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Century British Detective Fiction
UNLV Theses, Dissertations, Professional Papers, and Capstones 8-1-2014 Detecting Arguments: The Rhetoric of Evidence in Nineteenth-- Century British Detective Fiction Katherine Anders University of Nevada, Las Vegas Follow this and additional works at: https://digitalscholarship.unlv.edu/thesesdissertations Part of the Literature in English, British Isles Commons Repository Citation Anders, Katherine, "Detecting Arguments: The Rhetoric of Evidence in Nineteenth--Century British Detective Fiction" (2014). UNLV Theses, Dissertations, Professional Papers, and Capstones. 2163. http://dx.doi.org/10.34917/6456393 This Dissertation is protected by copyright and/or related rights. It has been brought to you by Digital Scholarship@UNLV with permission from the rights-holder(s). You are free to use this Dissertation in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. This Dissertation has been accepted for inclusion in UNLV Theses, Dissertations, Professional Papers, and Capstones by an authorized administrator of Digital Scholarship@UNLV. For more information, please contact [email protected]. DETECTING ARGUMENTS: THE RHETORIC OF EVIDENCE IN NINETEENTH-CENTURY BRITISH DETECTIVE FICTION by Katherine Christie Anders Bachelor of Arts in Liberal Arts St. John’s College, Santa Fe 2003 Master of Library -
[S0cpy.Ebook] the Frozen Deep Pdf Free
S0cPY [Library ebook] The Frozen Deep Online [S0cPY.ebook] The Frozen Deep Pdf Free Wilkie Collins ePub | *DOC | audiobook | ebooks | Download PDF Download Now Free Download Here Download eBook 2012-05-12 2012-05-12File Name: B0082S881A | File size: 54.Mb Wilkie Collins : The Frozen Deep before purchasing it in order to gage whether or not it would be worth my time, and all praised The Frozen Deep: 0 of 0 people found the following review helpful. The Inspiration for "A Tale of Two Cities"By California FreethinkerThis is a short, bizarre story about two men who love the same woman. In his preface to "A Tale of Two Cities," Dickens claimed he got the original idea for the novel from this story, which he and Wilkie Collins adapted for their amateur theatrical group. I have read elsewhere that the two men collaborated on the prose tale also. If you love "A Tale of Two Cities"--it is one of my very favorite novels--I recommend this chilling tale as an example of how a genius can make a silk purse out of a piece of blubber.0 of 0 people found the following review helpful. Slushie at BestBy storyteller312All the other books I have read by Wilkie Collins had great stories with twists and turns, peppered with unexpected events and multi-layered characters. Although, this book was beautifully written as I had expected, the story never built up to more than a very predictable conclusion.Since Wilkie Collins has so many wonderful books to his credit, I would go to one of them before The Frozen Deep.The Woman in White, Basil, The Moonstone, or A Rogue's Life all presented more reading entertainment.0 of 0 people found the following review helpful. -
DETECTIVE NARRATIVE and the PROBLEM of ORIGINS in 19 CENTURY ENGLAND by Amy Rebecca Murray Twyning Bachelor of Arts, West Chest
DETECTIVE NARRATIVE AND THE PROBLEM OF ORIGINS IN 19TH CENTURY ENGLAND by Amy Rebecca Murray Twyning Bachelor of Arts, West Chester University, 1992 Master of Arts, West Virginia University, 1995 Submitted to the Graduate Faculty of The English Department in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2006 UNIVERSITY OF PITTSBURGH DEPARTMENT OF ENGLISH This dissertation was presented by Amy Rebecca Murray Twyning It was defended on March 1st, 2006 and approved by Marcia Landy, Distinguished University Service Professor, English Department, Film Studies, and the Cultural Studies Program James Seitz, Associate Professor, English Department Nancy Condee, Associate Professor, Slavic Languages and Literature and Director of the Program for Cultural Studies Dissertation Director: Colin MacCabe, Distinguished University Professor, English Literature, Film Studies, and the Cultural Studies Program ii Copyright © by Amy Rebecca Murray Twyning 2006 iii DETECTIVE NARRATIVE AND THE PROBLEM OF ORIGINS IN 19TH CENTURY ENGLAND Amy Rebecca Murray Twyning, PhD University of Pittsburgh, 2006 Working with Fredric Jameson’s understanding of genre as a “formal sedimentation” of an ideology, this study investigates the historicity of the detective narrative, what role it plays in bourgeois, capitalist culture, what ways it mediates historical processes, and what knowledge of these processes it preserves. I begin with the problem of the detective narrative’s origins. This is a complex and ultimately -
