Journal articles: 'Oliver Twist (Dickens, Charles)'

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Trisnawati, Ika Kana, Sarair Sarair, and Maulida Rahmi. "Irony in Charles Dicken's Oliver Twist." Englisia Journal 3, no. 2 (March 20, 2017): 91. http://dx.doi.org/10.22373/ej.v3i2.1026.

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This paper describes the types of irony used by Charles Dickens in his notable early work, Oliver Twist, as well as the reasons the irony was chosen. As a figurative language, irony is utilized to express one’s complex feelings without truly saying them. In Oliver Twist, Dickens brought the readers some real social issues wrapped in dark, deep written expressions of irony uttered by the characters of his novel. Undoubtedly, the novel had left an impact to the British society at the time. The irony Dickens displayed here includes verbal, situational, and dramatic irony. His choice of irony made sense as he intended to criticize the English Poor Laws and to touch the public sentiment. He wanted to let the readers go beyond what was literally written and once they discovered what the truth was, they would eventually understand Dickens’ purposes.

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Saud, Indah Wardaty. "SLAVERY IN CHARLES DICKENS’ NOVEL OLIVER TWIST." NOTION: Journal of Linguistics, Literature, and Culture 2, no. 1 (May 7, 2020): 51. http://dx.doi.org/10.12928/notion.v2i1.1110.

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This research discusses the slavery experienced by the characters in the Oliver Twist novel. Those who have no family and no place to stay eventually become slaves who are forced to work for the benefit of the owner. They are treated as property and often get physical violence. This research aims to analyze the types of slavery that are reflected in Oliver Twist novel. This research using descriptive qualitative methods. Researchers used the Marxist approach and slavery theory to find the types of slavery contained in Oliver Twist novel. From the results of the analysis, it was found that there are 4 types of slavery in Oliver Twist novel, namely forced labor, sex slavery, child slavery and domestic servitude.

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Richardson, Ruth. "Charles Dickens, The Lancet, and Oliver Twist." Lancet 379, no. 9814 (February 2012): 404–5. http://dx.doi.org/10.1016/s0140-6736(12)60178-0.

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Persulessy, Sylvia Irene, Emzir, and AcengRahmat. "Social Values in Charles Dickens’s Novel “Oliver Twist”." Advances in Language and Literary Studies 9, no. 5 (October 31, 2018): 136. http://dx.doi.org/10.7575/aiac.alls.v.9n.5p.136.

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The objective of this research is to acquire deep understanding about social values in the novels Oliver Twist by Charles Dickens. The type of research was qualitative by using content analysis method. The data collected through document study and data observation about social values in the novel. The result of this research revealed that social values found and described in the novel Oliver Twist were love values consist of love and affection, dedication, mutual help, kinship, concern, and loyalty. Responsible values consist of sense of acceptance and belonging, obligations and discipline. Harmony of life values consist of justice, tolerance, cooperation, and democracy. The values were found and described through generic structure of the novel by the text quotations. Those results led to implication that Indonesian literature educators can apply Charles Dickens novel Oliver Twist directly in the teaching process and motivate the students to analyze the novels.

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Aminah, Sitti. "Social Injustice as Reflected in Charles Dickens’ Oliver Twist." ELS Journal on Interdisciplinary Studies in Humanities 1, no. 4 (December 26, 2018): 409–22. http://dx.doi.org/10.34050/els-jish.v1i4.4869.

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Social injustice is a phenomenon which occurred since long time ago and it still becomes a social problem nowadays, it is also depicted in many literary works, especially in the 19th century literary tradition in England. This research aims to find out the kinds of social injustice depicted along the plot story in Charles Dickens’ Oliver Twist and to know how the main characters react and solve such social injustice they encounter in their daily communal life. The research is categorized as a descriptive qualitative research, using the sociological approach. The data are collected from primary data and secondary data. The primary data are taken from Charles Dickens’ Oliver Twist through the description of events and characterizations, while the secondary data are from various books, journals, articles and some sources from internet. The research reveals that among many kinds of social injustice, poverty, social stratification and child labor are the most common issues depicted in Charles Dickens’ Oliver Twist. The researcher also finds that most of characters that experience social injustice are those who come from the lower class. They suffer poverty and cannot do anything to change the condition. In order to stay alive, most of the characters who experience such kind of social injustice prefer to conduct criminal. In relation to the application of sociology of literature theory, it is found that social injustice like poverty, social stratification and child labor depicted in the novel are the representation of the real condition at the time the novel was written.

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Widyaningsieh, Eka Weny. "A Study on Oliver Twist's Sadness in Charles Dicken's Novel." Edusia: Jurnal Ilmiah Pendidikan Asia 1, no. 1 (November 11, 2021): 159–73. http://dx.doi.org/10.53754/edusia.v1i1.122.

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This research uses the innovative Oliver Twist novel. The purpose of this study is to describe the sadness that can be taken as a lesson from the main character in the Oliver Twist novel, and to show how the sadness is presented by the main character. This research deals with how sadness affects learning and can be found in a novel by Charles Dickens. In this scientific study and research, the writer uses descriptive qualitative to describe, analyze, and discuss research problems. Other information relevant to the investigation is also being sought by the researchers. The author conducted a research question to find how sadness can be reduced by studying "Oliver Twist" in a story from a functionalist perspective, symbol perspective, conflict, and perspective. After analyzing Oliver Twist novel the author found some sadness that can make life lessons in the main character, such as fortitude, sympathy, courage, honesty, cooperation, gratitude, not giving up easily, humility, and kindness.

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Hoel, Camilla Ulleland. "Secret Plots: The False Endings of Dickens's Novels." Victoriographies 8, no. 3 (November 2018): 230–46. http://dx.doi.org/10.3366/vic.2018.0316.

