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Master Humphrey's Clock Charles Dickens CHAPTER I
Master Humphrey's Clock Charles Dickens CHAPTER I - MASTER HUMPHREY, FROM HIS CLOCK-SIDE IN THE CHIMNEY CORNER THE reader must not expect to know where I live. At present, it is true, my abode may be a question of little or no import to anybody; but if I should carry my readers with me, as I hope to do, and there should spring up between them and me feelings of homely affection and regard attaching something of interest to matters ever so slightly connected with my fortunes or my speculations, even my place of residence might one day have a kind of charm for them. Bearing this possible contingency in mind, I wish them to understand, in the outset, that they must never expect to know it. I am not a churlish old man. Friendless I can never be, for all mankind are my kindred, and I am on ill terms with no one member of my great family. But for many years I have led a lonely, solitary life; - what wound I sought to heal, what sorrow to forget, originally, matters not now; it is sufficient that retirement has become a habit with me, and that I am unwilling to break the spell which for so long a time has shed its quiet influence upon my home and heart. I live in a venerable suburb of London, in an old house which in bygone days was a famous resort for merry roysterers and peerless ladies, long since departed. It is a silent, shady place, with a paved courtyard so full of echoes, that sometimes I am tempted to believe that faint responses to the noises of old times linger there yet, and that these ghosts of sound haunt my footsteps as I pace it up and down. -
Grosvenor Prints CATALOGUE for the ABA FAIR 2008
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books CATALOGUE FOR THE ABA FAIR 2008 Arts 1 – 5 Books & Ephemera 6 – 119 Decorative 120 – 155 Dogs 156 – 161 Historical, Social & Political 162 – 166 London 167 – 209 Modern Etchings 210 – 226 Natural History 227 – 233 Naval & Military 234 – 269 Portraits 270 – 448 Satire 449 – 602 Science, Trades & Industry 603 – 640 Sports & Pastimes 641 – 660 Foreign Topography 661 – 814 UK Topography 805 - 846 Registered in England No. 1305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Ellis. E&OE VAT No. 217 6907 49 GROSVENOR PRINTS Catalogue of new stock released in conjunction with the ABA Fair 2008. In shop from noon 3rd June, 2008 and at Olympia opening 5th June. Established by Nigel Talbot in 1976, we have built up the United Kingdom’s largest stock of prints from the 17th to early 20th centuries. Well known for our topographical views, portraits, sporting and decorative subjects, we pride ourselves on being able to cater for almost every taste, no matter how obscure. We hope you enjoy this catalogue put together for this years’ Antiquarian Book Fair. Our largest ever catalogue contains over 800 items, many rare, interesting and unique images. We have also been lucky to purchase a very large stock of theatrical prints from the Estate of Alec Clunes, a well known actor, dealer and collector from the 1950’s and 60’s. -
PICKWICK PAPERS Charles Dickens
HUMANITIES INSTITUTE Frederic Will, Ph.D. PICKWICK PAPERS Charles Dickens Overview An episodic novel—the first novel by Charles Dickens—published in serial form in 1836-7, and in book form in l837. Dickens had become popular through his Sketches by Boz(1816), which were a series of sketches of London life, with strong emphasis on character portrayal. The kind of sociological- ironic tone of the present novel, part journalism and part work in the great tradition of the novel, shows the overwhelming passion of Dickens forsocial character analysis. The powerful portraits to come— in David Copperfield, Great Expectations, or Oliver Twist—are heralded in The Pickwick Papers. Story Mr. Samuel Pickwick is the organizing principle of this episodic novel which tracks some of the adventures of its protagonist. Samuel Pickwick is not a dominating figure, but rather a spirited enthusiast (in the spirit of his time) for the English countryside and country ways, a sentimentalist, and a compassionate appreciator of the eccentricities and local colorings of the English people. Not only is Pickwick wealthy, but he is ‘administrative,’ for it is he who enlists three of his friends to join him on coach jaunts throughout the English countryside. In appearance and manner Pickwick is, like all Dickens’ characters, a broad caricature: the man ‘who had agitated the scientific world with his Theory of Tittlebats,’ an amateur naturalist picking up, as were many in the times of Wordsworth, privileged amateurism, and the thoughts of Charles Darwin. Travelling throughout England by coach, stopping at Inns for the night, Pickwick is in constant touch with what seems to him the most agreeable face of his land. -
Wilde's World
