狄更斯小說英語名字
❶ 介紹查里斯狄更斯的小說（用英文介紹）
Charles Dickens: His Novels and Society
〔 作者：Dickens 轉貼自：http://wwwsoc.nii.ac.jp/dickens/archive/general/g-saijo.html 點擊數：426 更新時間：2005-4-23 文章錄入：liwendong 〕
Charles Dickens: His Novels and Society
Takao Saijo
Introctory Critical Reception since 1836
Chapter 1
Success of The Pickwick Paper
Chapter 2 Oliver Twist: Journalism and Literature
Chapter 3 Dombey and Son: Mr. Dombey's Fall
Chapter 4 David Copperfield: Love and Stumbling
Chapter 5 The Significance of Mr. Micawber in David Copperfield
Chapter 6 Bleak House: Buried Past
Chapter 7 The Inner Drama of the Characters in Little Dorrit
Chapter 8 Our Mutual Friend: Death and Resurrection
Introctory: Critical Reception since 1836
Since the publication of his first novel, Dickens achieved a great and long-spanned success throughout his life. All his fifteen novels together with his short stories and hundreds of sundry articles were best-sellers of his time, and he never showed a hint of flagging in his penmanship, although he himself underwent a change ring his 30 years' writing career.
What destiny awaited him after his long years of success? Particularly after his death in 1870, appreciation of his works turned into a directly opposite direction for nearly 70 years, long enough to bury his reputation beyond resurrection.
From 1836 to 1848, Dickens was triumphant, making his readers laugh, shudder, and cry. Instead of Abraham Hayward's prediction that having risen like a rocket, he would come down like the stick, Dickens never came down but attracted an even greater number of readers: Nicholas Nickleby sold 70,000 numbers, and the sale of The Old Curiosity Shop reached 100,000. Only in Martin Chuzzlewit, did he meet with a difficulty with his readers for the first time in his life. But when he got over this with the success of Dombey, he was no longer an entertainer, but an artist.
From then on until 1870, he wrote a series of great novels, exploring in each a different way of novel writing. During this period, long dreamt-of periodicals were launched successfully under his editorship, inviting many contributions from eminent authors, and himself contributing weekly installments of novels. He was a dominant figure in the literary world. When he died in 1870, obituaries were generally praiseworthy. A year later, however, all criticism, as if allied together, turned against him. Perhaps realism which had graally been under way, and the discovery-of-soul novel came to be preferred. There also was a new generation who wanted a change. But the change was so sudden and drastic. Leslie Stephen epitomized all this into his essay on Dickens in DNB, writing that "Dickens's merits [were] such as suit the half-ecated." John Forster wrote the Life of Charles Dickens and tried to redress the distorted image of the author, but his single-handed struggle was powerless against the totally hostile atmosphere of the age, "lack of ecation" becoming a common denominator for negating Dickens.
Although there was a powerful defense of Dickens by Chesterton, Gissing and some others, it was not persuasive enough to restore the image of Dickens which was prevalent in his lifetime. Dickens was neglected among literary circles until 1940.
1940 saw a revival of interest in Dickens, stimulated by Edmund Wilson's essay on Dickens. George Orwell's penetrating essay, which did much to revive critical interest in Dickens, also came out in 1940. Several outstanding scholars followed, and they devoted themselves to finding intrinsic merits in Dickens and his work. Humphry House tried to see Dickens as his age saw him, and his attitude was an immense contribution to setting right the image of the author, long distorted by critics' haphazard interpretations without clear evidence. The Pilgrim Letters were started by him, and the Clarendon edition of Dickens's works, too. Edgar Johnson's Life was an astonishing success, which nullified all biographies of the author published before it, excepting John Forster's. Another remarkable work was John Butt and Tillotson's Dickens at Work, which looked for evidence in memoranda and manuscripts to prove that Dickens was a careful, not an extempore, writer.
Finally G. H. Ford gave a historical survey of Dickens's acceptance from 1836 to 1955, and this was strengthened, with documentary evidence, by Philip Collins's Dickens: The Critical Heritage, and by a centennial number of The Dickensian (1970). It was literary historians who corrected the image of Dickens, and the inadequate essay on Dickens in DNB has been finally replaced by one in Britannica (15th edition), where it is stated that Dickens is the greatest novelist in the English-speaking world.
