Download PDF by John Glavin: After Dickens: Reading, Adaptation and Performance

By John Glavin

ISBN-10: 0511003706

ISBN-13: 9780511003707

ISBN-10: 0521633222

ISBN-13: 9780521633222

John Glavin bargains either a performative analyzing of Dickens the novelist and an exploration of the potential of adaptive functionality of the novels themselves. via shut research of textual content and context Glavin uncovers a richly ambivalent, frequently suddenly antagonistic, dating among Dickens and the theater and theatricality of his personal time, and indicates how Dickens' novels might be noticeable as a sort of counter functionality. but Glavin additionally explores the performative capability in Dickens' fiction, and describes new how one can degree that fiction in emotionally robust, seriously acute diversifications.

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Additional resources for After Dickens: Reading, Adaptation and Performance

Example text

You’re the howling mobs on the Place de la Concorde bloodlusting after Darnay, while a smugly self-congratulating Carton takes his place. Inevitably, speech is the weapon against the world Dickens’s childheroes most skillfully deploy: Paul Dombey, and David, and most poignantly Pip, whose ‘‘infant tongue’’ refuses the patronymic and Dickens, adaptation and Grotowski  therefore ‘‘Called myself Pip, and came to be called Pip’’ (Great Expectations I: ). But writing is the club of the Goliaths, most powerfully instantiated in the law writers of Bleak House whose collective name is Nemo, and who busily, endlessly inscribe the tyrannies of Chancery.

But stage audiences rarely bond. That divergence results from what Timothy Gould calls ‘‘perlocutionary gap,’’ the gap between the intention and effect of a speech act (Gould : ). In terms of theatre, it’s the gap between saying and telling. Cinema works to make that gap as narrow as possible. But the conditions of stage action make perlocutionary gap an inevitable feature of all live performance. Indeed, perlocutionary gap is the problem much of drama theory sets out to overcome. But, for our purposes, perlocutionary gap is the break through which adaptation arrives.

Instead, with reckless and unrelenting perversity (a good term here) he continually retrieves and resuscitates eros in a dazzling range of eccentric forms, forms frequently forced to masquerade in what intolerant societies will accept as the real thing. But behind those masks, and sometimes out of them, Dickens gives his heart to agamy. Agamy detests everything the marriage plot depends on. And it doesn’t care very much for romance either. Agamy is the Shaker dream. Not necessarily averse to sex, agamy loathes and fears union.

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After Dickens: Reading, Adaptation and Performance by John Glavin


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