Charles Dickens a Selection of First Editions
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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. -
The Heart of London: Charles Dickens and Social Reform
The Heart of London Charles Dickens and Social Reform HEART OF LONDON, THERE IS A MORAL IN THY EVERY STROKE! as I look on at thy indomitable working, which neither death, nor press of life, nor grief, nor gladness out of doors will influence one jot, I seem to hear a voice within thee which sinks into my heart, bidding me, as I elbow my way among the crowd, have some thought for the meanest wretch that passes, and, being a man, to turn away with scorn and pride from none that bear the human shape. Master Humphrey's Clock (1840) THE LIFE of Charles Dickens (1812-1870) spanned much of the century transformed by the Industrial Revolution, and he witnessed the results, both positive and negative, that impacted England and especially his beloved London. Thousands of people who migrated from rural areas to the capital found a city almost entirely without social infrastructure and lacking the central organization needed to manage such urban necessities as police, fire control, water and sewage, and roads and bridges. The traditional parish oversight was quickly overwhelmed, and it would be the end of the century before many of these problems were properly addressed. The atmosphere, however, was one of progress and the possibilities of reform. Education and therefore literacy were seen as the means to improve the lives of the masses, and the mechanization of printing provided the means to distribute an increasing amount of reading material. The periodical press boomed, generating dailies, weeklies and monthlies that distributed fiction and non-fiction to a voracious reading public. -
WILLIAM HONE and the READING PUBLIC, 1825-26 Lucy Hodgetts
8 WILLIAM HONE AND THE READING PUBLIC, 1825-26 Lucy Hodgetts (University of York) Abstract This article will offer a detailed understanding of the cultural, literary and political space occupied by William Hone’s popular anthology The Every-Day Book (1825-26) within the literary marketplace of the early nineteenth-century. I will be focusing on aspects of The Every-Day Book which contribute to Hone’s notion of “the people” as a political and commercial entity, beginning by outlining the diverse literary attitudes towards the growth of the reading public at this time. The article will go on to explain Hone’s attempts to combat this tension with his own egalitarian definition of the common readership and its new commercial and political character. I will detail the journalistic methods of compilation and circulation which Hone exploited in order to anchor his anthology within the tradition of print publication. The article also aims to open up a new critical discourse on literary consumption by considering pre-Victorian figures such as Hone alongside later chroniclers of popular culture, whilst also giving credence to the anthology in its own right. Comparing accounts of Greenwich Fair by Hone and Dickens will illuminate a topography of influence across the period. I also address the dearth of material on Hone’s antiquarian endeavours. Critical interest in radical literary culture has surged in recent years, but there is little attempt to address the broader implications of the radical underpinnings of Hone’s later work. This article aims to elevate The Every-Day Book beyond its current status as a footnote in literary history. -
The Strange Gentleman – by Charles Dickens (1836) Foreword the Farce
The Strange Gentleman – by Charles Dickens (1836) Foreword The farce [The Strange Gentleman] I also did as a sort of practical joke, for Harley, whom I have known a long time. It was funny—adapted from one of the published sketches called the “Great Winglebury Duel,” and was published by Chapman and Hall. But I have no copy of it now, nor should I think they have. But both these things were done without the least consideration or regard to reputation. | I wouldn't repeat them for a thousand pounds apiece, and devoutly wish them to be forgotten. ‐ Letters of Charles Dickens (the Pilgrim Edition), 3:598 [13 Nov 1843]. It’s not that bad. Dickensians will probably never forget The Strange Gentleman, and indeed Dickensians will probably never forget any of Dickens’s work. In that respect we are an elephantine lot. Those of us who admire Dickens’s work, admire it a lot, and we are sometimes in the paradoxical position of having to disregard one of the author’s wishes, with regrets, in order to read a little more of the work we admire so much. With this apologia is here presented Dickens’s first-produced play. First a little background on the creation of The Strange Gentleman. As Dickens notes above, the play was based on “The Great Winglebury Duel”, one of the Sketches by Boz. Dickens wrote “Duel” in October 1835, and expected it to go into the Monthly Magazine for December. Instead, it appeared as one of the three previously-unpublished stories included when the Sketches were first collected in book form (First Series, 8 Feb 1836). -
A DICKENS COMPANION Macmillan Literary Companions
A DICKENS COMPANION Macmillan Literary Companions J. R. Hammond AN H. G. WELLS COMPANION AN EDGAR ALLAN POE COMPANION A GEORGE ORWELL COMPANION A ROBERT LOUIS STEVENSON COMPANION John Spencer Hill A COLERIDGE COMPANION Norman Page A DICKENS COMPANION A KIPLING COMPANION F. B. Pinion A HARDY COMPANION A BRONTE COMPANION A JANE AUSTEN COMPANION A D. H. LAWRENCE COMPANION A WORDSWORTH COMPANION A GEORGE ELIOT COMPANION A DICKENS COMPANION NORMAN PAGE ~ MACMILLAN © Norman Page 1984 Softcover reprint of the hardcover 1st edition 1984 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, 90 Tottenham Court Road, London WIP 9HE. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1984 by MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world ISBN 978-1-349-06006-1 ISBN 978-1-349-06004-7 (eBook) DOI 10.1007/978-1-349-06004-7 A catalogue record for this book is available from the British Library. 10 98 7 65432 03 02 0 I 00 99 98 97 96 95 To Valerie and Campbell Purton, and the Infant Phenomena Dinah and Tom Contents List of Plates IX Preface XI Abbreviations XV A Dickens Chronology The Dickens Circle 19 DICKENS' WRITINGS 53 Sketches by Boz:. -
