scholarly journals Unhappy Birthdays in the Novels by F. H. Burnett (A Little Princess) and Charles Dickens (David Copperfield)

2021 ◽  
Vol 10 (1) ◽  
pp. 63-71
Author(s):  
Varvara A. Byachkova
Keyword(s):  
Charles Dickens ◽  
Frances Hodgson Burnett ◽  
New Period ◽  
David Copperfield

This article deals with “unhappy birthdays” in the novels of Charles Dickens and Frances Hodgson Burnett. Both writers follow the folklore tradition of depicting young characters who have to take care of themselves after a parent’s death. In the novels David Copperfield and A Little Princess, the news of their parent’s death comes on the child’s birthday. This article studies why this particular day is chosen, under what circumstances the children survive their trauma and what makes them capable of moving on. The news of the parent’s death on the child’s birthday seems to mark the start of a new period in each character’s life, a test that has to be passed. Having passed the test and won a moral victory over the circumstances, the child gets an opportunity to move on and be happy again.

Emigration Aesthetics: Elizabeth Gaskell, Charles Dickens and Catherine Helen Spence

2018 ◽  
pp. 161-190
Author(s):  
Fariha Shaikh
Keyword(s):  
British Empire ◽  
Charles Dickens ◽  
Elizabeth Gaskell ◽  
Global Network ◽  
The Novel ◽  
Cultural Imagination ◽  
David Copperfield ◽  
Martin Chuzzlewit ◽  
A Site

Chapter Five takes up this reading and interrogates the ways in emigration literature becomes a trope in Charles Dickens’s Martin Chuzzlewit (1844) and David Copperfield (1850), Elizabeth Gaskell’s Mary Barton (1848) and Catherine Helen Spence’s Clara Morison (1854). This chapter asserts that to ask how central or liminal emigration is to the plot of the novel is to miss the point. What is far more interesting is the ways in which the novels discussed here register the effects of emigration. They draw on the familiar tropes of emigration literature, but at the same time, they imagine a world in which emigration literature connects emigrants and their families and weaves them into the larger global network of the British empire. Thus, collectively, the last two chapters of this book demonstrate the hold that emigration literature had over the cultural imagination. Not only does it produce a stock of common tropes that other genres and media drew on, it also becomes a motif in them, a site of interrogation for the interrogation of texts that produced a widening settler world.

scholarly journals INTRALINGUAL TRANSLATION: A SIMPLIFIED VERSION OF THE ORIGINAL NOVEL DAVID COPPERFIELD

2020 ◽  
Vol 4 (2) ◽  
pp. 353-357
Author(s):  
Fani Hafizah ◽  
Syahron Lubis ◽  
Muhizar Muchtar
Keyword(s):  
Charles Dickens ◽  
Qualitative Method ◽  
Original Novel ◽  
The Novel ◽  
Translation Technique ◽  
Translation Techniques ◽  
Total Data ◽  
David Copperfield ◽  
Descriptive Qualitative

The objectives of this project are to describe the intralingual translation techniques used in translating the original novel David Copperfield into a simplified version and to find out the reasons why the translator made a simplified version of the original novel David Copperfield written by Charles Dickens. This study used the descriptive qualitative method. The data were collected by reading the novel, comparing the original and simplified texts of David Copperfield, identifying, classifying, counting, and concluding the results. The theory of Jakobson was used to analyze the data related to intralingual translation techniques. The results of the study showed that from the total data (20 texts from the original novel David Copperfield and 20 texts from the simplified version), the paraphrasing technique was used 6 times and the summarizing technique was used 14 times. Besides, the most dominant intralingual translation technique used by the translator is the summarizing technique. The reasons why the translator used paraphrasing and summarizing techniques in making the intralingual translation of the original novel into a simplified version were also found. Firstly, the original novel consists of 750 pages, which are easier to read by making the summary of the novel into 238 pages using the summarizing technique. Secondly, the original novel consists of many difficult words, which can hinder the comprehension of the reader whereas in the simplified version the novel was paraphrased by using the paraphrasing technique. 

THE BLUEBEARD BAROMETER: CHARLES DICKENS AND CAPTAIN MURDERER

2004 ◽  
Vol 32 (2) ◽  
pp. 505-524
Author(s):  
Shuli Barzilai
Keyword(s):  
Charles Dickens ◽  
David Copperfield ◽  
First Time

“You mustn't marry more than one person at a time, may you, Peggotty?”“Certainly not,” says Peggotty, with the promptest decision.“But if you marry a person, and the person dies, why then you may marry another person, mayn't you, Peggotty?”“You MAY,” says Peggotty, “if you choose, my dear. That's a matter of opinion.”—David Copperfield(1849–50)THE FIRST TIME I HEARD OF CAPTAIN MURDERERwas in the Jerusalem Theater many years ago when the Welsh actor Emlyn Williams (1905–87) gave a reading of scenes from the works of Charles Dickens. Williams's performance was a recreation of the initiative of Dickens himself who, in the late 1850s, took on yet another activity and persona, that of the itinerant player, and began a series of public tours in which he read from his own works. Of all the pieces Williams performed on that occasion, the story of “a certain Captain Murderer” remains most vividly present to memory not only for its eerie atmosphere and plot but especially for its effect on the audience. I can still recall the collective gasp of horror, as well as the outbursts of laughter, that the story's denouement elicited from a captivated company of listeners.

