Allegory in Dickens...
Author | : Jane Vogel |
Publisher | : |
Total Pages | : 347 |
Release | : 1977 |
Genre | : Allegory |
ISBN | : |
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Author | : Jane Vogel |
Publisher | : |
Total Pages | : 347 |
Release | : 1977 |
Genre | : Allegory |
ISBN | : |
Author | : Jane Vogel |
Publisher | : |
Total Pages | : 376 |
Release | : 1977 |
Genre | : Literary Criticism |
ISBN | : |
Author | : Charles Dickens |
Publisher | : Lulu.com |
Total Pages | : 162 |
Release | : 2011 |
Genre | : Cities and towns |
ISBN | : 1105116190 |
A miser learns the true meaning of Christmas when three ghostly visitors review his past and foretell his future.
Author | : Jeremy Tambling |
Publisher | : Routledge |
Total Pages | : 249 |
Release | : 2014-11-13 |
Genre | : Literary Criticism |
ISBN | : 1317612892 |
Focusing on the language, style, and poetry of Dickens’ novels, this study breaks new ground in reading Dickens’ novels as a unique form of poetry. Dickens’ writing disallows the statement of single unambiguous truths and shows unconscious processes burrowing within language, disrupting received ideas and modes of living. Arguing that Dickens, within nineteenth-century modernity, sees language as always double, Tambling draws on a wide range of Victorian texts and current critical theory to explore Dickens’ interest in literature and popular song, and what happens in jokes, in caricature, in word-play and punning, and in naming. Working from Dickens’ earliest writings to the latest, deftly combining theory with close analysis of texts, the book examines Dickens’ key novels, such as Pickwick Papers, Martin Chuzzlewit, Dombey and Son, Bleak House, Little Dorrit, Great Expectations, and Our Mutual Friend. It considers Dickens as constructing an urban poetry, alert to language coming from sources beyond the individual, and relating that to the dream-life of characters, who both can and cannot awake to fuller, different consciousness. Drawing on Walter Benjamin, Lacan, and Derrida, Tambling shows how Dickens writes a new and comic poetry of the city, and that the language constitutes an unconscious and secret autobiography. This volume takes Dickens scholarship in exciting new directions and will be of interest to all readers of nineteenth-century literary and cultural studies, and more widely, to all readers of literature.
Author | : Lynette Hunter |
Publisher | : Springer |
Total Pages | : 196 |
Release | : 1979-07-12 |
Genre | : Literary Criticism |
ISBN | : 1349161179 |
Author | : Linda M. Lewis |
Publisher | : University of Missouri Press |
Total Pages | : 313 |
Release | : 2012-01-01 |
Genre | : Literary Criticism |
ISBN | : 0826272649 |
Charles Dickens once commented that in each of his Christmas stories there is “an express text preached on . . . always taken from the lips of Christ.” This preaching, Linda M. Lewis contends, does not end with his Christmas stories but extends throughout the body of his work. In Dickens, His Parables, and His Reader, Lewis examines parable and allegory in nine of Dickens’s novels as an entry into understanding the complexities of the relationship between Dickens and his reader. Through the combination of rhetorical analysis of religious allegory and cohesive study of various New Testament parables upon which Dickens based the themes of his novels, Lewis provides new interpretations of the allegory in his novels while illuminating Dickens’s religious beliefs. Specifically, she alleges that Dickens saw himself as valued friend and moral teacher to lead his “dear reader” to religious truth. Dickens’s personal gospel was that behavior is far more important than strict allegiance to any set of beliefs, and it is upon this foundation that we see allegory activated in Dickens’s characters. Oliver Twist and The Old Curiosity Shop exemplify the Victorian “cult of childhood” and blend two allegorical texts: Jesus’s Good Samaritan parable and John Bunyan’s ThePilgrim’s Progress. In Dombey and Son,Dickens chooses Jesus’s parable of the Wise and Foolish Builders. In the autobiographical David Copperfield, Dickens engages his reader through an Old Testament myth and a New Testament parable: the expulsion from Eden and the Prodigal Son, respectively. Led by his belief in and desire to preach his social gospel and broad church Christianity, Dickens had no hesitation in manipulating biblical stories and sermons to suit his purposes. Bleak House is Dickens’s apocalyptic parable about the Day of Judgment, while Little Dorrit echoes the line “Forgive us our debts as we forgive our debtors” from the Lord’s Prayer, illustrating through his characters that only through grace can all debt be erased. The allegory of the martyred savior is considered in Hard Times and A Tale of Two Cities. Dickens’s final completed novel, Our Mutual Friend, blends the parable of the Good and Faithful Servant with several versions of the Heir Claimant parable. While some recent scholarship debunks the sincerity of Dickens’s religious belief, Lewis clearly demonstrates that Dickens’s novels challenge the reader to investigate and develop an understanding of New Testament doctrine. Dickens saw his relationship with his reader as a crucial part of his storytelling, and through his use and manipulation of allegory and parables, he hoped to influence the faith and morality of that reader.
Author | : Julian Schatz |
Publisher | : GRIN Verlag |
Total Pages | : 11 |
Release | : 2007-05-17 |
Genre | : Literary Criticism |
ISBN | : 3638685454 |
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Stuttgart (Anglistik), course: Critical Idioms – Allegory, 3 entries in the bibliography, language: English, abstract: The industrialization in England, started in the eighteenth and continued in the nineteenth century. It caused a radical change to working habits and ways of life. Especially to the majority of the people which now is spending most of its time in factories, getting only few amounts of money, just enough to earn its living. The invention of the steam engine and automated production processes, along with an immense population growth, caused a considerable accumulation of people close to industrial locations. This labour surplus lead to low salaries, because of too much supply of workers and too less demand of workers. That constellation gave a lot of power to a few people, those people that owned the factories and industrial complexes. In short, the employers, which where homo ökonomici had only profit in their minds. At these times we are far away from social services or standard wages. These circumstances lead to serious problems among the working class, which had been the majority. They lived in bad conditions in a polluted surrounding, dirty streets and a filthy environment. Leisure time was not known. Life mainly consists of working, eating and sleeping. In these times, where structural change in all aspects of life took or had taken place, Charles Dickens grew up among the most intensive stage of England’s industrialization. Growing older and becoming a writer, he refuses the money making and profit orientated society more and more. This critical attitude to people’s pursuit of money utters itself in his novel “Hard Times”, that he wrote in 1854. In this novel he blames the social differences in the then-society and in the then-life in a satiric and as well melodramatic way. The novel on the one hand shows the struggle of the factory workers and lower class people in everyday life, on the other hand the struggle for social status, etiquette, money and power of the middle and higher class, which is represented in “Hard Times” by Mr Bounderby, the Gradgrind family, Mrs Sparsit and others. The lower poor working class consists of the characters of Stephen Blackpool, his friend Rachel, the circus members, the Union, and others. Not to forget Sissy, which is adopted by the Gradgrinds out of her low poor status into a higher class.
Author | : Charles Dickens |
Publisher | : |
Total Pages | : 392 |
Release | : 1854 |
Genre | : |
ISBN | : |
Author | : John O. Jordan |
Publisher | : Cambridge University Press |
Total Pages | : 262 |
Release | : 2001-06-18 |
Genre | : Literary Criticism |
ISBN | : 9780521669641 |
The Cambridge Companion to Charles Dickens contains fourteen specially-commissioned chapters by leading international scholars, who together provide diverse but complementary approaches to the full span of Dickens's work, with particular focus on his major fiction. The essays cover the whole range of Dickens's writing, from Sketches by Boz through The Mystery of Edwin Drood. Separate chapters address important thematic topics: childhood, the city, and domestic ideology. Others consider formal features of the novels, including their serial publication and Dickens's distinctive use of language. Three final chapters examine Dickens in relation to work in other media: illustration, theatre, and film. Each essay provides guidance to further reading. The volume as a whole offers a valuable introduction to Dickens for students and general readers, as well as fresh insights, informed by recent critical theory, that will be of interest to scholars and teachers of the novels.
Author | : Jeremy Tambling |
Publisher | : BRILL |
Total Pages | : 233 |
Release | : 2021-11-08 |
Genre | : Literary Criticism |
ISBN | : 9004490795 |
Written using critical theory, especially by Walter Benjamin, Blanchot and Derrida, Allegory and the Work of Melancholy: The Late Medieval and Shakespeare reads medieval and early modern texts, exploring allegory within texts, allegorical readings of texts, and melancholy in texts. Authors studied are Langland and Chaucer, Hoccleve, on his madness, Lydgate and Henryson. Shakespeare's first tetralogy, the three parts of Henry VI and Richard III conclude this investigation of death, mourning, madness and of complaint. Benjamin's writings on allegory inspire this linking, which also considers Dürer, Baldung and Holbein and the dance of the dead motifs. The study sees subjectivity created as obsessional, paranoid, and links melancholia, madness and allegorical creation, where parts of the subject are split off from each other, and speak as wholes. Allegory and melancholy are two modes – a state of writing and a state of being - where the subject fragments or disappears. These texts are aware of the power of death within writing, which makes them, fascinating. The book will appeal to readers of literature from the medieval to the Baroque, and to those interested in critical theory, and histories of visual culture.