Search results for ""author dick"

Dickens's Idiomatic Imagination offers an original analysis of how Charles Dickens's use of "low" and "slangular" (his neologism) language allowed him to express and develop his most sophisticated ideas. Using a hybrid of digital (distant) and analogue (close) reading methodologies, Peter J. Capuano considers Dickens's use of bodily idioms—"right-hand man," "shoulder to the wheel," "nose to the grindstone"—against the broader lexical backdrop of the nineteenth century. Dickens was famously drawn to the vernacular language of London's streets, but this book is the first to call attention to how he employed phrases that embody actions, ideas, and social relations for specific narrative and thematic purposes. Focusing on the mid- to late career novels Dombey and Son, David Copperfield, Bleak House, Great Expectations, and Our Mutual Friend, Capuano demonstrates how Dickens came to relish using common idioms in uncommon ways and the possibilities they opened up for artistic expression. Dickens's Idiomatic Imagination establishes a unique framework within the social history of language alteration in nineteenth-century Britain for rethinking Dickens's literary trajectory and its impact on the vocabularies of generations of novelists, critics, and speakers of English.

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We read the book, and the book is reading us. In his later novels, Charles Dickens uses the interaction between characters and their audiences within the fiction to dramatise his growing understanding of the pivotal role of spectatorship and choice in a more democratic society. Egotists of all stripes, intent on bending the world to their singular will, would appropriate the power of spectatorship by taking command of the detachment necessary for choice. Dickens’s pluralistic art of sameness and difference redefines that detachment, and liberates choice both inside and outside the novels, for the relationship between characters and their audiences within the narratives actually inscribes our own relationship with them in the performance of reading, a reflective doubling of the fiction upon the reader across time with moral consequences for our spectatorship of our own lives.

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This compact edition, designed for use in undergraduate courses, combines a substantial selection of Dickinson’s poems (including one complete fascicle) with a selection of letters and a range of contextual materials. In a number of cases several different versions of a poem are presented side by side. The texts are based on the handwritten manuscripts themselves, in the facsimile form in which the Emily Dickinson Archive now makes the vast majority of Dickinson’s manuscript versions available to the general public. The three major editions that are based directly on the manuscripts—those of Thomas H. Johnson (1955), R.W. Franklin (1998) and Cristanne Miller (2016)—have also been consulted; in many cases where the transcriptions of these editors differ from one another, this edition provides information in the notes as to those differences. Extensive explanatory footnotes are also provided, as is a concise but wide-ranging introduction to Dickinson and her work.The appendices include excerpts from numerous nineteenth-century reviews of Dickinson’s first published volume (including by William Dean Howells and Andrew Lang). Thomas Wentworth Higginson’s influential Atlantic Monthly article, “Emily Dickinson’s Letters,” is also included in its entirety.This volume is one of a number of editions that have been drawn from the pages of the acclaimed Broadview Anthology of American Literature; like the others, it is designed to make a range of material from the anthology available in a format convenient for use in a wide variety of contexts. This edition departs from other editions in the series in one important respect—its format. The large page size of the edition facilitates the reproduction of manuscript pages in readable facsimile form, and the two-column format of the text facilitates comparison between different versions.

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The films of Thorold Dickinson (1903-1984), now being rediscovered, engage with major issues including national identity, the post-colonial world, and political violence – and they also show a rare mastery of style, a thrilling eroticism, a preoccupation with the psychology of betrayal. But the director of Gaslight, The Next of Kin and The Queen of Spades was also an editor, documentarist, trade unionist, film producer (for the British Army and the UN), pioneering academic and controversialist. His adventurous and truly global involvement in film took him to Paris in the heyday of silent cinema in the 1920s, to Stalin’s USSR in 1937, to the Spanish Civil War, to Africa, India, Israel and America.This book gives a lively, multi-angled account of Dickinson’s works, life and times, conveying a sense of his own voice and fascinating character. It includes a richly detailed introduction, a film-by-film discussion of Dickinson with Scorsese, vivid personal memoirs of the director, a dossier of Dickinson’s original writings and interviews from 1924 to 1973 (some never previously published), critical essays on all the feature films, and a ground-breaking reference section. The book draws on extensive archival research and close consultation with those who knew Dickinson well.Contributors include: Martin Scorsese, Gavin Millar, Lutz Becker, Charles Barr, Laura Marcus, Kevin Jackson, Kevin Gough-Yates, Ian Christie, Gregory Dart, Hillel Tryster, Janet Moat.

