Bleak House Study Guide in Context 2
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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. -
London, Radical Culture, and the Making of the Dickensian Aesthetic
London, Radical Culture, and the Making of the Dickensian Aesthetic London, Radical Culture, and the Making of the Dickensian Aesthetic Sambudha Sen The Ohio State University Press / Columbus Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Sen, Sambudha. London, radical culture, and the making of the Dickensian aesthetic / Sambudha Sen. p. cm. Includes bibliographical references and index. ISBN 978-0-8142-1192-2 (cloth : alk. paper)—ISBN 978-0-8142-9293-8 (cd) 1. English fiction—19th century—History and criticism. 2. Dickens, Charles, 1812– 1870—Criticism and interpretation. 3. Thackeray, William Makepeace, 1811–1863— Criticism and interpretation. 4. Literature and society—Great Britain—History—19th century. 5. Radicalism—Great Britain—History—19th century. I. Title. PR861.S46 2012 823'.809—dc23 2012007257 Cover design by Greg Betza Text design by Juliet Williams Type set in Adobe Sabon Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS List of Illustrations vii Acknowledgments ix INTRODUCTION 1 CHAPTER 1 Dickens, Thackeray, and “The Language of Radicalism” 13 CHAPTER 2 The Aesthetics and Politics of Caricature: Bleak House, Little Dorrit, and Vanity Fair in Relation to “Radical Expression” 36 CHAPTER 3 Re-Visioning the City: The Making of an Urban Aesthetic from Hogarth to the Stereoscope 65 CHAPTER 4 Novelizing the City: Bleak House, Vanity Fair, and the Hybridizing Challenge 94 CHAPTER 5 Radical Culture, the City, and the Problem of Selfhood: Great Expectations and Pendennis 116 CHAPTER 6 Working with Fragments: Our Mutual Friend as a Reflection on the Popular Aesthetic 141 Notes 163 Bibliography 177 Index 184 IllUSTRATIONS 1. -
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. -
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. -
Seman 1 Dickens Against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A
Seman 1 Dickens against the Grain Gendered Spheres and Their Transgressors in Bleak House, Hard Times, and Great Expectations A Thesis Presented to the Honors Tutorial College Ohio University In Partial Fulfillment of the Requirements for Graduation from the Honors Tutorial College with the Degree of Bachelor of Arts in English by Taylor J. Seman June 2011 Seman 2 This thesis has been approved by The Honors Tutorial College and the Department of English __________________________ Dr. Carey Snyder Associate Professor, English Thesis Advisor and Director of Studies ___________________________ Dr. Jeremy Webster Dean, Honors Tutorial College Seman 3 Table of Contents Introduction…………………………………………………………………………….4 Chapter One: Transgressive Characters………………………………………………..9 Chapter Two: Idealized Characters…………………………………………………...28 Chapter Three: Female Power in Unusual Places…………………………………….45 Conclusion…………………………………………………………………………....56 Bibliography…………………………………………………………………………..58 Seman 4 Introduction Charles Dickens certainly cannot be considered a participant in a precursory movement towards feminism; in fact, many of Dickens‘s novels uphold traditional ideas about femininity and punish the usurpation of male privilege. In Bleak House, Hard Times, and Great Expectations—the three novels that form the basis of this study—Dickens punishes characters who transgress gender norms (such as Mrs. Jellyby, Louisa, and Mrs. Joe) both through explicit condemnation by the narrator and the adversity that befalls them in the plot. These characters have been created to appear ridiculous, no matter their accomplishments in the community or in the world at large. Yet in these same novels, Dickens presents a socially relevant depiction of female power and agency that subverts the sexism he exhibits in the creation and punishment of other characters. -
Fiyj-W-MULLER
* fiyJ-w-MULLER .. Jarndyce still insisted that she must called the study. It was not a grim be nor taken by surprise, Growlery, though John Jarndyce pro- not hurried, to re- tested that it had been a quite fero- and that she must have time cious place before Dame Durden became consider before she bound her youth to an occupant of It. He declared that be- his age. So nothing was said to any fore then the wind had been east with one in Bleak House or out, and thlnge Dickens' women are not his surprising constancy. Esther only good even way till4>n® laughed, for she had learned very early went on in their quiet, "strongest" characters. Madeline Bray remembrance tokens of affectionate that whenever