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English 2H/BATA 2018-19

“You are part of my existence, part of myself. You have been in every line I have ever read, since I first came here, the rough common boy whose poor heart you wounded even then. You have been in every prospect I have ever seen since-on the river, on the sails of the ships, on the marshes, in the clouds, in the light, in the darkness, in the wind, in the woods, in the sea, in the streets. You have been the embodiment of every graceful fancy that my mind has ever become acquainted with.”

– ,

Great Expectations is the thirteenth novel by Charles Dickens and his penultimate completed novel; a bildungsroman that depicts the personal growth and personal development of an orphan nicknamed Pip. It is Dickens's second novel to be fully narrated in the first person. The novel was first published as a in Dickens's weekly periodical All the Year Round, from 1 December 1860 to August 1861.

After completing a thorough reading of Charles Dickens’ Great Expectations, you will complete the following FOUR tasks by September 21, 2018.

1. Read and analyze the importance of the article “How and Why to Read Dickens” 2. Identify and interpret the terminology from “Analyzing the Author’s Craft/Style” handout as you read 3. View and write a one-page response to the BBC Video. 4. Complete and upload LRJs by 8AM on September 21, 2018 The full assignment with links and articles needed can be found at: http://www.camarillohigh.us/academics/departments/english/transition-summer-assignment/ Below is an online text for the novel. Although you have an extended deadline to complete these tasks, the ACHS English Department strongly encourages you to complete this during the summer. With sophomore year approaching and additional Honors/AP courses on your schedule, the first weeks of school will be overwhelming if these tasks are left until then to complete.

• Great Expectations, Charles Dickens http://www.online-literature.com/dickens/greatexpectations/1/

We are looking forward to meeting and learning with you this upcoming school year.

ACHS English Department [email protected] [email protected]

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1. How and Why to Read Dickens How to Read Dickens – 5 Tips By Norrie Epstein from The Friendly Dickens, 1998

1. Unlike with many contemporary novels, with Charles Dickens’ work the destination doesn’t matter; it’s the journey that counts. Savor each word: don’t rush. And don’t try to think too logically! You are entering a different universe, where people are the same and yet not the same. And remember that truth is not always literal. (To paraphrase a Zen proverb: Before you read Dickens, a bowl is a bowl and tea is tea. While you are reading Dickens, a bowl is no longer a bowl and tea is no longer tea. And after you’ve read Dickens, nothing is ever the same again.) 2. Read like a child, i.e., allow yourself to slip into Dickens’s world completely. Let go the desire to “find out what happens.” The plots are the least interesting part of Dickens—the real pleasure is in the reading itself. 3. If tempted to skip something that looks boring, and it’s either skip it or not finish the book, skip it. 4. Expect the author to make mistakes. He is not an impersonal god perfected by dozens of editors at a vast publishing empire. He wrote fast. He wrote to entertain. 5. Read aloud! Dickens spoke his characters’ lines as he wrote.

Why Are We Still Reading Dickens? By Jon Michael Varese, 4 September 2009, The (London) Guardian

The great Victorian is probably even more ubiquitous now than he was in his lifetime. How he remains such vital reading is an intriguing question.

It seems that you cannot turn a corner this year without bumping into Charles Dickens. So far we've seen the release of four major novels based on the Victorian icon's life: Dan Simmons's Drood (February), Matthew Pearl's The Last Dickens (March), Richard Flanagan's Wanting (May), and Gaynor Arnold's Girl in a Blue Dress (July). Earlier this year BBC1's lush new production of was nominated for five Bafta awards in the UK, and 11 Emmys in the US. Newspapers and magazines have run stories on his relevance to the current global economic crisis. And with the Christmas season now only four months away, it seems that there is no getting away from him any time soon. As someone who teaches and writes about Dickens, the question of why we still read him is something that's often on my mind. But that question was never more troubling than one day, nearly 10 years ago, when I was standing as a guest speaker in front of a class of about 30 high school students. I had been speaking for about 20 minutes with an 1850 copy of in my hand, telling the students that for Victorian readers, Dickens's writing was very much a "tune-in-next-week" type of thing that generated trends and crazes, much as their own TV shows did for them today. Then a hand shot up in the middle of the room. "But why should we still read this stuff?" I was speechless because in that moment I realized that, though I had begun a PhD dissertation on Dickens, I had never pondered the question myself. The answer I gave was acceptable: "Because he teaches you how to think," I said. But lots of writers can teach you how to think, and I knew that wasn't really the reason. The question nagged me for years, and for years I told myself answers, but never with complete satisfaction. We read Dickens not just because he was a man of his own times, but because he was a man for our times as well. We read Dickens because his perception and investigation of the human psyche is deep, precise, and illuminating, and because he tells us things about ourselves by portraying personality traits and habits that might seem all too familiar. His messages about poverty and charity have travelled through decades, and we can learn from the experiences of his characters almost as easily as we can learn from our own experiences. These are all wonderful reasons to read Dickens. But these are not exactly the reasons why I read Dickens.