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Oliver Twist does not find wealth and family and live happily ever after. Amy Dorrit and Arthur Clennam never escape the workhouse. And Eugene Wrayburn does not revive to marry Lizzie Hexam and start a new and productive life. This article takes as its starting point the idea that a story can have ‘false’ endings and uses it as a way of approaching the problem of Charles Dickens's plots, tracing Dickens's method in three novels from different periods of his authorship: Oliver Twist (1839), Little Dorrit (1857), and Our Mutual Friend (1865). Dickens's novels are full of plots that should never have played out and are enabled by a series of miracles. Instead of seeing the happy endings as undermining the impact of the novels' social criticism, the article argues that Dickens encourages his readers to see through the simple solutions he presents. The novels themselves undermine their happy endings through overt markers of fictionality and use doubled plots and characters to highlight the starker, more realistic outcomes of the main plots. In this way, Dickens manages to evade the hostility and resistance which a more direct approach might provoke.

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Luk, Adriana, and Heather J. Ross. "“Please Sir, I want some more?”… Charles Dickens, Oliver Twist." Journal of Heart and Lung Transplantation 33, no. 3 (March 2014): 231–32. http://dx.doi.org/10.1016/j.healun.2013.12.021.

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Badić, Edin. "An Analysis of Paratexts in the (Re)translations of Oliver Twist into Croatian." Libri et liberi 9, no. 1 (November 18, 2020): 37–59. http://dx.doi.org/10.21066/carcl.libri.2020.1.3.

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The aim of the present study is to analyse paratextual elements in Croatian (re)translations of Charles Dickens’ classic social novel Oliver Twist; or, The Parish Boy’s Progress (1837–1839). We will explore the level of paratextual (in)visibility of translators in the (re)translations of Oliver Twist and observe how their (in)visibility might affect the reading and interpretation of the novel. The fact that Oliver Twist has been on the reading lists for Croatian primary schoolers ever since the early 1950s may account for the intense interest in the novel on the part of Croatian publishers. The first edition of Oliver Twist into Croatian appeared in 1901 and, since then, three (re) translations have been published, as well as a large number of reprints. The findings aim to contribute to a better understanding of Croatian translation history, shedding light on different approaches to translating children’s literature and the effects such translation practices may have had on the expectations of the target readership.

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Asst. Prof. Ali Mohammed Segar. "Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist." journal of the college of basic education 26, no. 106 (March 1, 2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.

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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age. In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.

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Yan, Rae X. "Dickens's Wild Child: Nurture and Discipline after Peter the Wild Boy." Dickens Studies Annual 48, no. 1 (September 1, 2017): 45–58. http://dx.doi.org/10.5325/dickstudannu.48.2017.0045.

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Abstract This essay argues that Charles Dickens models Oliver Twist after popular wild child figures of the late eighteenth and early nineteenth centuries, such as Peter the Wild Boy and Victor of Aveyron. My analysis of the scientific accounts of wild children written by physicians John Arbuthnot and Jean Marc Gaspard Itard illuminates the significance of wild children within Victorian popular culture. Nineteenth-century accounts about wild children were laden with anxieties surrounding the effectiveness of disciplinary systems. Wild child caretakers felt the need to civilize and train their charges, but the public records of their work suggest that their positivistic notions of such discipline were fraught with self-doubt. Exploring Dickens's portrayal of the “wild child” articulates his own ambivalence toward the development of his “wild child”-like protagonists.

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Yan, Rae X. "Dickens's Wild Child: Nurture and Discipline after Peter the Wild Boy." Dickens Studies Annual 48, no. 1 (September 1, 2017): 45–58. http://dx.doi.org/10.5325/dickstudannu.48.1.0045.

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Abstract This essay argues that Charles Dickens models Oliver Twist after popular wild child figures of the late eighteenth and early nineteenth centuries, such as Peter the Wild Boy and Victor of Aveyron. My analysis of the scientific accounts of wild children written by physicians John Arbuthnot and Jean Marc Gaspard Itard illuminates the significance of wild children within Victorian popular culture. Nineteenth-century accounts about wild children were laden with anxieties surrounding the effectiveness of disciplinary systems. Wild child caretakers felt the need to civilize and train their charges, but the public records of their work suggest that their positivistic notions of such discipline were fraught with self-doubt. Exploring Dickens's portrayal of the “wild child” articulates his own ambivalence toward the development of his “wild child”-like protagonists.

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Camelo, Franciano. "A relação narrador/leitor na tradução machadiana de Oliver Twist." Machado de Assis em Linha 5, no. 9 (June 2012): 53–74. http://dx.doi.org/10.1590/s1983-68212012000100004.

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Em 1870, a convite dos proprietários do Jornal da Tarde, Machado de Assis traduziu para o português boa parte do romance Oliver Twist, de Charles Dickens. A tradução machadiana desse romance apresenta particularidades, isto é, as estruturas que põem a assimilação do texto em curso na tradução de Machado de Assis diferem daquelas do texto inglês. Dentre essas estruturas, destaca-se a voz narrativa. Assim, este trabalho visa analisar alguns aspectos da voz narrativa na tradução machadiana e discutir possíveis implicações para o âmbito do leitor implícito.

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Lian, Min. "Discourse Analysis of Oliver Twist from the Perspective of Pragmatics." Theory and Practice in Language Studies 7, no. 8 (August 1, 2017): 626. http://dx.doi.org/10.17507/tpls.0708.04.

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As a great representative of the British realism literature in the 19th century, Charles Dickens’ Oliver Twist is set in foggy city London, but reflects the complex social reality in that time. Many domestic scholars studied and analyzed this novel from different perspectives, while most of them paid much attention to the literature translation and analysis of the characters’ image, few studied it from the perspective of pragmatic theories. In view of it, this paper selects plenty of dialogues from the novel and they are classified and analyzed on the basis of Grice’s Cooperative Principle and Leech’s Politeness Principle. After analyzing the characters’ conversational implicature, this paper aims to provide a linguistic reference for the appreciation of characters’ image and social significance of the novel. The paper consists of introduction, main body and conclusion three parts. Introduction part gives a simple introduction of the author Charles Dickens and the novel, then states the previous researches on the subject as well as the research angle, goal and method. The body (consists of two chapters) firstly gives a detailed introduction of the theoretical framework, then analyzes the selected dialogues on the basis of Cooperative Principle and Politeness Principle respectively. Conclusion part puts forward that people always express their ideas indirectly and implicitly in their speech communication to violate the Cooperative Principle, that is out of consideration of politeness to others, namely observing Politeness Principle.

