Charles Dickens New Perspectives

Includes criticism of these novels of Charles Dickens: Oliver Twist; Martin Chuzzlewit; Dombey and son; David Copperfield; Bleak house; Little Dorrit; Great expectations; and Our mutual friend.

Includes criticism of these novels of Charles Dickens: Oliver Twist; Martin Chuzzlewit; Dombey and son; David Copperfield; Bleak house; Little Dorrit; Great expectations; and Our mutual friend.

The papers in this collection were originally presented at the 13th International Conference on Persons, held at the University of Boston in August 2015. This biennial event, founded by Thomas O. Buford and Charles Conti in 1989, attracts a host of international scholars, both the venerable and the aspiring. It is widely regarded as the premier event for those whose research concerns the philosophical tradition known as ‘personalism’. That tradition is, perhaps, best known today in its American and European manifestations, although there remains a small but fiercely defended stronghold in Britain. Personalism is not an exclusively Western development, however; its roots are also found in India, China, and Japan. What unites these disparate intellectual cultures may seem quite small. There is little, if any, methodological or doctrinal consensus among them. They are all, however, responses to the impersonal and depersonalising forces perceived to be at work in philosophy, theology, and, most recently, the natural and political sciences. Their common aim is to place persons at the heart of these discourses, to defend the idea that persons are the metaphysical, epistemological, and moral ‘bottom line’, the vital clue to knowledge of self, reality, and all conceivable values. The authors in this collection do not simply reflect upon this tradition, they put it to work on a range of philosophical and theological problems, both classical and contemporary; problems of free will, personal identity, and the nature of reality, as well as the very current concerns of environmental philosophers, bio- and neuro-ethicists. Their perspectives, too, are many and varied, so offer profound insights into key debates among other philosophical traditions, such as the Kantian, Hegelian, phenomenological, and process schools.

Lloyd Jones' new novel is set mainly in a small village on Bougainville, a country torn apart by civil war. Matilda attends the school set up by Mr Watts, the only white man on the island. By his own admission he's not much of a teacher and proceeds to educate the children by reading them Great Expectations. Matilda falls in love with the novel, strongly identifying with Pip. The promise of the next chapter is what keeps her going; Pip's story protects her from the horror of what is happening around her - helicopters menacing the skies above the village and rebel raids on the ground. When the rebels visit the village searching for any remaining men to join their cause, they discover the name Pip written in the sand and instigate a search for him. When Pip can't be found the soldiers destroy the book. Mr Watts then encourages the children to retell the story from their memories. Then when the rebels invade the village, the teacher tells them a story which lasts seven nights, about a boy named Pip, and a convict . . .

With this volume, the editors Katharina Edtstadler, Sandra Folie, and Gianna Zocco propose an extension of the traditional conception of imagology as a theory and method for studying the cultural construction and literary representation of national, usually European characters. Consisting of an instructive introduction and 21 articles, the book relates this sub-field of comparative literature to contemporary political developments and enriches it with new interdisciplinary, transnational, intersectional, and intermedial perspectives. The contributions offer [1] a reconsideration and update of the field’s methods, genres, and theoretical frames; [2] trans-/post-national, migratory, and marginalized perspectives beyond the European nation-state; [3] insights into geopolitical dichotomies such as Orient/Occident; [4] intersectional approaches considering the entanglements of national images with notions of age, class, gender, sexuality, and ethnicity/race; [5] investigations of the role of national images in visual narratives and music.

Narrative perspective is the faculty through which humans understand, structure, and explore the world that confronts them. This is the first volume to bring together the theoretical study of perspective with the rigor of experimental studies, combining work in narratology with that in linguistics, philosophy, film studies, literary theory, and cognitive psychology. The chapters are grouped thematically and drawn together by the editors, who provide guidance through this new and fascinating interdisciplinary territory.