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D L FO Character Guide for Great ExpectationsA PIP AND HIS FAMILY Philip Pirrip ("Pip") An orphan who is both the protagonist and narrator of the novel TALE Joe Gargery Pip's brother-in-law; a kind blacksmith Mrs. Joe Gargery Pip's hot-tempered adultOF sister who raises him after GREAT the death of their parents Mr. Pumblechook Joe Gargery's uncle, an officious bachelor and corn merchant EXPECTATIONS MISS HAVISHAM AND HERT FAMILYWO Miss Havisham A wealthy spinster Estella Miss Havisham's adopted daughter who is Pip's age and A TALE OF TWO CITIES Arthur Miss Havisham'sCITIE half-brother S TWO NOVELS Matthew Pocket Miss andHavisham's GR EcousinAT whoEX tutorsPEC PipTATIONS Herbert Pocket Matthew Pocket's son who is about Pip's age TWO NOVELS CHARLES DICKENS Camilla, Cousin Raymond, Georgiana and Sarah Pocket Relatives of Miss Havisham whoCHARLES hang around Satis House "like DICKE flies" for her wealthNS CHARACTERS FROM PIP'S YOUTH The Convict An escapee from a prison ship who Pip meets in the cemetery If you’re reading only Great Expectations, here's your reading schedule. Biddy Mr. Wopsle's second cousin who teaches Pip everything she knows when they are younger 12/17 Volume 1: Chapters 1–9 Pages 377–442 "Dolge" Orlick A journeyman blacksmith at Joe Gargery's forge Mr. and Mrs. Hubble Simple folk who live in Pip's village 12/24 Volume 1: Chapters 10 – 19 Pages 442–525 Mr. Wopsle The church clerk of Pip's town 12/31 Volume 2: Chapters 1 – 9 Pages 529–594 Mr. Trabb The local tailor and undertaker Mr. Trabb's Boy Mr. Trabb's assistant 1/7 Volume 2: Chapters 10 – 20 Pages 594–681 THE LONDON CROWD 1/14 Volume 3: Chapters 1 – 10 Pages 685–757 Compeyson A convict, enemy to Magwitch and professional swindler Bentley Drummle A coarse, unintelligent young man from a wealthy 1/21 Volume 3: Chapters 11 – 22 Pages 758–834 family who will inherit a title Mr. Jaggers Prominent London lawyer Molly Mr. Jaggers' maidservant Aged Parent (aged P.) Wemmick's delightful and deaf father Note: Page numbers based on the Penguin Books 2010 deluxe edition Great Expectations and A Tale of Two John Wemmick Mr. Jaggers' clerk who looks after Pip in London Cities: Two Novels by Charles Dickens with the Oprah's Miss Skiffins A woman who visits Mr. Wemmick at his home, "the Book Club seal on the cover. The special deluxe edition castle" and enhanced eBook are also available for all eReaders. Clara Barley A very poor girl who lives with her father, who is suffering from gout The Avenger (Pepper) Pip's unambitious servant boy Join the discussion online, anytime at Oprah.com/dickens.

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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.
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Announcement
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Miss Havisham's Role Towards Estella's Personality As Seen in Great
MISS HAVISHAM’S ROLE TOWARDS ESTELLA’S PERSONALITY AS SEEN IN GREAT EXPECTATION BY CHARLES DICKENS Risma Kartika Dewi Email: [email protected] Program Studi Sastra Inggris, Fakultas Sastra, Universitas Gresik Dwi Retno Novemi Maulidiyah Email: [email protected] PT. Wilmar Nabati Indonesia ABSTRACT This study is conducted to get better understanding regarding the role of family, particularly the role of mother towards personality of the child. In holding her role as an adopted mother for Estella, Miss Havisham adopts the type of parenting style in which she fully dominates and eleminates the rights of Estella. Miss Havisham has an intention to do the twisted revenge on men. She uses Estella as her media of taking revenge. She puts her ambition on Estella without considering Estella’s desire. Her own disappointment leading her to foster an adoptive daughter under her control. The writer interests to discuss more detail whether Miss Havisham’s parenting style can influence to the personality of Estella or not. In Writing the thesis, the writer uses literary approach which is linked with descriptive qualitative. After collecting the data, the writer classifies and clarifies the data which are related to the topic being discussed. The finding of this study shows that there is parent involvement process in forming Estella’s thought, identity and achievement. The writer concludes that Miss Havisham’s parenting style is not the best way in parent involvement process because it generates the negative impacts on Estella’s personality. Key words : Role, Parenting Style, and Motive I. INTRODUCTION who named Estella, since she has no desire to marry anymore, to console her seclusion life.