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García de la Quintana, Alfonso. "La medicina en los tiempos de Oliver Twist: análisis de la obra de Dickens = Medicine in the times of Oliver Twist: analysis of the work of Dickens." REVISTA ESPAÑOLA DE COMUNICACIÓN EN SALUD 9, no. 2 (December 18, 2018): 188. http://dx.doi.org/10.20318/recs.2018.4496.

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Resumen: Introducción: La literatura Universal es una fuente de datos para conocer las enfermedades a través de la historia. Objetivo: Fomentar que los lectores exploren las enfermedades y mejoren su salud por medio de la literatura. Metodología: El texto seleccionado es Oliver Twist por ser el más conocido de charles Dickens en su versión inglesa y española. Se analizan todos los textos relacionados con la salud y se escogen los más representativos, así como los que más se repiten. También se hace una comparación con la situación en España en aquellos años. Resultados: El nivel de desarrollo de Gran Bretaña era mucho mayor que el de España. La tecnología había llegado al campo, a las minas y a la ciudad. Las epidemias, el sistema sanitario, los accidentes laborales no tenían muchas similitudes debido al atraso que sufría España. Conclusión: La literatura sirve para concienciar a la opinión pública de la importancia de la salud. Se debe fomentar la literatura como instrumento de prevención de enfermedades, incluso hay escritores que describen enfermedades sin saberlo.Palabras clave: Educación para la salud; literatura; Dickens; medicina.Abstract: Introduction: Universal literature is a source of data to know diseases through history. Aims: Encourage readers to explore diseases and improve their health through literature. Methodology: The selected text is Oliver Twist for being the best known of Charles Dickens in his English and Spanish version. All the texts related to health are analyzed and the most representative ones are chosen, as well as those that are most repeated. A comparison is also made with the situation in Spain in those years. Results: The level of development of Great Britain was much higher than that of Spain. Technology had reached the countryside, the mines and the city. The epidemics, the health system, work accidents did not have many similarities due to the backwardness suffered by Spain. Conclusion: Literature serves to raise public awareness of the importance of health. Literature should be encouraged as an instrument for the prevention of diseases, even writers who describe diseases without knowing it.Keywords: Health education; literature; Dickens; medicine.

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Hikmaharyanti, Putu Desi Anggerina, I. Gusti Agung Sri Rwa Jayantini, and Ni Made Verayanti Utami. "A STUDY OF OLIVER TWIST INFERIORITY ON CHARLES DICKENSâ€™S OLIVER TWIST." Apollo Project: Jurnal Ilmiah Program Studi Sastra Inggris 10, no. 2 (August 3, 2021): 57–66. http://dx.doi.org/10.34010/apollo.v10i2.5306.

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This study focuses on Oliver Twist inferiority feeling during his childhood life. Oliver Twist as the main character of the novel experienced several miserable treatments from people around him. Along with the inferiority feeling, unfortunately it brings some effects towards him. This is the reason of why this study created by describing the inferiority feelings together with the impact qualitatively. Since the study is in literature matter, psychological and sociological approaches were applied to elaborate the inferior feeling experienced by the main character. There were five settings where Oliver Twist got bad treatment done by several supporting figures and made him become an innocent, rebel and courageous boy as the effects of those inferiority in this study.

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Rajaa Radwan Hillis, Rajaa Radwan Hillis. "Symbolism in Charles Dickens’s Oliver Twist (1837-9): A critical study: الرمزية الأدبية في رواية تشارلز ديكنز "أوليفر تويست" دراسة نقدية." مجلة العلوم الإنسانية و الإجتماعية 5, no. 13 (October 30, 2021): 156–46. http://dx.doi.org/10.26389/ajsrp.l130421.

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When Charles Dickens wrote Oliver Twist in the 1830s, poverty and crime were huge problems in London. To highlight these problems throughout his novel, the author used various literary techniques to create an interaction between the reader and the text in which text can have multiple meanings that can shift over the time. Thus, he uses symbols to evoke a range of additional meaning and significance. His purpose is to get the reader’s attention to construct meaning as the plot progress to what he intends to communicate about innocent individuals or villainous ones. Symbolism, irony, and satire were among the tools he used in his work. They work together to convey a deeper embedded meaning to cast suggestions about the development of the novel to emphasize the point the author seeks to stress throughout the novel. Drawing upon the importance of literary devices in unfolding the thematic concerns of the novel, this paper seeks to run an in-depth analysis of how symbolism played a vital role throughout Oliver Twist. The paper argues that through symbolism, the author channels meaning in Oliver Twist to develop the thematic concerns of the novel in creative ways to shape the reader’s response and to create a strong bond between the reader and the text. The paper argues that literary symbolism in Charles Dickens’s novel is based on evoking the mental image in the reader’s mind to structure meaning through his/her interaction with the text and then shaping his response according to his/her experience. It also creates a strong bond between the reader and the text.

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Alzouabi, Lina. "Social Environment and Crime in Dickens' Oliver Twist and Great Expectations." International Journal of Linguistics, Literature and Translation 4, no. 6 (June 30, 2021): 163–70. http://dx.doi.org/10.32996/ijllt.2021.4.6.19.

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This study reads Charles Dickens' Oliver Twist and Great Expectations as crime novels by applying Sutherland's theory of "differential association" which postulates that criminal behavior is learned rather than inherited, and it is learned through interaction with other people within intimate personal groups in which one learns techniques and acquires motives for committing crimes. In Oliver Twist, Oliver is portrayed as a victim of the corrupted social environment as well as Monks' conspiracy with Fagin to drag him down to the underworld.; he is raised as an orphan in a workhouse and subjected to mistreatment. Thus, he unknowingly indulges in Fagin's gang and learns the crime of pickpocketing, as all the members of the gang come from a poor background and are taught how to commit crimes within the gang, their intimate social group. Nancy's poverty also compels her to join the gang, which ultimately leads to her death, as criminality is not innate in her personality. Criminality in Oliver's character is not innate either, so he ends up leading a decent life in a healthier environment. Like Fagin, Compeyson in Great Expectations favors the violation of law and has others indulge in the criminal world, thereby exploiting Magwitch and Orlick who turn into criminals. By presenting criminal characters with various motives and from harsh backgrounds, Dickens' fiction suggests that crime behavior has nothing to do with heredity. Rather, criminal characters are implicated in crimes as a result of the corrupted social environment forced on them, along with gangs and corrupt people they have to encounter.

