La extraordinaria importancia de las narraciones, leyendas y cuentos de hadas para la formación moral, intelectual y educativa de los niños es un hecho indiscutible. Gracias al visionado de obras ...maestras de la literatura infantil adaptadas al arte cinematográfico, los niños, además de divertirse, aprenden valores. A partir de la elaboración de un marco teórico sobre las fábulas y el cine de animación, y con el fin de aclarar la animación comprometida con las cuestiones sociales, de género y políticas, en este estudio se exponen dos largometrajes y un corto de animación estrenados durante el período comprendido entre los años 2018 y 2022. El objetivo es determinar el papel desempeñado por directores feministas en la enseñanza y el fortalecimiento de la moral y la cultura del público juvenil, a través de los personajes de unos relatos audiovisuales protagonizados por niños/as inmersos en circunstancias vitales muy duras, como la guerra y el destierro.
Over the last twenty-five years, scholarship on nineteenth-century periodicals has tended to make two assumptions about serially published narratives, especially novels: first, that breaks between ...installments of a serial publication necessarily imply a state of waiting in the reader, a deferral of desire; and secondly, that these breaks in the fulfillment of desire are necessarily filled with mental or social activities addressing or anticipating the narratives they interrupt.1 These assumptions about serial reading have generated many important critical and theoretical conversations in the field, but they have also made it more difficult to recognize the existence of a different and more common kind of reading practice generated by seriality: a mode of reading in which planned disruption and discontinuity are seamlessly absorbed and accepted.2 Missing in scholarly discussions of the individual reader's experience and the social dimensions of seriality is the recognition of a simple fact: when a narrative comes to a halt, so does the particular kind of cognition and associated affective response that reading implies-until the narrative picks up again. Rather, it is a psychic and, by extension, social mechanism that lays the groundwork for the production of what we may recognize as hypocrisy.3 In my use of the term compartmentalization here, I am of course not contending that seriality is a defense mechanism for individual subjects, Victorian or otherwise. If the temporal disruptions produced by the serial publication of novels condition a culture of compartmentalization, it is through a regular practice of enforced disengagement that individual readers partook in this experience. Nineteenth-century readers were asked repeatedly and across different publications to set aside their most intense affective investments to be able to focus their attention elsewhere-on different texts, different tasks, different communities.
Abstract This paper analyses the nineteenth-century discourse around the human body. It examines two corpora: Charles Dickens’s works and contemporary writings. In both contexts, the body is observed ...through a detailed focus on its individual parts. This study employs a corpus-driven approach to investigate the vocabulary used to describe the body in these two corpora, providing complementary explanations to traditional close reading methods. The findings indicate that Victorian authors, including Dickens, tend to use nouns associated with time and space when representing the body, while also placing significant emphasis on codes of etiquette in the depiction of its physical actions. In Dickens’s corpus, nouns related to the body are influenced by gender ideology. Furthermore, a gender-based sub-corpus analysis, particularly focusing on verbs, highlights the disparities in agency between male and female bodies.
From 1850 to 1867, Charles Dickens produced special issues
(called "numbers") of his journals Household Words and
All the Year Round, which were released shortly before
Christmas each year. In ...Collaborative Dickens, Melisa
Klimaszewski undertakes the first comprehensive study of these
Christmas numbers. She argues for a revised understanding of
Dickens as an editor who, rather than ceaselessly bullying his
contributors, sometimes accommodated contrary views and depended
upon multivocal narratives for his own success.
Klimaszewski uncovers connections among and between the stories
in each Christmas collection. She thus reveals ongoing
conversations between the works of Dickens and his collaborators on
topics important to the Victorians, including race, empire,
supernatural hauntings, marriage, disability, and criminality.
Stories from Wilkie Collins, Elizabeth Gaskell, and understudied
women writers such as Amelia B. Edwards and Adelaide Anne Procter
interact provocatively with Dickens's writing. By restoring links
between stories from as many as nine different writers in a given
year, Klimaszewski demonstrates that a respect for the Christmas
numbers' plural authorship and intertextuality results in a new
view of the complexities of collaboration in the Victorian
periodical press and a new appreciation for some of the most
popular texts Dickens published.
This book explores the relationship between Dickens's novels and the financial system. Elements of Dickens's work form a critique of financial capitalism. This critique is rooted in the difference ...between use-value and exchange-value, and in the difference between productive circulations and mere accumulation. In a money-based society, exchange-value and accumulation dominate to the point where they infect even the most important and sacred relationships between parts of society and individuals.
This study explores Dickens's critique from two very different points of view. The first is philosophical, from Aristotle's distinction between "chrematistic" accumulation and "economic" use on money through Marx's focus on the teleology of capitalism as death. The second view is that of nineteenth-century financial journalism, of "City" writers like David Morier Evans and M. L. Meason,, who, while functioning as "cheerleaders" for financial capitalism, also reflected some of the very real "dis-ease" associated with capital formation and accumulation.
The core concepts of this critique are constant in the novels, but the critique broadens and becomes more pessimistic over time. The ill effects of living in a money-based society are presented more as the consequences of individual evil in earlier novels, while in the later books they are depicted as systemic and pervasive. Texts discussed include Nicholas Nickleby, A Christmas Carol, Little Dorrit and Our Mutual Friend.
BIT Dickens Quarterly 33.1 (March 2016). |Contents: "Contributors to this Issue": 3-4; Bradley Deane, "The Beginning of Pickwick 5-22; William F. Long, "Dickens Donates a Piece of Pickwick": 23-37; ...Maria K. Baciman, "Dickens's Evocative Objects: A Tale of Two Lockets": 38-54; Margaret Flande s Darby, "Rosa Bud Grows Out From Under Her Little Silk Apron": 55-64; Adam Abraham (Rev. Death and Mr. Pickwick by Stephen Jarvis) 65-7; Leslie S. Simon (Rev. Dickens' Novels as Poetry: Allegory and Literature of the City by Jeremy Tambling) 68-71 ; John Drew (Rev. Dickens, Reynolds, and Mayhew on Wellington Street: The Print Cuitare of a Victorian Street by Mary L. Shannon) 71-4; Chris Louttit (Rev. Oliver! A Dicke man Musical by Marc Napolitano) 75-7; "Dickens Society 21st Annual Symposium: 'Adapting Dickens'": 78-9; Clare Horrocks and Kim Edwards Keates, "Dickens Quarterly Checklist": 81-6. "The Wonderful Worlds of Dickens and Disney: Animated Adaptations of Oliver Twist and A Christmas Carol!' It's the Disney Version!: Popular Cinema and Literary Classics. DickensMuseum.com (29 February 2016) <http://dickensmuseum.com/blogs/ charles-dickens-museum/95359558-collection-highlight-paper-dolls-from-theuncommercial-travellers-club> 25 April 2016. - TheGuardian.com (3 April 2016) <http://www.theguardian.com/books/2016/apr/03/ life-of-catherine-charles-dickens-museum-exhibition-london-wife> 3 April 2016.
Of Scamps and Imps McNamee, Gregory
The Virginia quarterly review,
07/2021, Letnik:
97, Številka:
2
Journal Article
A children's librarian, Cleary wondered why the characters in kids' books were prim, proper, and prissy, not like the children she knew in real life. Cleary gave Henry a well-matched neighbor with a ...sequel in which Ellen Tebbits, the eponymous lead, takes endless delight in thwarting the designs of yet another scamp, Otis Spofford, a master of embarrassing pranks. (Pope Paul III, who admittedly had a few children, returned the favor by launching the Inquisition.) Thereafter imp took on a meaning observed until recent times:
