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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. -
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. -
Teaching Dickens a Masterpiece Guide Contents
Teaching Dickens A Masterpiece Guide Contents 2 Introduction 3 General Questions & Activities 7 Oliver Twist 10 David Copperfield 14 Little Dorrit 17 The Old Curiosity Shop 21 Stay Tuned: The Rise of the Killer Serial 26 Resources 29 Credits page 1 Introduction CHARLES DICKENS was the best-known novelist of his time, and is considered by many to be the greatest writer of the Victorian era. A social reformer, Dickens wrote sprawling serial novels that chronicled and condemned the injustices of Victorian society. Yet he was also a deft entertainer and satirist, creating vivid characters, such as Scrooge, Miss Havisham, and Uriah Heep, who are still a part of our culture today. As David Lodge, who adapted the 1995 MASTERPIECE THEATRE production of Martin Chuzzlewit, says in Norrie Epstein’s The Friendly Dickens (Penguin, 2001), “Dickens’ observation of folly, affectation, hypocrisy, self-deception, deception of others, and the way in which people manipulate language to these ends just tickles one. Dickens does what comedy has always done: it both exposes imperfections in the world and reconciles us to it by making something entertaining out of it.” Does Dickens still have something to say to us today? Use the activities and questions in this guide as you watch and read The Tales of Charles Dickens— the all-new 2009 MASTERPIECE adaptations of Oliver Twist, Little Dorrit, and The Old Curiosity Shop, as well as an encore presentation of David Copperfield, which originally aired in 2000. Whether through characters who have counterparts in current pop culture, plot twists that eerily echo stories in our own newspapers, or the universal questions Dickens raises about the mysteries of the human heart, this guide is designed to help readers see Dickens’ relevance to our world today. -
DICKENS FINAL with ILLUS.Ppp
The Dickens Calendar 2012 The Dickens Calendar 2012 Celebrating the bicentenary of Dickens’s birth. £6.00 each or £10.00 for 2 (plus postage) Contact Jarndyce to order your copy: Email: [email protected] Phone: 020 7631 4220 35 _____________________________________________________________ Jarndyce Antiquarian Booksellers 46, Great Russell Street Telephone: 020 - 7631 4220 (opp. British Museum) Fax: 020 - 7631 1882 Bloomsbury, Email: [email protected] London WC1B 3PA V.A.T. No. GB 524 0890 57 _____________________________________________________________ CATALOGUE CXCV WINTER 2011-12 THE DICKENS CATALOGUE Catalogue: Joshua Clayton Production: Carol Murphy All items are London-published and in at least good condition, unless otherwise stated. Prices are nett. Items on this catalogue marked with a dagger (†) incur VAT (current rate 20%) A charge for postage and insurance will be added to the invoice total. We accept payment by VISA or MASTERCARD. If payment is made by US cheque, please add $25.00 towards the costs of conversion. Email address for this catalogue is [email protected]. JARNDYCE CATALOGUES CURRENTLY AVAILABLE, price £5.00 each include: Social Science Parts I & II: Politics & Philosophy and Economics & Social History. Women III: Women Writers J-Q; The Museum: Books for Presents; Books & Pamphlets of the 17th & 18th Centuries; 'Mischievous Literature': Bloods & Penny Dreadfuls; The Social History of London: including Poverty & Public Health; The Jarndyce Gazette: Newspapers, 1660 - 1954; Street Literature: I Broadsides, Slipsongs & Ballads; II Chapbooks & Tracts; George MacDonald. JARNDYCE CATALOGUES IN PREPARATION include: The Museum: Jarndyce Miscellany; The Library of a Dickensian; Women Writers R-Z; Street Literature: III Songsters, Lottery Puffs, Street Literature Works of Reference. -
November 2014 ------London Particular the Dickens Fellowship Newsletter ______
No. 40 November 2014 --------------------------------------------------------------------------------------------------------------------- London Particular The Dickens Fellowship Newsletter ______________________________________________________________________ Dickens’s Contribution to the War Effort A MEMBERSHIP RENEWAL A renewal form for friend has sent me a brilliant essay by Jerry White, 2015 is enclosed with this newsletter, together printed in the TLS in August, describing the with a standing order form for those who would impact of Dickens during World War I. White says: like to pay by this method (UK only). ‘The wartime Christmases were of great Subscriptions are unchanged. Please complete importance. Unutterably bleak as they all were, and return asap to the address shown on the they epitomised an acute sense of loss – a lost form, and membership card/programme for 2015 peace, lost pleasures and often a lost home and will be sent to you. family too. Dickens had embodied the secular celebration of Christmas with Pickwick and A Christmas Carol and the absence of a joyful Dickens and George Eliot The Telegraph “Dickensy” Christmas was noticed that December reported recently that an antiquarian bookseller, of 1914. But his spirit was not entirely absent. A Harrington’s of London, is offering for sale a new dramatisation of David Copperfield directed special copy of A Tale of Two Cities - it’s inscribed by Sir Herbert Beerbohm Tree opened on ‘To George Eliot. With high admiration and Christmas Eve at His Majesty’s Theatre, regard. Charles Dickens. December 1859’. Haymarket and ran until April 1915. For the rest of George Eliot, under her real name of Mary Ann the wartime Christmases Dickens would be used Evans, met Dickens in 1852 and found him in some way to lighten the gloom, with stage and “disappointing and with no benevolence in the film versions appearing in large numbers. -
The Proto-Filmic Monstrosity of Late Victorian Literary Figures
Bamberger Studien zu Literatur, 14 Kultur und Medien “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 14 Bamberger Studien zu Literatur, Kultur und Medien Bamberger Studien zu Literatur, Kultur und Medien hg. von Andrea Bartl, Hans-Peter Ecker, Jörn Glasenapp, Iris Hermann, Christoph Houswitschka, Friedhelm Marx Band 14 2015 “Like some damned Juggernaut” The proto-filmic monstrosity of late Victorian literary figures Johannes Weber 2015 Bibliographische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Informationen sind im Internet über http://dnb.d-nb.de/ abrufbar. Diese Arbeit hat der Fakultät Geistes- und Kulturwissenschaften der Otto-Friedrich- Universität Bamberg als Dissertation vorgelegen. 1. Gutachter: Prof. Dr. Christoph Houswitschka 2. Gutachter: Prof. Dr. Jörn Glasenapp Tag der mündlichen Prüfung: 28. Januar 2015 Dieses Werk ist als freie Onlineversion über den Hochschulschriften-Server (OPUS; http://www.opus-bayern.de/uni-bamberg/) der Universitätsbibliothek Bamberg erreichbar. Kopien und Ausdrucke dürfen nur zum privaten und sons- tigen eigenen Gebrauch angefertigt werden. Herstellung und Druck: Docupoint, Magdeburg Umschlaggestaltung: University of Bamberg Press, Anna Hitthaler Umschlagbild: Screenshot aus Vampyr (1932) © University of Bamberg Press Bamberg 2015 http://www.uni-bamberg.de/ubp/ ISSN: 2192-7901 ISBN: 978-3-86309-348-8 (Druckausgabe) eISBN: 978-3-86309-349-5 (Online-Ausgabe) URN: urn:nbn:de:bvb:473-opus4-267683 Danksagung Mein besonderer Dank gilt meinem Bruder Christian für seinen fachkundigen Rat und die tatkräftige Unterstützung in allen Phasen dieser Arbeit. Ich danke meinem Doktorvater Prof. Dr. Christoph Houswitschka für viele wichtige Denkanstöße und Freiräume. -
“Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens's
“Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels Marc Napolitano A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature. Chapel Hill 2009 Approved by Advisor: Allan Life Reader: Laurie Langbauer Reader: Tom Reinert Reader: Beverly Taylor Reader: Tim Carter © 2009 Marc Napolitano ALL RIGHTS RESERVED ii ABSTRACT Marc Napolitano: “Reviewing the Situation”: Oliver! and the Musical Afterlife of Dickens’s Novels (Under the direction of Allan Life) This project presents an analysis of various musical adaptations of the works of Charles Dickens. Transforming novels into musicals usually entails significant complications due to the divergent narrative techniques employed by novelists and composers or librettists. In spite of these difficulties, Dickens’s novels have continually been utilized as sources for stage and film musicals. This dissertation initially explores the elements of the author’s novels which render his works more suitable sources for musicalization than the texts of virtually any other