Great Expectations: The importance of this novel cannot be underestimated dr S.-P.

Graham Swift, Waterland 1980 generation Peter Carey, Jack Maggs one of the most important Australian authors, writes his version. Rewriting British literature as one of the trends in Commonwealth literature. Psychoanalysis of plot: it is an interpretation offered by Brooks, we look at the plot and apply Freud to it. in this we assume that there is a surface plot and the repressed plot, what is beneath the surface. Bildungsroman: a novel presenting the maturing of the character, history of one person from childhood to adulthood. First stage: the rise of expectations Stage two: the fulfilment of expectations, Pip as a gentleman Stage three: the fall of expectations, when it turns out that his benefactor is not Mrs Havisham Extradiegetic (all knowing, past tense) or homodiegetic, story about himself? Pip is an adult, he is remembering, recollecting his past life, he does know everything, but does not reveal it. As an adult narrator, he is reconstructing his perceptions as a kid. Extradiegetic he knows everything. Pip.

The opening fragment: Discrepancy between the childs focalisation and adult narrator. he is evaluating his perceptions as a child childish conclusion, unreasonably derived. An orphan he does not have parents, but he is defined by belonging to a place. He names himself. Parents name the children, they give them identity. Every character in a text needs identity, which is created by parents. The significance of parents in the lives of their children. They determine everything in the life of a child, they give them the profession, education, a sense of roots. As a author: the parents would create a plot for a character, defining them in a way or other. He is Phillip Pirrip, but as a child, you have to remember your authors, parents, but as he does not remember them, he takes over, becomes his own author, this is a significance of his being an author. The problem is that whichever way your read the name, it is Pip, or piP. The conclusions he draws about his parents are false. And his name is also with no connection to the real.

We meet Pip in a situation in which he shows capacity for distortion, misunderstanding. He makes up a fantasy, he lies, when telling about how it was at Havishams, when relating it to Joe. That is why we have to mistrust the plot, because the child is its own author, and his account cannot be relied on. The first thing to do is to establish the first mayor event. The setting is important, the march country. This setting constitutes a part of Pips identity, ours. We have to decide what is the first major event in his life, that creates the plot of his life: the meeting with Magwitch. our was a march country, Magwitch is an adult, and Tell us your name! he is trying to became Pips author. Pip is scared, turned upside down. Magwitch is sent to Australia, place where convicts are sent. This novel is imperial, although Dickens criticizes society, law and order, the one thing he does not criticize is Britannia/imperialism. Australia is not pronounced, it is assumed, and historically it is true that convicts were sent there. Cairo, Egypt it is where Pip goes at the end of the novel. colonial aspects. Fear is the basis for using the psychoanalysis. What you fear, you repress. Pip does not want that Author, that plot, it is what he will refuse. The surface plot is connected with the second important meeting: with Miss Havisham. And so the second meeting covers up the first one. my convict this signifies that Pip identifies with Magwitch. Pip is abused, physical violence in his new family. Both are abused, Magwitch by the system. So, family and state: two abusive institutions. Magwitch is convicted for stealing some apples. He is a victim of repressive state, because he got a large sentence due to his low birth. And Pip... well, takes the beating. Marches Pip belongs to the marches, he has no prospects, and the convict also is connected with the same theme. But it becomes the repressed plot, Satis House the place Miss Havisham lives. It does not belong to the convention of the realist novel, both the character and her dwelling are borrowed from the gothic novel.

She was dumped before her wedding by Compeyson. She is still dressed as for a wedding when she meets Pip, of course. The question: who is thou unravished bride of quietness and the wrong obviously answer: Miss Havisham. (the She asks Pip to entertain her. Estella another not realistic character. She is reared to have no emotions. She gets beating from Bentley Drummle. Or: he abuses her physically. Miss Havisham makes a mistake when raising Estella in this way, because Estella does not really like her for that. It does not belong to the convention of realistic novel, this plot, which in a way becomes a surface plot, should not be treated seriously, because it belongs to the untrue, fancy gothic novel. Estella Pip sees her and realizes how crude and common he is. depicted through his coarse hands and thick boots. Pip does not see things properly, fascinated by the social class, but failing to perceive the decay of Miss Havisham... Pip suddenly wants to become a gentleman. He also meets Herbert and Mr Jaggers. Pips future was to become an apprentice to Joe. But he becomes dissatisfied with this future. George Barnwell a 18
th

century play by

George Lillo. A play Mr Wopsle holds in his hands. The connection between this morality play and Pip: the play about apprentices. George spends a night with a prostitute, betraying his uncle and his boss. She wants him to steal some money from his boss. He steals from his uncle, but sth goes wrong and he kills his uncle. His uncle, dying, forgives him. It is because of Sarah, she is caught and hanged. A warning for apprentices: do not go out with prostitutes. His uncle and his boss are the father figure. Pip has Joe, who always forgives him. He falls in love with Estella (who is a heartless woman who destroys Pip/Barnwell). Pip compares himself to Barnwell, when his sister dies. But this is an intertextual reference. This is story with a moral, the whole idea about what it means to be a gentleman. The use of gothic convention and the use of this play enhances the lack of realism and truth in the surface plot. Pip gets education from Biddy etc., but it is important that though Magwitch disappears, there is a meeting at Three Jolly Bargemen. He meets a man sent

by Magwitch, with money, as a way of saying thank you. This meeting with the convict was most unwanted because of this connection between them through stealing. Pip tries to repress the meeting with the man. Magwitch seems to be the one, but he is repressed and disappears. Later, more and more money comes. Pip does not make this connection, because this is a repressed memory, unwillingness to connect this with Magwitch.

