By John Glavin
John Glavin deals either a performative analyzing of Dickens the novelist and an exploration of the possibility of adaptive functionality of the novels themselves. via shut examine of textual content and context Glavin uncovers a richly ambivalent, frequently without notice adversarial, dating among Dickens and the theater and theatricality of his personal time, and exhibits how Dickens' novels will be obvious as a sort of counter functionality. but Glavin additionally explores the performative strength in Dickens' fiction, and describes new how you can degree that fiction in emotionally strong, significantly acute diversifications.
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Extra resources for After Dickens: Reading, Adaptation and Performance
He is ‘‘concern[ed],’’ as his notes to Mother Courage explain, ‘‘that the spectator should see’’ (Brecht : ). See what? The reverse of ‘‘those who look on at catastrophes wrongly’’ (p. ). Brecht’s theatre teaches us then to see the (Brecht’s) truth, and that is a truth that not only suspects but demonizes every sort of aﬀect. For Brecht, aﬀect merely conﬁrms the individual in mirage-like, deleterious subjectivity, ‘‘in an imaginary coherence . . the condition of which is the ignorance of the structure of his production, of his setting in position’’ (Heath : ).
Feeling ﬁnally can only let you feel let down. Without access to aﬀect we are left – and we have left those we train – without either the stimulus or training to respond with complex feelings to complex texts. Not a problem if human beings could be moved to live well, to behave generously, to seek justice, through disinterest or abstraction. I am not thinking here only of the great public choices but of Dickens, adaptation and Grotowski the perhaps even more signiﬁcant choices that foster healthy and durable intimacies, choices that are perhaps even more at risk the way we live and read now.
Adaptations that are themselves insistently agamous, episodic, and mimetic. Adaptations that release the heroic energies of the self-loving self to perform its self-inventions in whatever arrangements it chooses to contrive. Or, if it can’t manage that – and none of the adaptations in this book do – then we want an adaptation which might mark oﬀ clearly for us how much we lose when we buy into what Dickensian shame has to oﬀer. An adaptation that understands that the mimetic gives life, and that mimesis kills.
After Dickens: Reading, Adaptation and Performance by John Glavin