Download e-book for iPad: After Dickens: Reading, Adaptation and Performance by John Glavin

By John Glavin

John Glavin bargains either a performative interpreting of Dickens the novelist and an exploration of the possibility of adaptive functionality of the novels themselves. via shut learn of textual content and context Glavin uncovers a richly ambivalent, usually abruptly antagonistic, dating among Dickens and the theater and theatricality of his personal time, and exhibits how Dickens' novels could be visible as a sort of counter functionality. but Glavin additionally explores the performative strength in Dickens' fiction, and describes new how one can level that fiction in emotionally robust, seriously acute diversifications.

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Suddenly, nothing Manette can do or say in the present can save his family from the deadly writing of the past. ). The inscribed word, separated from the speakeraudience bond, takes on a perverse life of its own, a life of the theoretical and impersonal system the Terror delights to generate. His own writing  Set up comes back upon Manette like Laocoo¨n’s serpents, writhing, coiling, crushing his life and the lives of his children, overwhelming any effort he can make against their sinuous claims.

The Terror is all about remembering. When episodic Dickens drops his ink, it’s to blot the past out. The mimetic The mimetic is the furthest thing we have from Mimesis. Mimesis makes a cult of the original, of the prior real that can only be examined and then copied in some way that is irretrievably secondhand. But the mimetic, as I’m defining it here, refuses the priority of any sort of origin. Carton makes a much more interesting and effective Darnay than Darnay ever could. De´classe´, arriviste Dickens always knows that origins contaminate.

All the memorable Dickens characters specialize in pretending. Little Dorrit, Esther Summerson, Pip, they are all first-rate pretenders. They save themselves, and even others, by the skill with which they make believe. And that mimetic skill is the antithesis of writing. It is not too much to say that Dickens hates writing. His letters make it clear that very shortly after he began his career as a novelist he began to find writing a virtually intolerable burden. And that burden increased beyond toleration as he grew older.

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