Great Expectations GREAT EXPECTATIONS
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Great Expectations on Screen
UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Violeta Martínez-Alcañiz Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 UNIVERSIDAD AUTÓNOMA DE MADRID FACULTAD DE FILOSOFÍA Y LETRAS DEPARTAMENTO DE HISTORIA Y TEORÍA DEL ARTE TESIS DOCTORAL GREAT EXPECTATIONS ON SCREEN A Critical Study of Film Adaptation Tesis presentada por Violeta Martínez-Alcañiz Licenciada en Periodismo y en Comunicación Audiovisual para la obtención del grado de Doctor Directoras de la Tesis Doctoral: Prof. Dra. Valeria Camporesi y Prof. Dra. Julia Salmerón Madrid, 2018 “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair” (Charles Dickens, A Tale of Two Cities) “Now why should the cinema follow the forms of theater and painting rather than the methodology of language, which allows wholly new concepts of ideas to arise from the combination of two concrete denotations of two concrete objects?” (Sergei Eisenstein, “A dialectic approach to film form”) “An honest adaptation is a betrayal” (Carlo Rim) Table of contents ACKNOWLEDGMENTS 13 CHAPTER 1. INTRODUCTION 15 CHAPTER 2. LITERATURE REVIEW 21 Early expressions: between hostility and passion 22 Towards a theory on film adaptation 24 Story and discourse: semiotics and structuralism 25 New perspectives 30 CHAPTER 3. -
California State University, Northridge the Charms Of
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE THE CHARMS OF ASSUMPTION: ROLE PLAYING IN DICKENS'S LATER NOVELS A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in English by Patrick Byron Hunter January 1988 The Thesis o~Patrick Byron Hunter is approved: Lawrence Stewart California State University, Northridge ii ACKNOWLEDGMENTS I most especially thank Dr. Harry Stone, whose brilliant expertise as a Dickensian and meticulous attention as an advisor helped to create many of this thesis's virtues and none of its flaws. I also thank Valerie, my dearest friend, whose insight inspired me to begin this thesis and whose support enabled me to finish it. iii TABLE OF CONTENTS Acknowledgments •• . iii Abstract • • • • • . • v Chapters: I. Introduction . • • • 1 II. Dickens and Role Playing • . 8 III. Expected Roles: Great Expectations •• • • • .18 IV. Behavioral Roles: Our Mutual Friend • • .34 v. The Impersonator . • • • ~ .45 VI. The Player Without a Role. • • .57 VII. Conclusion • • . .67 Works Cited. • • • • .70 iv ABSTRACT THE CHARMS OF ASSUMPTION: ROLE PLAYING IN DICKENS'S LATER NOVELS by Patrick Byron Hunter Master of Arts in English This thesis demonstrates how roles, or the facades which human beings project when interacting with others, provide an approach for understanding the characters and themes in Dickens's fiction written after 1857, from Little Dorrit to The Mystery of Edwin Drood. It argues that the characters in the author's final period desperately play roles to find fulfillment and also demonstrates how Dickens himself sought role playing to alleviate his own personal crises. ' ~ v The thesis approaches the fiction by categorizing roles into the two types: expected roles, or those roles demanded by society; and behavioral roles, or those structured, not by society, but by individuals. -
Great Expectations By
Great Expectations by Charles Dickens 1860 -1861 TheBestNotes Study Guide by TheBestNotes.com Staff Reprinted with permission from TheBestNotes.com Copyright © 2003, All Rights Reserved Distribution without the written consent of TheBestNotes.com is strictly prohibited. LITERARY ELEMENTS SETTING The action of Great Expectations takes place in a limited geography between a small village at the edge of the North Kent marshes, a market town in which Satis House is located, and the greater city of London. The protagonist, Pip, grows up in the marsh village. Eventually he becomes a frequent visitor to Satis House, located in the market town. Upon inheriting a good deal of money, he moves to London, where he is taught to be a gentleman. Throughout the novel, Pip travels between these three locations in pursuit of his great expectations. LIST OF CHARACTERS Major Characters Pip - Philip Pirip He is the narrator and hero of the novel. He is a sensitive orphan raised by his sister and brother-in-law in rural Kent. After showing kindness to an escaped convict, he becomes the beneficiary of a great estate. He rejects his common upbringing in favor of a more refined life in London, unaware that his benefactor is actually the convict. By the end of the novel he learns a great lesson about friendship and loyalty, and gives up his “great expectations” in order to be more true to his past. Joe Gargery A simple and honest blacksmith, and the long-suffering husband of Mrs. Joe. He is Pip’s brother-in-law, as well as a loyal friend and ally. -
