Martin Chuzzlewit
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Views with Some of the Best Officers on Our Police Force Fully Confirmed This.” Still, One Wonders What Else There Was, Noticed by Neither Source
Readex Report The Flash Press: New York’s Early 19th-Century “Sporting” Underworld as a Unique Source of Slang By Jonathon Green author of Green’s Dictionary of Slang Green’s Dictionary of Slang, launched in print in 2010 and available online since 2016, currently offers some 55,400 entries, in which are nested around 135,000 discrete words and phrases, underpinned by over 655,000 examples of use, known as citations. Thanks to the online environment, it has been possible to offer a regular quarterly update to the dictionary. “Quite simply the best historical dictionary of English slang there is, ever has been…or is ever likely to be.” — Journal of English Language and Linguistics During the summer of 2020, I focused primarily on American Underworld: The Flash Press, a newspaper collection of the American Antiquarian Society and digitized by Readex. Its 45 titles (ranging from a single edition to runs covering multiple years) provided more than two-thirds of additions and changes in last August’s update. In this article, a version of which appeared on my own blog, I write about the nature of the “flash press” and some of the slang terms that have been extracted from it. Here’s this morning’s New York Sewer! Here’s this morning’s New York Stabber! Here’s the New York Family Spy! Here’s the New York Private Listener! Here’s the New York Peeper! Here’s the New York Plunderer! Here’s the New York Keyhole Reporter! Here’s the New York Rowdy Journal — Dickens, Martin Chuzzlewit (1844) An illustration from “The Life and Adventures of Martin Chuzzlewit” by Charles Dickens Taking his first steps through 1840s New York City, the young hero of Dickens’ Martin Chuzzlewit pays a visit to the offices of the New York Rowdy Journal. -
Pregnant Women in the Nineteenth-Century British Novel
College of Saint Benedict and Saint John's University DigitalCommons@CSB/SJU English Faculty Publications English Spring 2000 Near Confinement: Pregnant Women in the Nineteenth-Century British Novel Cynthia N. Malone College of Saint Benedict/Saint John's University, [email protected] Follow this and additional works at: https://digitalcommons.csbsju.edu/english_pubs Part of the Literature in English, British Isles Commons Recommended Citation Cynthia Northcutt Malone. "Near Confinement: Pregnant Women in the Nineteenth-Century British Novel." Dickens Studies Annual 29 (Spring 2000) This Article is brought to you for free and open access by DigitalCommons@CSB/SJU. It has been accepted for inclusion in English Faculty Publications by an authorized administrator of DigitalCommons@CSB/SJU. For more information, please contact [email protected]. Near Confinement: Pregnant Women in the Nineteenth-Century British Novel Cynthia Northcutt Malone While eighteenth-century British novels are peppered with women ''big with child"-Moll Flanders, Molly Seagrim, Mrs. Pickle-nineteenth century novels typically veil their pregnant characters. Even in nine teenth-century advice books by medical men, circumlocution and euphe mism obscure discussions of pregnancy. This essay explores the changing cultural significance of the female body from the mid-eigh teenth century to the early Victorian period, giving particular attention to the grotesque figure of Mrs. Gamp in Martin Chuzzlewit. Through ostentatious circumlocution and through the hilariously grotesque dou bleness of Mrs. Gamp, Dickens both observes and ridicules the Victo rian middle-class decorum enveloping pregnancy in silence. And now one of the new fashions of our very elegant society is to go in perfectly light-coloured dresses-quite tight -witl1out a particle of shawl or scarf .. -
Charles Dickens and Sovereign Debt John V