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My search for an answer continued but never with success, until one year the little flicker came – not surprisingly – from another high school student, whose essay I was reviewing for a writing contest. "We need to read Dickens's novels," she wrote, "because they tell us, in the grandest way possible, why we are what we are." There it was, like a perfectly formed pearl shucked from the dirty shell of my over-zealous efforts – an explanation so simple and beautiful that only a 15-year-old could have written it. I could add all of the decoration to the argument with my years of education – the pantheon of rich characters mirroring every personality type; the "universal themes" laid out in such meticulous and timeless detail; the dramas and the melodramas by which we recognize our own place in the Dickensian theatre – but the kernel of what I truly wanted to say had come from someone else. As is often the case in Dickens, the moment of realization for the main character here was induced by the forthrightness of another party. And who was I, that I needed to be told why I was what I was? Like most people, I think I knew who I was without knowing it. I was , always wanting and asking for more. I was , the son of a dead man, incurably convinced that my father was watching me from beyond the grave. I was Esther Summerson, longing for a mother who had abandoned me long ago due to circumstances beyond her control. I was Pip in love with someone far beyond my reach. I was all of these characters, rewritten for another time and place, and I began to understand more about why I was who I was because Dickens had told me so much about human beings and human interaction. There are still two or three Dickens novels that I haven't actually read; but when the time is right I'll pick them up and read them. I already know who it is I'll meet in those novels – the Mr. Micawbers, the Mrs. Jellybys, the Ebenezer Scrooges, the Amy Dorrits. They are, like all of us, cut from the same cloth, and at the same time as individual as their unforgettable aptronyms suggest. They are the assurances that Dickens, whether I am reading him or not, is shining a light on who I am during the best and worst of times.

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2. Analyzing the Author’s Craft/Style

Definition of Craft/Style: How the author describes his/her ideas, events, objects, etc. is critical for the craft of writing. To analyze a piece, one must notice the ways that the author uses words: i.e. word choice, sentence structure, figurative language, sentence arrangement, mood, imagery, etc. When analyzing craft/style, look at a piece of writing from the overall structure of the text to the small details and word choices.

Word Choice: Is the author’s word choice formal, informal, or a combination?

Diction: Expansive (elaborate and long winded)? Economical (efficient/to the point)? Combination, why?

Vocabulary: Is the vocabulary simple, complex, or a combination?

Sound Devices: Is there a pattern to the language? Alliteration, assonance, consonance, rhythm, etc.?

Dialect: Is the writing written in dialect (from where?) or not?

Dialogue: Is there lots of dialogue or a little? None at all?

Sentence structure and focus: Are the sentences simple, compound, complex, or a combination? Does the author digress or go off on tangents, or tell the story in a focused way?

Paragraphing/Chapter Structure: Short? Long? Author uses of chapters, or not?

Figurative Language: Is there figurative language? Or not? If there is, what are the examples?

Imagery/Sensory Details: Does the writing contain sensory words or detailed imagery? Or not?

Format: Does anything stand out within the format (italics, bolding of words, abnormal use of punctuation)?

Plot: Is the plot organized chronologically? In flashback? A combination? Is it a mystery story that starts with a crime? Is it realistic or dreamlike?

Pace of the plot: Is the plot slow and suspenseful? Fast and action filled? Combination or medium?