canonical novelist. Subsequently, the project examines some of the larger and more complex issues associated with the adaptation of Dickens’s works into musicals, specifically, the question of preserving the overt Englishness of one of the most conspicuously British authors in literary history while simultaneously incorporating him into a genre that is closely connected with the techniques, talents, and tendencies of the American stage. A comprehensive overview of Lionel Bart’s Oliver! (1960), the most influential Dickensian musical of all time, serves to introduce the predominant theoretical concerns regarding the modification of Dickens’s texts for the musical stage and screen. -
The Old Curiosity Shop Read by Anton Lesser
Charles Dickens The Old Curiosity Shop Read by Anton Lesser CLASSIC FICTION 6 CDs NA689212 Old Curiosity shop booklet.indd 1 24/7/08 12:13:08 CD 1 1 The Old Curiosity Shop 8:16 2 We had scarcely begun our repast… 7:33 3 After combating, for nearly a week… 6:09 4 The child was closely followed… 8:27 5 Mr Quilp could scarcely be said… 6:48 6 The next day, Daniel Quilp caused himself… 5:10 7 So far from being sustained by this… 5:06 8 Mrs Quilp departed according to order… 6:56 9 ‘Fred!’ said Mr Swiveller… 4:57 10 The child, in her confidence… 5:08 11 The child uttered a suppressed shriek… 5:13 12 ‘I couldn’t do it really,’ said Quilp… 5:44 Total time on CD 1: 75:27 2 NA689212 Old Curiosity shop booklet.indd 2 24/7/08 12:13:08 CD 2 1 Quiet and solitude… 6:08 2 Mr Quilp took a friendly leave… 5:05 3 Daniel Quilp of Tower Hill… 6:03 4 Richard Swiveller was utterly aghast… 4:50 5 Bless us, what a number of gentlemen… 5:25 6 The two pilgrims… 7:38 7 Another bright day… 7:19 8 At length the weary child prevailed… 7:36 9 There was but one lady… 5:48 10 Kit turned away… 8:02 11 This candid declaration… 7:07 12 Having revolved these things in his mind… 7:12 Total time on CD 2: 78:13 3 NA689212 Old Curiosity shop booklet.indd 3 24/7/08 12:13:08 CD 3 1 It was not until they were quite exhausted… 6:19 2 After a sound night’s rest… 7:15 3 Almost broken… 7:04 4 At first the two travellers spoke little… 6:42 5 Sleep hung upon the eyelids of the child… 5:33 6 The night being warm… 5:49 7 At length the play came to an end… 7:36 8 With steps more faltering -
Literature and the Economics of Liberty: Spontaneous Order in Culture
LITERATURE &THE ECONOMICS OF LIBERTY SPONTANEOUS ORDER IN CULTURE LITERATURE THE ECONOMICS OF LIBERTY &S PONTANEOUS O RDER IN C ULTURE Edited by Paul A. Cantor & Stephen Cox LvMI LUDWIG VON MISES Cover credit: The Money Lender and His Wife (oil on panel), Marinus van Reymerswaele (c. 1490–1567), Museo Nazionale del Bargello, Florence, Italy. The Bridgemann Art Library International. Permission granted. © 2009 by the Ludwig von Mises Institute and published under the Creative Commons Attribution License 3.0. http://creativecommons.org/licenses/by/3.0/ Ludwig von Mises Institute 518 West Magnolia Avenue Auburn, Alabama 36832 mises.org ISBN: 978-1-933550-64-0 CONTENTS Acknowledgments . .vii Preface . .ix 1. The Poetics of Spontaneous Order: Austrian Economics and Literary Criticism . .1 Paul A. Cantor 2. Cervantes and Economic Theory . .99 Darío Fernández-Morera 3. In Defense of the Marketplace: Spontaneous Order in Jonson’s Bartholomew Fair . .167 Paul A. Cantor 4. Shelley’s Radicalism: The Poet as Economist . .225 Paul A. Cantor 5. Capitalist Vistas: Walt Whitman and Spontaneous Order . .263 Thomas Peyser 6. The Invisible Man and the Invisible Hand: H.G. Wells’s Critique of Capitalism . .293 Paul A. Cantor 7. Cather’s Capitalism . .323 Stephen Cox v VI —LITERATURE AND THE ECONOMICS OF LIBERTY: SPONTANEOUS ORDER IN CULTURE 8. Conrad’s Praxeology . .371 Stephen Cox 9. Hyperinflation and Hyperreality: Mann’s “Disorder and Early Sorrow” . .433 Paul A. Cantor 10. The Capitalist Road: The Riddle of the Market from Karl Marx to Ben Okri . .469 Chandran Kukathas Contributors . .499 Index . .501 Acknowledgments n preliminary versions, several of these essays were presented at conferences at the Ludwig von Mises Institute in Auburn, Alabama. -
Film in the Classroom
