt;br /&gt;
* Poirot Investigates (1924, ss)&lt;br /&gt;
* The Murder of Roger Ackroyd (1926)&lt;br /&gt;
* The Big Four (1927)&lt;br /&gt;
* The Mystery of the Blue Train (1928)&lt;br /&gt;
* Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
* Peril at End House (1932)&lt;br /&gt;
* Lord Edgware Dies (1933)&lt;br /&gt;
* Murder on the Orient Express (1934)&lt;br /&gt;
* Three Act Tragedy (1935)&lt;br /&gt;
* Death in the Clouds (1935)&lt;br /&gt;
* The A.B.C. Murders (1936)&lt;br /&gt;
* Murder in Mesopotamia (1936)&lt;br /&gt;
* Cards on the Table (1936)&lt;br /&gt;
* Death on the Nile (1937)&lt;br /&gt;
* Dumb Witness (1937)&lt;br /&gt;
* Murder in the Mews (1937, ss)&lt;br /&gt;
* Appointment with Death (1938)&lt;br /&gt;
* Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
* Sad Cypress (1940)&lt;br /&gt;
* One, Two, Buckle My Shoe (1940)&lt;br /&gt;
* Evil Under the Sun (1941)&lt;br /&gt;
* Five Little Pigs (1942)&lt;br /&gt;
* The Hollow (1946)&lt;br /&gt;
* The Labours of Hercules (1947, ss)&lt;br /&gt;
* Taken at the Flood (1948)&lt;br /&gt;
* Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
* After the Funeral (1953)&lt;br /&gt;
* Hickory Dickory Dock (1955)&lt;br /&gt;
* Dead Man&#039;s Folly (1956)&lt;br /&gt;
* Cat Among the Pigeons (1959)&lt;br /&gt;
* The Adventure of the Christmas Pudding (1960, ss)&lt;br /&gt;
* The Clocks (1963)&lt;br /&gt;
* Third Girl (1966)&lt;br /&gt;
* Hallowe&#039;en Party (1969)&lt;br /&gt;
* Elephants Can Remember (1972)&lt;br /&gt;
* Poirot&#039;s Early Cases (1974, ss)&lt;br /&gt;
* Curtain (written about 1940, published 1975)&lt;br /&gt;
* Problem at Pollensa Bay and Other Stories (1991, ss)&lt;br /&gt;
* While the Light Lasts and Other Stories (1997, ss)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
ss means short story&lt;br /&gt;
&lt;br /&gt;
Read more: http://wiki.answers.com/Q/What_are_the_hercule_poirot_titles#ixzz1k14jerkd&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7687</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7687"/>
		<updated>2012-01-20T16:25:05Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary in The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Bibliography ==&lt;br /&gt;
&lt;br /&gt;
The Mysterious Affair at Styles (1920)&lt;br /&gt;
Murder on the Links (1923)&lt;br /&gt;
Poirot Investigates (1924, ss)&lt;br /&gt;
The Murder of Roger Ackroyd (1926)&lt;br /&gt;
The Big Four (1927)&lt;br /&gt;
The Mystery of the Blue Train (1928)&lt;br /&gt;
Black Coffee (1930 play - novel adapted from play published in 1998)&lt;br /&gt;
Peril at End House (1932)&lt;br /&gt;
Lord Edgware Dies (1933)&lt;br /&gt;
Murder on the Orient Express (1934)&lt;br /&gt;
Three Act Tragedy (1935)&lt;br /&gt;
Death in the Clouds (1935)&lt;br /&gt;
The A.B.C. Murders (1936)&lt;br /&gt;
Murder in Mesopotamia (1936)&lt;br /&gt;
Cards on the Table (1936)&lt;br /&gt;
Death on the Nile (1937)&lt;br /&gt;
Dumb Witness (1937)&lt;br /&gt;
Murder in the Mews (1937, ss)&lt;br /&gt;
Appointment with Death (1938)&lt;br /&gt;
Hercule Poirot&#039;s Christmas (1938)&lt;br /&gt;
Sad Cypress (1940)&lt;br /&gt;
One, Two, Buckle My Shoe (1940)&lt;br /&gt;
Evil Under the Sun (1941)&lt;br /&gt;
Five Little Pigs (1942)&lt;br /&gt;
The Hollow (1946)&lt;br /&gt;
The Labours of Hercules (1947, ss)&lt;br /&gt;
Taken at the Flood (1948)&lt;br /&gt;
Mrs McGinty&#039;s Dead (1952)&lt;br /&gt;
After the Funeral (1953)&lt;br /&gt;
Hickory Dickory Dock (1955)&lt;br /&gt;
Dead Man&#039;s Folly (1956)&lt;br /&gt;
Cat Among the Pigeons (1959)&lt;br /&gt;
The Adventure of the Christmas Pudding (1960, ss)&lt;br /&gt;
The Clocks (1963)&lt;br /&gt;
Third Girl (1966)&lt;br /&gt;
Hallowe&#039;en Party (1969)&lt;br /&gt;
Elephants Can Remember (1972)&lt;br /&gt;
Poirot&#039;s Early Cases (1974, ss)&lt;br /&gt;
Curtain (written about 1940, published 1975)&lt;br /&gt;
Problem at Pollensa Bay and Other Stories (1991, ss)&lt;br /&gt;
While the Light Lasts and Other Stories (1997, ss)&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
ss means short story&lt;br /&gt;
&lt;br /&gt;
Read more: http://wiki.answers.com/Q/What_are_the_hercule_poirot_titles#ixzz1k14jerkd&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7686</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7686"/>
		<updated>2012-01-20T16:10:26Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ (Gripenberg, 68) and is said to be an „armchair-detective“ (Gripenberg, 68), because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7685</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7685"/>
		<updated>2012-01-20T16:05:46Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7684</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7684"/>
		<updated>2012-01-20T16:05:14Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“ (quoted from [http://www.agathacristie.com])&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7583</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7583"/>
		<updated>2012-01-16T18:35:20Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
* http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
* http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
* Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
* Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7582</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7582"/>
