Oliver Twist Essays

Oliver Twist Essays Oliver Twist Essay Oliver Twist Essay Essay Topic: Oliver Twist Oliver Twist is one of Dickens early novels and one of his best loved. It has what you would expect from him: memorable characters, evocative descriptions, melodrama, a plot that relies on completely incredible coincidences. Dickens is the master of descriptive narrative and he conjures a grim and compelling view of Victorian London. His over view of London is created through his own experience of growing up and experiencing the badlands and the derelict surroundings put in front of him as a child and through his youth, in this novel he doesnt hold back any knowledge about London or any details either, a true opinion which has made this novel so successful. Introduction How does dickens use language to show the death of Bill Sikes in Chapter 50 of Oliver Twist. What this title is asking me to do is to pick evidence out of the text to describe how Charles Dickens builds up tension and depicts and creates characters in Chapter 50. It is simple to just look at the death of Bill Sikes as an accident and a coincidence, but there is an enormous amount more that Charles Dickens has done in this chapter. Dickens ability to create an image in the readers head is outstanding, at the start of the chapter Dickens describes Jacobs Island, a small part of London where the story is basically set, he uses long descriptive sentences with superlatives such as blackest, dirtiest, filthiest, strangest, roughest, poorest, cheapest and coarsest, all of these words on the same page and even most in the same paragraph, he uses these words to put across his opinion of the area, the est. words are the worst of the worst you can describe something as. He is describing the derelict ness and the poverty of Jacobs Island in this time by also describing the jobs and even the unemployment of the area, jobs such as ballast heavers, coal whippers and brazen women, all of these jobs are hard labouring jobs. Dickens also creates a wide range of characters that make you as a reader know them, Dickens splits these characters apart by giving them their own sense of speech on a page, different language, in a sort of slang, strong language of criminal underclass which is used in great effect later explained. Again Dickens reflects on the social difficulties and background of London itself in the 1830s, London was swarmed with poverty, diseases, crime, different classs of people, orphanages, overall a very commercial but saddened city. Dickens ability to structure a chapter is also another point to look at, the way he progresss from the description of Jacobs Island, he goes on to describe the river Thames, and then goes on to describe houses, windows, buckets, utensils, and then warehouses, which then develops into one house in particular where the criminals are uncovered which is Toby Crackits room and then to the old chimney which goes on to build more tension and more suspense and thus making the reader want to read on and on to uncover what entertainment lies ahead. Charles Dickens doesnt only have descriptive prestige in this book, he is very well known for his narrative devices, his dramatic use of the dog Bulls Eye, that is so in love with his owner (Sikes) so to speak really captivates the audience in a sense that you feel sorry for this dog, in the end Sikess dog comes back to haunt him as his dog leads the mob to him and that leads on to his death. Which also bring the mob, which is another great example of Dickenss dramatic narrative devices, the mob are described as a huge crowd all after one man, Bill Sikes, every man or woman in London seems to be chasing Bill Sikes and after his head in the way Dickens describes them, hundreds of angry, bloodthirsty citizens of London, in fact there were so many of them as he describes they got themselves in grave danger, falling over each other and nearly crushing each other. Before the mob is introduced there is a coming together of little Charley Bates and Bill Sikes which leads to the mob coming, Charley stands up to bates and a fight breaks out, the description of the fight is outstanding, Pouring out the cries, and accompanying them with violent gesticulation, the boy actually threw himself, single-handed, upon the strong man, and in the intensity of his energy and the suddenness of his surprise, brought him heavily to the ground. These words give you a sense of tension and happiness as Charley attacks the murderer, but also leaves you with anxiety as to whether Charley has a chance.

The Presentation of Self in Everyday Life - An Overview

The Presentation of Self in Everyday Life - An Overview The Presentation of Self in Everyday Life is a book that was published in the U.S. in 1959, written by sociologist  Erving Goffman. In it, Goffman uses the imagery of theater in order to portray the nuances and significance of face-to-face social interaction. Goffman puts forth a theory of social interaction that he refers to as the dramaturgical model of social life. According to Goffman, social interaction may be likened to a theater, and people in everyday life to actors on a stage, each playing a variety of roles. The audience consists of other individuals who observe the role-playing and react to the performances. In social interaction, like in theatrical performances, there is  a front stage region where the actors are on stage  before  an audience, and their consciousness of that audience and the audiences expectations for the role they should play influence the actors behavior. There is also a back region, or backstage, where individuals can relax, be themselves, and the role or identity that they play when they are in front of others. Central to the book and Goffmans theory is the idea that people, as they interact together in social settings, are constantly engaged in the process of impression management, wherein each tries to present themselves and behave in a way that will prevent the  embarrassment of themselves or others. This is primarily done by each person that is part of the interaction working to ensure that all parties have the same definition of the situation, meaning that all understand what is meant to happen in that situation, what to expect from the others involved, and thus how they themselves should behave. Though written over half a century ago,  The Presentation of Self in Everday Life  remains one of the most famous and widely taught sociology books, which was listed as the 10th most important sociology book of the twentieth century by the International Sociological Association in 1998. Performance Goffman uses the term ‘performance’ to refer to all the activity of an individual in front of a particular set of observers, or audience. Through this performance, the individual, or actor, gives meaning to themselves, to others, and to their situation. These performances deliver impressions to others, which communicates  information that confirms the identity of the actor in that situation. The actor may or may not be aware of their performance or have an objective for their performance, however, the audience is constantly attributing meaning to it and to the actor. Setting The setting for the performance includes the scenery, props, and location in which the interaction takes place. Different settings will have different audiences and will thus require the actor to alter his performances for each setting. Appearance Appearance functions to portray to the audience the performer’s social statuses. Appearance also tells us of the individual’s temporary social state or role, for example, whether he is engaging in work (by wearing a uniform), informal recreation, or a formal social activity. Here, dress and props serve to communicate things that have socially ascribed meaning, like gender, status, occupation, age, and personal commitments. Manner Manner refers to how the individual plays the role and functions to warn the audience of how the performer will act or seek to act in a  role (for example, dominant, aggressive, receptive, etc.). Inconsistency and contradiction between appearance and manner may occur and will confuse and upset an audience. This can happen, for example, when one does not present himself or behave in accordance with his perceived social status or position. Front The actor’s front, as labeled by Goffman, is the part of the individual’s performance which functions to define the situation for the audience. It is the image or impression he or she gives off to the audience. A social front can also be thought of like a script. Certain social scripts tend to become institutionalized in terms of the stereotyped expectations it contains. Certain situations or scenarios have social scripts that suggest how the actor should behave or interact in that situation. If the individual takes on a task or role that is new to him, he or she may find that there are already several well-established fronts among which he must choose. According to Goffman, when a task is given a new front or script, we rarely find that the script itself is completely new. Individuals commonly use pre-established scripts to follow for new situations, even if it is not completely appropriate or desired for that situation. Front Stage, Back Stage, and Off Stage In stage drama, as in everyday interactions, according to Goffman, there are three regions, each with different effects on an individual’s performance: front stage, backstage, and off-stage. The front stage is where the actor formally performs and adheres to conventions that have particular  meaning for the audience. The actor knows he or she is being watched and acts accordingly. When in the backstage  region, the actor may behave differently than when in front of the audience on the front stage. This is where the individual truly gets to be herself and get rid of the roles that she plays when she is in front of other people. Finally, the off-stage region is where individual actors meet the audience members independently of the team performance on the front stage. Specific performances may be given when the audience is segmented as such.