Pip, imagination, expectations, negative, psychoanalysis
feminism, feminist, masculinity, modernity,
masculinity, femininity, feminist, "social class", oppression
religion, faith, christianity, Magwitch, secular, law, legal
Analyzes Dickens's perspective on social mobility through examining characters' repetition of particular habits and their dress.
The author argues that Pip is a product of social revenge created by Magwitch and Miss Havisham
Thesis: Central to most of Dickens' novels, this heroine in her sel-denial creates for the hero a safe and sacred haven from the rapaciousness of the market. Nevertheless, these same heroines also underwrite the economic ambition they are intended to mediate.
Thesis: I would like to suggest a third interpretation, in which the novel has its source in another myth. In this myth Pip has nothing to learn, his guild does not lead him to health, and the two conventional interpretations, with which the societal Dickens would certainly agree, constitute a betrayal of the novel's original ego-centered impetus.
Thesis: The characterization of Miss Havisham provides a model of the power of repressive forces, especially in their dual roles as agents of society at large acting on the indiviedual and internalized matter directing one to govern the conduct of self and others according to unstated principles.
All three types of Dickensian women pose problems for twentieth-century readers in search of a viable Dickensian heroine. While still not satisfying to modern readers, teh eccentric woman emerges as the most intriguing of the Dickensian types, revealing an inversion in values of Victorian culture and today.
All three types of Dickensian women pose problems for twentieth-century readers in search of a viable Dickensian heroine. While still not satisfying to modern readers, teh eccentric woman emerges as the most intriguing of the Dickensian types, revealing an inversion in values of Victorian culture and today.
Throughout the novel, feminine identity collapses because the major female characters deny love instead of giving it. The major consequences of this denial are especially scarifying for Pip.
In the fictional pseudo-autobiography that is Great Expectations... Dockens adopts the strategy of taking a "life" and creating demarcations of "plot" within it.
If one takes the enigma of Pip's secret benefactor to be the central axis of the nvoel, as it is indeed, it is clear that the author of the story is not Pip but Magwitch, who has been devising, plotting and writing Pip's story.
Pip is contrasted with doubles and opposites in order to reveal his character
Perhaps no book makes clearer than does Dickens'' Great Expectations the familiar split between illusion and reality, between expectations and events. From the title straight through to the endin, irony so prevails that even teh most platitudinous observer hesitates to point at the obvious themee. ... My purpose is to specificy that Great Expectations is constructed of sets of symbols and images, the misvaluing of htese is two-thirds of the book; and the proper re-reading of them concludes the book happily.
Women as icon of lower-middle class virtue. This text is mostly about "Little Dorrit," another of Dickens' novels, but this could be applied to women in "Great Expectations."