A CHRISTMAS CAROL Adapted by JERRY PATCH
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Christmas Carol by Charles Dickens
A Christmas Carol by Charles Dickens Stave V "The End of It" Yes! and the bedpost was his own. The bed was his own, the room was his own. Best and happiest of all, the Time before him was his own, to make amends in! “I will live in the Past, the Present, and the Future!” Scrooge repeated, as he scrambled out of bed. “The Spirits of all Three shall strive within me. Oh Jacob Marley! Heaven, and the Christmas Time be praised for this. I say it on my knees, old Jacob, on my knees!” He was so fluttered and so glowing with his good intentions, that his broken voice would scarcely answer to his call. He had been sobbing violently in his conflict with the Spirit, and his face was wet with tears. “They are not torn down!” cried Scrooge, folding one of his bed- curtains in his arms, “they are not torn down, rings and all. They are here – I am here – the shadows of the things that would have been, may be dispelled. They will be! I know they will.” His hands were busy with his garments all this time; turning them inside out, putting them on upside down, tearing them, mislaying them, making them parties to every kind of extravagance. “I don’t know what to do!” cried Scrooge, laughing and crying in the same breath; and making a perfect Laocoon of himself with his stockings. “I am as light as a feather, I am as happy as an angel, I am as merry as a schoolboy. -
Charles Dickens' Corruption and Idealization Personified in Oliver Twist
Western Oregon University Digital Commons@WOU Academic Excellence Showcase Proceedings Student Scholarship 2018-06-02 Charles Dickens’ Corruption and Idealization Personified in Oliver Twist Ellie Phillips Western Oregon University, [email protected] Follow this and additional works at: https://digitalcommons.wou.edu/aes Part of the English Language and Literature Commons Recommended Citation Phillips, Ellie, "Charles Dickens’ Corruption and Idealization Personified in Oliver Twist" (2018). Academic Excellence Showcase Proceedings. 150. https://digitalcommons.wou.edu/aes/150 This Article is brought to you for free and open access by the Student Scholarship at Digital Commons@WOU. It has been accepted for inclusion in Academic Excellence Showcase Proceedings by an authorized administrator of Digital Commons@WOU. For more information, please contact [email protected], [email protected], [email protected]. Byrd 1 Ellie Byrd Dr. Lange ENG 218w Charles Dickens’ Corruption and Idealization Personified in Oliver Twist In Charles Dickens’ Oliver Twist, the depictions of corruption and virtue are prevalent throughout most of the novel and take the physical form in the city and the country. Oliver spends much of his time in London among criminals and the impoverished, and here is where Dickens takes the city of London and turns it into a dark and degraded place. Dickens’ London is inherently immoral and serves as a center for the corruption of mind and spirit which is demonstrated through the seedy scenes Dickens paints of London, the people who reside there, and by casting doubt in individuals who otherwise possess a decent moral compass. Furthermore, Dickens’ strict contrast of the country to these scenes further establishes the sinister presence of London. -
Models of Time Travel
MODELS OF TIME TRAVEL A COMPARATIVE STUDY USING FILMS Guy Roland Micklethwait A thesis submitted for the degree of Doctor of Philosophy of The Australian National University July 2012 National Centre for the Public Awareness of Science ANU College of Physical and Mathematical Sciences APPENDIX I: FILMS REVIEWED Each of the following film reviews has been reduced to two pages. The first page of each of each review is objective; it includes factual information about the film and a synopsis not of the plot, but of how temporal phenomena were treated in the plot. The second page of the review is subjective; it includes the genre where I placed the film, my general comments and then a brief discussion about which model of time I felt was being used and why. It finishes with a diagrammatic representation of the timeline used in the film. Note that if a film has only one diagram, it is because the different journeys are using the same model of time in the same way. Sometimes several journeys are made. The present moment on any timeline is always taken at the start point of the first time travel journey, which is placed at the origin of the graph. The blue lines with arrows show where the time traveller’s trip began and ended. They can also be used to show how information is transmitted from one point on the timeline to another. When choosing a model of time for a particular film, I am not looking at what happened in the plot, but rather the type of timeline used in the film to describe the possible outcomes, as opposed to what happened. -
THE PICKWICK PAPERS Required Reading for the Dickens Universe
