Karteikarten
GREAT EXPECTATIONS NOTE CARDS
Karten in diesem Stapel (26)
- 1Pip's Psychology A-1 " Ai Xiaoling indicates that space plays an important role in Great Expectations (2000, p.63). According to Jerome Klinkowitz, emphasis on the setting and background is a notable feature of novels with spatial form (1991, p.60). Therefore, it is convinced that Great Expectations is a traditional work with spatial intention." 52Pip's Psychology A-2
Basically, the author suggests that spacial conversion affected Pip’s cognitive development from the
three spaces: physical space, mental
space and social space.
Space (in psychology): space that one desires psychologically to keep himself/herself.
52 - 2Pip's Psychology A-3 Tang and Lui express that, "Space can be viewed on two dimensions: the mental one and the social one. But it lacks a bridge between them " 52Pip's Psychology A-4
"Space, illustrated by Henri Lefebvre in The Production
of Space, as a multi-dimensional and dialectical
integration of materiality, spirituality and sociality, is
both physical and spiritual, both true and imaginary, both
concrete and abstract, both realistic and representational"
52 - 3Pip's Psychology A-5 In The Production of Space, Lefebvre indicates that the first level of space is physical and real. Edward Soja in his " Third space: Journeys to Los Angeles and other real-and-imagined places" develops this first space as geographical. 53Pip's Psychology A-6
"Initially, the young Pip appeared at the bleak
churchyard, and then he shuttled between the Blacksmith
and the Manor House. Upon his arrival in London,
Pip’s activities continued among various spaces,
such as Mr. Pocket’s, Mr. Jaggers’ office, Barnard’s
Inn and Mr. Wemmick’s Castle...
the spatial conversion evokes a profound change on
Pip’s values orientation and becomes an important
mechanism promoting the development of the plot."
53 - 4Pip's Psychology A-7 “Secondspace”, i.e. the “ideal space” of “thoughts and utterances”, is associated with the cultural and geographical imagination (Lefebvre)." "In Great Expectations, the second space is mainly constituted through the internal monologues and the conversations of the young Pip and the old Pip." 54Pip's Psychology A-8
The story is narrated by the young and old Pip, and tow different points of view. Pip sees main events in both the images of the "world at that time and than at the world in the present". Authors conclude that the narration of old Pip is more mature and unbiased, whereas young Pip is more ignorant and childish because of the uncertainty of some of the face issues.
54 - 5Pip's Psychology A-9 "In the third space, contradictory features---subject and object, abstraction and concretization, truth and imagination, reality and representation, are consolidated..., Great Expectations is about Pip’s growth, from fantasy of great expectations for blind quest, from degeneration to self-examination, from disillusion of dreams to moral victory and maturity... This can be seen from symbolism and metaphors present in the book" 55Pip's Psychology A-10
Mist is a symbol in the story that is heavily present in specific scenes of Pip. Here are a few of them: " Invisible mist throws a
shadow over everything and predicts that the future, as the
mist, is illusory and unreal."; " Mist symbolizes the shadow
over them (Joe, Biddy, Estella) all the time while its final disappearance
connotes the happy life in front of the two."
55 - 6Pip's Psychology A-11 Compared to mist stove fire is another symbol in the story. Joe's forge is a symbol of "the spiritual home", where Pip finds warmth, protection, and kindness from Joe. Stove fire in London reflects Pip that his life in Kent was much more happy,warm, and hopeful than his luxurious,gentleman, unhappy in London. Thai reflection Pip makes with the stove fire implies that Pip "has an internal struggle with his conscience". 55A-1 BLANK
- 7Story's Repressions B-1 "Subtle themes of repression emerge to offer greater depth of meaning to the plot and its characters. These ideas of repressed feelings, thoughts, and actions are derivative of psychoanalysis". Psychoanalysis is Freud's invented psychological therapy. 1Story's Repressions B-2
"Freud’s theories can easily be adapted to analyze literature, as well as the human psyche. Literature can be seen as analogous to dreams, as it is also fictional – an invention of the mind. Therefore, the principles of psychoanalysis can be translated to literature – specifically, to give us a greater understanding of Great Expectations ..."