Point of View: Is it told in first person? Third person? Limited or omniscient? Other?

Tone: What is the author’s tone (attitude) towards the topic? Why?

Mood: What is the overall mood (emotional feeling) of the piece? Why?

Motif: What are the reoccurring motifs? Relationships? Nature? Psychology? Crime? Conflict? Survival? Choices? Something else?

Themes: What is the theme (motif and symbolism leading to a message) of the piece?

Genre: What is the genre of the piece? Why is this important? Is this an allusion or allegory?

Author’s Purpose: What is the purpose of the piece? Why is it important?

Experimental elements: Does the author do something unique?

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3. BBC Video “The Victorian Era of British History” (2:18) https://www.youtube.com/watch?v=z9jNeVSnRAA

Respond to the following question in a one page, MLA formatted response: How does the understanding of the Victorian Era further your understanding of the novel Great Expectations?

Note: This response should be the FIRST on your document uploaded to turnitin. Specify the separate assignments with titles. Turnitin only allows one file uploaded for each assignment; therefore, Task 3+4 must be on the same uploaded document.

4. Great Expectations Literary Response Journal Prompts Each Response should be thoughtful and well-developed. 2-3 pages per LRJ is the proper range. The LRJ will be uploaded to turnitin.com by 8AM September 21, 2018. The LRJ is graded for completeness, analysis and effort. Links for the articles mentioned are on the final page. To receive full credit, you must: • include a title for each entry (e.g., Dickensian) • include the due date of the entry • follow MLA format • be a minimum of 2-3 pages per LRJ.

1. Dickensian Charles Dickens’ work continues to be so influential that the adjective “Dickensian” is used today to describe something “of or like the novels of Charles Dickens (especially regarding poor social and economic conditions),” according to WordNet. Search for current usages of the word in The New York Times archive at nytimes.com (put the term “Dickensian” in the search bar) or other credible newspapers to understand how “Dickensian” is used in different contexts. For example, a 2008 article in The New York Times describes Mumbai, India this way: “For the writer, the Dickensian lens offers an easy view of Mumbai: wealthy and poor, apartment-dwelling and slum-dwelling, bulbous and malnourished” ("Mumbai, Striving and Sinking"). What contemporary work- novel, film, television series, blog, Web site- do you consider “Dickensian” in tone and/or content? What specific traits of the work do you find especially Dickensian? In what ways does it resemble Pip’s world in Great Expectations? Keep your response analytical.

2. The Killer Serial A common misconception about Charles Dickens is that he was paid by the word. In fact, he was paid by the serial installment. Dickens was one of the first authors to popularize the serial; instead of turning out a massive novel affordable only to the upper classes, Dickens wrote his books in affordable serial installments that were available every month or week in popular periodicals such as Bentley’s Miscellany and All the Year Round. Read Howard Cutler’s essay, "Stay Tuned: The Rise of the Killer Serial" to learn more about how Dickens’ innovations in serial literature were related to

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Victorian literacy rates, the economy, and his popularity. Think about how you could transform Great Expectations back into a television series that would run for one full season. Where in this work are the “cliffhanging chapter stops” that Cutler describes? Which of these chapter endings would be most dramatic or visually exciting in a television or film format? Write a synopsis of the first episode of the season. Where would it begin? Where would it end? 3.Craft/Style During the 19th Century, key social and cultural influences of the time were: ambition, social class, social problems, church and religion, and family. The techniques used by Dickens to enforce the influences of his time is critical for the craft of his writing. In 1857, Dickens wrote and acted in a play called . Critics believe this helped him to write the brilliant sections of dialogue in Great Expectations. In the Preface to his French Revolutionary novel, he wrote he was inspired to write the novel by acting the role of a self-sacrificing character in the play (Preface to ). That character became Sydney Carton. Dickens is famous for his exaggeration; which critics have linked to his love of the stage. Charles Dickens uses his personal experiences to develop his author’s craft and style in both main works Great Expectations and A Tale of Two Cities. Using both texts, compare the use of 2-3 specific stylistic approaches brilliantly crafted throughout his texts. Include integrated support from both texts and clearly identify the overall significance for the use of this stylistic approach.