THE PICKWICK PAPERS Required reading for the Dickens Universe, 2007: * Auden, W. H. "Dingley Dell and the Fleet." The Dyer's Hand and Other Essays. New York: Random House, 1962. 407-28. * Marcus, Steven. "The Blest Dawn." Dickens: From Pickwick to Dombey. New York: Basic Books, 1965. 13-53. * Patten, Robert L. Introduction. The Pickwick Papers. Harmondsworth: Penguin, 1972. 11-30. * Feltes, N. N. "The Moment of Pickwick, or the Production of a Commodity Text." Literature and History: A Journal for the Humanities 10 (1984): 203-217. Rpt. in Modes of Production of Victorian Novels. Chicago: University of Chicago Press, 1986. * Chittick, Kathryn. "The qualifications of a novelist: Pickwick Papers and Oliver Twist." Dickens and the 1830s. Cambridge: Cambridge UP, 1990. 61-91. Recommended, but not required, reading: Marcus, Steven."Language into Structure: Pickwick Revisited," Daedalus 101 (1972): 183-202. Plus the sections on The Pickwick Papers in the following works: John Bowen. Other Dickens : Pickwick to Chuzzlewit. Oxford, U.K.; New York: Oxford UP, 2000. Grossman, Jonathan H. The Art of Alibi: English Law Courts and the Novel. Baltimore: Johns Hopkins UP, 2002. Woloch, Alex. The One vs. The Many: Minor Characters and the Space of the Protagonist in the Novel. Princeton: Princeton UP, 2003. 1 SELECTED BIBLIOGRAPHY Compiled by Hillary Trivett May, 1991 Updated by Jessica Staheli May, 2007 For a comprehensive bibliography of criticism before 1990, consult: Engel, Elliot. Pickwick Papers: An Annotated Bibliography. New York: Garland Publishing Inc., 1990. CRITICISM Auden, W. H. "Dingley Dell and the Fleet." The Dyer's Hand and Other Essays. New York: Random House, 1962. -
Protecting Characters Through Copyright Law: Paving a New Road Upon Which Literary, Graphic, and Motion Picture Characters Can All Travel
DePaul Law Review Volume 41 Issue 2 Winter 1992 Article 4 Protecting Characters through Copyright Law: Paving a New Road upon Which Literary, Graphic, and Motion Picture Characters Can All Travel Dean D. Niro Follow this and additional works at: https://via.library.depaul.edu/law-review Recommended Citation Dean D. Niro, Protecting Characters through Copyright Law: Paving a New Road upon Which Literary, Graphic, and Motion Picture Characters Can All Travel , 41 DePaul L. Rev. 359 (1992) Available at: https://via.library.depaul.edu/law-review/vol41/iss2/4 This Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Law Review by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. PROTECTING CHARACTERS THROUGH COPYRIGHT LAW: PAVING A NEW ROAD UPON WHICH LITERARY, GRAPHIC, AND MOTION PICTURE CHARACTERS CAN ALL TRAVEL* Dean D. Niro** INTRODUCTION Most everyone would recognize Bugs Bunny, Charlie Brown, Ebenezer Scrooge, and James Bond. These characters appear in a variety of mediums, including cartoons, comic strips, novels, and motion pictures. Today, in the age of sequels and retail advertising, characters have become an important com- mercial commodity. Characters, thus, need legal protection. The federal copy- right statute may provide this protection. The federal copyright statute provides an author protection in his "original work of authorship fixed in a tangible medium of expression., 1 Thus, a fic- tional character is protected by the copyright of the work in which the charac- ter originally appears.2 Sometimes, however, a character can be removed from the original work in which it appeared, then resurface in another completely unrelated work. -
A Christmas Carol- the Plot Stave 1: Marley's Ghost
A Christmas Carol- The Plot Stave 1: Marley's Ghost Here the reader meets Ebenezer Scrooge, a miserable but wealthy old man. Scrooge works in his ……...........................................with his clerk,………………………………………………. Bob writes out records of accounts and Scrooge oversees the business but we don't know (it's not important) what it exactly does. (There may be a clue in the next chapter, where we see Scrooge as an apprentice with ……………………………………………..) It is Christmas…………………….., and Scrooge receives several visitors. One is his nephew……………………………..who invites Scrooge to dine with him for Christmas. Then come two gentlemen who are collecting for ……………………………….. We learn here that Scrooge had a partner……………………………………….., who died on Christmas Eve seven years previously. Scrooge refuses to give the gentlemen anything, saying he helps the poor already through supporting prisons and workhouses. Scrooge allows Bob to have Christmas Day as a holiday, but insists that he……………………………………………………………………………………………………………... (Boxing Day was not usually a holiday in the 19th century, but was the day when tradesmen collected their Christmas "boxes" - gifts from their customers.) When Scrooge returns to his lodging he is visited by the Ghost of Jacob Marley who is weighed down by ………………………………………………………………………………. The ghost says that any spirit which does not mix with other people in life must travel among them after death. Marley tells Scrooge that he, too, wears a chain, larger than Marley's. Marley has often sat by him unseen. Now he tells him that……………………………………………………………………………………………………………. Stave 2: The First of the Three Spirits This is the Ghost of ……………………………………………………………………. - Scrooge's own past. The ghost has a strange changing form and gives out brilliant …………………………………. -