		<updated>2012-01-16T18:34:51Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but [[Karl Marx]] was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &#039;&#039;The Economic and Philosophical Manuscripts&#039;&#039; in 1844. He names four aspects of alienation that become visible in a capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he/she does not invent them or exchange or use them. They are in the possession of the capitalist he/she works for. Although he/she might have the desire to own the products or work with them creatively, he/she will never be allowed, because they are not his/her. Thus, workers do not have any relationship to the goods they are working with. This is intensified by the fact that the harder they work, the more will the power and value of the system above them increase. The more effective they produce the lesser will their personal value be. With their creativity and labour power they increase the value of the product and the less they will be paid. Instead of fulfillment they become exhausted and are paid with an amount of money which can never have the same value as the effort they put into their labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control workers have over the work process. The workers&#039; power is even turned into its opposite. Their creativity and power are turned into exhaustion and impotence. By dividing the labour into parts ([[Adam Smith|Adam Smith&#039;s]] &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. Workers feel alienated from the labour process because it is fragmented into so many parts that they lose the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, a worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
According to [[Karl Marx|Marx]], the distinct human ability is the ability to shape the world according to one&#039;s needs and desires. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the workers&#039; human nature is neglected and they are alienated from it. As a conclusion a single worker cannot foresee the consequences of his/her labour or the side effects it might have on nature or on others. &lt;br /&gt;
&lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to [[Karl Marx|Marx&#039;s]] theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &amp;quot;An Introduction to Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;International Socialism. Quarterly Journal of the Socialist Workers Party&#039;&#039; (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &amp;quot;Notes on Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;Mosaic&#039;&#039; 2,1 (1968). 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Alienation.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Modernization.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7581</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7581"/>
		<updated>2012-01-16T18:33:13Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but [[Karl Marx]] was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &#039;&#039;The Economic and Philosophical Manuscripts&#039;&#039; in 1844. He names four aspects of alienation that become visible in a capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he/she does not invent them or exchange or use them. They are in the possession of the capitalist he/she works for. Although he/she might have the desire to own the products or work with them creatively, he/she will never be allowed, because they are not his/her. Thus, workers do not have any relationship to the goods they are working with. This is intensified by the fact that the harder they work, the more will the power and value of the system above them increase. The more effective they produce the lesser will their personal value be. With their creativity and labour power they increase the value of the product and the less they will be paid. Instead of fulfillment they become exhausted and are paid with an amount of money which can never have the same value as the effort they put into their labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control workers have over the work process. The workers&#039; power is even turned into its opposite. Their creativity and power are turned into exhaustion and impotence. By dividing the labour into parts ([[Adam Smith|Adam Smith&#039;s]] &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. Workers feel alienated from the labour process because it is fragmented into so many parts that they lose the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, a worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
According to [[Karl Marx|Marx]], the distinct human ability is the ability to shape the world according to one&#039;s needs and desires. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the workers&#039; human nature is neglected and they are alienated from it. As a conclusion a single worker cannot foresee the consequences of his/her labour or the side effects it might have on nature or on others. &lt;br /&gt;
&lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &amp;quot;An Introduction to Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;International Socialism. Quarterly Journal of the Socialist Workers Party&#039;&#039; (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &amp;quot;Notes on Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;Mosaic&#039;&#039; 2,1 (1968). 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Alienation.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Modernization.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7580</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7580"/>