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This is a collection of five of Dickens' best-known novels: "Oliver Twist", "A Christmas Carol", "David Copperfield", "Great Expectations" and "A Tale of Two Cities". This volume of fiction that truly captures the Victorian era will make an artful addition to any home library. Many readers know Victorian England through the writings of Charles Dickens. Not only did Dickens put a face to the era through his memorable characters, he also captured the spirit of his age in entertaining fiction spun from its social concerns and historical events. Prolific, energetic and committed to social change, no other novelist of the time did as much as Charles Dickens to rally his readers to action and no other writer at any time has created such an extraordinary collection of well-loved novels. This exquisitely designed leatherbound edition has distinctive gilt edging and an attractive silk-ribbon bookmark.

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What was it like to be Charles Dickens? His letters are the nearest we can get to a Dickens autobiography: vivid close-up snapshots of a life lived at maximum intensity. This is the first selection to be made from the magisterial twelve-volume British Academy Pilgrim Edition of his letters. From over fourteen thousand, four hundred and fifty have been cherry-picked to give readers the best essence of 'the Sparkler of Albion'. Dickens was a man with ten times the energy of ordinary mortals. There seem to have been twice the number of hours in his day, and he threw himself into letter-writing as he did into everything else. This eagerly awaited selection takes us straight to the heart of his life, to show us Dickens at first hand. Here he is writing out of the heat of the moment: as a novelist, journalist, and magazine editor; as a social campaigner and traveller in Europe and America, and as friend, lover, husband, and father. Reading and writing letters punctuated the rhythms of Dickens's day. 'I walk about brimful of letters', he told a friend. He claimed to write 'at the least, a dozen a day'. Sometimes it was a chore but more often a pleasure: an outlet for high spirits, sparkling wit, and caustic commentary - always as seen through his highly individual and acutely observing eye. Whether you dip in or read straight through, this selection of his letters creates afresh the brilliance of being Dickens, and the sheer pleasure of being in his company.

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What are the sources of the commonly held presumption that reading literature should make people more just, humane, and sophisticated? Rendering literary history responsive to the cultural histories of reading, publishing, and education, The Pleasures of Memory illuminates the ways in which Dickens’s serial fiction shaped not only the popular practice of reading for pleasure and instruction but also the school subject we now know as “English.” Winter shows how Dickens’s serial fiction instigated specific reading practices by reworking the conventions of religious didactic tracts from which most Victorians learned to read. Incorporating an influential associationist psychology of learning founded on the cumulative functioning of memory, Dickens’s serial novels consistently led readers to reflect on their reading as a form of shared experience. Dickens’s celebrity authorship, Winter argues, represented both a successful marketing program for popular fiction and a cultural politics addressed to a politically unaffiliated, social-activist Victorian readership. As late-nineteenth century educational reforms consolidated British and American readers into “mass” populations served by state school systems, Dickens’s beloved novels came to embody the socially inclusive and humanizing goals of democratic education.

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Among the finest poets America has ever produced, Emily Dickinson lived a life of quiet solitude. A master of the short lyric poem, her eccentric preoccupation with death and immortality permeated many of her greatest works. It is Dickinson’s handwritten draft of “I died for beauty – but was scarce” that we have reproduced for this journal cover.