University of North Carolina School of Law Carolina Law Scholarship Repository Faculty Publications Faculty Scholarship 2012 Charles Dickens and Sovereign Debt John V. Orth University of North Carolina School of Law, [email protected] Follow this and additional works at: http://scholarship.law.unc.edu/faculty_publications Part of the Law Commons Publication: Green Bag 2d This Article is brought to you for free and open access by the Faculty Scholarship at Carolina Law Scholarship Repository. It has been accepted for inclusion in Faculty Publications by an authorized administrator of Carolina Law Scholarship Repository. For more information, please contact [email protected]. CHARLES DICKENS AND THE SOVEREIGN DEBT CRISIS John V. Orth† N JANUARY 1842, when Charles Dickens departed for his first American tour, he was not yet thirty years old but already fa- mous on both sides of the Atlantic. Embarking with his wife Catherine and her maid Anne on the Britannia, the Cunard ILine’s first paddle-steamer, he expected a pleasant voyage with all the modern conveniences. At journey’s end, he thought, lay a mod- el republic – and relief from his pressing financial difficulties. Sales of his serialized novel, Barnaby Rudge, completed only weeks before, had been disappointing, and the novelist was in debt to his publish- ers for £3,000.1 Refusing to recognize international copyright, the United States then – like some modern developing nations now – simply appropriated foreigners’ intellectual property. Pirated edi- tions of Dickens’ novels brought pleasure to their readers and prof- its to their publishers, but nothing to their author, and the novelist was optimistic that he could make the Americans see the justice of his claim for compensation. -
Selected Bibliography on Our Mutual Friend for the 2014 Dickens Universe August 3-9 UC Santa Cruz
Selected Bibliography on Our Mutual Friend for the 2014 Dickens Universe August 3-9 UC Santa Cruz (*starred items are strongly recommended) Reference Works Cotsell, Michael. 1986. The Companion to Our Mutual Friend. Boston: Allen & Unwin; rpt. New York: Routledge, 2009. Brattin, Joel J., and Bert. G. Hornback, eds. 1984. Our Mutual Friend: An Annotated Bibliography. New York: Garland. Heaman, Robert J. 2003. “Our Mutual Friend: An Annotated Bibliography: Supplement I, 1984-2000.” Dickens Studies Annual 33: 425-514. Selected articles and chapters Allen, Michelle Elizabeth. 2008. “A More Expansive Reach: The Geography of the Thames in Our Mutual Friend.” In Cleansing the City: Sanitary Geographies in Victorian London, ch. 2. Athens: Ohio University Press. Alter, Robert. 1996. “Reading Style in Dickens.” Philosophy and Literature 20, no. 1: 130-7. Arac, Jonathan. 1979. “The Novelty of Our Mutual Friend.” In Commissioned Spirits: The Shaping of Social Motion in Dickens, Carlyle, Melville, and Hawthorne, 164-185. New York: Columbia University Press. Baumgarten, Murray. 2000. “The Imperial Child: Bella, Our Mutual Friend, and the Victorian Picturesque.” In Dickens and the Children of Empire, edited by Wendy S. Jacobson, 54-66. New York: Palgrave. Baumgarten, Murray. 2002. “Boffin, Our Mutual Friend, and the Theatre of Fiction.” Dickens Quarterly 19: 17-22. Bodenheimer, Rosemarie. 2002. “Dickens and the Identical Man: Our Mutual Friend Doubled.” Dickens Studies Annual 31: 159-174. Boehm, Katharina. 2013. “Monstrous Births and Saltationism in Our Mutual Friend and Popular Anatomical Museums.” In Charles Dickens and the Sciences of Childhood: Popular Medicine, Child Health and Victorian Culture, ch. 5. New York: Palgrave Macmillan. -
Martin Chuzzlewit