About the Man One of the World’S Greatest Authors, Charles Dickens Spent Many Years Living in the Medway Area
. .all about the man One of the world’s greatest authors, Charles Dickens spent many years living in the Medway area. But how much do you know about the man behind Great Expectations and Oliver Twist? Test your knowledge with our fun quiz. 1. How many complete full length novels did Dickens write? a) 14, b) 20 or c) 10? 2. True or false? Charles Dickens was born in Kent. 3. What was the name of the house Dickens bought near Rochester in 1856? 4. Name the factory Dickens was sent to work at when he was 12 years old. 5. Which two Dickens novels were based in and around Rochester and its local towns? Clue: the publication dates are 1861 and 1870. 6. What pseudonym was Dickens known as when he first started publishing his work? 7. Which historic building in Rochester did Dickens use as Miss Havisham’s house in Great Expectations? 8. Eastgate house in Rochester features in The Mystery of Edwin Drood as ‘the nuns’ house’. What was the nuns’ house used for in the book? a) a school for young ladies b) a convent for nuns or c) a house lived in by wealthy friends of Edwin Drood? 9. Dickens received a present of a Swiss chalet when he lived in Kent. What did he use it for? 10. True or false? The top floor of Dickens’ Swiss chalet was lined with mirrors. 11. How many children did Dickens have? a) 15, b) 10, c) 3 or d) 6? 12. Dickens used St James’ church in Cooling in the opening chapter of a novel, where a small boy encounters an escaped convict. -
Covert Female Power Mediating Identity in Wilkie Collins' The
Covert Female Power Mediating Identity in Wilkie Collins’ The Moonstone Sydney Wildman Wilkie Collins’ text The Moonstone is a quintessential detective story which involves the theft of a precious diamond within a dynamic and complex family. The tale is recounted through shifting the narration between numerous characters. On the surface, the story is simple: the infamous Moonstone diamond has been stolen from Rachel Verinder, the heroine of the story. Her love interest, Franklin Blake serves as the hero, acting as the catalyst for the mystery’s narration as he asks the characters to recount “the story of the Moonstone… as far as our personal experience extends, and no farther”.1 He is responsible for piecing the narrative together, while also providing a substantial portion of the novel from his perspective. Indeed, Blake seems determined to solve the mystery. However, the detection work within the novel becomes more complex than a singular search for the diamond. Anne-Marie Beller argues that while “detection is a necessary quest to find the truth, meaning, and stability”2, the detection is not “merely concerned with finding out the truth about others, but more crucially about oneself”.3 Therefore, with Blake at the forefront of the detection, the process develops into a trajectory of self-discovery. Considering Blake’s contradictory sense of self, the mystery instead becomes a narrative about Blake’s identity shift from hero to thief. However, he is unable to uncover his identity alone. Instead, it is the covert forms of power that lower- and upper-class women hold – Rosanna Spearman and Rachel Verinder, respectively – that mediate Blake’s identity shift. -
Charles Dickens Unit Study
Charles Dickens Unit Study Subjects: Reading, History, Writing, Math, Following Directions, Geography ©2019 Randi Smith www.peanutbutterfishlessons.com Teacher Instructions Thank you for downloading our Charles Dickens Unit Study! It was created to be used with the books: Magic Tree House: A Ghost Tale for Christmas Time and Who Was Charles Dickens?. You may incorporate other books about Charles Dickens, as well. Here is what is included in the study: Pages 3-10: Facts about Charles Dickens Notetaking Sheets: Use with Who Was…? Contains answer key. Pages 11-12: Facts about Charles Dickens Notetaking Sheets Short Version: Use with MTH. Contains answer key. Pages 13-16: Timeline of Charles Dickens’ Life: Students may write on timeline or cut and glue events provided. Page 17: Writing Prompt: Diary Entry of one of Dickens’ characters. Page 18: Scrambled Words Page 19: Compare and Contrast: Two of Dickens’ characters Pages 20-21: British Money Activity Page 22: Answer Key for Scrambled Words and Money Activity Pages 23-24: Following Directions in London with map. Also refer to our post: Charles Dickens FREE Unit Study for: 1. A list of some of his popular books and movies that are appropriate for children. 