John met of news shook and Kate Nickleby In "Nicholas Nickle- Jarndyce some morning a startling piece that It made her feel almost ashamed or trouble that he could by;" Mary Graham In "Martin Chuzzle- disappointment them. have done so little and have won so not hide from everybody he hid himself wlt;" Rose Maylle in “Oliver Twist;'' to The news was that Mr. Tulklnghorn behind the excuse that the wind must Florence Dombey In "Dombey and Son;’’ much. had been found dead In his room, and be east. the Emma Haredale In "Barnaby Rudge;" When these six years had passed, a that he had been shot through She had so much reason to be happy, Little Dorrit in the novel of that name; heart. letter came from the lawyer saying she had such reason to be grateful, even Lizzie Hexam in "Our Mutual Her mother’s dread of the man. -
The Write Stuff: Memos and Short Reports. an Offering of Step Ahead: a Partnership for Improved Health Care Communication
DOCUMENT RESUME ED 343 026 CE 060 686 AUTHOR Bernhardt, Steve; Laroche, Pierre TITLE The Write Stuff: Memos and Short Reports. An Offering of Step Ahead: A Partnership for Improved Health Care Communication. INSTITUTION New Mexico State Univ., Las Cruces. SPOONS AGENCY Office of Vocational and Adult Education (ED). Washington, DC. PUB DATE 91 CONTRACT V198A00163 NOTE 88p.; For related documents, see CE 060 682-685. PUB TYPE Guides - Classroom Use - Instructional Materials (For Learner) (051) EDRS PRICE MF01/PC04 Plus Postage. DESCRIPTORS Adult Basic Educaon; Adult Literacy; *Allied Health Occupations; Basic Skills; *Communication Skills; *Hospital Personnel; Hospitals; Illiteracy; Literacy Education; *Reports; Staff Development; *Technical Writing; *Writing Skills; Writing Strategies IDENTIFIERS *Workplace Literacy ABSTRACT This coursebook provides materials for a course to improve the writing skills of workers in health care settings. The course is designed to be presented in eight sessions over a 4-week period. Stated objectives for the participant are as follows: feel more comfortable with on-the-job writing, understand and use a process approach to writing, be able to choose from several outlining and planning methods, choose effective language for both reporting and persuasive writing, and revise memos and reports with a clear purpose and an intended audience in mind. Introductory materials include course goals, outline, and four suggested writing assignments. The first section covers the communication triangle, purpose, and audience. The second section addresses these topics: the writing process, writing behaviors/styles, planning strategies, drafting strategies, and revising and editing. Worksheets are provided in the first two sections for some topics. Two tip sheets discuss reviewing someone else's writing and strategies for quick writing. -
Encountering Christ in Charles Dickens' a Christmas Carol
DAILY DEVOTIONS FOR ADVENT Encountering Christ in Charles Dickens’ A Christmas Carol AUTHOR’S INTRODUCTION Charles Dickens’ A Christmas Carol has been a delightful part of the celebration of Christmas since it was first written in 1843. Dickens deeply, and penitently, understands that Scrooge is really a reflection of himself and so many of us in our sinful state; yet the transformation of this central character, and us, is the blessing we receive from the Child of Christmas. There are five sections, or staves, in this classic, and each of them is represented in part in the selections to follow: The first stave (Marley’s Ghost)—an introduction to Ebeneezer Scrooge and his life before his transformation: The first week of Advent to Tuesday after the Second Sunday of Advent. The next three staves (The Three Spirits of Christmas Past, Present, and Yet-to-Come)—Scrooge’s journey through repentance and renewal: Wednesday after the Second Sunday of Advent to Saturday after the Third Sunday of Advent. The final stave (The End)—Scrooge’s transformed-self that now embraces the joy of Christmas: The final week of Advent. I hope my own reflections for each of these days in Advent will help to lift up the Child who was not ashamed to take upon himself the poverty of our being and makes us all new—for our sake, and for the sake of the whole world! FIRST SUNDAY of ADVENT The grass withers, the flower fades, when the breath of the Lord blows upon it; surely the people are grass. -
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. -
Bleak House Charles Dickens