		<updated>2012-01-16T18:31:50Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but [[Karl Marx]] was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &#039;&#039;The Economic and Philosophical Manuscripts&#039;&#039; in 1844. He names four aspects of alienation that become visible in a capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he/she does not invent them or exchange or use them. They are in the possession of the capitalist he/she works for. Although he/she might have the desire to own the products or work with them creatively, he/she will never be allowed, because they are not his/her. Thus, workers do not have any relationship to the goods they are working with. This is intensified by the fact that the harder they work, the more will the power and value of the system above them increase. The more effective they produce the lesser will their personal value be. With their creativity and labour power they increase the value of the product and the less they will be paid. Instead of fulfillment they become exhausted and are paid with an amount of money which can never have the same value as the effort they put into their labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control workers have over the work process. The workers&#039; power is even turned into its opposite. Their creativity and power are turned into exhaustion and impotence. By dividing the labour into parts ([[Adam Smith|Adam Smith&#039;s]] &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. Workers feel alienated from the labour process because it is fragmented into so many parts that they lose the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, a worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
According to Marx, the distinct human ability is the ability to shape the world according to one&#039;s needs and desires. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the workers&#039; human nature is neglected and they are alienated from it. As a conclusion a single worker cannot foresee the consequences of his/her labour or the side effects it might have on nature or on others. &lt;br /&gt;
&lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &amp;quot;An Introduction to Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;International Socialism. Quarterly Journal of the Socialist Workers Party&#039;&#039; (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &amp;quot;Notes on Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;Mosaic&#039;&#039; 2,1 (1968). 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Alienation.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Modernization.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7579</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7579"/>
		<updated>2012-01-16T18:31:14Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but [[Karl Marx]] was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &#039;&#039;The Economic and Philosophical Manuscripts&#039;&#039; in 1844. He names four aspects of alienation that become visible in a capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he/she does not invent them or exchange or use them. They are in the possession of the capitalist he/she works for. Although he/she might have the desire to own the products or work with them creatively, he/she will never be allowed, because they are not his/her. Thus, workers do not have any relationship to the goods they are working with. This is intensified by the fact that the harder they work, the more will the power and value of the system above them increase. The more effective they produce the lesser will their personal value be. With their creativity and labour power they increase the value of the product and the less they will be paid. Instead of fulfillment they become exhausted and are paid with an amount of money which can never have the same value as the effort they put into their labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control workers have over the work process. The workers&#039; power is even turned into its opposite. Their creativity and power are turned into exhaustion and impotence. By dividing the labour into parts ([[Adam Smith&#039;slAdam Smith]] &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. Workers feel alienated from the labour process because it is fragmented into so many parts that they lose the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, a worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
According to Marx, the distinct human ability is the ability to shape the world according to one&#039;s needs and desires. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the workers&#039; human nature is neglected and they are alienated from it. As a conclusion a single worker cannot foresee the consequences of his/her labour or the side effects it might have on nature or on others. &lt;br /&gt;
&lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &amp;quot;An Introduction to Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;International Socialism. Quarterly Journal of the Socialist Workers Party&#039;&#039; (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &amp;quot;Notes on Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;Mosaic&#039;&#039; 2,1 (1968). 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Alienation.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Modernization.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7578</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7578"/>