A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 "Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism Gary Simons University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, English Language and Literature Commons, History of Art, Architecture, and Archaeology Commons, and the Journalism Studies Commons Scholar Commons Citation Simons, Gary, ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3347 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. “Show Me the Money!”: A Pecuniary Explication of William Makepeace Thackeray’s Critical Journalism by Gary Simons A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Pat Rogers, Ph.D., Litt. D. Marty Gould, Ph.D. Regina Hewitt, Ph.D. Laura Runge, Ph.D. Date of Approval March 24, 2011 Keywords: W. M. Thackeray, British Literature, Literary Criticism, Periodicals, Art Criticism Copyright © 2011, Gary Simons Dedication To my wife Jeannie, my love, my companion and partner in life and in learning, who encouraged me to take early retirement and enter graduate school, shared with me the pleasures of the study of English literature and thereby intensified them, patiently listened to my enthusiasms, and urged me onward at every stage of this work, Acknowledgments I would like to thank Dr. -
Dickens Brochure
Message from John ne of the many benefits that came to us as students at the University of Oklahoma and Mary Nichols during the 1930s was a lasting appreciation for the library. It was a wonderful place, not as large then as now, but the library was still the most impressive building on campus. Its rich wood paneling, cathedral-like reading room, its stillness, and what seemed like acres of books left an impression on even the most impervious undergraduates. Little did we suspect that one day we would come to appreciate this great OOklahoma resource even more. Even as students we sensed that the University Library was a focal point on campus. We quickly learned that the study and research that went on inside was important and critical to the success of both faculty and students. After graduation, reading and enjoyment of books, especially great literature, continued to be important to us and became one of our lifelong pastimes. We have benefited greatly from our past association with the University of Oklahoma Libraries and it is now our sincere hope that we might share our enjoyment of books with others. It gives us great pleasure to make this collection of Charles Dickens’ works available at the University of Oklahoma Libraries. “Even as As alumni of this great university, we also take pride in the knowledge that the library remains at the students center of campus activity. It is gratifying to know that in this electronic age, university faculty and students still we sensed that find the library a useful place for study and recreation. -
HUNTIA a Journal of Botanical History
HUNTIA A Journal of Botanical History VOLUME 15 NUMBER 2 2015 Hunt Institute for Botanical Documentation Carnegie Mellon University Pittsburgh The Hunt Institute for Botanical Documentation, a research division of Carnegie Mellon University, specializes in the history of botany and all aspects of plant science and serves the international scientific community through research and documentation. To this end, the Institute acquires and maintains authoritative collections of books, plant images, manuscripts, portraits and data files, and provides publications and other modes of information service. The Institute meets the reference needs of botanists, biologists, historians, conservationists, librarians, bibliographers and the public at large, especially those concerned with any aspect of the North American flora. Huntia publishes articles on all aspects of the history of botany, including exploration, art, literature, biography, iconography and bibliography. The journal is published irregularly in one or more numbers per volume of approximately 200 pages by the Hunt Institute for Botanical Documentation. External contributions to Huntia are welcomed. Page charges have been eliminated. All manuscripts are subject to external peer review. Before submitting manuscripts for consideration, please review the “Guidelines for Contributors” on our Web site. Direct editorial correspondence to the Editor. Send books for announcement or review to the Book Reviews and Announcements Editor. Subscription rates per volume for 2015 (includes shipping): U.S. $65.00; international $75.00. Send orders for subscriptions and back issues to the Institute. All issues are available as PDFs on our Web site, with the current issue added when that volume is completed. Hunt Institute Associates may elect to receive Huntia as a benefit of membership; contact the Institute for more information. -
Genesis and Revision of Sketches by Boz