Magwitch's Revenge on Society in Great Expectations
Magwitch’s Revenge on Society in Great Expectations Kyoko Yamamoto Introduction By the light of torches, we saw the black Hulk lying out a little way from the mud of the shore, like a wicked Noah’s ark. Cribbed and barred and moored by massive rusty chains, the prison-ship seemed in my young eyes to be ironed like the prisoners (Chapter 5, p.34). The sight of the Hulk is one of the most impressive scenes in Great Expectations. Magwitch, a convict, who was destined to meet Pip at the churchyard, was dragged back by a surgeon and solders to the hulk floating on the Thames. Pip and Joe kept a close watch on it. Magwitch spent some days in his hulk and then was sent to New South Wales as a convict sentenced to life transportation. He decided to work hard and make Pip a gentleman in return for the kindness offered to him by this little boy. He devoted himself to hard work at New South Wales, and eventually made a fortune. Magwitch’s life is full of enigma. We do not know much about how he went through the hardships in the hulk and at NSW. What were his difficulties to make money? And again, could it be possible that a convict transported for life to Australia might succeed in life and come back to his homeland? To make the matter more complicated, he, with his money, wants to make Pip a gentleman, a mere apprentice to a blacksmith, partly as a kind of revenge on society which has continuously looked down upon a wretched convict. -
The Characters of a Christmas Carol Page 10: Pre and Post Show Questions & Discussion Starters Page 11: Resources Language Arts Core Curriculum Standards CCRR3
Theatre for Youth and Families A Christmas Carol Based on the story by Charles Dickens Adapted by David Bell Directed by Rosemary Newcott Study Guide, grades K-5 Created by the Counterpane Montessori Middle and High School Dramaturgy Team of Martha Spring and Katy Farr As part of the Alliance Theatre Institute for Educators and Teaching Artists’ Dramaturgy by Students program Under the guidance of Resident Teaching Artist Kim Baran Now in its 25th season, a magical holiday tradition for the whole family. On the Alliance Theatre stage November 21 through December 24, 2014 A Christmas Carol Study Guide 1 Happy Holidays from the Alliance Theatre! Welcome to the Alliance Theatre’s production of A Christmas Carol, written by Charles Dickens and adapted for stage by David H. Bell. This Study Guide has been created with the student audience in mind with the intent of providing a starting point as the audience prepares and then reflects together upon the Alliance Theatre for Youth and Families’ series production of A Christmas Carol. A note from the director, Rosemary Newcott, the Sally G. Tomlinson Artistic Director of Theatre for Youth and Families: “I think of this show as a gift to Atlanta . I always hope it reflects the look and spirit of our community. The message is one that never grows old – that one is still capable of change — no matter what your age or what you have experienced!” Table of Contents Page 3: Charles Dickens Page 4-5: Vocabulary **(see note below) Page 6: Cast of Characters; Synopsis of the story Page 7: Money of Victorian England Page 8: Design your Own Christmas Carol Ghost Costume! Page 9: Word Search: The Characters of A Christmas Carol Page 10: Pre and Post show questions & discussion starters Page 11: Resources Language Arts Core Curriculum Standards CCRR3. -
Victorian Ghost Stories and the Christmas Market
Illumine Vol. 11, No. 1, 2012 “Winter Stories — Ghost Stories... Round the Christmas Fire”: Victorian Ghost Stories and the Christmas Market Caley Ehnes, University of Victoria Abstract Using the publication of Elizabeth Gaskell’s “The Old Nurse’s Story” in the 1852 Christmas number of Dickens’s Household Words as a case study, this paper examines how the publication of Victorian ghost stories in Christmas numbers redefines the ghost story, transforming it from a modern text participating in contemporary debates on spiritualism into a social text participating in the broader cultural project of reaffirming the nation’s (religious) traditions in the face of (secular) modernity. While the themes of Christmas ghost stories explicitly address social issues and secular, middle-class cultural values, the morals and social traditions promoted by Christmas fiction cannot exist outside of the era’s contemporary conversations about the place of religion in a modern, industrial society. The ghosts and goblins of Dickens’s Christmas fiction address and attempt to correct the social ills of modern society through a secularised application of Christian values and behaviours. n his first full-length novel, The Pickwick Papers (1836-37), Charles Dickens introduces readers to the Christmas traditions prevalent in his youth. Our host, Mr. Wardle, informs the IPickwickian crowd, “[o]ur invariable custom [is to have everyone sit] down with us on Christmas Eve, as you see them now—servants and all; and here we wait, until the clock strikes twelve, to usher Christmas in, and beguile the time with forfeits and old stories.”1 1 Charles Dickens, The Pickwick Papers. -