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Tarif, Julie. "Les incursions du juridique et du médical dans Oliver Twist de Charles Dickens." Palimpsestes, no. 24 (October 15, 2011): 167–83. http://dx.doi.org/10.4000/palimpsestes.906.

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Castro-Santana, Anaclara. "Del espíritu de las narrativas pasadas en Oliver Twist." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 5 (February 19, 2022): 34–58. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2022.5.1551.

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Oliver Twist, el huérfano más célebre de la literatura, hizo su aparición en las páginas de Bentley’s Miscellany en febrero de 1837. Desde entonces, su historia ha figurado en todo tipo de medios textuales y audiovisuales, de suerte que la imagen del infante de familia desconocida, cuya inocencia le lleva a triunfar ante la injusticia social que lo asedia, guarda una relación indisoluble con la obra de Charles Dickens. El linaje diegético del expósito Oliver se descubre en las páginas finales de la novela que lleva su nombre. Su genealogía artístico-literaria, sin embargo, es un secreto a voces que inspira personajes peculiares y una estructura narrativa basada en coincidencias y revelaciones. En este artículo se exploran algunas de las conexiones más relevantes entre Oliver Twist y las narrativas dieciochescas que le antecedieron. En específico, se atienden los legados de las novelas de Henry Fielding y las narrativas visuales de William Hogarth, los cuales fueron determinantes no sólo en la representación tragicómica de las clases bajas —como se ha llegado a sugerir— sino también en la concepción del protagonista, la caracterización de personajes secundarios y el diseño de la trama principal.

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Lian, Min. "Analysis of Dickens' Critique and Humanity Spirit in Oliver Twist Based on the Appraisal Theory." Theory and Practice in Language Studies 8, no. 8 (August 1, 2018): 1050. http://dx.doi.org/10.17507/tpls.0808.19.

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As the greatest representative of English critical realism, Charles Dickens’ novel Oliver Twist reflects the complex social reality in his time and manifests the author’s humanity spirit especially to the poor and the lower class. The paper uses the attitude sub-system in appraisal theory as analytical framework, chooses the attitude resources related to the protagonist Oliver as research material, mainly analyzes his personality characteristics at lexical level. The study aims to reveal the author’s humanity spirit that lurked in the discourse after construing Oliver’s image in that social background and his critique spirit to the society, in the hope of deepening our understanding of the significance of the theme of the novel, and providing a linguistic reference for the appreciation of literature work. At the same time, this study further confirms the value of appraisal theory in discourse analysis and appreciation.

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Miller, Ian. "Feeding in the Workhouse: The Institutional and Ideological Functions of Food in Britain, ca. 1834–70." Journal of British Studies 52, no. 4 (October 2013): 940–62. http://dx.doi.org/10.1017/jbr.2013.176.

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AbstractHow adequate was the mid-Victorian workhouse diet? Basing their arguments on modern nutritional analyses of dietary tables, some historians have concluded that the workhouse diet fulfilled the basic nutritional needs of inmates and that the idea that workhouse dietary regimes were inadequate is the result of a “mythology” created by contemporaries—including Charles Dickens. In these accounts, Dickens's infamous scene where Oliver Twist becomes so overwhelmed with hunger that he asks for more food is construed as an exaggerated rendering of workhouse life. This article argues that efforts to impose modern nutritional techniques onto past configurations can produce misleading results and generate simplistic historical interpretations. The cultural categories historically surrounding food demand thorough attention and must be reconciled with modern scientific approaches if the boundaries between workhouse realities and mythologies are to be rendered less obscure.

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Mykhalchuk, N. O. "Psychological context of the idea of understanding (analyzing derived abstract nouns in «The adventure of Oliver Twist» by Charles Dickens)." Problems of Modern Psychology : Collection of research papers of Kamianets-Podilskyi National Ivan Ohiienko University, G. S. Kostiuk Institute of Psychology of the National Academy of Educational Sciences of Ukraine, no. 39 (January 25, 2018): 167–75. http://dx.doi.org/10.32626/2227-6246.2018-39.167-175.

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Barker, Anthony. "“Consider Yourself One of Us”: The Dickens Musical on Stage and Screen." Text Matters, no. 7 (October 16, 2017): 241–57. http://dx.doi.org/10.1515/texmat-2017-0013.

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Charles Dickens’s work has been taken and adapted for many different ends. Quite a lot of attention has been given to film and television versions of the novels, many of which are very distinguished. The stage and screen musical based on his work, essentially a product of the last fifty years, has been neither as studied nor as respected. This paper looks at the connection between Dickens’s novels, the celebration of “London-ness” and its articulation in popular forms of working-class music and song. It will argue that potentially unpromising texts were taken and used to articulate pride and a sense of community for groups representing the disadvantaged of the East End and, more specifically, for first-generation Jewish settlers in London. This is all the more surprising as it was in the first instance through depictions of Oliver Twist and the problematic figure of Fagin that an Anglo-Jewish sensibility was able to express itself. Other texts by Dickens, notably Pickwick Papers, A Christmas Carol and The Old Curiosity Shop, were also adapted to musical forms with varying results, but the period of their heyday was relatively short, as their use of traditional and communitarian forms gave place in the people’s affection to manufactured pop/rock and operetta forms. I will argue that this decline was partly the product of changing London demographics and shifts in theatre economics and partly of the appropriation of Dickens by the academy.

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POLINA, Ganna, Anastasia OVCHATOVA, and Anna KUPRIICHUK. "The specifics of English realism in the novel by Charles Dickens «The Adventures of Oliver Twist»." Humanities science current issues 2, no. 45 (2021): 88–92. http://dx.doi.org/10.24919/2308-4863/45-2-14.