CLASSIC Charles FICTION Dickens Martin Chuzzlewit Read by Sean Barrett NA809612D 1 It was pretty late in the autumn… 5:47 2 ‘Hark!’ said Miss Charity… 6:11 3 An old gentlemen and a young lady… 5:58 4 Mrs Lupin repairing… 4:43 5 A long pause succeeded… 6:21 6 It happened on the fourth evening… 6:16 7 The meditations of Mr Pecksniff that evening… 6:21 8 In their strong feeling on this point… 5:34 9 ‘I more than half believed, just now…’ 5:54 10 You and I will get on excellently well…’ 6:17 11 It was the morning after the Installation Banquet… 4:40 12 ‘You must know then…’ 6:06 13 Martin began to work at the grammar-school… 5:19 14 The rosy hostess scarcely needed… 6:57 15 When Mr Pecksniff and the two young ladies… 5:21 16 M. Todgers’s Commercial Boarding-House… 6:12 17 Todgers’s was in a great bustle that evening… 7:18 18 Time and tide will wait for no man… 4:56 19 ‘It was disinterested too, in you…’ 5:21 20 ‘Ah, cousin!’ he said… 6:28 2 21 The delighted father applauded this sentiment… 5:57 22 Mr Pecksniff’s horse… 5:22 23 John Westlock, who did nothing by halves… 4:51 24 ‘Now, Mr Pecksniff,’ said Martin at last… 6:39 25 They jogged on all day… 5:48 26 His first step, now he had a supply… 7:19 27 For some moments Martin stood gazing… 4:10 28 ‘Now I am going to America…’ 6:49 29 Among these sleeping voyagers were Martin and Mark… 5:01 30 Some trifling excitement prevailed… 5:21 31 They often looked at Martin as he read… 6:05 32 Now, there had been at the dinner-table… 5:05 33 Mr Tapley appeared to be taking his ease… 5:44 34 ‘But stay!’ cried Mr Norris… 4:41 35 Change begets change. -
Uni International 300 N
INFORMATION TO USERS This reproduction was made from a copy of a document sent to us for microfilming. While the most advanced technology has been used to photograph and reproduce this document, the quality of the reproduction is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help clarify markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure complete continuity. 2. When an image on the film is obliterated with a round black mark, it is an indication of either blurred copy because of movement during exposure, duplicate copy, or copyrighted materials that should not have been filmed. For blurred pages, a good image of the page can be found in the adjacent frame. If copyrighted materials were deleted, a target note will appear listing the pages in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photographed, a definite method of “sectioning” the material has been followed. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. -
Beth Penney UCSC September, 2015 the 2015 Dickens Universe
Beth Penney UCSC September, 2015 The 2015 Dickens Universe Climate change was on the minds of many of the attendees at the 2015 Dickens Universe, held August 2-8 at College Eight at the University of California, Santa Cruz. Rather than the cool mornings and warm days Santa Cruz usually provides, there were cloudy afternoons and even a late-week rainstorm. With 250 people in attendance, registration has remained steady over the past few years, thanks in part to the 2011 New Yorker article about the event by this year’s keynote speaker Jill Lepore of Harvard University. This year, there were more faculty and graduate students, with 130 participants from the general public. The number of universities affiliated with UCSC’s Dickens Project continues to grow, with 45 universities in the consortium from across the U.S. and overseas, and others expressing interest. This is the Dickens Universe’s 35th year, and it’s been more than 30 years since the Universe treated Martin Chuzzlewit; American Notes has never been discussed at this forum. This year, an adjunct conference titled “The Long, Wide 19th Century” preceded the week-long Universe, running from July 31 to August 2. On Sunday evening, Dickens Project Director John Jordan segued from one conference to the next by quoting Project co-founder Murray Baumgarten, saying, “Dickens is the railroad station through which everything in the 19th century passes.” He amended that statement by saying that Dickens is also the “port” Penney 2 through which everything passes. The Universe, he said, is a scholarly conference, but “It’s also a place where we come to have fun.” Most conferences, he said, last just two to three days, but this can be thought of as a “residential” conference—and as a summer camp. -
Test Your Knowledge: a Dickens of a Celebration!