Chapter 1
Success of The Pickwick Papers
The success of Pickwick was remarkable. Nearly all layers of society read it, and there were Pickwick hats, Pickwick sticks, Pickwick pottery, and Weller trousers in the streets. It also brought about, at home and abroad, its imitations in prints, theatres, songs, novels and magazines. It is reasonable to ask why the first novel of a 24-year-old writer could have achieved such popularity. The phenomenon is to be investigated with reference to: (1) the sort of writing that was familiar among people in those days; (2) the advance of literacy in the late 1820s and early 30s instigated by cheap reprints and periodicals; and (3) the change of taste and sensibility in the new era.
The immediacy of the readers' response to Pickwick suggests a source deeply rooted in their mind. A quarter of a century earlier, illustrations with a text written up to them proced Dr. Syntax's Three Tours (1810-21), which received nationwide applause. The name of Dr. Syntax was in the mouth of the people, and there were Syntax hats, Syntax wigs, and Syntax coats, together with its plagiarisms at home and abroad. The piece was a sort of gallery in which people enjoyed typical scenes of comic adventures. Then appeared in 1820 Egan's Life in London, which at once captured the mind of the people with the delightful adventures of Tom, Jerry and Corinthian, illustrated with powerful effects by the Cruikshanks. It became the furor of the age for nearly 10 years after its publication.
A direct spur to Pickwick might be Jorrocks (1831-34), whose hero, a cockney sportsman, enjoys hunting in Surrey on Sundays. His comic adventures were a great success, and seeing its success, Robert Seymour brought to Chapman and Hall the idea of publishing cockney sporting plates with a text that would follow. Dickens, when appointed as text-writer, was not content with the hackneyed sporting plates with which he was not familiar, and reversed the writer-illustrator relation, and started installing picaresque adventures, which sold tremendously. Although Pickwick began improvisationally, it was based upon the popular taste of the early nineteenth century, and soon transcended its predecessors to become the delight of the reading public.
A decade before Pickwick was a period in which common people sought reading material on an unprecedented scale. Novels were very expensive in the triple-decker days, but through the efforts of several publishers, cheap reprints were offered to people at the reasonable price of 5s. The common people, however, could spend at most a penny or two for reading material, and their reading was limited to religious pamphlets, chapbooks, broadsides, bluebooks and almanacs. While taxes on knowledge kept them from access to newspapers, three new periodicals which did not include news were launched in 1832 at the price of 1d or 1.5d. Their tremendous success opened the floodgates of cheap publication, and for the following several years England suffered an inundation of ephemeral periodicals that appeared and disappeared in a very short time. But the habit of reading had by now extended to every class of people, who, when good reading material was offered at one shilling, were ready to respond to it, even by collecting a penny each from a dozen associates in order to purchase it.
In the 1830s, the novel had few outstanding practitioners, and so Pickwick, as it progressed, gained a warm welcome from various quarters. Based upon the popular tradition, it was clearly different from its predecessors in terms of sentiment. Noticeable was the change from vulgar and masculine scenes to moderate, harmless, and humane ones. Sam Weller's appearance was another reason for its success, as a figure from the lowest layer of society plays a central role, teaching Mr. Pickwick, the innocent gentleman, how the world stands, with his wit, shrewdness, and varied knowledge of life. But the crowning reason was best expressed in the author's preface to the first edition of the novel, where he wrote that he would be proud and happy if his work should ince only one reader to think better of his fellow men, and to look upon the brighter and more kindly side of human nature. Already a new social sentiment had been born out of the hopes and disappointments of the Reform Bill of 1832, with warm, tender feelings towards one's fellows replacing the wit and satire of the eighteenth century.
Chapter 2
Oliver Twist: Journalism and Literature
The scene of Oliver asking for more claims universal admiration. A hungry boy asks for another bowl of thin gruel for mere survival, thus opposing the rigid workhouse system that is firmly controlled by the utilitarian spirit. The situation evokes in us a strong sense of sympathy towards the boy and a strong sense of horror against the system. What is written about the workhouse system in the early chapters of Oliver Twist seems to consist of well-founded facts, slightly exaggerated perhaps, but largely confirmed by street-literature, newspaper articles, and the annual reports of the Poor Law Commissioners and their interpretations.
The ballads such as "The Workhouse Boy" and "Baby Farming" have the same humanitarian appeal to the general public as Oliver Twist. Even the atrocious words of Mr. Gamfield the chimney sweeper cannot be dismissed as exaggerations when we read a police case of 1839, cited by John Ashton in his book Gossip. But the most powerful agent for exposing the ill- administration of the New Poor Law was The Times. Its owner and its editor, out of a humanitarian concern towards their fellow people, fought against the new law continually from the days of the parliamentary debate in 1834. And young Dickens seems to have taken "most of his information as well as a confirmation of his basic position from The Times" (Dennis Walder).
