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Great Expectations de Charles Dickens

Great Expectations

Autor Charles Dickens Editat de Graham Law, Adrian J. Pinnington
Notă:  5.00 · 2 note 
en Limba Engleză Paperback – 7 apr 1998
Originally published in serial form from December 1860 to August 1861, Great Expectations is the ‘autobiography’ of Pip, as he transformed from apprentice village blacksmith to a London gentleman. Unlike many of Dickens’s earlier works, the novel is not so much a protest against social evils as a sustained meditation upon the process of social reform in Victorian England. It is this which gives such importance to the book’s handling of the theme of the gentleman, a theme central both to Dickens’s society and to his own life story.
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Specificații

ISBN-13: 9781551111742
ISBN-10: 1551111748
Pagini: 656
Dimensiuni: 140 x 216 x 32 mm
Greutate: 0.79 kg
Editura: BROADVIEW PR
Colecția Broadview Press
Locul publicării:Peterborough, Canada

Recenzii

Originally published in serial form from December 1860 to August 1861, Great Expectations is the ‘autobiography’ of Pip, as he transformed from apprentice village blacksmith to a London gentleman. Unlike many of Dickens’s earlier works, the novel is not so much a protest against social evils as a sustained meditation upon the process of social reform in Victorian England. It is this which gives such importance to the book’s handling of the theme of the gentleman, a theme central both to Dickens’s society and to his own life story.

“The notes to this edition of Great Expectations are extremely helpful, and the supporting materials are useful, clear, and well-selected. Law and Pinnington have put together an edition that takes into account what the contemporary (and especially, the non-British) reader needs in order to appreciate the novel. All in all, this is an excellent edition.” — Sally Mitchell, Temple University
“It is high time for this Dickens masterpiece to receive the kind of critical and contextual attention that this edition of Great Expectations affords. The editors provide essential information about Dickens’s compositional as well as publishing practices, and they further support this background with a sampling of the lively contemporary dialogue about the text in the periodicals of the day. They issues raised by the novel—namely class and language, and crime and punishment—are amply explored by pertinent historical documentation, including highly-charged autobiographical writing by Dickens himself that was not available to his contemporary readership. Moreover, the introduction expertly guides the reader though the application of these materials in a creative and inviting manner. Law and Pinnington have gathered together an impressive array of contemporary documents to promote an informed reading of this classic text … In particular, the maps and illustrations of the novel’s various settings allow the non-expert to quickly gain insights which should lead to intriguing arguments about how the novel has worked—for its own time as well as our own. I especially commend the editors for their resourceful choices related to the Victorian conception of what constitutes a true gentleman—itself perhaps the key question that helps to unlock the novel.” — Carol Hanbery MacKay, University of Texas-Austin

Cuprins

Introduction
Acknowledgements
A Note on the Text
Charles Dickens: A Brief Chronology

GREAT EXPECTATIONS
  • Volume I
  • Volume II
  • Volume III
Explanatory Notes
Appendices: Contemporary Documents
Appendix A. The Composition of the Novel
  1. Dickens’s Working Memoranda
  2. Dickens’s Letters
Appendix B. Contemporary Responses to the Novel
  1. Athenaeum (13 July 1861)
  2. Examiner (20 July 1861)
  3. Saturday Review (20 July 1861)
  4. Atlantic Monday (September 1861)
  5. The Times (17 October 1861)
  6. British Quarterly Review (January 1862)
  7. Rambler (January 1862)
  8. Blackwood’s Magazine (May 1862)
  9. Temple Bar (September 1862)
Appendix C. On Class and Language
  1. Charles Dickens, “Hard Experiences in Boyhood” in John Forster, The Life of Charles Dickens (1872-74)
  2. Charles Dickens, “Travelling Abroad” The Uncommercial Traveller (1861)
  3. Alexis deTocqueville, The Old Regime and the French Revolution (1856)
  4. Sir James Fitzjames Stephen, “Gentlemen” Cornhill Magazine (1862)
  5. William Sewell, “Gentlemanly Manners” Sermons to Boys at Radley School (1854-69)
  6. John Ruskin, “Of Vulgarity,” Modern Painters (1860)
  7. J.H. Newman, “Liberal Knowledge Viewed in Relation to Religion,” The Scope and Nature of University Education (1859)
  8. Thomas Carlyle, “Labour,” Past and Present (1843)
  9. Samuel Smiles, “Character: The True Gentleman,” Self Help (1859)
  10. Mrs. Craik, John Halifax, Gentleman (1856)
  11. Thomas Hughes, Tom Brown’s Schooldays (1857)
  12. Reports on the State of Popular Education in England (1861)
Appendix D. On Crime & Punishment
  1. Mrs. Trimmer, The Charity School Spelling Book (1818)
  2. Charles Dickens, “Criminal Courts,” Sketches by Boz (1839)
  3. Charles Dickens, “A Visit to Newgate,” Sketches by Boz (1839)
  4. Report from the Select Committee on Transportation (1838)
  5. Henry Savery, Quintus Servinton (1830-31)
  6. Marcus Clarke, His Natural Life (1870-72)
  7. “The Autobiography of a Convict,” The Voices of Our Exiles (1854)
  8. John Binny, “Thieves and Swindlers,” in London Labour and the London Poor (1861)
  9. Thomas Carlyle, Model Prisons (1850)
  10. Thomas Beard, “A Dialogue Concerning Convicts,” All the Year Round (1861)
  11. Charles Dickens, “The Ruffian,” The Uncommercial Traveller (1868)
Maps and Illustrations Showing Settings
Map A: Estuaries of the Thames and Medway
Map B: City of London
Map C: Pip’s London
Illustration A. Smithfield Market
Illustration B. Barnard’s Inn
Illustration C. The River Front at Hammersmith
Illustration D. Covent Garden Market
Illustration E. The Royal Exchange
Illustration F. The Temple Stairs
Illustration G. London Bridge
Illustration H. Billingsgate Market