GENESIS AND REVISION OF SKETCHES BY BOZ NOBUYUKI MURATA There is little original in this paper. It is merely an effort to present in coordinated form for easy reference a collage of the essays of some distinguished sch- (I) olars who have dealt with the surroundings of Sketches by Boz. It is in reality im. possible for students outside Dickens's mother-country England to examine and quote the original texts in several periodicals of his pieces or to give their own essays credit for originality and authenticity. They are obliged to make accurate use of the criticism of others, with more or less regret. This paper deals with the genesis and publication of the Sketches in various periodicals, their revision and collection for the two-volume edition of 1836 (Feb. and Dec.), their further revision for the monthly part issues in 1837-39, eventually collected in the one·volume edition of 1839, and the final revision in 1850 for the Cheap Edition. They are followed by typical exam ples of revision in some aspects, and by a study of Dickens's intention and meaning in all his revision. It is clear at a glance that he is endowed with a talent for journalism. As his many biographies show us, he would have succeeded as journalist (an editor or a newspaper reporter) to the extent of general recognition. He was, of course, unable to satisfy himself with such trifling jobs as these. His ambition was on a larger scale and was boundless. As a matter of fact, however, Dickens got deeply involved in the journalistic world of magazines from his very start as an author. -
"A Melancholy Clown" -- the Relationship of Robert Seymour and Charles Dickens
"A melancholy clown" -- The relationship of Robert Seymour and Charles Dickens The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Cohen, Jane R. 1971. "A melancholy clown" -- The relationship of Robert Seymour and Charles Dickens. Harvard Library Bulletin XIX (3), July 1971: 250-279. Citable link https://nrs.harvard.edu/URN-3:HUL.INSTREPOS:37364245 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA "A Melancholy Clown"- The Relationship of ltobert Seymour and Charles Dickens* Jane R. Coben ICKEN s' first illustrator ir nme asurab1 y aidc d his literary as- cent; his second inadvertently skyrocketed him to fan1e.. If the young ,vriter found ,vorking \Yith established vet- erans a mixed hlessing~the consequences for the arrisrs \vcre tragic~ Cruiksha.nk~s extended re]2tJonsl1ip,virh Dickens contributed to his 1nental dernnge111ent;Robert Scyn1our's hrie.f jnvolve,nent ,vith the author fatally· unbah1nced a long-disturbed 1nind. Seyn1011r,,vho ,vas kno,vn in the early 183o's for his hu1norous sporting .sl~etches., is ren1em here d no, v 1112i 111} 7 ns th c first of Pickwick"s t hrcc illustrators; his heirs., like Cruikshank, clai1ncd the artist originated u "~ork of Dickens. Un]i ke Crniksh~nk, Scyn1our recci vc d n1orc attention f ro1n Dickens after his deatl1 than during· l1is nbbrevjatcd Jifetin1e, but less frorn posterity· -asan original genius in his o,vn right. -
OUR MUTUAL FRIEND by Charles Dickens
OUR MUTUAL FRIEND by Charles Dickens THE AUTHOR Charles Dickens (1812-1870) was the second of eight children in a family plagued by debt. When he was twelve, his father was thrown into debtors’ prison, and Charles was forced to quit school and work in a shoe-dye factory. These early experiences gave him a sympathy for the poor and downtrodden, along with an acute sense of social justice. At the age of fifteen, he became a clerk in a law firm, and later worked as a newspaper reporter. He published his first fiction in 1836 - a series of character sketches called Sketches by Boz. The work was well-received, but its reception was nothing compared to the international acclaim he received with the publication of The Pickwick Papers in the following year. After this early blush of success, Dickens took on the job as editor of Bentley’s Miscellany, a literary magazine in which a number of his early works were serialized, including Oliver Twist (1837-9) and Nicholas Nickleby (1838-9). He left to begin his own literary magazine, Master Humphrey’s Clock, in 1840, and over the next ten years published many of his most famous novels in serial form, including The Old Curiosity Shop (1840-1), A Christmas Carol (1844), and David Copperfield (1849-50), perhaps the most autobiographical of all his novels. Other works were serialized in Household Words between 1850 and 1859, including Bleak House (1852-3), which was then succeeded by All the Year Round, which he edited until his death in 1870, publishing such novels as A Tale of Two Cities (1859), Great Expectations (1860-1), and Our Mutual Friend (1864-5). -
Catalog of the Peal Exhibition: Victorians I John Spalding Gatton University of Kentucky
The Kentucky Review Volume 4 Number 1 This issue is devoted to a catalog of an Article 12 exhibition from the W. Hugh Peal Collection in the University of Kentucky Libraries. 1982 Catalog of the Peal Exhibition: Victorians I John Spalding Gatton University of Kentucky Follow this and additional works at: https://uknowledge.uky.edu/kentucky-review Part of the English Language and Literature Commons Right click to open a feedback form in a new tab to let us know how this document benefits you. Recommended Citation Gatton, John Spalding (1982) "Catalog of the Peal Exhibition: Victorians I," The Kentucky Review: Vol. 4 : No. 1 , Article 12. Available at: https://uknowledge.uky.edu/kentucky-review/vol4/iss1/12 This Article is brought to you for free and open access by the University of Kentucky Libraries at UKnowledge. It has been accepted for inclusion in The Kentucky Review by an authorized editor of UKnowledge. For more information, please contact [email protected]. :l Victorians I :o her an f the !ds do 127. Engraved portrait of Thomas Babington Macaulay, 1852. From the collection of HenryS. Borneman. Peal 9,572. 128. THOMAS BABINGTON MACAULAY. A.L.s. to unnamed correspondent, 16 September 1842. Thomas Babington Macaulay (1800-1859) showed great precocity, at the age of eight planning a Compendium of Universal History. In his youth he also composed three cantos of The Battle of Chevoit, an epic poem in the manner of Scott's metrical romances; a lengthy poem on Olaus Magnus; and a piece in blank verse on Fingal. At Trinity College, Cambridge, he twice won the Chancellor's Medal for English Verse, and became a Fellow of Trinity.