Many of Dickens' novels were published serially, in monthly parts, & the appearance of these installments was eagerly awaited. Today the advertisements, published along with the monthly parts, are no less interesting than the novels themselves for being a mirror of the tastes of the Victorian England which subscribed to Mr. Dickens's monthly installments.
Great Expectations has had a long, active and sometimes surprising life since its first serialized appearance in All the Year Round between 1 December 1860 and 3 August 1861. In this new publishing and reception history, Mary Hammond demonstrates that while Dickens’s thirteenth novel can tell us a great deal about the dynamic mid-Victorian moment into which it was born, its afterlife beyond the nineteenth-century Anglophone world reveals the full extent of its versatility. Re-assessing generations of Dickens scholarship and using newly discovered archival material, Hammond covers the formative history of Great Expectations' early years, analyses the extent and significance of its global reach, and explores the ways in which it has functioned as literature and stage, TV, film and radio drama from its first appearance to the latest film version of 2012. Appendices include contemporary reviews and comprehensive bibliographies of adaptations and translations. The book is a rich resource for scholars and students of Dickens; of comparative literature; and of publishing, readership, and media history.
Charles Dickens is arguably the greatest storyteller in English Literature and his novels have been loved and respected for nearly two hundred years. As accurate reflections of Victorian society they are unparalleled. Vivid characters and realistic settings are created in the mind of the reader, all laced with Dickens inimitable humour, wit and lacerating political comment. This book aims to bring alive these characters and settings in the minds of children. It provides a comprehensive resource for children not only to learn about the literary heritage of the English language, but also to encourage them to create meanings from these classic stories through their personal, social and cultural experiences. The authors set each novel in context, providing a synopsis of the book, as well as characters, settings themes and symbolism. Works covered include: A Christmas Carol Bleak House David Copperfield Great Expectations Hard Times Oliver Twist But this book doesn’t just aim to introduce classic literature to children; it also provides a wide range of truly contemporary tools with which they can respond creatively, including: drama and film, blogs, web 2.0 technologies, multimodality and animation and graphic novels. The book is also accompanied by a CD which contains chapter outlines, extended text extracts, and practical resource sheets, including PowerPoint presentations, book review templates and flash cards, as well as a set of 8 week lesson plans for each novel. The Essential Charles Dickens School Resource provides essential classroom learning material for teachers and literacy co-ordinators teaching Key Stages 1 -3, as well as CPD students and those studying on PGCE English/Drama courses.
A well-written and carefully-researched narrative, it increases our knowledge of Scott's life and work as perceived by his contemporaries, as well as enabling us to read Hogg's Anecdotes in their original context.
All his life Charles Dickens was fascinated by the Christmas Pantomime, one of the most popular and least respectable of nineteenth-century genres and still one of the most successful forms of British drama. In The Dickens Pantomime Edwin Eigner shows how Dickens based his characters on the dramatis personae of Pantomime and how he structured his novels according to the two-part pattern of the early nineteenth-century panto, a pattern based on transformations effected by stage magic. In Dickens' hands the Pantomime characters expressed some of the most significant concerns of the times, and the transformations they underwent, mirroring the structural transformations of the Pantomime itself, provided means of rescuing Victorians from problems which seemed unsolvable given their prevailing world view. This book deals with all of Dickens' novels, the so-called light novels and the dark, and with the comic as well as the tragic characters. It concentrates, however, on David Copperfield, the middle novel in the Dickens' canon. Eigner places Wilkins Micawber at the center of the author's vision, where this supreme comic creation can illuminate the behavior of a zany like Dick Swiveller of The Old Curiosity Shop as well as the desperation of such tragic figures from the late novels as Sydney Carton of A Tale of Two Cities. Micawber, Eigner argues, provides the creative absurdity necessary to change the lives of both the characters and the readers of the novels.
The book takes as its theme the relationship between literature and the contemporary means of production and distribution collectively termed 'the media' - in particular, film and television. The intention of the book is to explore and evaluate the mutual opportunities and restrictions in this relationship. In the grammar of our culture there seems to be an accepted opinion that print is superior in terms of cultural production to film, radio or television, that to read a book is somehow a 'higher' cultural activity than seeing a play on television or seeing a film. By the same token, a novel is a 'superior' work of art to film or television. The longer perspective reveals that traditionally there always is a greater respect paid to the previous mode of literary production - poetry was superior to drama, poetic drama was superior to the novel, and film attained cult and classic status initially over television.
This book argues that Shaw was a masterful reader of Ibsen's plays both as texts and as the cornerstone of the modern theatre. Dismantling the notion that Shaw distorted Ibsen to promote his own view of the world, and establishing Shaw’s initial interest in Ibsen as the poet of Peer Gynt, it chronicles Shaw’s important role in the London Ibsen campaign and exposes the falsity of the tradition that Shaw branded Ibsen as a socialist. Further, this study shows that Shaw’s famous but maligned The Quintessence of Ibsenism reflects Ibsen’s own anti-idealist notion of his work and argues that Shaw’s readings of Ibsen’s plays are pioneering analyses that anticipate later criticism. It offers new readings of Shaw’s “Ibsenist” plays as well as a comprehensive account of Ibsen’s importance for Shaw’s dramatic criticism, from his early journalism to Our Theatres of the Nineties, both as a weapon against the inanities of the Victorian stage and as the standard bearer for modernism.