Norms Governing the Dialect Translation of Charles Dickens’ Great Expectations: an English-Greek Perspective
International Linguistics Research; Vol. 1, No. 1; 2018 ISSN 2576-2974 E-ISSN 2576-2982 https://doi.org/10.30560/ilr.v1n1p49 Norms Governing the Dialect Translation of Charles Dickens’ Great Expectations: An English-Greek Perspective Despoina Panou1 1 Department of Foreign Languages, Translation and Interpreting, Ionian University, Greece Correspondence: Despoina Panou, Department of Foreign Languages, Translation and Interpreting, Ionian University, Greece. E-mail: [email protected] Received: March 11, 2018; Accepted: March 28, 2018; Published: April 16, 2018 Abstract This paper aims to investigate the norms governing the translation of fiction from English into Greek by critically examining two Greek translations of Charles Dickens’ novel Great Expectations. One is by Pavlina Pampoudi (Patakis, 2016) and the other, is by Thanasis Zavalos (Minoas, 2017). Particular attention is paid to dialect translation and special emphasis is placed on the language used by one of the novel’s prominent characters, namely, Abel Magwitch. In particular, twenty instances of Abel Magwitch’s dialect are chosen in an effort to provide an in-depth analysis of the dialect-translation strategies employed as well as possible reasons governing such choices. It is argued that both translators favour standardisation in their target texts, thus eliminating any language variants present in the source text. The conclusion argues that societal factors as well as the commissioning policies of publishing houses influence to a great extent the translators’ behaviour, and consequently, the dialect-translation strategies adopted. Hence, greater emphasis on the extra-linguistic, sociological context is necessary for a thorough consideration of the complexities of English-Greek dialect translation of fiction. -
Forgers and Fiction: How Forgery Developed the Novel, 1846-79
Forgers and Fiction: How Forgery Developed the Novel, 1846-79 Paul Ellis University College London Doctor of Philosophy UMI Number: U602586 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U602586 Published by ProQuest LLC 2014. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 2 Abstract This thesis argues that real-life forgery cases significantly shaped the form of Victorian fiction. Forgeries of bills of exchange, wills, parish registers or other documents were depicted in at least one hundred novels between 1846 and 1879. Many of these portrayals were inspired by celebrated real-life forgery cases. Forgeries are fictions, and Victorian fiction’s representations of forgery were often self- reflexive. Chapter one establishes the historical, legal and literary contexts for forgery in the Victorian period. Chapter two demonstrates how real-life forgers prompted Victorian fiction to explore its ambivalences about various conceptions of realist representation. Chapter three shows how real-life forgers enabled Victorian fiction to develop the genre of sensationalism. Chapter four investigates how real-life forgers influenced fiction’s questioning of its epistemological status in Victorian culture. -
Charles Dickens As Criminologist Paul Chatham Squires
Journal of Criminal Law and Criminology Volume 29 Article 2 Issue 2 July-August Summer 1938 Charles Dickens as Criminologist Paul Chatham Squires Follow this and additional works at: https://scholarlycommons.law.northwestern.edu/jclc Part of the Criminal Law Commons, Criminology Commons, and the Criminology and Criminal Justice Commons Recommended Citation Paul Chatham Squires, Charles Dickens as Criminologist, 29 Am. Inst. Crim. L. & Criminology 170 (1938-1939) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Journal of Criminal Law and Criminology by an authorized editor of Northwestern University School of Law Scholarly Commons. CHARLES DICKENS AS CRIMINOLOGIST PAUL CHATHAM SQUIRES, PH.D.* "Dickens had a singularly just mind. He was wild in his caricatures, but very sane in his impressions."--G. K. Chesterton. Lawyers, and learned professors of law, have investigated the contributions made by Dickens to the history of the common law and chancery. Holdsworth states: "In these lectures I intend to show you that the treatment by Dickens of various aspects of the law and the lawyers of his day, is a very valuable addition to our authorities, not only for that period, but also for earlier periods in our legal history."'- He concludes his critical examination by saying that the information left us by Dickens justifies "my con- tention that the extent, the variety, and the accuracy of this . entitles us to reckon one of the greatest of our English novelists as a member of the select band of our legal historians."'2 But, strange to remark, no one has seemed to think it worth while or deserving of the great effort involved, systematically to ascertain Dicken's precise position on the nature of the criminal and the eternal questions of criminology. -