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Gothic, Sensationalist and Melodramatic Reflections of Miss Havisham
(Re)Imagining the (Neo)Victorian Spinster: Gothic, Sensationalist and Melodramatic Reflections of Miss Havisham By Maria Dimitriadou A dissertation submitted to the Department of English Literature and Culture, School of English, Faculty of Philosophy, in partial fulfillment of the requirements for the degree of Master of Arts. Aristotle University of Thessaloniki January 2014 (Re)Imagining the (Neo)Victorian Spinster: Gothic, Sensationalist and Melodramatic Reflections of Miss Havisham By Maria Dimitriadou APPROVED: 1. ________________________ 2. ________________________ 3. ________________________ Examining Committee ACCEPTED: _____________________ Department Chairperson Table of Contents Acknowledgements.....................................................................................................v Abstract.........................................................................................................................vi List of Figures............................................................................................................vii Introduction..................................................................................................................1 Chapter 1: Victorian Representations of the Spinster 1.1 Before Miss Havisham: The Gothic/Sensationalist Background of Great Expectations.......................................................................................................................9 1.2 Dickens and Gothic Fantasy: Imagining Miss Havisham in Great Expectations.....................................................................................................................20
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Charles Dickens's Miss Havisham: Her Expectations and Our Responses
J. Basic. Appl. Sci. Res., 2(3)2395-2399, 2012 ISSN 2090-4304 Journal of Basic and Applied © 2012, TextRoad Publication Scientific Research www.textroad.com Charles Dickens’s Miss Havisham: Her Expectations and Our Responses Sayed Mohammad Anoosheh Associate Professor, Yazd University ABSTRACT One of the most significant figures in Charles Dickens novel Great Expectations in terms of affective power is Miss Havisham. Dickens's contemporary readers probably understood either consciously or sub- consciously that Miss Havisham's ill-fated marriage and her consequent behaviour made a peculiar sort of sense in their world. Since stories like Miss Havisham's have been told and re-told from Dicken's time to ours in the continuing narrative of Western experience, this frustrated spinster may seem familiar even to present-day readers. Infact, we respond to codes that inform Great Expectations almost intuitively: the differenc is that our intuitions are informed by two centuries of additional development both cultural and literary. Her characterization provides a model of the power of repressive forces especially in their dual roles as agents of society at large acting on individual and as internalized matter directing one to govern the conduct of self and others. For the twenty first century reader, the richness of the novel may be enhanced by the analysis that pays attention to the cultural dynamics at work during Dickens's time with an emphasis on what more recent psycho-analytic, social and literary narrative offer us for understanding. KEYWORDS: Dickens, Miss Havisham, Great Expectations, cultural analysis, narcissism. INTRODUCTION "Great Expectations" is often linked in readers' minds with earlier Oliver Twist, Nicholas Nickleby and David Copperfield, in all four novels trace the careers of young men through difficulties to a serene conclusion.