		<updated>2012-01-16T18:30:44Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but [[Karl Marx]] was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &#039;&#039;The Economic and Philosophical Manuscripts&#039;&#039; in 1844. He names four aspects of alienation that become visible in a capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he/she does not invent them or exchange or use them. They are in the possession of the capitalist he/she works for. Although he/she might have the desire to own the products or work with them creatively, he/she will never be allowed, because they are not his/her. Thus, workers do not have any relationship to the goods they are working with. This is intensified by the fact that the harder they work, the more will the power and value of the system above them increase. The more effective they produce the lesser will their personal value be. With their creativity and labour power they increase the value of the product and the less they will be paid. Instead of fulfillment they become exhausted and are paid with an amount of money which can never have the same value as the effort they put into their labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control workers have over the work process. The workers&#039; power is even turned into its opposite. Their creativity and power are turned into exhaustion and impotence. By dividing the labour into parts ([[Adam Smith]]&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. Workers feel alienated from the labour process because it is fragmented into so many parts that they lose the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, a worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
According to Marx, the distinct human ability is the ability to shape the world according to one&#039;s needs and desires. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the workers&#039; human nature is neglected and they are alienated from it. As a conclusion a single worker cannot foresee the consequences of his/her labour or the side effects it might have on nature or on others. &lt;br /&gt;
&lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &amp;quot;An Introduction to Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;International Socialism. Quarterly Journal of the Socialist Workers Party&#039;&#039; (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &amp;quot;Notes on Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;Mosaic&#039;&#039; 2,1 (1968). 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Alienation.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Modernization.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7577</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7577"/>
		<updated>2012-01-16T18:29:15Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&lt;br /&gt;
== The Master Detective ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7576</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7576"/>
		<updated>2012-01-16T18:28:24Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7575</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7575"/>
		<updated>2012-01-16T18:27:59Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 1. His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 2. His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== 3. Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7574</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7574"/>
		<updated>2012-01-16T18:26:34Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1920 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7573</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7573"/>
		<updated>2012-01-16T18:24:28Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1916 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 2005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 1999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7572</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7572"/>
		<updated>2012-01-16T18:23:50Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1916 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval. His stories are the stories of chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life as a Private Detective ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 32005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 31999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7571</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7571"/>
		<updated>2012-01-16T18:21:07Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1916 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Appearance ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval.  &lt;br /&gt;
His stories are the stories of a chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== His Life ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Movies ==&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
----&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 32005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 31999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7570</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7570"/>
		<updated>2012-01-16T18:18:11Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The headline read: &amp;quot;Hercule Poirot Is Dead; Famed Belgian Detective; Hercule Poirot, the Detective, Dies&amp;quot;. He distinctly epitomizes the so-called Golden Age of detective fiction in the 1920s and 1930s.&lt;br /&gt;
&lt;br /&gt;
The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1916 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval.  &lt;br /&gt;
&lt;br /&gt;
His stories are the stories of a chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 32005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 31999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7569</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7569"/>
		<updated>2012-01-16T18:18:00Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;&#039;&#039;&#039;Hercule Poirot&#039;&#039;&#039;&lt;br /&gt;
&lt;br /&gt;
[[Agatha Christie|Agatha Christie&#039;s]] Belgian detective appeared in 33 novels and 65 short stories and is the only fictional character to be honoured with a front page obituary of The New York Times. The article appeared on the front page August 6, 1975. The headline read: &amp;quot;Hercule Poirot Is Dead; Famed Belgian Detective; Hercule Poirot, the Detective, Dies&amp;quot;. He distinctly epitomizes the so-called Golden Age of detective fiction in the 1920s and 1930s.&lt;br /&gt;
&lt;br /&gt;