What Dickens did in this novel based on the topical issue of the time was to put in contrast utilitarianism and humanitarianism, and to expose the brutal facts of how small boys in a workhouse were bullied, starved, and disposed of under a callous philosophy. Poor Oliver's diet might have been an exaggeration, but a factual example which the Select Committee of Inquiry found in Fareham Workhouse in 1837 testifies that the true-life situation was very similar.
All such facts are deftly controlled as general truths. Although the workhouse satire occupies only a portion of Oliver Twist, it is an admirable piece and a well-timed tract, which might have helped to ignite the anti-Poor Law agitation that flared up in 1837-9.
The underworld that Oliver innocently went into is also a realistic rendering of what it was like around 1830. Simply to trace how the Dodger and Oliver come back to Fagin's hiding place illustrates how the searching eyes of the new police officers penetrated into every corner of the metropolis.
The London of Oliver Twist, with Fagin's gang of boys engaged in pickpocketing activities, presents a notable study of the criminal underworld. According to Donald A. Low, the one great characteristic of the early nineteenth century underworld was that the thieves appeared to be getting younger all the time. And 18 out of 20 who were hanged in the Regency were minors (Rumbelow). Dickens's sketch is accurate, even down to the training of boys, which, although handled comically, had been nevertheless true from Elizabethan times on (Stow, Charles Knight, & Tobias). What the young thieves do and witness in the novel can be traced to the validity of its statements. Dickens the young journalist is thoroughly versed with the courts and lanes of London, together with the manners and customs of thieves; and the terminology such as "the mill", "the drop", "wipes" and "a fence" helps present a masterly picture of the contemporary underworld.
Although the novel is like a slice of "a streaky bacon," with the layers of workhouse satire and underworld horror put side by side, it contains wonderful scenes that can enjoy a wide appeal, such as the one in which Oliver asks for more, or the one in which he is pursued by the hue and cry. Dickens the journalist is very dominant in Oliver Twist, but in the midst of his journalism we notice a great novelist emerging with imaginative insight into human nature and into the psychological workings of criminals in particular.
Chapter 3
Dombey and Son: Mr. Dombey's Fall
In Dombey and Son Dickens shows great progress over his former works. Compared with Martin Chuzzlewit, where variations of self are the manifest peculiarity, Dombey is composed from the point of view of the temporal mode of existence. Indeed, the introction in this novel of the temporal sequence of events was a clue to its success: the author is particularly conscious of it in this work, in devices such as diverse clocks and watches, the river and the sea, the voice of waves, and the different cycles of time towards the good and the bad. And among these symbolical devices he tries to build a poetic structure by means of which he searches for the value of life in opposition to death or the death of feeling, or that of the eternal in opposition to the temporal. The most central development of the time problem takes place in Mr. Dombey's fall--his dramatic fall from the height of pride to the bottom of humanity, which is treated with care and psychological precision--this fall, or his change, is brought about by three kinds of encounter: with Paul, Florence, and Edith.
Mr. Dombey thinks that money can do anything; but he also is a "shut up" character, and his essential elements are "ice", "the east wind", "the funeral", as well as "pride." He is treated as the embodiment of death, or the death of feeling. And yet the writer prepares, at the same time, a counterbalancing element within this proud man, the unconscious self, which, at first taking the form of "uneasiness" towards his daughter, slowly undermines him, cracks the hard crust of arrogance, and finally disrobes him of the armour of pride.
While Paul is set up as the opposite to Mr. Dombey and his short life supplies his father with opportunities to look into the world of opposite values, Mr. Dombey's inner struggle, and hence his change, is mostly shown, not described with authorial analyses, in connection with his daughter. Florence's "pilgrimage" in the "wilderness" to gain her father's affection draws no attention from him at first. But Mr. Dombey's image of his daughter graally changes. There are moments in which we see doubts falling upon him, moments when he, secluded in the dead of night, displays a peculiar mental vision or monologue. These are the procts of his "shadow," which is slowly beginning its activities. But pride, or the "demon that possessed him," soon quenches such activities; and Mr. Dombey's attitude towards his daughter changes from uneasiness to hatred.
Edith's appearance is important at this point. She is proud and beautiful and yet has a sense of contempt towards money and pride. Awakened by Florence's pathetic love-seeking, she is determined to confront Mr. Dombey. Pride clashing against pride, she confounds him by eloping with Carker, manager of the Dombey firm. Once Mr. Dombey's "persona" is broken, his fall is quick. And when everything--pride, money, respect, children, and the firm--is taken away from him, his change becomes manifest: his nightly pilgrimage upstairs is one of the most dramatic scenes of the novel, showing the humbled Dombey repenting what he has been.