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Miss Havisham Satis House
Great Expectations By Charles Dickens Miss Havisham Satis House Information from http://www.sparknotes.com Great Expectations Key Facts FULL TITLE • Great Expectations SETTING (TIME) • Mid-nineteenth century AUTHOR • Charles Dickens SETTINGS (PLACE) • Kent and London, England TYPE OF WORK • Novel POINT OF VIEW • First person GENRES • Bildungsroman, social criticism, autobiographical fiction TENSE • Past TIME AND PLACE WRITTEN • London, 1860-1861 TONE • Comic, cheerful, satirical, wry, critical, sentimental, dark, dramatic, foreboding, Gothic, sympathetic NARRATOR • Pip THEMES • Ambition and the desire for self-improvement (social, CLIMAX • A sequence of climactic events occurs from Chapter 51 economic, educational, and moral); guilt, criminality, and innocence; to Chapter 56: Miss Havisham’s burning in the fire, Orlick’s attempt maturation and the growth from childhood to adulthood; the to murder Pip, and Pip’s attempt to help Magwitch escape London. importance of affection, loyalty, and sympathy over social PROTAGONIST • Pip advancement and class superiority; social class; the difficulty of maintaining superficial moral and social categories in a constantly ANTAGONIST • Great Expectations does not contain a traditional changing world single antagonist. Various characters serve as figures against whom Pip must struggle at various times: Magwitch, Mrs. Joe, Miss SYMBOLS • The stopped clocks at Satis House symbolize Miss Havisham, Estella, Orlick, Bentley Drummle, and Compeyson. With Havisham’s attempt to stop time; Satis House represents the upper- the exception of the last three, each of the novel’s antagonists is class world to which Pip longs to belong redeemed before the end of the book. Information from http://en.wikipedia.org/wiki/Great_Expectations Great Expectations Synopsis On Christmas Eve, around 1812, Pip, 6 years old, encounters an escaped convict, who scares Pip into stealing food for him and a file to grind away his shackles, from the home he shares with his abusive older sister and her kind, passive husband Joe Gargery.
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Pip's Forward Thinking: Dickens' Message of Moral Progression by Ruth Li “No Story in the First Person Was Ever Better T
Pip’s Forward Thinking: Dickens’ Message of Moral Progression By Ruth Li “No story in the first person was ever better told.” –George Gissing As a story told in the first person, Great Expectations triumphs because of the significance in Pip’s present voice narrating the entirety of his life with its realizations and changes. Pip’s narrative guides our psychological journey as readers: as the story unfolds we are at first helpless and shameful like the youthful Pip, then longing and discontent as the plot progresses, and ultimately mature and reconciled because Pip makes it so. Through a person’s voice and thoughts Dickens illustrates the struggle of the individual within society; Pip’s discontent and his pains, faults, and successes in becoming a successful and moral gentleman are embedded in Dickens’ message that individuals have the burden to face their own faults in order to enlighten themselves in a flawed society. By reading, we must realize our own roles as part of today’s world. That bleak page on which Dickens opens Great Expectations etches a lucid scene into our minds. The barren landscape of the churchyard, the marsh with “dykes and mounds and gates,” and the wretched convict chained by iron, “soaked in water and smothered in mud,” illustrate the utter depravity and ancient ways that expose the most haunting nightmares of Victorian England. To young Pip, a pale observer, society has dictated fate with a cruel and suffocating grasp. Magwitch is chained literally to iron, but Pip is chained figuratively to orphanage, Mrs. Joe’s bringing-up “by hand,” and limited education.