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Rosyid, Ahmad Abdullah. "Kesenjangan Sosial dalam Novel Oliver Twist dan Nobody’s Boy: Kajian Intertekstual." Diglosia: Jurnal Kajian Bahasa, Sastra, dan Pengajarannya 4, no. 1 (February 1, 2021): 49–64. http://dx.doi.org/10.30872/diglosia.v4i1.86.

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This research uses a novel from two different countries, namely England and France, entitled Oliver Twist by Charles Dickens and Nobody's Boy by Hector Malot. Even though they were written in different countries and periods, both novels seem to be related to one another. This research utilizes the theory of intertextuality as a reference for understanding the relationship between the two novels. The social conflict theory from Karl Marx is also used to support the analysis. The method used is descriptive qualitative data sources from the two selected novels. Data collection techniques are based on things related to social conflict relationships in the novel, data collected in the form of words, phrases, and sentences from dialogue and narration. Then, data validation is done by selecting the most dominant data for intertextual analysis. Data analysis is then done by comparing the two texts as the relationship of hypogram and transformation. The results obtained are a link between the two novels in the form of interrelation between the structure of the story, which includes the background, characters and characterizations, and social conflict in the form of social disparity between the bourgeois and proletarian classes. The text of Nobody's Boy is a transformation from Oliver Twist, which gives a description and emphasis on social inequalities that occur even in years that differ greatly between the two so that from these results, it can be concluded that the two novels have an intertextual relationship in terms of influence.

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Knoepflmacher, U. C. "BOY-ORPHANS, MESMERIC VILLAINS, AND FILM STARS: INSCRIBINGOLIVER TWISTINTOTREASURE ISLAND." Victorian Literature and Culture 39, no. 1 (December 7, 2010): 1–25. http://dx.doi.org/10.1017/s1060150310000240.

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Oliver Twist,the early novelwhich a twenty-five-year-old Charles Dickens published serially from 1837 to 1839, revised in the 1840s, and featured in the public readings he offered from 1867 until his death in 1870, might well have inspired the thirty-two-year-old Robert Louis Stevenson before he serialized his own first novel,Treasure Island, in 1882. There are, after all, remarkable similarities between the two texts. For each dramatizes a young boy's immersion in a counter-world headed by villains who defy the norms of a dubious patriarchal order. What is more, the strong spell that thieves like Fagin and Bill Sikes and pirates like Billy Bones and Long John Silver exert over the innocents they mesmerize infects readers of each narrative as well as viewers of their many cinematic adaptations. We thus face a quandary. Despite our empathy with little Oliver and with his adolescent counterpart Jim Hawkins, we may question each boy's reintegration into an order whose fissures have been radically exposed.

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Avsenik Nabergoj, Irena. "Children Without Childhood: The Emotionality of Orphaned Children and Images of Their Rescuers in Selected Works of English and Canadian Literature." Acta Neophilologica 50, no. 1-2 (November 13, 2017): 95–135. http://dx.doi.org/10.4312/an.50.1-2.95-135.

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This article deals with literary depictions of social, political, cultural and religious circumstances in which children who have lost one or both parents at birth or at a later age have found themselves. The weakest members of society, the children looked at here are exposed to dangers, exploitation and violence, but are fortunate enough to be rescued by a relative or other sympathetic person acting out of benevolence. Recognizing that the relationship between the orphaned child, who is in mortal danger, and a rescuer, who most frequently appears unexpectedly in a relationship, has been portrayed in narratives throughout the ages and that we can therefore speak of it as being an archetypal one, the article focuses especially on three novels by Charles Dickens – Oliver Twist (1837–1839), David Copperfield (1849–1850) and Great Expectations (1860–1861) – and in Fugitive Pieces (1996) by Canadian writer Anne Michaels. Charles Dickens earned the reputation of a classic writer through his original literary figures of orphaned children in the context of the rough capitalism of the Victorian era of the 19th century. Such originality also distinguishes Anne Michaels, whose novel Fugitive Pieces portrays the utterly traumatic circumstances that a Jewish boy is exposed to after the Germans kill his parents during the Holocaust. All the central children’s lives in these extreme situations are saved by generous people, thus highlighting the central idea of both selected authors: that evil cannot overcome good. Rescuers experience their selfless resolve to save extremely powerless and unprotected child victims of violence from life-threatening situations as a self-evident moral imperative. Through their profound and deeply experienced descriptions of memories of traumas successfully overcome by central literary figures in a spirit of compassion and solidarity, Charles Dickens and Anne Michaels have left testaments of hope against hope for future generations.

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RUANO SAN SEGUNDO, PABLO. "Análisis estilístico del habla de Mr. Grimwig en Oliver Twist, de Charles Dickens, y su traducción al español." Hikma 15 (October 7, 2016): 69. http://dx.doi.org/10.21071/hikma.v15i.10509.

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En este artículo se lleva a cabo un análisis traductológico del habla de Mr. Grimwig en Oliver Twist, de Charles Dickens, en las versiones españolas de Alfredo Yáñez, Vergara y José Méndez Herrera. El objetivo del estudio consiste en medir el grado de acierto de estas tres traducciones en el traslado al español de un aspecto de importancia cardinal en el estilo dickensiano: la memorabilidad de sus personajes como recurso de caracterización en el marco de la novela por entregas decimonónica inglesa. Con apariciones aisladas en únicamente cuatro capítulos de la historia, Mr. Grimwig constituye un ejemplo paradigmático de las técnicas de caracterización del autor, pues es acreedor de un habla idiosincrásica que le individualiza y facilita su reconocimiento en el transcurso de la historia. En este artículo se analiza en qué medida esa habla es producto de la publicación fasciculada original de la novela, así como el modo en el que los traductores españoles la trasladan al español, de tal suerte que pueda comprobarse si las versiones objeto de estudio —y en caso de que así sea, hasta qué punto— conservan uno de los marchamos estilísticos más representativos del autor victoriano.

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یوسف, عفاف. "A Study of the Use of Satire in the Novels of Charles Dickens with Special Reference to Oliver Twist." مجلة البحث العلمی فی الآداب 4, no. 11 (November 21, 2019): 603–22. http://dx.doi.org/10.21608/jssa.2019.60952.

