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Dickens Adapted (Hardback)

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ISBN 10: 1409430944 / ISBN 13: 9781409430940
Edité par Taylor Francis Ltd, United Kingdom, 2012
Neuf(s) Etat : New Couverture rigide
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A propos de cet article

Language: English . Brand New Book. From their first appearance in print, Dickens s fictions immediately migrated into other media, and particularly, in his own time, to the stage. Since then Dickens has continuously, apparently inexhaustibly, functioned as the wellspring for a robust mini-industry, sourcing plays, films, television specials and series, operas, new novels and even miniature and model villages. If in his lifetime he was justly called The Inimitable , since his death he has become just the reverse: the Infinitely Imitable. The essays in this volume, all appearing within the past twenty years, cover the full spectrum of genres. Their major shared claim to attention is their break from earlier mimetic criteria - does the film follow the novel? - to take the new works seriously within their own generic and historical contexts. Collectively, they reveal an entirely other Dickensian oeuvre, which ironically has perhaps made Dickens better known to an audience of non-readers than to those who know the books themselves. N° de réf. du libraire AA69781409430940

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Détails bibliographiques

Titre : Dickens Adapted (Hardback)

Éditeur : Taylor Francis Ltd, United Kingdom

Date d'édition : 2012

Reliure : Hardback

Etat du livre :New

A propos de ce titre

Synopsis :

From their first appearance in print, Dickens's fictions immediately migrated into other media, and particularly, in his own time, to the stage. Since then Dickens has continuously, apparently inexhaustibly, functioned as the wellspring for a robust mini-industry, sourcing plays, films, television specials and series, operas, new novels and even miniature and model villages. If in his lifetime he was justly called 'The Inimitable', since his death he has become just the reverse: the Infinitely Imitable. The essays in this volume, all appearing within the past twenty years, cover the full spectrum of genres. Their major shared claim to attention is their break from earlier mimetic criteria - does the film follow the novel? - to take the new works seriously within their own generic and historical contexts. Collectively, they reveal an entirely 'other' Dickensian oeuvre, which ironically has perhaps made Dickens better known to an audience of non-readers than to those who know the books themselves.

About the Author:

John J. Glavin is Professor of English and Director of the Gervase Programs, Georgetown University, USA

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