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Dickens's Idiomatic Imagination offers an original analysis of how Charles Dickens's use of "low" and "slangular" (his neologism) language allowed him to express and develop his most sophisticated ideas. Using a hybrid of digital (distant) and analogue (close) reading methodologies, Peter J. Capuano considers Dickens's use of bodily idioms—"right-hand man," "shoulder to the wheel," "nose to the grindstone"—against the broader lexical backdrop of the nineteenth century. Dickens was famously drawn to the vernacular language of London's streets, but this book is the first to call attention to how he employed phrases that embody actions, ideas, and social relations for specific narrative and thematic purposes. Focusing on the mid- to late career novels Dombey and Son, David Copperfield, Bleak House, Great Expectations, and Our Mutual Friend, Capuano demonstrates how Dickens came to relish using common idioms in uncommon ways and the possibilities they opened up for artistic expression. Dickens's Idiomatic Imagination establishes a unique framework within the social history of language alteration in nineteenth-century Britain for rethinking Dickens's literary trajectory and its impact on the vocabularies of generations of novelists, critics, and speakers of English.

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#1 New York Times bestselling creators James and Kimberly Dean put a groovy spin on the classic children’s song “Hickory Dickory Dock” with everyone’s favorite cool cat.Hickory dickory dock. Pete the Cat went up the clock!The clock struck one. The cat went down. Hickory dickory dock!Sing along with Pete the Cat as he rocks out to this classic tune with a supercool twist in this paper-over-board picture book.

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Emily Dickinson wrote a "letter to the world" and left it lying in her drawer more than a century ago. This widely admired epistle was her poems, which were never conventionally published in book form during her lifetime. Since the posthumous discovery of her work, general readers and literary scholars alike have puzzled over this paradox of wanting to communicate widely and yet apparently refusing to publish. In this pathbreaking study, Martha Nell Smith unravels the paradox by boldly recasting two of the oldest and still most frequently asked questions about Emily Dickinson: Why didn't she publish more poems while she was alive? and Who was her most important contemporary audience?Regarding the question of publication, Smith urges a reconception of the act of publication itself. She argues that Dickinson did publish her work in letters and in forty manuscript books that circulated among a cultured network of correspondents, most important of whom was her sister-in-law, Susan Huntington Gilbert Dickinson. Rather than considering this material unpublished because unprinted, Smith views its alternative publication as a conscious strategy on the poet's part, a daring poetic experiment that also included Dickinson's unusual punctuation, line breaks, stanza divisions, calligraphic orthography, and bookmaking—all the characteristics that later editors tried to standardize or eliminate in preparing the poems for printing.Dickinson's relationship with her most important reader, Sue Dickinson, has also been lost or distorted by multiple levels of censorship, Smith finds. Emphasizing the poet-sustaining aspects of the passionate bonds between the two women, Smith shows that their relationship was both textual and sexual. Based on study of the actual holograph poems, Smith reveals the extent of Sue Dickinson's collaboration in the production of poems, most notably "Safe in Their Alabaster Chambers." This finding will surely challenge the popular conception of the isolated, withdrawn Emily Dickinson.Well-versed in poststructuralist, feminist, and new textual criticism, Rowing in Eden uncovers the process by which the conventional portrait of Emily Dickinson was drawn and offers readers a chance to go back to original letters and poems and look at the poet and her work through new eyes. It will be of great interest to a wide audience in literary and feminist studies.

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Sheltering from a summer downpour, you encounter the ghost of Charles Dickens. Join him for a chat in the inn beloved by Mr Pickwick and be swept away by his vigour, warmth and humanity. You’ll feel as if you’ve known him all your life. The great novelist Charles Dickens attracted international adulation on an unprecedented scale. He cultivated a genial intimacy with his readers, and after he died many of his admirers felt that they had lost a personal friend. Sit back and listen to this master conversationalist talk about everything from work in a boot-polish factory to lecture tours in America. Who could possibly ask for more?

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What are the sources of the commonly held presumption that reading literature should make people more just, humane, and sophisticated? Rendering literary history responsive to the cultural histories of reading, publishing, and education, The Pleasures of Memory illuminates the ways in which Dickens’s serial fiction shaped not only the popular practice of reading for pleasure and instruction but also the school subject we now know as “English.” Winter shows how Dickens’s serial fiction instigated specific reading practices by reworking the conventions of religious didactic tracts from which most Victorians learned to read. Incorporating an influential associationist psychology of learning founded on the cumulative functioning of memory, Dickens’s serial novels consistently led readers to reflect on their reading as a form of shared experience. Dickens’s celebrity authorship, Winter argues, represented both a successful marketing program for popular fiction and a cultural politics addressed to a politically unaffiliated, social-activist Victorian readership. As late-nineteenth century educational reforms consolidated British and American readers into “mass” populations served by state school systems, Dickens’s beloved novels came to embody the socially inclusive and humanizing goals of democratic education.