Then Jaggers appears and comes forward with this mysterious benefactor. Pip met Jaggers at Satis Palace, father of Pocket family (Herberts father) is to teach Pip to become a gentleman. And so he made this connection. Pip is leaving the marches, it is a symbolical movement, he is leaving the plot he had repressed. Marches are strongly connected with criminality. London, the epitome of great life, being a gentleman. He rejects marches, but is still connected with them. our marches Little Britain, Newgate Prison, and Smith Market (meat market). all he sees around London. And the person guiding him is Mr Jaggers. So, he cannot escape his identity. He lives not far from a prison. The irony is that he is trying to escape his connection with the convict, he tries to become a gentleman to marry Estella, who is Magwitchs daughter. Convict represents the true identity of Pip. Little Britain it stands for London, London stands for Great Britain, and it is defined by crime (London). Pips arrival is such a disappointment. He takes Matthew Pockets lessons. What is Pip learning to become a gentleman? - some elements: The avenging phantom a boy servant, he has no idea what to order him to do, so it reminds him of his failure to become a gentleman. What do they do? eat and drink. In the club. Pip squanders money. Herbert follows his example. Gruffandgrim Herberts father-in-law.

Mr Pumblechook, Mr Wopsle.

Why is Pip called Handel because Handel wrote a piece called Harmonious Blacksmith."

Then, Pip goes back to marches, and he meets the convict, who reappears in his life. Marches are strongly connected with convicts. The meaning of the place, which defines the characters. Pip goes back to the marches, and the repressed plot resurfaces. Stage three: Pip is 23 years of age, he changes. (urban realism the significance of town, city) Fictional characters, but you can draw their movements on the map of the city. Urban realism the map of Dickens London. The city is also one of the protagonists. Urban realism is not only present in novels of that time, it also appears in Martin Amis, and Virginia Woolf. Pip lives in Temple, Garden Court. He lives down the river river, water, marches. Though he seems to be moving away, he is as if going actually back to the river. The time he sees Magwitch, he calls him my convict. The intrigue is to take Magwitch out of the town by river. The attitude of Pip towards his convict he is repulsed, he wants to get rid of him as fast as possible. They are to escape on Thames (it was like my own march country- flat, monotonous). Magwitch is the adult person that authored his life, with his money he became educated.

The condition is that Pip must always remain Pip, because it is the name given to him by Magwitch. There are two endings: one that Estella is married again, and another in which they might be together. Pip goes for eleven years to Cairo. He is escaping from the plot altogether. This is the novel about the breakdown of plots. Magwitch creates the plot for Pip. Pip create plot for himself. Miss Havisham creates sth for Estella, and it fails.

Dickens is attacking plot in this novel. Plot is the most unrealistic of the realistic conventions. The escape from the plot: in the intertextuality of the plot. The original ending: Dickens refuses to have them married or dead. Every plot has to have a conclusion. Realist novels are not open ended. So the original ending was criticizing the plot himself, destroying it. But the new ending is not a marriage, it is just a promise of it. The surface plot is pure fiction, the real events are about what was happening in Australia (where Magwitch was toiling and sending money to London). We are asked to see that the real plot happens in the area of the unwritten. Psychoanalysis of the plot: we are looking for the plot that is not presented in the text.

Realist novel
French term. Great

Expectations: a realist novel. Topography of realistic novel Places are never neutral, they have social meaning, are connected to crime. Urban realism is not just a convention of realism, we can have urban realism everywhere: in postcolonial novel, realist novel. the city emerges as a protagonist of the novel. the city is described in such a way that you can create a map. The streets are real, and the city affects the characters, they can belong to the city. Sometimes the influence is so strong that the streets get names after the characters. Characters belong to the city, and their characters result from the given city. In the realist novel, the room defines the character. Camera eye like narration no adverbs and adjectives in the narration. Realist novel compares itself to the photograph, yet the adjectives and adverbs mark the presence of the subjective narrator. The narrator in the most of the novels is extradiegetic, and the past tense is the evidence of his omniscience. Pedagogic discourse realistic discourse is the same as the discourse of pedagogues, but it has to be said in a declarative mode, and we do not question. The narrator is reliable, the authority, point of reference, declarative mode he uses. We say that the narrator is reliable when recreating someone elses perceptions. But we might question the metaphorical language he uses, if this is reliable.

Social Darwinism read about this Mega-History important historical events.

Look for the pictures of dead people, Victorian post-mortem photographs. If someone died in the family, they made photos of dead relatives surrounded with family.