2. Videos to learn more about Charles Dickens 3. Links to other resources such as a Virtual Tour of the Charles Dickens Museum and A Christmas Carol FREE Unit Study. You May Also Be © Interested In: 2019 Credits www.peanutbutterfishlessons.com Smith Randi Frames by: Map Clip Art by: Facts about Charles Dickens Birth (date and place): _____________________________ -
Dickens After Dickens, Pp
CHAPTER 2 Nordic Dickens: Dickensian Resonances in the Work of Bjørnstjerne Bjørnson Kathy Rees, Wolfson College, University of Cambridge On 19 March 1870, the Illustrated London News reported on the last of Charles Dickens’s farewell readings at St. James’s Hall (‘Mr. Chas Dickens’s Farewell Reading’ 301). Three weeks later, Norsk Folkeblad featured this same article, translated into Norwegian (‘Charles Dickens’s Sidste Oplaesning’ 1). At that time, the editor of Norsk Folkeblad was the 38-year-old journalist, novelist, and playwright Bjørnstjerne Bjørnson. He recognised the importance of this event and, unlike his English counterpart, he made it front-page news. Bjørnson reproduced both the iconic image of the famous writer at his reading desk and the words of Dickens’s brief curtain speech wherein he bade farewell to his adoring public. Dickens’s novels and journals had long been widely read in Norway, first in German and French translations, later in Danish or Swedish. Sketches by Boz (1836) was popular because of its representation of English customs, especially among the lower classes: one of its tales, ‘Mr Minns and his Cousin’, was included on the English syllabus of Norwegian schools from as early as 1854 (Rem 413). American Notes (1842) was also much discussed on account of the rising numbers of Norwegian emigrants crossing the Atlantic.1 Written Danish and Norwegian were virtually the same language in the How to cite this book chapter: Rees, K. 2020. Nordic Dickens: Dickensian Resonances in the Work of Bjørnstjerne Bjørnson. In: Bell, E. (ed.), Dickens After Dickens, pp. 35–55. -
Seasonal Tales, Far-Flung Settings. the Unfamiliar
PHILIP V. ALLINGHAM LAKEHEAD UNIVERSITY, THUNDER BAY, ONTARIO, CANADA Seasonal Tales, Far-flung Settings The Unfamiliar Landscapes of The Christmas Books and Stories (1843–1867) Fig. 1. Marcus Stone, “Bibliomania of the Golden Dustman,” Our Mutual Friend, p. 406 he common reader of the latter part of the nineteenth T century would likely have associated the fictional pro- ductions of Charles Dickens with cityscapes (institutional Milli mála 7/2015 27 PHILIP V. ALLINGHAM edifices, streets, and bridges), particularly with London from the end of the Napoleonic Wars to his death in 1870 – to that reader a quintessentially Dickensian scene would be a London scene such as Marcus Stone’s “The Bibliomania of the Golden Dustman” for Book 3, Chapter 5, of Our Mutual Friend (April 1865). However, beginning with The Christmas Books (1843–48), and continuing with their successors col- lectively known as The Christmas Stories, Dickens often in- corporated and occasionally exploited backdrops that were neither specifically urban nor, indeed, English, to lend these seasonal offerings the allure of the unfamiliar and even, as in his principal collaborations with Wilkie Collins, The Perils of Certain English Prisoners (Household Words, 1857) and No Thoroughfare (All the Year Round, 1867), the exotic. The common reader on either side of the Atlantic would probably not have had a common experience of the Christmas Stories, as these appeared complete, with contri- butions by other writers such as Wilkie Collins and Eliza- beth Gaskell, in Household Words and All the Year Round in Britain, but in America first appeared in a separate volume in the Ticknor and Fields Diamond edition (1867) and sub- sequently in an 1876 volume of The Household Edition, il- lustrated by E. -
