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Variations on Dickens’s Great Expectations: Lloyd Jones’s Mr. Pip
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Annegret Maack
Veröffentlicht/Copyright:
15. März 2014
Abstract
Dickens’s Great Expectations has inspired creative reactions by English, American, Australian and New Zealand novelists. One of the latest, Jones’s Mr. Pip, transfers the Victorian text to a completely different time and culture, to the South Sea island of Bougainville in 1991 where it is used to teach a group of young children. The analysis of the novel shows that though Jones is ‘writing back to the canon,’ he confirms the values of Dickens’s text. With his first-person narrator, the black girl Matilda, he illustrates what the function of literature, even in an alien environment and under unfavourable conditions, can be.
Online erschienen: 2014-03-15
Erschienen im Druck: 2009-10
© 2014 by Walter de Gruyter GmbH & Co.
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Artikel in diesem Heft
- Titelei
- Inhalt
- Editorial
- Variations on Dickens’s Great Expectations: Lloyd Jones’s Mr. Pip
- ‘Race’ and Realism: Vision, Textuality, and Charles Chesnutt’s The Marrow of Tradition
- ‘Language is the House We Live in:’ Language-Centeredness and the Limits of Political Activism in Post-War American Poetry (1950-1980)
- “A Prophet out of Gwalia:” The Poetry of Idris Davies and Postcolonial Wales
- “I Get My Culture Where I Can:” Functions of Intertextuality in Zadie Smith’s On Beauty
- Buchbesprechungen
- Bucheingänge
- Die Autoren dieses Heftes
Artikel in diesem Heft
- Titelei
- Inhalt
- Editorial
- Variations on Dickens’s Great Expectations: Lloyd Jones’s Mr. Pip
- ‘Race’ and Realism: Vision, Textuality, and Charles Chesnutt’s The Marrow of Tradition
- ‘Language is the House We Live in:’ Language-Centeredness and the Limits of Political Activism in Post-War American Poetry (1950-1980)
- “A Prophet out of Gwalia:” The Poetry of Idris Davies and Postcolonial Wales
- “I Get My Culture Where I Can:” Functions of Intertextuality in Zadie Smith’s On Beauty
- Buchbesprechungen
- Bucheingänge
- Die Autoren dieses Heftes