3 - 8Story's Repressions B-3 Both dominant and repressed plots are present in the story. The idea of Pip improving himself from a common blacksmith, with the ultimate goal of becoming a gentleman and fulfilling his expectations is the dominant plot. Whereas, "repressed plot of criminality that is also present at the same time which can be seen as transgression against his "high-class life". 4Story's Repressions B-4
Magwithch's and Orlick's presence in the story and that Pip always knew that something was greatly different and devious about these characters witch reveals that Pip 's unconscious mind has been allowed into his consciousness in Great Expectations.
5 - 9Story's Repressions B-5 Pip's invitation and later long presences in the Satis House, according Lehman, caused and motivated Pip to be become a gentleman of wealth and future aspirations to be part of the rest of the world. Although Satis House had many dark qualities and abnormal activities, Pip repressed this reality and rather focuses on the dream of a Statis House or wealthy future. Although knowing the consequences. 9-10Story's Repressions B-6
"(Every time) he (Pip) is brought down once again to the same standing that he inhabited as a child – lowly and common, with calloused hands and heavy boots, in comparison to the lovely and graceful Estella. No matter how much he has gained in the city, his status is not elevated with respect to the rest of Satis House, so he remains perpetually subservient to Miss Havisham and Estella".
11 - 10Story's Repressions B-7 Pip is also repressing his more “common,” peasant past when he travels to London to become a gentleman. He wants to start a new life, and wants no one to know about his past, so he tries to slowly break ties with Joe and Biddy at the forge. Pip is unable to completely escape his past. But, Pip reconciles "his past with his present, and is able to bring to light many of the things that he had kept hidden from himself for so long". 14Story's Repressions B-8
Lehman suggests that "Psychoanalytic criticism promotes the theory that in order to live a fulfilling life and succeed in the future, one must confront his past and understand it. Therefore, as each repressed theme is uncovered and becomes a conscious element of the plot". As this occurs in the story, Pip moves closer to achieving a clean slate for his future. By the end of the novel, when most of its secrets have been revealed, he has largely succeeded in this task".
15 - 11Story's Repressions B-8 Lehman argues that Estella repressed Pip's romantic sentiments towards her, as she was truly attracted to Drummle. But in the future when Pip has become old, Estella in the present has realized and understand what Pip has once felt about her. 14-15Story's Repressions B-9
In conclusion, Lehman summarizes that there has been a fluctuation of dominant and repressive themes in the stories. For example, Pip's repression of his village life-style and his dominant theme is his future aspirations of becoming a gentleman in London's elite society.
15 - 12Class & Social Mobility C-1 Dickens work in "Great Expectations" from other Victorian novels on class identities. Dickens advocated that fortunes can be made even on an impoverished basis. 1:30Class & Social Mobility C-2
According to Professor John Bowen, Dickens struggled to reach a class position whereas he "did so much to try and combat that in his own life and in his fiction".
1:38 - 13Class & Social Mobility C-3 "Great Expectations tells a more darker and more hanuted version of that story of class mobility" - Professor John Bowen Victorians were fascinated that one can make himself/herself anew. 2:34Class & Social Mobility C-4
Bowen states that Pip always has been guilty throughout his whole ever since his childhood. Pip senses that his degrading, impoverished, and potentially criminal childhood will carry throughout his whole life.
3:00 - 14Class & Social Mobility C-5 "Pip senses his unable to be kind or generous toward him (Joe". Basically Bowen is saying that Pip feels guilty towards Joe, because of the nourishment, care, and warmth he provided to Pip. 3:05Class & Social Mobility C-6
Magwitch's revelation as being the convict in the first page to Pip's benefactor. This caused Pip's "whole sense of self is emptied...because he's always built up a fantasy of himself, as someone who was destined to have wealth. Suddenly everything that has made him what he is tainted by his criminal past".
3:40-3:45 - 15Class & Social Mobility C-7 Bowen expresses that when Pip had become wealthy but he really didn't do anything with his wealth. "There's a very little sense that you can get pleasure from wealth, for example, so Pip himself doesn't gain any pleasure from coming to London...he constantly feels the taint criminal past touching him". 4:28Class & Social Mobility C-8
Great Expectations is - "Of the 19th century, a great number of novels - what are called bildungsroman, which are novels of development. It's about psychological progression"
5:20-21 - 16Class and Social Mobility C-9 Bowen states that "Great Expectations" is not a movement of "to incite or fulfillment, but in a way, it's a novel about a movement to emptiness and loss of self". 5:27Class and Social Mobility C-10
Bowen argues that the romantic aspect of Estella marrying pip would be the psychological fulfillment plot. But Dickens instead ruined these two major plots.