Fiction Excerpt: from Oliver Twist by Charles Dickens
Fiction Excerpt: From Oliver Twist by Charles Dickens Oliver Twist was the second novel written by Charles Dickens. It was first published as a serial, with new chapters printed monthly in the magazine Bentley’s Miscellany over the course of two years (1837–1839). The novel tells the story of an orphan named Oliver Twist, who was born in a workhouse and later escaped to join a gang of thieves. This excerpt takes place during Oliver’s time in the workhouse. The room in which the boys were fed, was a large stone hall, with a copper [a large, heated copper pot] at one end: out of which the master, dressed in an apron for the purpose, and assisted by one or two women, ladled the gruel [a watery cereal like very thin oatmeal] at mealtimes. Of this festive composition each boy had one porringer [small bowl], and no more—except on occasions of great public rejoicing, when he had two ounces and a quarter of bread besides. The bowls never wanted washing. The boys polished them with their spoons till they shone again; and when they had performed this operation (which never took very long, the spoons being nearly as large as the bowls), they would sit staring at the copper, with such eager eyes, as if they could have devoured the very bricks of which it was composed; employing themselves, meanwhile, in sucking their fingers most assiduously [diligently], with the view of catching up any stray splashes of gruel that might have been cast thereon. Boys have generally excellent appetites. -
FOR IMMEDIATE RELEASE the Gift of Laughter Is Yours with Desert Star’S New Comedy
FOR IMMEDIATE RELEASE The Gift Of Laughter Is Yours With Desert Star’s New Comedy MURRAY, UT, Nov, 2019 --/ Desert Star at Christmas time is a Utah family tradition! This season's comedy for all ages, A Christmas Carol Part 2: Scrooged Again! weaves classic Dickens's characters into the holiday high jinks and hilarity Desert Star is famous for. The show opens Thursday, November 14th. Have you ever wondered what happened to Ebenezer Scrooge after he decided to reform? Come and laugh your way to the answer in this hilarious sequel to the Christmas classic. A vengeful Bob Cratchit wants to repay Scrooge for the years of misery he suffered. With the help of his now corrupt son, a not-so-tiny-Tiny Tim, he plans to destroy Scrooge’s business. Scrooge’s long lost love, becomes an unwitting pawn in Cratchit’s evil plans. Now it’s up to the madcap Spirits of Christmas to once again visit Scrooge on Christmas Eve and make things right! Filled with music, laughs, wacky characters, heartfelt moments, and a stellar cast of talented performers, it’s the perfect entertainment for the holiday season! This show is full of all the over-the-top humor you’ve come to expect from Desert Star along with plenty of comedic nods to all things Christmas. The show is followed by our Holiday Olio featuring wonderful Christmas music and more side-splitting humor to help you wrap up the year in comedy! ## # CALENDAR: “A Christmas Carol Part 2: Scrooged Again!” Plays November 14, 2019 thru January 4, 2020 Check website for show times: www.DesertStarPlayhouse.com Tickets: Adults: $26.95-$30.95, Children: $14.95-$18.95 (Children 11 and under), depending on performance 4861 S. -
4A. the Characters
A Christmas Carol 4a. T he Characters Read and listen to the descriptions of the characters in the play. Use the information to help you with the exercise on the next page, and then listen to see if your answers are correct. 1. Ebenezer Scrooge is about 60 years old. He works 6. The Ghost of Christmas Present is green and cov- in an office for many hours every day and return home, ered in leaves. He is very jolly and quite large. He has where he lives alone, in the evenings. His business is 2000 brothers and sisters — one for every year. He shows called Scrooge and Marley, but his business partner died Scrooge his present life and people’s opinion of him. seven years before. He is an unkind and ungenerous man. 7. The Ghost of Christmas Future doesn’t speak and He thinks Christmas is a waste of time and money. He has is very scary. It wears a dark cape with a hood, and grey hair, brown eyes and is quite thin. He wears a dark it’s impossible to see its face. It is very tall and thin. suit to work and a dressing gown at night. He doesn’t be- It shows Scrooge what will happen in the future if he lieve in ghosts but is scared when he sees them. doesn’t change his way of life. 2. Bob Cratchit works for Scrooge in his office and is 8. Belle was Scrooge’s girlfriend when he was a young very poor. He is 32 years old and is married with five apprentice. -
“A Second Chance” by Nehir T. First Place Award a Writer Uses Many