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Dickensian Press Pack
Dickensian Press Pack TX: December 2015 BBC One 20 x 30min For further information: Michael Hickson: [email protected] 1 Contents Overview 3 Cast List 4 Cast & Crew Interviews Tony Jordan –Series Creator/ Writer 5 Michael Ralph – Production Designer 7 The Dickensian Set 8 Cast Interviews Stephen Rea plays Inspector Bucket 9 Peter Firth plays Jacob Marley 11 Pauline Collins plays Mrs Gamp 13 Caroline Quentin plays Mrs Bumble 15 Tuppence Middleton plays Amelia Havisham 17 Omid Djalili plays Mr Venus 19 Meet Honoria Barbary & Captain Hawdon 21 (Sophie Rundle & Ben Starr) Meet Arthur Havisham & Compeyson 23 (Joe Quinn & Tom Weston-Jones) Meet Fagin & The Artful Dodger 25 (Anton Lesser & Wilson Radjou-Pujalte) Meet Nancy & Bill Sykes 27 (Bethany Muir & Mark Stanley) Meet The Cratchits (Bob & Emily) 29 (Robert Wilfort & Jennifer Hennessy) Meet Mr Bumble (Richard Ridings) 31 Episode 1 PI 32 Episode 2 PI 33 2 Dickensian Where The Old Curiosity Shop sits next to The Three Cripples Inn, and Fagin’s Den is hidden down a murky alley off a busy Victorian street. This Christmas, BBC One transports you to 19th century London, to a world where some of Charles Dickens’ most iconic characters co-exist, including Scrooge, Inspector Bucket and a young Miss Havisham. With a wealth of back stories inspired by the novels, Dickensian delivers fast-paced storylines with surprising twists and turns. As the snow falls on Market Street this Christmas Eve, the festive hustle and bustle is hushed as the body of wealthy brewer, Mr Havisham, is driven to his final resting place, followed by son Arthur and daughter Amelia.
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Great Expectations Great Expectations
GREAT EXPECTATIONS __________________________ A full-length drama by Rocco P. Natale Adapted from the Charles Dickens novel for the stage This script is for evaluation only. It may not be printed, photocopied or distributed digitally under any circumstances. Possession of this file does not grant the right to perform this play or any portion of it, or to use it for classroom study. www.youthplays.com [email protected] 424-703-5315 Great Expectations © 2007 Rocco P. Natale All rights reserved. ISBN 978-1-62088-424-9. Caution: This play is fully protected under the copyright laws of the United States of America, Canada, the British Commonwealth and all other countries of the copyright union and is subject to royalty for all performances including but not limited to professional, amateur, charity and classroom whether admission is charged or presented free of charge. Reservation of Rights: This play is the property of the author and all rights for its use are strictly reserved and must be licensed by his representative, YouthPLAYS. This prohibition of unauthorized professional and amateur stage presentations extends also to motion pictures, recitation, lecturing, public reading, radio broadcasting, television, video and the rights of adaptation or translation into non-English languages. Performance Licensing and Royalty Payments: Amateur and stock performance rights are administered exclusively by YouthPLAYS. No amateur, stock or educational theatre groups or individuals may perform this play without securing authorization and royalty arrangements in advance from YouthPLAYS. Required royalty fees for performing this play are available online at www.YouthPLAYS.com. Royalty fees are subject to change without notice.
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Dickens and Eliot: a Tale of Two Feminists
The Corinthian Volume 16 Article 3 2015 Dickens and Eliot: A Tale of Two Feminists Matthew Thompson Georgia College & State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation Thompson, Matthew (2015) "Dickens and Eliot: A Tale of Two Feminists," The Corinthian: Vol. 16 , Article 3. Available at: https://kb.gcsu.edu/thecorinthian/vol16/iss1/3 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. The Corinthian: The Journal of Student Research at Georgia College Dickens and Eliot: A Tale of Two Feminists Matthew Thompson Dr. Eustace Palmer Faculty Mentor It has been (and will continue to be) argued that authors always portray characters of their own sex in a more complete way. It is because of this, and well-known facts about the time period during which he wrote, that Charles Dickens is rarely considered a feminist writer. George Eliot, who wrote in nearly the same time peri- od, is often lauded as an exemplary feminist writer. But through his characterization of Miss Havisham and Es- tella in Great Expectations, Dickens shows himself to be more than equal to Eliot in that field of writing. Her own Maggie Tulliver in The Mill on The Floss has often been cited as an example of a feminist character, but under closer scrutiny appears only to conform to social norms of the time period, albeit in a noble manner.