Select Bibliography

Notă biografică

CHARLES DICKENS was a brilliant and prolific writer, probably the most famous nineteenth-century English novelist. He was very successful during his lifetime and his books have never been out of print. The exciting plots and fantastic characters in his books have meant they have all been adapted (in some cases, many times over) for television or the big screen. Charles Dickens was born on February 7, 1812 in Portsmouth. He was one of eight children, and at first his family enjoyed a happy life in the countryside of Kent. But Dickens' father was not very good at managing his money, and when the family fell into financial difficulties they had to move to London. In Dickens' time people who could not pay their debts were sent to a kind of prison, and Dickens' father eventually ended up in one of these debtor's prisons, called the Marshalsea. Charles was forced to leave school and go to work in a 'blacking factory' where he pasted labels on to pots for many hours a day. Even though Charles was only twelve at this time, he understood that without education he would never escape the poverty that had so entrapped his family. Charles often used his childhood experiences in his books. Fortunately Charles was eventually sent back to school. He went to work as a lawyer's clerk, and then as a political reporter. In 1833 he began to publish short stories and essays in newspapers and magazines. His first book, The Pickwick Papers, was published in instalments in a monthly magazine, and was a roaring success. Even before this book was finished, Charles began writing another novel, Oliver Twist. Dickens died after a stroke on June 9, 1870, leaving his last novel, The Mystery of Edwin Drood, unfinished. He is buried in Westminster Abbey.

Extras

Chapter I.


My father's family name being Pirrip, and my christian name Philip, my
infant tongue could make of both names nothing longer or more explicit than
Pip. So, I called myself Pip, and came to be called Pip.


I give Pirrip as my father's family name, on the authority of his tombstone
and my sister – Mrs. Joe Gargery, who married the blacksmith. As I never saw
my father or my mother, and never saw any likeness of either of them (for
their days were long before the days of photographs), my first fancies
regarding what they were like, were unreasonably derived from their
tombstones. The shape of the letters on my father's, gave me an odd idea
that he was a square, stout, dark man, with curly black hair. From the
character and turn of the inscription, "Also Georgiana Wife of the Above,"
I drew a childish conclusion that my mother was freckled and sickly. To
five little stone lozenges, each about a foot and a half long, which were
arranged in a neat row beside their grave, and were sacred to the memory of
five little brothers of mine – who gave up trying to get a living exceedingly
early in that universal struggle – I am indebted for a belief I religiously
entertained that they had all been born on their backs with their hands in
their trousers-pockets, and had never taken them out in this state of
existence.


Ours was the marsh country, down by the river, within as the river wound,
twenty miles of the sea. My first most vivid and broad impression of the
identity of things, seems to me to have been gained on a memorable raw
afternoon towards evening. At such a time I found out for certain, that
this bleak place overgrown with nettles was the churchyard; and that Philip
Pirrip, late of this parish, and also Georgiana wife of the above, were
dead and buried; and that Alexander, Bartholomew, Abraham, Tobias, and
Roger, infant children of the aforesaid, were also dead and buried; and
that the dark flat wilderness beyond the churchyard, intersected with dykes
and mounds and gates, with scattered cattle feeding on it, was the marshes;
and that the low leaden line beyond was the river; and that the distant
savage lair from which the wind was rushing, was the sea; and that the
small bundle of shivers growing afraid of it all and beginning to cry, was
Pip.


"Hold your noise!" cried a terrible voice, as a man started up from among
the graves at the side of the church porch. "Keep still, you little devil,
or I'll cut your throat!"


A fearful man, all in coarse grey, with a great iron on his leg. A man with
no hat, and with broken shoes, and with an old rag tied round his head. A
man who had been soaked in water, and smothered in mud, and lamed by
stones, and cut by flints, and stung by nettles, and torn by briars; who
limped, and shivered, and glared and growled; and whose teeth chattered in
his head as he seized me by the chin.


"Oh! Don't cut my throat, sir," I pleaded in terror. "Pray don't do it,
sir."


"Tell us your name!" said the man. "Quick!"


"Pip, sir."


"Once more," said the man, staring at me. "Give it mouth!"


From the Trade Paperback edition.

Textul de pe ultima copertă

In this unflaggingly suspenseful story of aspirations and moral redemption, humble, orphaned Pip, a ward of his short-tempered older sister and her husband, Joe, is apprenticed to the dirty work of the forge but dares to dream of becoming a gentleman. And, indeed, it seems as though that dream is destined to come to pass because one day, under sudden and enigmatic circumstances, he finds himself in possession of "great expectations." In telling Pip's story, Dickens traces a boy's path from a hardscrabble rural life to the teeming streets of 19th-century London, unfolding a gripping tale of crime and guilt, revenge and reward, and love and loss.
Written in the last decade of Dickens' life, "Great Expectations" was praised widely and universally admired. It was his last great novel, and many critics believe it to be his finest. Readers and critics alike praised it for its masterful plot, which rises above the melodrama of some of his earlier works, and for its three-dimensional, psychologically realistic characters characters much deeper and more interesting than the one-note caricatures of earlier novels."