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LLM., Frank Bates. "Children as Property: Hindsight and Foresight." Children Australia 13, no. 2 (1988): 3–8. http://dx.doi.org/10.1017/s0312897000001855.

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“Peter had heard there were in London then, -Still have they being? - workhouse - clearing men Who, undisturbed by feelings just or kind, Would parish-boys to needy tradesmen bind: They in their want a trifling sum would take And toiling slaves of piteous orphans make”(George Crabbe, ‘The Poor of the Borough: Peter Grimes’ Letter 22, The Borough, 1812)Although these well-known lines from George Crabbe's poem The Borough, refer to the practice of workhouses, in essence, selling children (a similar instance, may of course, be found in Oliver Twist by Charles Dickens), it is equally clear that the practice was not confined to the workhouse. Although the workhouse may have been the ultimate Victorian method of dealing with poverty and certain types of dysfunctional family (Henriques, 1979), there can equally be no doubt that the practice was not thereto restricted. It is the purpose of this article to consider, albeit briefly, the more obvious manifestations of children as property in Nineteenth Century social history and to inquire as to how far those attitudes are still pertinent to Anglo-Australian law.

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Krupenina, M. I. "CHARLES DICKENS'S NOVEL "OLIVER TWIST" AS A NOVEL-ALLEGORY OF THE GOD AND THE DEVIL." Historical and social-educational ideas 8, no. 1 (March 11, 2016): 152–55. http://dx.doi.org/10.17748/2075-9908-2016-8-1-152-155.

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Wagué, Cheick, and Nandakumar Warrier. "Is there any relationship between child labour, crime rates and country income per capita?" International Review of Business and Economics 5, no. 1 (2021): 1–22. http://dx.doi.org/10.56902/irbe.2021.5.1.2.

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Child labour exists in varying degrees in virtually all countries aspiring to reach high income status. The prevalence of child labour and associated criminal activities have been portrayed in the 19th century novels of Charles Dickens, perhaps most vividly in the character ‘Fagin’ in the novel ‘Oliver Twist’. It seems clear that the early years of the industrial revolution in Britain gave rise to demand for increased child labour and also provided fertile ground for criminal activities. However, it is also evident from the experience of the high-income countries that the hallowed peaks of the development process witness an end to such activities representing the dark side of income creation. This paper examines whether there is a definite relationship between country income per capita and the prevalence of crime and child labour. The presumption is that as incomes grow there is an increase in the use of child labour as well as in crime, with a tapering- off after a certain income level. This paper presents evidence for such an inverted ‘U’ relationship between child labour and income per capita as well as between the crime index and income. These findings may also throw some light on the puzzle of the sudden fall in U.S crime rates in the 1990s.

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Pogacar, Ruth, Agnes Pisanski Peterlin, Nike K. Pokorn, and Timothy Pogačar. "Sound symbolism in translation." Translation and Interpreting Studies 12, no. 1 (April 10, 2017): 137–61. http://dx.doi.org/10.1075/tis.12.1.07pog.

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Abstract Readers may infer that literary characters are sympathetic or unsympathetic based on the perceived phonetics of character names. Drawing on brand name literature in marketing, we investigate whether Slovene and English speakers can identify sympathetic and unsympathetic characters in Charles Dickens’s Oliver Twist based solely on their names, despite being unfamiliar with the novel. Both Slovene and English speakers can make this distinction, suggesting that sound symbolism may help communicate Dickens’s intended characterizations. Dickens’s documented focus on creating meaningful names suggests the sound symbolism in his characters’ names is likely intentional. These findings are relevant to the translating convention of preserving proper names, which leaves spelling intact (given similar alphabets). Preserving the original names in translation may be justified for readers fluent enough to perceive the original name sounds. However, not altering character names in translation may sometimes lead to different phonetic perceptions, which alter the sound symbolic meaning.

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Hawthorn, Jeremy. "Seeing is Believing: Power and the Gaze in Charles Dickens’s The Adventures of Oliver Twist." Nordic Journal of English Studies 1, no. 1 (January 1, 2002): 107. http://dx.doi.org/10.35360/njes.93.

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Qamili, Shpresë. "Passive Voice Transformation." e-Journal of Linguistics 13, no. 2 (July 31, 2019): 189. http://dx.doi.org/10.24843/e-jl.2019.v13.i02.p01.

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It is well known that the differences between the languages and the different levels of relationship between them and the use of the English passive voice in Albanian language are complex achievements of hypotheses given by language thinkers, because the language first of all is a process and processes change from time to time as a result of new language achievements and transformations and as a result of changes in people's worldview. The English and Albanian passive voice do not have a single grammatical structure and that this should be related to numerous legalities that follow the languages in their internal and external development. The studies carried out in terms of linguistic features, even of the passive voice according to the comparative method, have opened new paths to see similarities and differences even in the passive voice structure. This study is intended to give our modest contribution to notice the similarities and differences in the use of the passive voice as well as its structure in both languages. This contrastive analysis tries to facilitate the acquisition of English as a foreign language for students, pupils, to make the translation from English into Albanian and vice versa easier, to provide linguistic information to language researchers. The comparison is supported by the following English novels and their translated versions in Albanian such as: “Oliver Twist” by Charles Dickens and translated by Skënder Luarasi and “Silas Marner” by George Eliot and translated by Ramazan Hysa, where similar as well as different features have been found.

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Ilunina, Anna Aleksandrovna. "Transformation of the images of woman and child in the Neo-Victorian novel (based on the novels “Florence and Giles” John Harding and “The Trial of Elizabeth Cree” by Peter Ackroyd." Litera, no. 3 (March 2021): 93–101. http://dx.doi.org/10.25136/2409-8698.2021.3.35182.