A Dickens of a Celebration atKinson f. KathY n honor of the bicentennial of Charles dickens’ birth, we hereby Take the challenge! challenge your literary mettle with a quiz about the great Victorian Iwriter. Will this be your best of times, or worst of times? Good luck! This novel was Dickens and his wife, This famous writer the first of Dickens’ Catherine, had this was a good friend 1 romances. 5 many children; 8 of Dickens and some were named after his dedicated a book to him. (a) David Copperfield favorite authors. (b) Martin Chuzzlewit (a) Mark twain (c) Nicholas Nickleby (a) ten (b) emily Bronte (b) five (c) hans christian andersen (c) nine Many of Dickens’ books were cliffhangers, Where was 2 published in monthly The conditions of the Dickens buried? installments. In 1841, readers in working class are a Britain and the U.S. anxiously 9 common theme in awaited news of the fate of the 6 (a) Portsmouth, england Dickens’ books. Why? pretty protagonist in this novel. (where he was born) (a) he had to work in a (b) Poet’s corner, westminster (a) Little Dorrit warehouse as a boy to abbey, London (b) A Tale of Two Cities help get his family out of (c) isles of scilly (c) The Old Curiosity Shop debtor’s prison. (b) his father worked in a livery and was This amusement This was an early mistreated there. park in Chatham, pseudonym used (c) his mother worked as England, is 3 by Dickens. a maid as a teenager and named10 after Dickens. -
Dickens' Holiday Classic
Play Guide HOLIDAY 2020 Dickens’ Holiday Classic A VIRTUAL TELLING OF A CHRISTMAS CAROL DECEMBER 19–31 Inside THE NOVELLA Synopsis • 4 “This Ghostly Little Book”: Comments on A Christmas Carol • 5 THE AUTHOR About Charles Dickens • 6 Charles Dickens: A Selected Chronology • 7 A Novel Petition for London’s Poor • 8 CULTURAL CONTEXT Dickens and the Christmas Tradition • 9 Dickens, Scrooge and British Diplomacy • 11 A Scrooge Primer • 13 Victorian Parlor Games • 14 EDUCATION RESOURCES Discussion Questions and Classroom Activities • 16 ADDITIONAL INFORMATION For Further Reading and Understanding • 18 Guthrie Theater Play Guide 818 South 2nd Street, Minneapolis, MN 55415 Copyright 2020 ADMINISTRATION 612.225.6000 BOX OFFICE 612.377.2224 or 1.877.447.8243 (toll-free) DRAMATURG Carla Steen guthrietheater.org • Joseph Haj, Artistic Director GRAPHIC DESIGNER Brian Bressler EDITOR Johanna Buch The Guthrie creates transformative theater experiences that ignite the CONTRIBUTORS Matt DiCintio, Hunter Gullickson, imagination, stir the heart, open the mind and build community through the Jo Holcomb, Matt McGeachy, Siddeeqah Shabazz, illumination of our common humanity. Carla Steen All rights reserved. With the exception of classroom use by teachers and individual personal use, no part of this play guide may be reproduced in any form without permission in writing from the publishers. Some materials are written especially for our guide. Others are reprinted by permission of their publishers. The Guthrie Theater receives support from the National Endowment for the Arts. This activity is made possible in part by the Minnesota State Arts Board, through an appropriation by the Minnesota State Legislature. The Minnesota State Arts Board received additional funds to support this activity from the National Endowment for the Arts. -
The Storm Scene in David Copperfield ANTHONY KEARNEY
The Storm Scene in David Copperfield ANTHONY KEARNEY HAPTER 55 of David Copperfield ("Tempest") is by general account one of the best-remembered passages in the whole of Dickens. Dickens drew on his deepest imaginative strengths in creating the scene and the result, as Forster said, "is a description that may compare with the most impressive in the language."1 For Ruskin, who thought Turner's painting of the steamer in distress merely "a good study of wild weather," there was nothing in either painting or literature to compare with Dickens' storm.2 Later readers, too, have responded with