Dickens Adapted

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

Contents: Introduction; Part I On Adaptation: Adaptation studies at a crossroads, Thomas Leitch; Creative criticism: adaptation, performative writing and the problem of objectivity, Mary Poovey. Part II Screen (Large): Word and image: the articulation and visualization of power in Great Expectations, Jane Baston; Dickens in Denmark: four Danish versions of his novels, Graham Petrie; A weirdo, a rat, and a humbug: the literary qualities of The Muppet Christmas Carol, Hugh H. Davis; Cinematic Dickens and uncinematic words, Kamilla Elliott; Dickens, Eisenstein, film, Garrett Stewart; Historical picturesque: adapting Great Expectations and Sense and Sensibility, Susan Johnston; Dickensian orphan as child star: Freddie Bartholomew and the commodity of cute in MGM's David Copperfield, Scott Balcerzak; Fagin, the Holocaust, and mass culture; or, Oliver Twist on screen, Juliet John; Not telling the story the way it happened: Alfonso Cuarón's Great Expectations, Michael K. Johnson; Insurrection and Depression-era politics in Selznik's A Tale of Two Cities, Jason W. Stevens; Dickens from a postmodern perspective: Alfonso Cuarón's Great Expectations for Generation X, Shari Hodges Holt; 'I'm a wild success': postmodern Dickens/Victorian Cuarón, Ana Moya and Gemma López; 'Please sir, I want some more': Clive Donner's Marxist adaptation of Oliver Twist, Shari Hodges Holt; From book to film: the semiotics of Jewishness in Oliver Twist, Maria Cristina Paganoni. Part III Screen (Small): The never-ending story? Two Martin Chuzzlewits, Tore Rem; Writing after Dickens: the television writer's art, John Romano; Nicholas Nickleby, adaptation, rehearsal and catharsis, Luc Bouvard; 'La television des professeurs?' Charles Dickens, French public service television and Oliver Twist, Pamela Atzori; Queer beauty: illness, illegitimacy and visibility in Dickens's Bleak House and its 2005 BBC adaptation, Rachel Carroll; 'I have been true to you, upon my guilty soul I have': negotiating Nancy, 'hyperauthenticity' and 'hyperfidelity' in the 2007 BBC adaptation of Oliver Twist, Benjamin Poore. Part IV Stage: Reading, reciting, acting, Malcolm Andrews; Reading Victorian illusions: Dickens's Haunted Man and Dr Pepper's 'ghost', Helen Groth; The death of Nancy 'Sikes', 1838-1912, Sue Zemka; 'Can a fellow be a villain all his life?': Oliver!, Fagin and performing Jewishness, Sharon Aronofsky Weltman. Part V Page: Heritage in Peter Carey's Jack Maggs, Colette Selles; Missed encounters: repetition, rewriting and contemporary returns to Charles Dickens's Great Expectations, Ankhi Mukherjee; The 'crooked business' of storytelling: authorship and cultural revisionism in Peter Carey's Jack Maggs, Laura E. Savu; Discovering new pasts: Victorian legacies in the postcolonial worlds of Jack Maggs and Mister Pip, Beverly Taylor; Name index.