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Neo-Victorian novel is one of the main trends in the development of modern British literature. This article traces the transformation of the images of woman and child in the Neo-Victorian novel of the 1990 – 2010s in comparison with the Victorian pretext (the novels “The Turn of the Screw” by Henry James, “Jane Eyre” by Charlotte Brontë, “Oliver Twist”, “David Copperfield” by Charles Dickens). The research material includes the novels “Florence and Giles” John Harding and “The Trial of Elizabeth Cree” by Peter Ackroyd. It was determines that the Neo-Victorian novel fools with the audience’s perception of stereotypical gender concepts, as well as poetics of the Victorian novel, according to which the title character, namely a woman or a child, is the object of the author’s and reader’s affinity. The article examines the role of references in the aforementioned neo-Victorian novels to the “thrilling” stories of Edgar. Poe, “The Strange Case of Dr. Jekyll and Mr. Hyde” by Robert Louis Stevenson. It is revealed that the traditional “angel in the house” in the Neo-Victorian novel is transformed into the evil “Mrs. Hyde”, exacting vengeance on the world for the humiliations because of her gender and social status. The author reviews the role of intermedian references in the novel “Florence and Giles”. The conclusion is made that the dialogue with pretexts allows modern writers to touch on the topics of women's education and gender inequality in the past and present.

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Germain, Joan St. "Dickens' Oliver Twist." Explicator 46, no. 3 (April 1988): 16–20. http://dx.doi.org/10.1080/00144940.1988.9934717.

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Abida, Fithriyah Inda Nur, Fahri Fahri, and Diana Budi Darma. "Humour in Dickens’ Oliver Twist." Linguistics and Culture Review 6 (December 12, 2021): 120–28. http://dx.doi.org/10.21744/lingcure.v6ns2.1982.

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This paper attempts to investigate the use of humour in revealing the idea of corruption in Dickens’ novel Oliver Twist. Corruption was a huge problem in London in the 1830s when Dickens was writing. Oliver Twist was one of his best novels that portrayed how corruption lived. Through this novel, he also wanted to show how social and cultural at that time created corrupt behavior in the society. The art of humour created by Dickens is an interesting strategy to deliver the message of corruption. By understanding the art of humour that consists of idiomatic expression, social and cultural context, would help the translator to capture a distinctive creative process that incorporates the linguistic structures and cultural environment of the target language while at the same time remaining as faithful as possible to the original.

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Kaur, Rupinder. "Oliver Twist: Dickens Crusade against Social Evils." Asian Journal of Research in Social Sciences and Humanities 7, no. 8 (2017): 422. http://dx.doi.org/10.5958/2249-7315.2017.00436.1.

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Terci, Mahmut. "The Gentleman of Birth: Oliver Twist." European Journal of Language and Literature 4, no. 1 (April 30, 2016): 104. http://dx.doi.org/10.26417/ejls.v4i1.p104-116.

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As the focus in this article is mainly on Dickens’s descriptions of the gentleman of birth in Oliver Twist, selected extracts from the novel as well as critics’ opinions will help us analyze the gentlemanly attitudes of the main characters connected to their noble origin and gentle manners. While Oliver opens his eyes in poor conditions, he always feels that he has noble blood. Dickens believes that manners not social status make people true gentlemen yet, he mixes the ‘noble origin’ issue in his novel Oliver Twist, probably as a result of the Victorian people’s perception of ‘gentility’ which was very close to the concept of ‘nobility’. Since Dickens added the flavor of ‘noble’ birth, his naïve nature as well as his perceptions – the way how he interprets people’s behavior and things which happen around him and which construct his identity, his pure heart and his fate (reference to his belief and sincere praying) remarkably influence the positive changes in his life time. Dickens’s little hero, Oliver Twist, while naturally appreciating goodness, is disgusted by immoral things like ‘stealing,’ which was unfortunately happening around. What are the main factors that shape his kind, noble and naïve character? Is it ‘nature’ or ‘nurture’? What could be the major reasons for Nancy, Rose and Mr. Brownlow to give their assistance to Oliver? Whose –Mr. Brownlow’s or Fagin’s– teachings or influences are welcomed by Oliver? The answers to these questions will eventually illustrate how gentlemanly manners are inherited or acquired by Oliver.

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Meyer, Susan. "ANTISEMITISM AND SOCIAL CRITIQUE IN DICKENS'SOLIVER TWIST." Victorian Literature and Culture 33, no. 1 (March 2005): 239–52. http://dx.doi.org/10.1017/s1060150305000823.

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WHEN SIKES AND NANCY RECAPTURE OLIVER, in Dickens'sOliver Twist, intending to return him to the gang of thieves, Sikes warns Oliver against crying out to passersby, announcing that his dog will go for Oliver's throat if he so much as speaks one word. Looking at the dog, who is eyeing Oliver and growling and licking his lips, “with a kind of grim and ferocious approval,” Sikes tells Oliver, “He's as willing as a Christian, strike me blind if he isn't!” (109; ch. 16). Sikes of course simply intends to say that his dog is as good as human, but Dickens's joke, in the context of the novel, is a chilling one. Sikes's bloodthirsty dogisas willing as the novel has shown many a professed Christian to be to exercise brute power over the weak and helpless, to drive Oliver into a life of crime, and to commit physical violence against him. In the course of the novel, Dickens shows what professed Christians have been willing to do to the poor and invites his readers to contemplate what they as Christians should instead be willing to do.Oliver Twistis of course deeply concerned with the condition of England's poor, and Dickens invokes the idea of Christianity as a rhetorical tool through which to make the social commentary that is at the novel's moral center.

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Alwan, Zainab Hussein. "A Lexical Analysis of Words Signifying Happiness in Dickens' Novel Oliver Twist." SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 24. http://dx.doi.org/10.24113/ijellh.v8i2.10417.

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Being a transient state, happiness extends from the highest degree of pleasure to the lowest one. It differs from one person to another. Lexically, happiness can be fulfilled by using certain words that are used to describe this feeling. The existing study tries tofind answers for the subsequent queries: What are the most common words uttered to express happiness in Dickens' novel Oliver Twist? Is there a distinction between happiness and other negative feelings in the texts above? Do they all have the same indications of happiness? This paper aims at: Examining the semantic aspects of words denoting happiness in Dickens' novel Oliver Twist. Identifying the correlation between happiness and other negative feelings in the text above. 3.Investigating the implied meaning of that words used in this particular novel.