Adam Bede Anna Karenina Bleak House Daniel Deronda David Copperfield The Diary of Anne Frank Emma Goodbye, Mr. Chips Jane Eyre Little Dorrit Mansfield Park Middlemarch The Mill on the Floss Northanger Abbey The Old Curiosity Shop Oliver Twist Our Film in the Classroom Sherlock Town Persuasion RebeccaA GUIDE FOR Sense TEACHERS and Sensibility REVISED EDITION Silas Marner A Tale of Two Cities The Turn of the Screw Wuthering Heights Adam Bede Anna Karenina Bleak House Daniel Deronda David Copperfield The Diary of Anne Frank Emma Goodbye, Mr. Chips Jane Eyre Little Dorrit Mansfield Park Middlemarch The Mill on the Floss Northanger Abbey The Old Curiosity Shop Oliver Twist Our Town Persuasion Rebecca Sense and Sensibility Sherlock Silas Marner A Tale of Two Cities The Turn of the Screw Wuthering Heights Adam Bede Anna Karenina Bleak House Daniel Deronda David Copperfield The Diary of FILM IN THE CLASSROOM Foreword by John Golden ................................................2 Introduction .....................................................................5 About This Guide ...................................................................5 The Masterpiece Website .....................................................6 Why Study Film in the Classroom? ......................................6 Contents Using Film to Interpret Literature ........................................7 Teacher Tips (sidebar) ............................................................8 The Language of Film ......................................................9 Film -
Texts, Contexts and Intertextuality
Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2014, V&R unipress GmbH, Göttingen ISBN Print: 9783847102861 – ISBN E-Lib: 9783737002868 1 Close Reading 2 Schriften zur britischen Literatur- und 3 4 Kulturwissenschaft 5 6 7 8 9 Band 1 10 11 12 13 14 Herausgegeben von Norbert Lennartz 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 Editorial Board: Sabine Coelsch-Foisner (Salzburg), 40 Barbara Schaff (Göttingen), Gerold Sedlmayr (Dortmund) 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2014, V&R unipress GmbH, Göttingen ISBN Print: 9783847102861 – ISBN E-Lib: 9783737002868 1 Norbert Lennartz / Dieter Koch (eds.) 2 3 4 5 6 7 Texts, Contexts and Intertextuality 8 9 10 11 Dickens as a Reader 12 13 14 15 With 9 illustrations 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 & 40 V R unipress 41 Open-Access-Publikation im Sinne der CC-Lizenz BY-NC-ND 4.0 © 2014, V&R unipress GmbH, Göttingen ISBN Print: 9783847102861 – ISBN E-Lib: 9783737002868 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 Bibliografische Information der Deutschen Nationalbibliothek 22 Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über 23 http://dnb.d-nb.de abrufbar. 24 25 Gedruckt mit freundlicher Unterstützung der Fritz Thyssen-Stiftung. -
The Old Curiosity Shop (Charles Dickens) Marc Franken ©Havovwo.Nl (Nov 2009)
Boekverslag The Old Curiosity Shop (Charles Dickens) Marc Franken ©havovwo.nl (nov 2009) The Old Curiosity Shop By: Charles Dickens Publisher: International Collectors Library Year: Unknown, printed in the United States of America First print: the story was printed as a complete book for the first time in 1841. Title. Nell and her grandfather live in an old curiosity shop from which the story enrolls. The Author. Charles John Huffam Dickens, born February 7 1812, died June 9 1870, was the most popular English novelist of the Victorian era. He was a vigorous social campaigner, both in his own personal endeavours as well as through the recurrent themes of his literary enterprise. Critics George Gissing and G. K. Chesterton championed Dickens's mastery of prose, his endless invention of unique, clever personalities, and his powerful social sensibilities, but fellow writers such as George Henry Lewes, Henry James, and Virginia Woolf faulted his work for sentimentality, implausible occurrences, and grotesque characterizations. The popularity of Dickens's novels and short stories has meant that they have never gone out of print. Many of Dickens's novels first appeared in periodicals and magazines in serialised form, a popular format for fiction at the time. Unlike many other authors who completed entire novels before serial production commenced, Dickens often composed his works in parts, in the order in which they were meant to appear. Such a practice lent his stories a particular rhythm, punctuated by one minor "cliffhanger" after another, to keep the public looking forward to the next installment Literature The book is from the Victorian age.