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Great Expectations de Charles Dickens

Great Expectations

Autor Charles Dickens Ilustrat de Tom Haugomat
Notă:  5.00 · 2 note 
en Limba Engleză Paperback – 28 dec 2010
A newly repackaged edition of Dickens's classic coming-of-age tale, with an introduction, contextual essays, a map, and suggestions for further exploration by Victorian scholar Tanya Agathocleous.

A terrifying encounter with an escaped convict in a graveyard on the wild Kent marshes; a summons to meet the bitter, decaying Miss Havisham and her beautiful, cold-hearted ward Estella; the sudden generosity of a mysterious benefactor-these form a series of events that change the orphan Pip's life forever, as he eagerly abandons his humble origins to begin a new life as a gentleman. Dickens's haunting novel depicts Pip's education and development through adversity as he discovers the true nature of his great expectations. Published nine years before Dickens's death, it remains one of his most celebrated works.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
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Specificații

ISBN-13: 9780143106272
ISBN-10: 0143106279
Pagini: 512
Dimensiuni: 141 x 213 x 38 mm
Greutate: 0.55 kg
Ediția:150th Anniversary edition
Editura: Penguin Publishing Group
Locul publicării:London, United Kingdom

Notă biografică

Charles Dickens (1812-1870), one of the most important contributors to the canon of English literature, wrote such classics as Oliver Twist, A Christmas Carol, and David Copperfield.

Tanya Agathocleous is an associate professor of English at Hunter College and the Graduate Center, CUNY, where she teaches classes on Victorian literature and on colonial and postcolonial studies. She is the author of Urban Realism and the Cosmopolitan Imagination in the Nineteenth Century (2011), a Broadview edition of Joseph Conrad’s The Secret Agent, a young-adult biography of George Orwell, and several academic articles on a range of nineteenth-century literary topics. She has also written for Public Books and Los Angeles Review of Books. She is currently the vice president of the North American Victorian Studies Association.

Descriere

Descriere de la o altă ediție sau format:
Featuring beautiful cover art from artist Laci Fowler, this fine collector's edition of Charles Dickens's Great Expectations is a must-have for book lovers and literature fans. One of English literature's classic masterpieces—a harrowing novel that addresses issue of social class, human worth, and the importance of self-awareness.
Considered by many to be Charles Dickens's finest novel, Great Expectations follows the narrator, the orphan Philip Pirrip (Pip), as he leaves behind a childhood of misery and poverty after an anonymous benefactor offers him a chance at the life of a gentleman.
From its famous dramatic opening on the bleak Kentish marshes, the story abounds with some of Dickens's most memorable cast that has entered popular culture: the mysterious convict Abel Magwitch, the capricious Miss Havisham, the cold and beautiful Estella, the kind and generous blacksmith Joe, the sycophantic Uncle Pumblechook, Mr. Jaggers, Wemmick with his dual personality, and the wise friend, Herbert Pocket.
Whether you're buying this as a gift or for yourself, this remarkable edition features: a beautiful high-end hardcover featuring Laci Fowler's distinctive hand-painted art, perfect for standing out on any discerning fiction lover's bookshelf; embossed cover art and gold foiling; decorative interior pages featuring pull quotes distributed throughout; a matching ribbon marker; and gold page edges.

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.

Recenzii

At a recent department meeting, it became evident that Dickens is an author who can divide a room. 'Let's teach some Dickens at key stage three,' some argued. 'I can't imagine anything worse,' others said. 'Too difficult', 'too wordy', 'enough to put anyone off'. 'But the stories are great,' I argued. It's easy to see both sides of the argument. As someone who has dipped in and out of Dickens over the years, I have always been delighted by the actual reading of the novel, but sometimes it has taken a considerable effort of will to start the thing. Many are long, all are complex, and there is some truth in the assertion that they are too difficult-not for all, certainly, but for some children at key stage three, Dickens could sound the death knell for reading pleasure. There is a case, then, for a differentiated Dickens, and here, as with other literary classics, Real Reads provides a helpful solution. The series currently includes nine of the major novels: Bleak House, A Christmas Carol, David Copperfield, Hard Times, Oliver Twist and Great Expectations, The Old Curiosity Shop, A Tale of Two Cities and Little Dorrit. All follow the same format-a couple of pages introducing the characters with some delightful illustrations by Karen Donnelly, forty-seven pages of narrative and a 'Taking Things Further' section at the back. Like other Real Reads, too, the novels are not designed to replace the originals, but to complement them. The publisher's hope is that for some readers, the Real Reads are a springboard into the original texts; for others it is to broaden their range of cultural experience and introduce them to a world of wonderful plots and characters. What makes these retellings particularly appealing from a classroom point of view is that significant attention is paid to the language use characteristic of the authors. The novels are retold with some integrity to the original-that is that some of the cadence of Dickens is retained; that some of the vocabulary remains authentic, and that some of those seminal passages remain relatively unaltered. Take the opening of A Tale of Two Cities as an example, 'It was the best of times, it was the worst of times; it was the age of wisdom, it was the age of foolishness; it was the season of wealth, it was the season of poverty. In short, it was a time very much like the present.' In short, it is very much like the original. The retellings go some way to preserving Dickens's characters and while there are of course casualties, the characters that remain are rounded and engaging. For Oliver we feel pity as he pleads with Sikes 'P-p-p-please don't make me steal,' in the face of Sikes terrifying whisper 'Quiet, vermin'. We long for Nancy to be saved by Mrs Maylie and feel the poignancy of her departure: 'You must take Oliver to safety. I must return to my life.' We sense the justice in Fagin's wait for death 'his face so distorted and pale, his eyes so bloodshot, that he already looked more dead than alive as he awaited his punishment.' Of course, we also feel the delight and relief as 'Oliver and Mr Brownlow walked hand in hand to their carriage.' Some of Dickens's humour is preserved: Mrs Joe is to be found bringing Pip up by hand and at the birth of David Copperfield, Peggotty's 'bosom swelled with such joy and pride that two buttons popped from her bodice and flew across the room.' The heartbreak remains too: 'As he wasted away over the next few days, Little Dorrit didn't leave her father's side. His spirit was like a maimed bird, able to think only of the place that had broken its wings. Finally, his spirit broke free of all earthly concerns. Little Dorrit wept bitterly. The 'Filling in the Spaces' section at the back of each book provides a helpful resource for teachers. Elements of the plot that have been omitted in order to contain the retelling in such a thin volume are listed here and can provide a useful point of departure to read some of the original text. There is some contextual material pertinent to the text, so for Little Dorrit we learn that Dickens's father was sent to Marshalsea Prison when Dickens was twelve and for Hard Times we can read about the rise of steam power and the way in which machinery in factories gave rise to mass migration to cities. There is also a two-page section called 'Food for thought' that provides points for discussion, themes, style and symbols and would neatly help shape classroom discussion and activity. In The Old Curiosity Shop, for example, 'Oscar Wilde said that Nell's death makes the reader laugh, whereas critics in Dickens' time were usually overcome by grief. Which is closer to your own reaction? Why?' would lend itself very well to paired, group or whole-class debate. Thinking about how the symbols of fog, hands, light and shadow and city and countryside match the action in Bleak House immediately suggests ways in which pupils might track language against action as they read. At the lower end of the price range for class readers, the excellent and durable quality of the books presents a good investment at GBP4.99 RRP for individual texts. -- Jane Campion Use in English

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."

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

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