Wilde’s World Anne Anderson Aesthetic London Wilde appeared on London’s cultural scene at a propitious moment; with the opening of the Grosvenor Gallery in May 1877 the Aesthetes gained the public platform they had been denied. Sir Coutts Lindsay and his wife Blanche, who were behind this audacious enterprise, invited Edward Burne-Jones, George Frederick Watts, and James McNeill Whistler to participate in the first exhibition; all had suffered rejections from the Royal Academy.1 The public were suddenly confronted with the avant-garde, Pre-Raphaelitism, Symbolism, and even French Naturalism. Wilde immediately recognized his opportunity, as few would understand “Art for Art’s sake,” that paintings no longer had to be didactic or moralizing. Rather, the function of art was to appeal to the senses, to focus on color, form, and composition. Moreover, the aesthetes blurred the distinction between the fine and decorative arts, transforming wallpapers and textiles into objets d’art. The goal was to surround oneself with beauty, to create a House Beautiful. Wilde hitched his star to Aestheticism while an undergraduate at Oxford; his rooms were noted for their beauty, the panelled walls thickly hung with old engravings and contemporary prints by Burne-Jones and filled with exquisite objects: Blue and White Oriental porcelain, Tanagra statuettes brought back from Greece, and Persian rugs. He was also aware of the controversy surrounding Aestheticism; debated in the Oxford and Cambridge Undergraduate in April and May 1877, the magazine at first praised the movement as a civilizing influence. It quickly recanted, as it sought “‘implicit sanction’” for “‘Pagan worship of bodily form and beauty’” and renounced morals in the name of liberty (Ellmann 85, emphasis in original). -
In Celebration of Charles Dickens
Charles Dickens spent the last years of his life, from 1853 to 1870 living at Higham, Rochester. He died while writing The Mystery of Edwin Drood in his Swiss Chalet (pictured, from the collections of the Medway Archives and Local Studies Centre.), in the grounds of his house, Gad’s Hill Place. DICKES AT HIGHAM, 1870 Thames Marshes with Issue Number 26: May 2012 Meandering twisting ditches £2.00 ; free to members Giving way to Copperfields and hills, By Rudge and Barn, In Celebration of Charles Dickens No Bleak Houses, No Cities here – Just Little Droody Dorritts With Martins and swallows Nesting in Chuzzley Nicks Until, at last, a-top the Gadding Hill Picking Carols to celebrate St. Nicholas And Expecting more imagination, Dickens Sits in his Swiss Chalet. Odette Buchanan Some Dickens characters. From the collections of the Medway Archives and Local Studies Centre. If undelivered, please return to: Medway Archives office, th Civic Centre, Strood, Rochester, Kent, To commemorate the 200 birthday of local author Charles Dickens ME2 4AU. (1812–1870), The Clock Tower looks at some lesser known aspects of his association with the Medway Towns. Photograph from the Percy Fitzgerald Collection at the Medway Archives and Local Studies Centre. Colour picture postcard entitled Charles Dickens at Home, Gad’s Hill, Kent comprising view northern elevation of Gadshill Place, Gravesend Road, Higham, looking from north-east corner of garden, showing in foreground part of lawn, drive, shrubs and gaunt male figure looking at artist and in background house, porch, shrubs and trees. On rear, message from Alice [-] to a Miss Gurney, Rede Court, Strood, wishing her many happy returns. -
This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At
This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Inimitable? The Afterlives and Cultural Memory of Charles Dickens’s Characters England, Maureen Bridget Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 08. Oct. 2021 1 INIMITABLE? THE AFTERLIVES AND CULTURAL MEMORY OF CHARLES DICKENS’S CHARACTERS Maureen Bridget England King’s College London Candidate Number: 1233164 Thesis for PhD in English Literature 2 This paper is dedicated to the two doctors in my life who inspired me to pursue this dream: Martin England and Jenna Higgins 3 ‘Any successfully evoked character, no matter how apparently insignificant, stands a good chance of surviving its creator.’ David Galef, The Supporting Cast (1993) 4 Table of Contents TABLE OF CONTENTS ........................................................................................................ -
List of Characters
LIST OF CHARACTERS David Copperfield Agnes Wickfield The protagonist and narrator of the novel. David is David’s true love and daughter of Mr. Wickfield. The innocent, trusting, and naïve even though he suffers calm and gentle Agnes admires her father and David. abuse as a child. He is idealistic and impulsive and Agnes always comforts David with kind words or remains honest and loving. Though David’s troubled advice when he needs support. childhood renders him sympathetic, he is not perfect. He often exhibits chauvinistic attitudes toward the Mr Wickfield lower classes. In some instances, foolhardy decisions mar David’s good intentions. Mr. Wickfield is a lawyer and business manager for both Miss Betsey and Mrs Strong, David’s new headmaster. Mr Wickfield is a kind and generous man, Clara Copperfield but suffers from an alcohol addiction. This taste for David’s mother. The kind, generous, and goodhearted alcohol later becomes increasingly difficult to control, Clara embodies maternal caring until her death, which leaving Mr Dick and his clients vulnerable to the occurs early in the novel. David remembers his mother manipulation of others. as an angel whose independent spirit was destroyed by Mr. Murdstone’s cruelty. Mrs Strong The kind and straight talking headteacher of the Peggotty school in Canterbury that David later joins, arranged David’s nanny and caretaker. Peggotty is gentle and by his aunt and Mr Wickfield. selfless, opening herself and her family to David whenever he is in need. She is faithful to David and his James Steerforth family all her life, never abandoning David, his mother, or Miss Betsey. -