Charles Dickens: 'David Copperfield'

1979 ◽  
Vol 74 (4) ◽  
pp. 920
Author(s):  
Edwin M. Eigner ◽  
Philip Collins
Keyword(s):  
Charles Dickens ◽  
David Copperfield

scholarly journals Charles Dickens’s David Copperfield: New Critical Reconsiderations

2015 ◽  
Vol 5 (4) ◽  
pp. 31
Author(s):  
Ali Albashir Mohammed Alhaj
Keyword(s):  
Charles Dickens ◽  
Urban Poor ◽  
Living Condition ◽  
Detailed Account ◽  
Victorian England ◽  
Black Paint ◽  
David Copperfield ◽  
Competitive Nature ◽  
Do So

<p>The current study aims at reconsidering critically Charles Dickens’s <em>David Copperfield</em>. Charles Dickens is perhaps the greatest—if not the most perfect—of Victorian story-teller whose works have become synonymous with Victorian England. Many of his novels came out in monthly installments and were awaited by his readers eagerly. His popularity lay in his ability to write gripping, sentimental stories filled with memorable characters. On a more serious level, his novels are a detailed account of both the good and bad sides of Victorian life. In the semi-autobiographical <em>David Copperfield</em>, the author paints a graphic picture of the living condition of the urban poor. He also denounces the exploitation of children by adults and the cruel competitive nature of Victorian society.</p><p>To conclude, characters such as Micawber (a portrait based on Dickens’s own father) has passed into folk lore and become household names, used by people who have never read a Dickens novel in their lives. Also, the writer uses too much black paint. However, he wanted to raise kindness and goodness in men’s hearts, and he used tears and laughter to reach his aims. He probably brought a little improvement in some condition, but very often, he failed to do so.</p>

scholarly journals Bosquejos de niñez y proyectos de vida en la novela de Dickens “David Copperfield”

2011 ◽  
Vol 19 (106) ◽  
pp. 66
Author(s):  
Jorge Sanabria León
Keyword(s):  
Charles Dickens ◽  
David Copperfield

La interpretación de la novela de Charles Dickens David Copperfield se propone destacar las formas en que la literatura somete a debate bosquejos de subjetividad e interacción. El interés central es la asignación cultural de atributos individuales que derivan de esquemas predeterminados sobre valores personales y de formas de vida. A la construcción social del prejuicio se le brinda especial atención. El hilo del análisis lo lleva la interacción entre la figuras narrativas de David Copperfield y Urias Heep, pues conforman antípodas reflejo de antagonismos sociales. La configuración de contrastes entre las características de los personajes –los proyectos que encarnan y sus destinos– ofrece un campo para el estudio de las orientaciones para la acción en la vida cotidiana. Tal configuración prevé ordenamientos de la experiencia. Se hace énfasis en los elementos fundadores de una jerarquía de estilos y mundos de vida, que a su vez muestran cómo diferentes niveles simbólicos están comprometidos en la asignación de roles sociales y sus significados para un colectivo.

Dickens’s Tableaux

2019 ◽  
Vol 74 (2) ◽  
pp. 167-198
Author(s):  
Victoria Wiet
Keyword(s):  
Charles Dickens ◽  
Female Sexuality ◽  
Narrative Fiction ◽  
The Novel ◽  
Bleak House ◽  
Recent Scholarship ◽  
Fallen Women ◽  
Sexual Histories ◽  
David Copperfield ◽  
And Function

Victoria Wiet, “Dickens’s Tableaux: Melodrama and Sexual Opacity in David Copperfield and Bleak House” (pp. 167–198) This essay examines the features and function of tableaux in two novels by Charles Dickens, David Copperfield (1850) and Bleak House (1853), in order to rethink the influence of melodramatic conventions on the form of narrative fiction, particularly the understanding of female sexuality that melodrama afforded novelists. Taking Dickens as an important example, literary critics have typically associated melodrama with ostentatious legibility, but recent scholarship on the theatrical tableau has illuminated the complex ways the melodramatic stage both produced and occluded revelation. Drawing on this work, I demonstrate that the adaptation of the tableau into the novel form increases the possibility of illegibility because readers necessarily rely on the narrator’s description and interpretation of the material world. In David Copperfield and Bleak House, this remediation has particularly significant consequences for the representation of sexually compromised women. By inadequately revealing the sexual histories of suspected “fallen women,” densely visual but opaque scenes featuring Annie Strong, Martha Endell, and Honoria Dedlock defer judgment on their characters, with Lady Dedlock’s protracted illegibility preventing her plot from culminating in a decisive narrative or moral conclusion. Because the narrators of both novels depict these female characters as deliberately making themselves illegible, the novel tableau becomes an important way for Dickens to dramatize the fallibility of the omniscient and quasi-omniscient narrators of realist fiction.

Charles Dickens and the Rhetoric of Law in David Copperfield

Pólemos ◽  
2019 ◽  
Vol 13 (2) ◽  
pp. 219-229
Author(s):  
Anna Enrichetta Soccio
Keyword(s):  
Charles Dickens ◽  
Ordinary People ◽  
Realist Novel ◽  
Law System ◽  
The Press ◽  
Rapid Changes ◽  
David Copperfield ◽  
Law And Justice ◽  
Victorian Age ◽  
Legal Procedures

Abstract In the Victorian age, a period of rapid changes and social and cultural advancement, the preoccupation with modernizing the law system emerged as a concern for both law experts and ordinary people. However, it was the realist novel that drew particular attention to the inadequacy and inefficiency of a system that needed to be reformed. Charles Dickens was the Victorian novelist who, more than any of his fellow writers, never missed the opportunity to speak of law and justice, allowing his experience in the field to reveal the oddities and idiosyncrasies of the legal system. In David Copperfield, Dickens unmercifully criticizes laws and legal procedures but at the same time he proposes changes. In the middle of the century, the laws on marriage and divorce were frequently debated in the press and in Parliament. Dickens chooses his most autobiographical novel to give his own view on those matters as well as on the necessity to reform law courts at large.

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