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Imansari, Nurul, Andi Mega Januarti Putri, and Widia Pramesti. "CHILDREN WITH CHILDHOOD: SHAPING PERSONALITY IN DICKENS’ OLIVER TWIST AND BRONTË’S JANE EYRE." English Language, Linguistics, and Culture International Journal 1, no. 3 (December 29, 2021): 170. http://dx.doi.org/10.24252/elstic-ij.v1i3.25876.

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The study object in this research is childhood in Dickens’ Oliver Twist and Brontë’s Jane Eyre. Although the two novels were written by two different writers, however, the novels have similarities to some extent, particularly about the social issue in childhood. Being a symbol of growth and rebellion of the child in the novels, childhood conveys the relationship of the child’s survival and the shape of the character. Both Dickens’ and Brontë’s novel expresses some resemblances about childhood life. Through a critical analysis of Dickens’ and Brontë’s selected texts on the children characters, this research aims to compare and examine how the social status in childhood can create the individual personality and how the character changes in the novel throughout their childhood. Being a nineteenth century authors, Dickens and Brontë’s conform to the writing conventions of that period. The method used in this study was a descriptive qualitative. It will examine how the novel represents the characters by focusing on the various perspective of the narrator. The result shows that through the theme of childhood, both novels show the ability of this particular time of life to shape the personality of the character. The wicked condition in the institution, the absence of respect and affection, the ignorance of people, and the prejudice over the main character become the aspect in contributing the shape of Oliver and Jane’s personality. Both novels contain realism and drive the reader to become more aware and sympathetic towards the poor child.

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Richardson, Ruth. "Dickens, Dick and Dido: Oliver Twist and the Opera at Home." Dickens Quarterly 33, no. 3 (2016): 173–200. http://dx.doi.org/10.1353/dqt.2016.0025.

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Sadoff, Dianne F. "Boz and Beyond: Oliver Twist and the Dickens Legacy." Dickens Studies Annual: Essays on Victorian Fiction 45, no. 1 (July 14, 2014): 23–44. http://dx.doi.org/10.7756/dsa.045.002/23-44.

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Sen, Sambudha. "Hogarth, Egan, Dickens, and the Making of an Urban Aesthetic." Representations 103, no. 1 (2008): 84–106. http://dx.doi.org/10.1525/rep.2008.103.1.84.

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This essay tracks the making of an urban aesthetic as it developed from Hogarth's Industry and Idleness to Dickens's Oliver Twist. It argues that the urban aesthetic works in these texts to both contain and express the internal differences of the metropolis. It focuses on the ways in which the juxtapositional possibilities produced by the urban aesthetic affected such basic features of the novel as plot and characterization.

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Singh, Tanya. "ANALYSING THE ANTISEMITIC CONSTRUCT OF FAGIN THROUGH THE PSYCHOLOGICAL FUNCTIONING OF STEREOTYPES." Journal of English Language and Literature 09, no. 02 (2022): 01–06. http://dx.doi.org/10.54513/joell.2022.9201.

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Fagin in Dickens’ Oliver Twist unveils the English literary tradition and social reality of London Street Jews revealing antisemitism as a part of the Victorian culture. To create an archetypal supervillain who endangers the life of innocent juveniles, Dickens borrows from the antisemitic literary customs of his time to create a villainous character approved and hated; a Jew. Fagin’s exaggerated characterisation is modelled on medieval antisemitism and is reflective of Dickens’ antisemitic ideology and the then social reality of Jews living on London Streets. Dickens accepts and reflects on the antisemitism of his age to establish a Jew as the immutable villain of the London society. This paper critiques the antisemitic unconscious of Dickens reflected through the character of Fagin and further analyses his method of creation impregnated with elements of literary and traditional antisemitism for his villainous portrayal.

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Gibson, Brian. "“Please, sir, I want some more . . . . Please, sir . . . I want some more”: Unhooding Richler’s Fang to Find Justice for Oliver Twist and Jacob Two-Two." Jeunesse: Young People, Texts, Cultures 2, no. 2 (December 2010): 86–109. http://dx.doi.org/10.3138/jeunesse.2.2.86.

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This comparison of the treatment of Oliver Twist by the magistrate Mr. Fang and other adults in Dickens’ 1837 novel with the treatment of Jacob by Justice Rough and other adults in Richler’s 1975 book, along with a comparison of some of George Cruikshank’s illustrations with some of Fritz Wegner’s illustrations, reveals stylistic echoes and riffs on the early-Victorian work by the late-20th century work and a deep shift in social, cultural, and legal attitudes to the child. Oliver is helpless and powerless on his own in a harsh, adult world, while Jacob is a “little person” with his own rights, his powerlessness coming from within. Dickens and Cruikshank trap the non-adult in a pre-Marxist, materially threatening society, whereas Richler and Wegner move the pre-adult through a post-Freudian society where Jacob is psychologically belittled by adults threatened by “Child Power.”

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Clavin, Keith. "Fagin's Coin of Truth: Economic Belief and Representation inOliver Twist." Victoriographies 4, no. 2 (November 2014): 122–38. http://dx.doi.org/10.3366/vic.2014.0166.

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This essay examines Fagin from Oliver Twist as a villain whose construction joins Victorian anxieties about counterfeiting and economic deceptiveness with separate yet related concerns about the author's role in representing criminal life. Dickens triangulates Fagin's identity through cultural fears about Jewish participation within secondary markets, increased distance between purchaser and seller in an expanding credit economy, and moral ambiguities in respect to fiction-making. Read against non-literary Victorian writing about counterfeiters and crime, Fagin can be understood as a forger of identities and narratives. His ability to exploit interpersonal belief and economic value is a central feature of his villainy and one with precedent in other aspects of Victorian financial life. Dickens critiques capitalist culture by associating it with the imitative, fictional, and Jewish culture. In contrast, he aligns sincerity and truth with the middle-class, normative characters. Throughout, he marks the distinction between these two groups with comic incidence. The marginalised figures are fodder for humour and irony, while the conventional heroes are earnest.

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Journal articles on the topic 'Oliver Twist (Dickens, Charles)'

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