The Belgian private detective made his first appearance in „The Mysterious Affair at Styles“ in 1916 and had his last in „Curtain“ in 1975.&lt;br /&gt;
&lt;br /&gt;
He is a pensioned Belgian police detective who emigrated to the United Kingdom in 1916 as a refugee of the Great War. Not taller than 1,62m, with an egg-shaped head, he had an incredible countenance. His distinct clothes, consisting of a brindled pair of trousers, a jacket, waistcoat and a pair of acute black leather shoes, must always be flawless. The gorgeous moustache, his greatest proud, is been taken care of vigilantly. Together with his cane he makes the typical effeminate French appearance that he is regularly taken for. In addition to his unfamiliar drinking habits, he prefers a barley drink every morning, he is the typical dandy. Altogether, he suits perfectly to criticise British provincialism and self-approval.  &lt;br /&gt;
&lt;br /&gt;
His stories are the stories of a chase. The chase of finding the truth. For him, there is nothing stranger, more interesting or more beautiful than plain truth. Therefore, he has strong moral principles and his cases are cases of the defeat of the bad and triumph of the good. In the end, justice always wins and murderers are convicted. &lt;br /&gt;
&lt;br /&gt;
In the beginning, he shares a flat with his friend Captain Hastings in 14 Farraway Street. Later in the 30s, he rents a flat in Park Lane in the modern 28 Whitehaven Mansions, London, because he admires the symmetric architecture and the accurate proportions of the building. Poirot hates dirt and disorder, and favours order, method, and symmetry. He relies on his „grey cells“ and is said to be an „armchair-detective“, because he believes that crimes can be solved by thinking them through and putting the pieces together and by sitting in an armchair. Therefore, he has no trust in fingerprints or other modern methods of crime-solving. It is the psychology of murder that he is interested in. He takes his foreignness as an advantage at times, because even though he could speak proper English, he uses people‘s stereotypical thinking about foreigners to surprise them. In the end of a case, he assembles all involved persons for a reunion and, bathing in conceitedness, he suspensefully explains who he thinks is the murder and how he came to the conclusion. &lt;br /&gt;
&lt;br /&gt;
In movies, he has been acted by many great actors. Starting with Austin Trevor, Albert Finney, Peter Ustinov and David Suchet.&lt;br /&gt;
Agatha Christie never saw David Suchet, who portrayed him from 1989 until 2009, but her grandson Mathew has said: „Personally, I regret very much that she never saw David Suchet. I think that visually he is much the most convincing and perhaps he manages to convey to the viewer just enough of the irritation that we always associate with the perfectionist, to be convincing!“&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Hercule Poirot has his own facebook page which can be entered here:&lt;br /&gt;
https://www.facebook.com/pages/Hercule-Poirot/14544356908&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;br /&gt;
&lt;br /&gt;
http://agathachristie.com/christies-work/detectives-and-sidekicks/poirot/ (entered Jan 16, 	19:10)&lt;br /&gt;
&lt;br /&gt;
http://www.poirot.us/index.php (entered Jan 16, 19:10)&lt;br /&gt;
&lt;br /&gt;
Ebert, Maria. Mord im Orient Express, in: Das Buch der 1000 Bücher. Werke, die die Welt 	bewegten. Gütersloh: Mohn Media Mohndruck GmbH, 32005.&lt;br /&gt;
&lt;br /&gt;
Gripenberg, Monika. Agatha Christie. Hamburg: Rowohlt, 31999.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7561</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7561"/>
		<updated>2012-01-16T16:06:49Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but [[Karl Marx]] was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &#039;&#039;The Economic and Philosophical Manuscripts&#039;&#039; in 1844. He names four aspects of &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; that become visible in a capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he/she does not invent them or exchange or use them. They are in the possession of the capitalist he/she works for. Although he/she might have the desire to own the products or work with them creatively, he/she will never be allowed, because they are not his/her. Thus, workers do not have any relationship to the goods they are working with. This is intensified by the fact that the harder they work, the more will the power and value of the system above them increase. The more effective they produce the lesser will their personal value be. With their creativity and labour power they increase the value of the product and the less they will be paid. Instead of fulfillment they become exhausted and are paid with an amount of money which can never have the same value as the effort they put into their labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control workers have over the work process. The workers&#039; power is even turned into its opposite. Their creativity and power are turned into exhaustion and impotence. By dividing the labour into parts ([[Adam Smith]]&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. Workers feel alienated from the labour process because it is fragmented into so many parts that they lose the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, a worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
According to Marx, the distinct human ability is the ability to shape the world according to one&#039;s needs and desires. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the workers&#039; human nature is neglected and they are alienated from it. As a conclusion a single worker cannot foresee the consequences of his/her labour or the side effects it might have on nature or on others. &lt;br /&gt;
&lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &amp;quot;An Introduction to Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;International Socialism. Quarterly Journal of the Socialist Workers Party&#039;&#039; (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &amp;quot;Notes on Marx&#039;s Theory of Alienation&amp;quot;. &#039;&#039;Mosaic&#039;&#039; 2,1 (1968). 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Alienation.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;Modernization.&amp;quot; &#039;&#039;Encyclopædia Britannica&#039;&#039;. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7243</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7243"/>
		<updated>2011-12-09T07:52:16Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; that become visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction to Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7242</id>
		<title>Hercule Poirot</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Hercule_Poirot&amp;diff=7242"/>
		<updated>2011-12-09T07:50:41Z</updated>

		<summary type="html">&lt;p&gt;Alienated: Created page with &amp;#039;Agatha Christie&amp;#039;s Belgian master detective. The series starring David Suchet as Poirot demonstratively describes the architecture of the 1920s.&amp;#039;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;Agatha Christie&#039;s Belgian master detective. The series starring David Suchet as Poirot demonstratively describes the architecture of the 1920s.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7138</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7138"/>
		<updated>2011-12-06T19:20:39Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; that become visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Conclusion ==&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7137</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7137"/>
		<updated>2011-12-06T19:20:13Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; that become visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the &#039;&#039;Encyclopedia Britannica&#039;&#039; states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7136</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7136"/>
		<updated>2011-12-06T19:19:48Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; that become visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is an overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
In terms of the concept itself, the encyclopedia britannica states that researchers tested the concept of alienation in urban areas and on assembly workers and got ambiguous results. Therefore, it should be used with caution but can still be helpful as a philosophical term. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7135</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7135"/>
		<updated>2011-12-06T19:12:19Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &amp;lt;nowiki&amp;gt;alienation&amp;lt;/nowiki&amp;gt; that become visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7134</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7134"/>
		<updated>2011-12-06T19:11:46Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined alienation in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of alienation that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7133</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7133"/>
		<updated>2011-12-06T19:10:56Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968). pp. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7132</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7132"/>
		<updated>2011-12-06T19:10:05Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
* Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
* Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968), p. 123-129.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
* &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7131</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7131"/>
		<updated>2011-12-06T19:09:20Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
- Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
- Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968), p. 123-129.&lt;br /&gt;
&lt;br /&gt;
- &amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
- &amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7130</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7130"/>
		<updated>2011-12-06T19:08:10Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
&#039;&#039;&#039;Sources&#039;&#039;&#039;:&lt;br /&gt;
&lt;br /&gt;
Cox, Judy. &#039;&#039;An Introduction the Marx&#039;s Theory of Alienation&#039;&#039;. International Socialism. Quarterly Journal of the Socialist Workers Party (Britain). Issue 79, 1998. http://pubs.socialistreviewindex.org.uk/isj79/cox.htm Web. 06. Dec. 2011.&lt;br /&gt;
&lt;br /&gt;
Nielsen, Wayne. &#039;&#039;Notes on Marx&#039;s Theory of Alienation&#039;&#039;. Mosaic 2,1 (1968), p. 123-129.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;alienation.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/15408/alienation&amp;gt;.&lt;br /&gt;
&lt;br /&gt;
&amp;quot;modernization.&amp;quot; Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica Inc., 2011. Web. 06 Dec. 2011. &amp;lt;http://www.britannica.com/EBchecked/topic/387301/modernization&amp;gt;.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7129</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7129"/>
		<updated>2011-12-06T18:58:50Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
Sources:&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7128</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7128"/>