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. -
The Voice of Objects in the Old Curiosity Shop
The Voice of Objects in The Old Curiosity Shop Michael Hollington Curiosities are objects on sale in an antique dealer’s - bric à brac, knick-knacks, souvenirs, mementos. So The Old Curiosity Shop is about what we can think of as commodities, objects on display and for sale. A fine new book by Catherine Waters, Commodity Culture in Household Words, offers plenty of material for a new focus on objects in Dickens which reinvigorates past, and some of it rather crude, Marxist criticism of Dickens’s works. Its focus is Dickens’s journalism, and that of the staff of the magazine he edited between 1850 and 1859, but its arguments can be used, as I do here, to provide an insight into the fiction. Even if the discussion of Dickens’s novel takes precedence here, and the consideration of its possible critical and theoretical underpinning is brief and largely confined to the end of the essay, my approach here is in fact an attempt to combine Waters’s work, both with an important but still little known essay on The Old Curiosity by the significant German philosopher and critic Theodor Adorno, and with some aspects of recent work by Bill Brown about what he calls ‘thing theory’. The essential thing I have to emphasise is how thoroughly and pervasively Dickens confuses the categories of persons and things. It is a kind of trademark of his imagination. Just as an initial example, the vicious lawyer Sampson Brass is described in chapter xii (100) as “the ugliest piece of goods in all the stock” at the Old Curiosity Shop, making him an item on sale like any other. -
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. -
Grotesque Characters
Grotesque Characters in Charles Dickens’s A Tale of Two Cities, Great Expectations, and Our Mutual Friend by Bård Ålovsrud A Dissertation Presented to the Department of Literature, Area Studies and European Languages The University of Oslo Spring Term 2007 1 Foreword I will take the opportunity to express my gratitude to Professor Tore Rem for his guidance and great patience during the writing process. I am also much obliged to Magnus Nygaard for his assistance in late night computer-related problems, and my brother Ole Mikkel for always seeing the easy solution to difficult problems. Oslo, April 2007 Bård Ålovsrud 2 Table of Contents Page Chapter One Presenting the Dissertation……………………………………………….. 3 Introduction to Dickens’s Authorship…………………………….…..….. 6 The Grotesque…………………………………………………….…..….. 9 Dickens’s Relation to the Grotesque………………………………...…… 14 Humour and Laughter………………………………………………..…… 18 Chapter Two: A Tale of Two Cities Introduction…………………………………………………………...…. 24 Lucie Manette and Miss Pross ………………………………………….. 27 Madame Defarge……………………………………………………..….. 29 Monsieur de Marquis………………………………………………..…… 32 Sydney Carton……………………………………………………..…….. 36 The Wood-Sawyer, Jacques Three and Jerry Cruncher……………..…… 40 Concluding Remarks…………………………………………………….. 44 Chapter Three: Great Expectations Introduction…………………………………………………...………….. 45 Miss Havisham……………………………………………………….….. 47 Mrs. Joe Gargery …….…………………………………….……….…… 52 Estella……………………………………………..………….….….…… 54 Pip…………………………………………………………………….…. 57 Concluding Remarks…………………………………………………….. 63 -
Caricature in the Novel, 1740-1840 a Dissertation Submitted in Part
UNIVERSITY OF CALIFORNIA Los Angeles Sentiment and Laughter: Caricature in the Novel, 1740-1840 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in English by Leigh-Michil George 2016 © Copyright by Leigh-Michil George 2016 ABSTRACT OF THE DISSERTATION Sentiment and Laughter: Caricature in the Novel, 1740-1840 by Leigh-Michil George Doctor of Philosophy in English University of California, Los Angeles, 2016 Professor Jonathan Hamilton Grossman, Co-Chair Professor Felicity A. Nussbaum, Co-Chair This dissertation examines how late eighteenth- and early nineteenth-century British novelists—major authors, Laurence Sterne and Jane Austen, and lesser-known writers, Pierce Egan, Charles Jenner, and Alexander Bicknell—challenged Henry Fielding’s mid-eighteenth-century critique of caricature as unrealistic and un-novelistic. In this study, I argue that Sterne, Austen, Egan, and others translated visual tropes of caricature into literary form in order to make their comic writings appear more “realistic.” In doing so, these authors not only bridged the character-caricature divide, but a visual- verbal divide as well. As I demonstrate, the desire to connect caricature with character, and the visual with the verbal, grew out of larger ethical and aesthetic concerns regarding the relationship between laughter, sensibility, and novelistic form. ii This study begins with Fielding’s Joseph Andrews (1742) and its antagonistic stance towards caricature and the laughter it evokes, a laughter that both Fielding and William Hogarth portray as detrimental to the knowledge of character and sensibility. My second chapter looks at how, increasingly, in the late eighteenth century tears and laughter were integrated into the sentimental experience.