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CHARLES DICKENS Adapted and Directed by JOEL SASS Contributors Contributorsstudy Guide
ON STAGE AT PARK SQUARE THEATRE January 26 - 27 and February 2 - 3, 2016 Study Guide Based on the novel by CHARLES DICKENS Adapted and Directed by JOEL SASS Contributors ContributorsStudy Guide Park Square Theatre Park Square Theatre Study Guide Staff Teacher Advisory Board EDITOR Marcia Aubineau Jill Tammen* University of St. Thomas, retired Theodore Fabel COPY EDITOR South High School Marcia Aubineau* Craig Farmer Perpich Center for Arts Education CONTRIBUTORS Amy Hewett-Olatunde Jill Tammen*, Craig Farmer*, Mari LEAP High Schools O’Meara*, Kate Schilling*, Mary Finnerty Cheryl Hornstein (Director of Education) Freelance Theatre and Music Educator Alexandra Howes COVER DESIGN AND LAYOUT Naomi Campion (Education Sales and Twin Cities Academy Services Manager) Dr. Virginia McFerran Perpich Center for Arts Education * Past or Present Member of the Kristin Nelson Park Square Theatre Teacher Advisory Board Brooklyn Center High School Mari O’Meara Eden Prairie High School Contact Us Dr. Kirsten Pardun-Johannsen Performing Arts Specialist, Orono School Jennifer Parker PARK SQUARE THEATRE 408 Saint Peter Street, Suite 110 Falcon Ridge Middle School Saint Paul, MN 55102 Maggie Quam EDUCATION: 651.291.9196 Hmong College Prep Academy [email protected] Kate Schilling www.parksquaretheatre.org Mound Westonka High School Jack Schlukebier Central High School, retired If you have any questions or comments about Elizabeth Seal Mounds Park Academy this guide or Park Square Theatre’s Education Tanya Sponholz Program, please contact Prescott High School Mary Finnerty, Director of Education Jill Tammen PHONE 651.767.8494 Hudson High School, retired EMAIL [email protected] Craig Zimanske Forest Lake Area High School www.parksquaretheatre.org | page 2 Charles Dickens’ Great Expectations Study Guide ContributorsStudy Guide Contents The Play and the Production Plot Summary.
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Copyright by Michael Eugene Mckelvey 2004 the Treatise Committee for Michael Eugene Mckelvey Certifies That This Is the Approved Version of the Following Treatise
Copyright by Michael Eugene McKelvey 2004 The Treatise Committee for Michael Eugene McKelvey Certifies that this is the approved version of the following treatise: MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons Committee: Michael Tusa, Co-Supervisor Rose Taylor, Co-Supervisor Dan Welcher Leonard Johnson Suzanne Pence David Nancarrow MAKING AMERICAN OPERA IN THE 1990’s: The Co-Commissioning and Co-Producing of Houston Grand Opera From the 1990-1991 through 2000-2001 Seasons by Michael Eugene McKelvey, B.M., M.M. Treatise Presented to the Faculty of the Graduate School of the University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Musical Arts The University of Texas at Austin May 2004 Dedication This document is dedicated to my mother Shirley, my wife Ann, and all of my family, friends and students, who have given me the love and encouragement to continue on my path for all these years. Acknowledgements I would like to acknowledge the following individuals for the invaluable personal and archival information they have contributed to this study: Carlisle Floyd, Stewart Wallace, Michael Korie, Christopher Alden, Bruce Beresford, Garnett Bruce, Patrick Summers, Duane Schuler, Paul Steinberg, and Noele Stollmack; David Gockley, Ann Owens, Greg Weber, Rodi Franco, Susan Bell, Laura Bodenheimer and Brian Mitchell of Houston Grand Opera; Dr. Clifford “Kip” Cranna and Bob Cable of San Francisco Opera; Ian Campbell of San Diego Opera; Joe McClain, Susan Threadgill and Vince Herod of Austin Lyric Opera; Chad Calvert of Opera Carolina; Dale Johnson of Minnesota Opera; Robert Lyall of New Orleans Opera Association; Evan Luskin of the Lyric Opera of Kansas City; and Susan Woelzl of New York City Opera.
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