		<updated>2011-12-06T18:57:05Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; from the products of work in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. They are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will his personal value be. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value. He also feels alienated from the labour process because it is fragmented into so many parts that he loses the overview of the overall production. The task itself becomes unchallenging and meaningless through the fragmentation. Thereby, the worker has no chance to identify with the end product.&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires; this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according to free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that, normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;br /&gt;
&lt;br /&gt;
As a conclusion it can be said that according to Marx&#039;s theory of alienation, workers in a capitalist, industrial class society are dehumanised and exploited and reduced to means of production without a right to individuality.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7127</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=7127"/>
		<updated>2011-12-06T18:42:37Z</updated>

		<summary type="html">&lt;p&gt;Alienated: &lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;The &#039;&#039;Encyclopedia Britannica&#039;&#039; defines &#039;&#039;alienation&#039;&#039; as &amp;quot;the state of feeling estranged or separated from one’s milieu, work, products of work, or self.&amp;quot; The term has been in use since Plato, but Karl Marx was the one to use it explicitly and defined &#039;&#039;alienation&#039;&#039; from the products of work in detail in &amp;quot;The Economic and Philosophical Manuscripts&amp;quot; in 1844. He names four aspects of &#039;&#039;alienation&#039;&#039; that became visible in the capitalist society:&lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Product of Labour ==&lt;br /&gt;
&lt;br /&gt;
The worker is alienated from the products, because he does not invent them or exchange or use them. The are in the possession of the capitalist he works for. Although he might have the desire to own the products or work with them creatively, he will never be allowed, because they are not his. Thus, he does not have any relationship to the goods he is working with. This is intensified by the fact that the harder he works, the more will the power and value of the system above him increase. The more effective he produces the lesser will be his personal value. With his creativity and labour power he increases the value of the product and the lesser he will be paid. Instead of fulfillment he becomes exhausted and is paid with money which can never have the same value as the effort he puts into his labour. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from the Labour Process ==&lt;br /&gt;
&lt;br /&gt;
The labour process is defined by the lack of control the worker has over his working process. The worker&#039;s power is even turned into its opposite. His creativity and power are turned into exhaustion and impotence. By dividing the labour into parts (Adam Smith&#039;s &amp;quot;division of labour&amp;quot;), the individual worker has less responsibility and decreases in value.  &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Beings ==&lt;br /&gt;
&lt;br /&gt;
As a result of a class society, workers are also alienated from their fellow human beings. They see the products of their labour as something hostile and alien to them, something that is independent from them. In addition, they also only see their fellow beings in the products they use. They do not know each other personally but through their representation of different levels of production, the personification of capital, land or labour. Therefore, new products are not produced to meet our needs or enhance our development, but to evoke needs and exploit them for making more profit. &lt;br /&gt;
&lt;br /&gt;
&lt;br /&gt;
== Alienation from Human Nature ==&lt;br /&gt;
&lt;br /&gt;
The distinct human ability is the ability to shape the world according to one&#039;s needs and desires, this is the human nature. But in capitalist societies, labour is coerced and not done independently, thus it is not labour according the the free human nature. And it is those who force labour that profit from it whereas the deprived ones are only exploited without benefits. Thus, the worker&#039;s human nature is neglected and he is alienated from it. As a conclusion a single worker cannot foresee the consequences of his labour or the side effects it might have on nature or on others. &lt;br /&gt;
Another factor is that normally, demand controls production. In capitalist societies, there is a overproduction of goods which leads to a lack of enjoying the success of producing goods that others need. Instead, workers feel that their creativity and labour power is exhausted and redundant by the fact that they produce more than society can consume.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
	<entry>
		<id>https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=6949</id>
		<title>Alienation</title>
		<link rel="alternate" type="text/html" href="https://el.rub.de/wiki/Brit-Cult/index.php?title=Alienation&amp;diff=6949"/>
		<updated>2011-12-01T08:34:41Z</updated>

		<summary type="html">&lt;p&gt;Alienated: Created page with &amp;#039;alienation as a result of capitalism according to Karl Marx. Four types of alienation at the work place.&amp;#039;&lt;/p&gt;
&lt;hr /&gt;
&lt;div&gt;alienation as a result of capitalism according to Karl Marx. Four types of alienation at the work place.&lt;/div&gt;</summary>
		<author><name>Alienated</name></author>
	</entry>
</feed>