Answer Sheet
Vocabulary List Below is a list of more complex words that can be found in the story. Use the definitions to explain to children what these words mean. For an extra activity, you can use these words in a spelling test. a person who is learning a trade from a apprentice skilled employer, working for a fixed period of time at low wages a person who gives money or other help to a person benefactor or cause a person who makes and repairs things in iron by blacksmith hand confiscated taken or seized by someone with authority the tidal mouth of a large river, where the tide estuary meets the stream a person who has escaped from captivity or is in fugitive hiding magistrate a civil officer who administers the law lawyer a person who practises or studies law @SweetCherryPub For more worksheets and activity packs, visit @sweetcherrypublishing www.sweetcherrypublishing.com/resources. /SweetCherryPublishing Plot Sequencing Answer Sheet 1. Pip lives with his sister and her husband, Joe. One day, a big grey man approaches Pip when he visits his parents’ graves. The man asks Pip to bring him food and a file to cut off the cuffs on his ankles. 2. Pip agrees and later finds out that the man is an escaped convict from a nearby prison ship. The police find the man and Pip makes sure he knows that he never told on him. 3. Pip meets Miss Havisham and Estella at Sati’s House. Although Estella is cold towards him, he visits regularly for a few years before his apprenticeship starts and Estella leaves for London. -
Commodity Culture in Dickens's Household Words
COMMODITY CULTURE IN DICKENS’S HOUSEHOLD WORDS For Mary and in memory of Ron Commodity Culture in Dickens’s Household Words The Social Life of Goods CATHERINE WATERS University of New England, Australia First published 2008 by Ashgate Publishing Published 2016 by Routledge 2 Park Square, Milton Park, Abingdon, Oxon OX14 4RN 711 Third Avenue, New York, NY 10017, USA Routledge is an imprint of the Taylor & Francis Group, an informa business Copyright © Catherine Waters 2008 All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Catherine Waters has asserted her moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. British Library Cataloguing in Publication Data Waters, Catherine Commodity culture in Dickens’s Household words : the social life of goods. – (The nineteenth century series) 1. Household words 2. Commercial products – Great Britain – History – 19th century I. Title 052 Library of Congress Cataloging-in-Publication Data Waters, Catherine. Commodity culture in Dickens’s Household words : the social life of goods / by Catherine Waters. p. cm. — (The nineteenth century series) Includes bibliographical references. ISBN-13: 978-0-7546-5578-7 (hbk) 1. Household words. 2. Commercial products—Great Britain—History—19th century. -
Dickens : a Chronology of His Whereabouts
Tracking Charles Dickens : A Chronology of his Whereabouts Previous Dickens chronologies have focused on his life and works : this one does not attempt to repeat their work, but to supplement them by recording where he was at any given date. Dickens did not leave a set of appointment diaries, but fortunately he did leave a lifetime of letters, pinpointing at the head both the date and place of composition. This chronology is based on that information as published in the awesome Pilgrim Edition of his letters published by the Oxford University Press. The source of each entry in the chronology is identified. There are more than 14,000 letters in Pilgrim, giving a wealth of detail for the chronology. Many of the letters, of course, were written from his home or office, but he was an indefatigable traveller, and in the evening he still somehow found the energy to write one from his hotel room. Even so, there are inevitably many dates with no letter, and some of those gaps have been (and will be) filled from information in the letters themselves, and from other reliable sources. Philip Currah. DICKENSDAYS E.B. Elias Bredsdorff, Hans Andersen and Charles Dickens : A Friendship and Its Dissolution.Cambridge, Eng. : Heffer, 1956. 140 p. ill. E.P. Edward F. Payne, Dickens Days in Boston : A Record of Daily Events. Boston : Houghton Mifflin, 1927. 274 p. ill. E.J. Edgar Johnson, Charles Dickens : His Tragedy and Triumph. London : Victor Gollancz, 1953. 2 v. (xxii, 1159, cxcvii p.) ill. J.F. John Forster, The Life of Charles Dickens.