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Many poor and vulnerable people lived on the streets of Victorian cities. They were the victims of rapid industrialisation, a government policy of non-intervention regarding social issues and the harsh Poor Law Amendment of 1834. As the population of nineteenth century England was predominantly young, a large number of this group were children. The street children of Victorian London were a very visible, alarming and embarrassing presence in the capital of the world's richest and most advanced industrial nation. Against the backdrop of London's transformation into a grand imperial capital, and drawing on the writing of social investigative journalists, this book tells the story of the often grim and relentless lives of these children and their battle to survive in a brutal environment. It describes how they were helped by charities, philanthropists and church missions until the government was compelled to take action to rescue them and deal with the problem they posed.

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How successful is Dickens in his portrayal of women? Dickens has been represented (along with William Blake and D.H. Lawrence) as one who championed the life of the emotions often associated with the "feminine." Yet some of his most important heroines are totally submissive and docile. Dickens, of course, had to accept the conventions of his time. It is obvious, argues Holbrook, that Dickens idealized the father-daughter relationship, and indeed, any such relationship that was unsexual, like that of Tom Pinch and his sister—but why? Why, for example, is the image of woman so often associated with death, as in Great Expectations? Dickens's own struggles over relationships with women have been documented, but much less has been said about the unconscious elements behind these problems. Using recent developements in psychoanalytic object-relations theory, David Holbrook offers new insight into the way in which the novels of Dickens—particularly Bleak House, Little Dorrit, and Great Expectations—both uphold emotional needs and at the same time represent the limits of his view of women and that of his time.

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Emily Dickinson is regarded as one of the greatest poets of all time, but she has come to us as an odd and helpless woman living a life of self imposed seclusion. Lyndall Gordon sees instead a volcanic character living on her own terms and with a steely confidence in her own talent; a woman whose family feuded over a hothouse of adultery and devastating betrayal and a woman who had her own secret. After her death the fight for possession of Emily and her poetry became the feud's focus.'Lives Like Loaded Guns has cracked one of poetry's most enduring enigmas . . . It rescues Dickinson from the image of the passive, heart-broken recluse. It is a worthy monument to a poet even more extraordinary than we realised' Olivia Cole, Financial TimesFrom the acclaimed biographer of Mary Wollstonecraft, T.S. Eliot, Charlotte Bronte, Virginia Woolf and Henry James.

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2012 is the two-hundredth anniversary of the birth of one of our greatest and most important novelists, Charles Dickens. To celebrate we''re publishing six of his works in this exclusive and sumptuous boxed set of lavish, clothbound editions, designed by Penguin''s own award-winning Coralie Bickford-Smith.Part of Penguin''s beautiful hardback Clothbound Classics series, designed by the award-winning Coralie Bickford-Smith, these delectable and collectible editions are bound in high-quality colourful, tactile cloth with foil stamped into the design.

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Illustrated revision and practice for AQA English Literature, Charles Dickens, A Christmas Carol. Over 200 marks of examination style questions, answers provided for all questions within the book. Illustrated topics to improve memory and recall. Examination tips and techniques. Absolute clarity is the aim with a new generation of revision guide. This guide has been expertly compiled and edited by subject specialists, highly experienced examiners and a good dollop of scientific research into what makes revision most effective. Past examinations questions are essential to good preparation, improving understanding and confidence. This guide has combined revision with tips and more practice questions than you could shake a stick at. All the essential ingredients for getting a grade you can be really proud of. Each specification topic has been referenced and distilled into the key points to make in an examination for top marks. Questions on all topics assessing knowledge, application and analysis are all specifically and carefully devised throughout this book.

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