similar enthusiasm to the brilliant description of the furious wind and sea and to the high drama of Ham's vain attempt to save Steer- forth from drowning. Yet several questions remain to be asked about this passage. Dickens' novels contain a good many storm scenes of one kind or another, why is this scene so much more memorable than any of the others? Is it simply a question of more powerfully sustained writing, or of something more? On the face of it, like any other writer producing a storm at a climactic moment, Dickens ran the risk of lapsing into mere contrivance: why is it that the reader has no real sense of things being forced or exploited in this chapter? Why does this storm have a poetic relevance and value in relation to larger happenings in the novel where other fictional storms do not? In the present article I should like to look more closely at these questions. Dickens, of course, was well-practised in utilising the dramatic effects of storms in his writings by the time he came to David Copperfield. -
Genre, Gender, and the Cartographical Imagination in Popular British Literature, 1830-1880
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 Standard Deviations: Genre, Gender, and the Cartographical Imagination in Popular British Literature, 1830-1880 Taylor R. Kennamer Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/488 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] STANDARD DEVIATIONS: GENRE, GENDER, AND THE CARTOGRAPHICAL IMAGINATION IN POPULAR BRITISH LITERATURE, 1830-1880 by TAYLOR REBECCA KENNAMER A dissertation submitted to the Graduate Faculty in English in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2014 © 2014 TAYLOR REBECCA KENNAMER All Rights Reserved ii This manuscript has been read and accepted by the Graduate Faculty in English in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. Talia C. Schaffer Date Chair of Examining Committee Mario DiGangi Date Executive Officer Talia C. Schaffer Anne Humpherys Richard Kaye Supervisory Committee THE CITY UNIVERSITY OF NEW YORK iii Abstract STANDARD DEVIATIONS: GENRE, GENDER, AND THE CARTOGRAPHICAL IMAGINATION IN POPULAR BRITISH LITERATURE, 1830-1880 by TAYLOR REBECCA KENNAMER Adviser: Professor Talia C. Schaffer While cartography is understood to undergird the spatial interventions integral to Victorian reform in areas such as sewerage and housing, little critical attention has been paid to the influence of cartographical discourse in itself, rather than through its concrete products, as a force that fundamentally altered nineteenth-century conceptions of self, other, and environment. -
Martin Chuzzlewit ‘I Think Chuzzlewit in a Hundred Points Immeasurably the Best of My Stories
THE Charles Dickens COMPLETE CLASSICS Martin UNABRIDGED CLASSIC FICTION Chuzzlewit Read by Sean Barrett NAX98312D 1 Chapter 1 6:10 2 These remarkable words wrought… 5:47 3 On another occasion, he says… 3:59 4 Chapter 2 5:44 5 It was small tyranny for a respectable wind… 6:27 6 Miss Pecksniff sat upon a stool… 6:19 7 ‘Even the worldly goods…’ 7:00 8 ‘Now I think,’ said Mr Pecksniff… 6:53 9 ‘As to your forgiveness, Mr Pecksniff…’ 5:37 10 ‘Besides, whether I am or no,’ he added… 7:01 11 Chapter 3 5:20 12 That her guest had need of some efficient… 6:06 13 And, at length, she said, in a voice too low… 4:59 14 ‘Come,’ he said, ‘Tell me, who is it?’ 7:57 15 ‘Shall I knock?’ asked Mrs Lupin… 7:10 16 A long pause succeeded… 6:03 17 Mr Pecksniff shook his head… 5:53 18 Mr Pecksniff as slowly rose… 6:04 19 Chapter 4 7:14 20 ‘Now, this is very distressing…’ 7:12 2 21 ‘Now, I’ll tell you what it is…’ 5:18 22 Mr Tigg, planting his legs as wide apart… 5:57 23 If ever Mr Pecksniff wore an apostolic look… 7:00 24 ‘I am not sorry,’ said Mr Pecksniff… 6:30 25 In their strong feeling on this point… 5:55 26 ‘I passed from the memory…’ 4:57 27 Chapter 5 6:08 28 And now the morning grew so fair… 6:20 29 ‘I never,’ Mark replied… 6:12 30 But the shops.