6:00 - 17Textual Psychology D-1 “In a word, I was too cowardly to do what I knew to be right, as I had been too cowardly to avoid doing what I knew to be wrong.” Encompasses the action-omission dicition in psychology. 61Textual Psycholgy D-2
" (Pip) began either to imagine or recall that I had had mysterious warnings of this man’s approach…I had passed faces in the streets which I had thought like his…these likenesses had grown more numerous as he, coming over the sea, had drawn nearer."
Pip demonstrates confirmation bias.
356 - 18Textual Psychology D-3 "When you say you love me, I know what you mean, as a form of words; but nothing more. You address nothing in my breast, you touch nothing there". - Estella Repressed Emotions, most likely a defense mechanism. 395Textual Psychology D-4
Although Pip has moved to London to find wealth, Pip is combating his conscience on whether being in his village in Kent was better and pleasurable for him rather than being in London. Was his family more importunate or his pursuit to wealth?
61 - 19Textual Psychology D-5 Pip is facing an interpersonal conflict. He is mostly facing a approach-avoidance conflict where he has to avoid his village lifestyle and family due to his society, but he doesn't want to internally. 61Textual Psychology D-6
“Suffering has been stronger than all other teaching, and has taught me to understand what your heart used to be. I have been bent and broken, but - I hope - into a better shape.”
With Estella not liking Pip, Pip and Estella were facing passionate love in the beginning of their relationship, but at the end, Estella performs self-disclosure about her true memories.
526 - 20Textual Psychology D-7 “If you can't get to be uncommon through going straight, you'll never get to do it through going crooked. [...] live well and die happy.” -Joe 93Textual Psychology D-8
Orlick's grudges, hatred, and potential danger to Pip, Joe, and even Mrs. Joe demonstrated that Orlick might have been diagnosed with anti-social personality disorder, a psychological; disorder representing a sinister mindset.
1 - 21Textual Psychology D-9 Miss HAvisham's dark qualities states that her dark, weird, chaotic nature occurred probably due to a traumatic event. She is diagnosed with PTSD- Post Traumatic Stress Disorder. 1Textual Psychology D-9
Pip is using various defense mechanisms in order to fit, thrive, and appear as a gentleman in the elite-class London societies.
1 - 22Dickens-Pip Association E-1 “Critical difficulties with Great Expectations prompt a psychoanalytic approach and consideration of the literary use of Freudian concepts and of the complex relationship between Dickens and Pip, dreamer and dream”. 1Dickens-Pip Association E-2
Edmund Wilson states that the Freudian theory stresses infantile trauma of the sort the novel's first scene hints at: the death of brothers and parents.
2 - 23Dickens-Pip Association E-3 “The intensity of Pip's ambivalence and of his guilt and self-abasement suggests that Pip's story projects and explores feelings of his creator”. 1Dickens-Pip Association E-4
“There are many father figures, deprived children, and allusions to patricide. Magwitch is the "father" Pip craves, the best giver and receiver of both punishment and forgiveness”.
1 - 24Dickens-Pip Association E-5 “ Joe Gargery does not punish though Pip urges him”. 1Dickens-Pip Association E-6
Magwitch has a very developing and fluctuating role and relationship with Pip. In the beginning, Pip hates him and is full of dread in the beginning, but at the end Pip is full of dread after Magwitch’s death, In the end, Magwich loves and Pip has the same attachment.
3 - 25Dickens-Pip Association E-7 Magwitch’s fatherly love and dynamics of forgiveness and protection fills Pip’s psychotic needs of a father and guardian. 8Dickens-Pip Association E-8
Dickens reflects his struggle of impoverishment to transitioning into the London lifestyle in Pip's transition.
8 - 26Dickens-Pip Association E-9 Dessner suggests Dickens reflects his love-relationship struggles towards another in Pip' s emotional conflict with Estella. 9Dickens-Pip Association E-10
Dessner expresses the argument that in order top review the psychological settings of Dickens, an individuals can look at the ego, ids, and superego of Pip and his decisions and behavior comparing and contrasting in Kent village and the gentleman-life in London.
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- Karteikarten am GREAT EXPECTATIONS NOTE CARDS, erstellt von Navpreetpal Chopra am 29/05/2018.
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