“A Second Chance” By Nehir T. First Place Award A writer uses many different literary devices within a piece of literature. One such device is characterization; it is not only the physical description of a character, but also his/her actions, thoughts, and voiced conversations. It is also how the character interacts with others, and what others think of the said character. For example, Charles Dickens, the writer of A Christmas Carol, depicts the persona of Ebenezer Scrooge, his protagonist/antagonist, as a dynamic character. Ebenezer begins by having more vices than virtues, but transitions into a new personage. Therefore, Dickens’ use of characterization brings to life the underlying message that people can change for the better when given a second chance. In the exposition of the novella, Dickens’ physical description of Scrooge creates a lonely, elderly man. Scrooge has a “cold within him [that] froze his old features, nipped his pointed nose, shriveled his cheek, stiffened his gait; made his eyes red, his thin lips blue; and [have the quality of a] grating voice’’(2). Due to his frigidity, “nobody ever stopped him in the street [to say hello]’’(2). When two charitable gentlemen enter his office for a Christmas donation for the poor, Scrooge mentions that he already supports establishments and that he does not want to donate any money to make “idle people merry”(6). He also says “if the poor would rather die than be sent to workhouses, then . they had better do it, and decrease the surplus population” (6). Initially Scrooge is insensitive toward mankind. -
The Man Who Invented Christmas Film Adaptations of Dickens’ a Christmas Carol Dr Christine Corton
10TH DECEMBER 2019 The Man Who Invented Christmas Film Adaptations of Dickens’ A Christmas Carol Dr Christine Corton A Christmas Carol is now over 175 years old. Written in 1843, it is certainly the most televised of Dickens’s works and equals if not beats, its closest rival, Oliver Twist (1837-39) for cinema releases. It’s had a huge influence on the way we understand the Christmas festival. It was written at a time when the festival was being revived after centuries of neglect. And its impact was almost immediate. A Christmas Carol quickly achieved iconic status, far more so than any of Dickens’s other Christmas stories. You have to have been living on some far-off planet not to have heard of the story – the word ‘Scrooge’ has come to represent miserliness and ‘Bah, Humbug’ is a phrase often resorted to when indicating someone is a curmudgeon. Even, Field Marshall Montgomery concluded his Christmas Eve message to the Eighth Army on the battlefield with Tiny Tim’s blessing. In 1836 Dickens described Christmas at Dingley Dell in The Pickwick Papers in which of course one of the most famous of the interpolated tales appears, The Story of the Goblins who Stole a Sexton and for those who know the tale, the miserable and mean Gabriel Grub is not a million miles away from Scrooge. Both Mr Pickwick’s Christmas at Wardle’s (1901) and Gabriel Grub: The Surly Sexton (1904) were used as the basis for silent films at around the same time as the first silent version of the 11 minute long: Scrooge: Or Marley’s Ghost which was released in 1901. -
+\Shu Dqg Plvxqghuvwdqglqj Lq Lqwhudfwlrqdo
1 +\SHUDQGPLVXQGHUVWDQGLQJLQLQWHUDFWLRQDOKXPRU Geert Brône University of Leuven Department of Linguistics Research Unit &UHDWLYLW\+XPRUDQG,PDJHU\LQ/DQJXDJH (CHIL) E-mail address: [email protected] $ ¢¡¤£¦¥¢§©¨ £ This paper explores two related types of interactional humor. The two phenomena under scrutiny, K\SHUXQGHUVWDQGLQJ and PLVXQGHUVWDQGLQJ, categorize as responsive conversational turns as they connect to a previously made utterance. Whereas hyper-understanding revolves around a speaker’s ability to exploit potential weak spots in a previous speaker’s utterance by playfully echoing that utterance while simultaneously reversing the initially intended interpretation, misunderstanding involves a genuine misinterpretation of a previous utterance by a character in the fictional world. Both cases, however, hinge on the differentiation of viewpoints, yielding a layered discourse representation. A corpus study based on the British television series %ODFNDGGHU reveals which pivot elements can serve as a trigger for hyper- and misunderstanding. Common to all instances, it is argued, is a mechanism ofILJXUHJURXQG UHYHUVDO. Key words: interactional humor, hyper-understanding, misunderstanding, layering, mental spaces, figure-ground reversal 2 ,QWURGXFWLRQ Recent studies in pragmatics (see e.g. Attardo 2003) have shown a renewed interest in humor as a valuable topic of interdisciplinary research. More specifically, these studies have extended the traditional focus of humor research on jokes to include longer narrative texts (Attardo 2001a, Triezenberg 2004) and conversational data (Boxer and Cortés-Conde 1997, Hay 2001, Kotthoff 2003, Norrick 2003, Antonopoulou and Sifianou 2003, Archakis and Tsakona 2005). New data from conversation analysis, text linguistics and discourse psychology present significant challenges to linguistic humor theories like the General Theory of Verbal Humor (Attardo 1994, 2001a), and call for (sometimes major) revisions.