Bleak House Charles Dickens ALMA CLASSICS AlmA ClAssiCs an imprint of AlmA books ltd Thornton House Thornton Road Wimbledon Village London SW19 4NG United Kingdom www.almaclassics.com Bleak House first published in 1853 This edition first published by Alma Classics in 2021 Extra Material © Alma Books Ltd Printed in Great Britain by CPI Group (UK) Ltd, Croydon CR0 4YY isbn: 978-1-84749-671-3 All the pictures in this volume are reprinted with permission or pre sumed to be in the public domain. Every effort has been made to ascertain and acknowledge their copyright status, but should there have been any unwitting oversight on our part, we would be happy to rectify the error in subsequent printings. All rights reserved. No part of this publication may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or other- wise), without the prior written permission of the publisher. This book is sold subject to the condition that it shall not be resold, lent, hired out or otherwise circulated without the express prior consent of the publisher. Contents Bleak House 1 Preface 5 ChApter 1 In Chancery 7 ChApter 2 In Fashion 12 ChApter 3 A Progress 18 ChApter 4 Telescopic Philanthropy 35 ChApter 5 A Morning Adventure 45 ChApter 6 Quite at Home 57 ChApter 7 The Ghost’s Walk 75 ChApter 8 Covering a Multitude of Sins 84 ChApter 9 Signs and Tokens 100 ChApter 10 The Law-Writer 113 ChApter 11 Our Dear Brother 122 ChApter 12 On the Watch 134 ChApter 13 Esther’s -
Katie Wetzel MA Thesis Final SP12
DOMESTIC TRAUMA AND COLONIAL GUILT: A STUDY OF SLOW VIOLENCE IN DOMBEY AND SON AND BLEAK HOUSE BY KATHERINE E. WETZEL Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master of Arts. _____________________________ Chairperson Dr. Dorice Elliott _____________________________ Dr. Anna Neill _____________________________ Dr. Paul Outka Date Defended: April 3, 2012 ii The Thesis Committee for Katherine E. Wetzel certifies that this is the approved version of the following thesis: DOMESTIC TRAUMA AND COLONIAL GUILT: A STUDY OF SLOW VIOLENCE IN DOMBEY AND SON AND BLEAK HOUSE _______________________________ Chairperson Dr. Dorice Elliott Date Approved: April 3, 2012 iii Abstract In this study of Charles Dickens’s Dombey and Son and Bleak House, I examine the two forms of violence that occur within the homes: slow violence through the naturalized practices of the everyday and immediate forms of violence. I argue that these novels prioritize the immediate forms of violence and trauma within the home and the intimate spaces of the family in order to avoid the colonial anxiety and guilt that is embedded in the naturalized practices of the everyday. For this I utilize Rob Nixon’s theory on slow violence, which posits that some practices and objects that occur as part of the everyday possess the potential to be just as violent as immediate forms of violence. Additionally, the British empire’s presence within the home makes the home a dark and violent place. Dombey and Son does this by displacing colonial anxiety, such as Mr. -
The Production of Religious Broadcasting: the Case of The
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OpenGrey Repository The Production of Religious Broadcasting: The Case of the BBC Caitriona Noonan A thesis submitted in fulfilment of the requirements of the degree of Doctor of Philosophy. Centre for Cultural Policy Research Department of Theatre, Film and Television University of Glasgow Glasgow G12 8QQ December 2008 © Caitriona Noonan, 2008 Abstract This thesis examines the way in which media professionals negotiate the occupational challenges related to television and radio production. It has used the subject of religion and its treatment within the BBC as a microcosm to unpack some of the dilemmas of contemporary broadcasting. In recent years religious programmes have evolved in both form and content leading to what some observers claim is a “renaissance” in religious broadcasting. However, any claims of a renaissance have to be balanced against the complex institutional and commercial constraints that challenge its long-term viability. This research finds that despite the BBC’s public commitment to covering a religious brief, producers in this style of programming are subject to many of the same competitive forces as those in other areas of production. Furthermore those producers who work in-house within the BBC’s Department of Religion and Ethics believe that in practice they are being increasingly undermined through the internal culture of the Corporation and the strategic decisions it has adopted. This is not an intentional snub by the BBC but a product of the pressure the Corporation finds itself under in an increasingly competitive broadcasting ecology, hence the removal of the protection once afforded to both the department and the output.