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. -
Situational Ethics in Wilkie Collins' "Woman in White" and "Moonstone"
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1990 Situational Ethics in Wilkie Collins' "Woman in White" and "Moonstone" Flora Christina Buckalew College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the English Language and Literature Commons Recommended Citation Buckalew, Flora Christina, "Situational Ethics in Wilkie Collins' "Woman in White" and "Moonstone"" (1990). Dissertations, Theses, and Masters Projects. Paper 1539625596. https://dx.doi.org/doi:10.21220/s2-bjv4-6j20 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. SITUATIONAL ETHICS IN WILKIE COLLINS' WOMAN IN WHITE AND MOONSTONE A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial Fulfillment Of the Requirements for the Degree of Master of Arts by Flora C. Buckalew 1990 APPROVAL SHEET This thesis is submitted in partial fulfillment of The requirements for the degree of Master of Arts Cl — '_________________ Flora C. Buckalew Approved, December 1990 Deborah D. Morse W . O&y&SuL. John W. Conlee Z. Terry/L7 Meyers/ ii DEDICATION The author would like to thank her parents, Dr. Robert Jo Buckalew and Mrs. Flora K. Buckalew, and her sister, Miss Faye R. Buckalew, for their love and support. iii TABLE OF CONTENTS Page ACKNOWLEDGMENTS ............... v ABSTRACT ........................ -
The Moonstone
The Moonstone Wilkie Collins Retold by David Wharry Series Editors: Andy Hopkins and Jocelyn potter Contents Page Introduction 4 Taken From an Old Family Letter 5 Part 1 The Loss of the Diamond 7 Chapter 1 A Record of the Facts 7 Chapter 2 Three Indian Men 8 Chapter 3 The Will 9 Chapter 4 A Shadow 13 Chapter 5 Rivals 14 Chapter 6 The Moonstone 17 Chapter 7 The Indians Return 18 Chapter 8 The Theft 21 Chapter 9 Sergeant Cuff Arrives 26 Chapter 10 The Search Begins 29 Chapter 11 Rosanna 30 Chapter 12 Rachel's Decision 34 Chapter 13 A Letter 36 Chapter 14 The Shivering Sands 39 Chapter 15 To London 44 Part 2 The Discovery of the Truth 46 First Narrative 46 Chapter 1 A Strange Mistake 46 Chapter 2 Rumours and Reputations 49 Chapter 3 Placing the Books 54 Chapter 4 A Silent Listener 56 Chapter 5 Brighton 59 Second Narrative 65 Chapter 1 Money-Lending 65 Chapter 2 Next June 67 2 Third Narrative 69 Chapter 1 Franklin's Return 69 Chapter 2 Instructions 71 Chapter 3 Rosanna's Letter 73 Chapter 4 Return to London 76 Chapter 5 Witness 78 Chapter 6 Investigating 82 Chapter 7 Lost Memory 85 Chapter 8 Opium 87 Fourth Narrative 90 Fifth Narrative 94 Sixth Narrative 100 3 Introduction 'Look, Gabriel!' cried Miss Rachel, flashing the jewel in the sunlight. It was as large as a bird's egg, the colour of the harvest moon, a deep yellow that sucked your eyes into it so you saw nothing else. -
Financial Statements 31 July 2012
Financial Statements 31 July 2012 The Conservatoire for Dance and Drama Tavistock House Tavistock Square London WC1H 9JJ Company number: 4170092 Charity number: 1095623 2 Contents Company Information 5 Report of the Board of Governors 6 Conservatoire Student Public Performances 2011-12 17 Statement of Responsibilities of the Board Of Governors 22 Corporate Governance Statement 23 Independent Auditors’ Report to the Members of the Conservatoire for Dance and Drama 27 Income and Expenditure Account 29 Balance Sheet 30 Cash Flow Statement 31 Statement of Principal Accounting Policies 32 Notes to the Financial Statements 33 Copies of these financial statements can be obtained from the registered office overleaf and are available in large print and other formats on request. 3 4 Company Information Governors James Smith CBE (Chairman) Nicholas Karelis (These are all company directors, Prof Christopher Bannerman Sir Tim Lankester charity trustees and members of Rosemary Boot Susannah Marsden the company.) Kim Brandstrup Richard Maxwell Ralph Bernard Alison Morris Kit Brown Simon O’Shea Richard Cooper Luke Rittner Christopher de Pury Anthony Smith Ryan Densham Andrew Summers CMG Emily Fletcher Kathleen Tattersall OBE Melanie Johnson Joint Principal Prof Veronica Lewis MBE Edward Kemp (also Governors and Directors) (Accountable Officer) Clerk to the Board of Governors and John Myerscough/Claire Jones (from Nov 27 2012) Company Secretary Registered Address Tavistock House Tavistock Square London, WC1H 9JJ Affiliates founding London Contemporary