Thus, in this novel, Dickens has described, with keen insight, a character divided by an alarming polarity, and also he shows the change in this character brought about by the basic current of life which at last causes his moral awakening. With strong organic structure, sensitive poetical effects, and above all the powerful symbolical devices, the writer has succeeded in writing a magnificent human moral drama in the setting of Victorian prosperity.
Chapter 4
David Copperfield: Love and Stumbling
David Copperfield has been the most favoured of Dickens's novels: David the hero realizes an exemplary life in which he works his way through thrift, patience and efforts to achieve fame and happiness. This novel employs a first-person narration effectively to link the past and the present, and whenever the hero comes across events of moment, he looks back upon the past to find his future direction. It is a valid and admirable way of life, and yet as the hero does not undergo a variety of inner struggles, which by overcoming he achieves spiritual growth and moral integrity, the total impression of the novel remains somewhat different from what we expect from a bilngsroman. Rather, the novel might be termed the hero's progress in search of what love is and means. Compared with Great Expectations, written ten years later, Dickens was not fully prepared for fictionalizing, through analysis and examination, the self-respect or selfishness of a hero. Here in this novel, the hero merely goes through and witnesses varieties of love and marriage, either arranged in parallel with or in contrast to, the main plot to discipline his undisciplined mind and dece a sort of ideal marriage.
Parallel or contrast seems an appropriate term for understanding the structure of the novel. For example, Dora and Agnes, whom David marries at different times of life, are treated in the novel as those representing two different qualities of love, that are needed for awakening the hero from admiration of physical beauty to one of spiritual beauty; from his impetuous love to his inner need. They complement each other to build an idea of what David is in need of, while each remains insufficient and unsatisfactory.
Unhappy love-relations, born out of the first mistaken impulse, are treated in a variety of situations, with Betty Trotwood, with Amy Strong, and with David at his first marriage. And a darker, more destructive love is studied with supreme care between Rosa Dartle and Steerforth, to present a powerful contrast to the happy, blind love of the hero. The Micawbers' is a puzzling but lovable union that has a great impact upon the young David. All these are arranged in such a way that they will teach David what love and marriage are and should be.
While the innocent David follows suit to his father in choosing a child wife, and finds something lacking in his married life, another strand of the plot is prepared, unraveling Dr. Strong's upright sincerity towards his young wife, which is amply repaid by her unshaken love and confidence. David eventually succeeds in life as an author and as a husband. And yet his success does not fully convince the reader. There is something in his character or in his attitude that interferes with his great achievement. Throughout his life, he does not take responsible actions for whatever has happened that he has had a hand in. He remains an observer of what has happened, never blaming himself or undergoing moral, spiritual or ideological struggles. All he cares about is maintaining his respectabi
❷ 狄更斯的所有作品翻譯
《博茲札記》（Sketches by Boz） —— 1836年
《匹克威克外傳》（The Pickwick Papers） —— 1836年
《霧都孤兒》（Oliver Twist） —— 1837年-1839年
《尼古拉斯·尼克貝》（Nicholas Nickleby）—— 1838年-1839年
《老古玩店》（The Old Curiocity Shop）—— 1840年-1841年
《巴納比·拉奇》（Barnaby Rudge）—— 1841年
《美國紀行》（American Notes）—— 1842年
《聖誕頌歌》（又名：小氣財神）（A Christmas Carol）—— 1843年
《馬丁·翟述偉》（Martin Chuzzlewit）—— 1843年-1844年
《董貝父子》（Dombey and Son）—— 1846年-1848年
《大衛·科波菲爾》（David Copperfield）—— 1849年-1850年
《寫給孩子看的英國歷史》（A Child's History of England）——1851年-1853年
《荒涼山莊》（Bleak House）—— 1852年-1853年
《艱難時世》（Hard Times）—— 1854年
《小杜麗》（Little Dorrit）—— 1855年-1857年
《 雙城記 》（A Tale of Two Cities）—— 1859年
《遠大前程》（Great Expectations）—— 1860年-1861年
《我們共同的朋友》（Our Mutual Friend）—— 1864年-1865年
《艾德溫·德魯德之謎》（The Mystery of Edwin Drood）—— 未完成，1870年
❸ 狄更斯的所有作品的英文名稱是什麼
《博茲札記》Sketches by Boz
《匹克威克外傳》The Pickwick Papers
《霧都孤兒》Oliver Twist
《尼古拉斯·尼克貝》Nicholas Nickleby
《老古玩店》The Old Curiocity Shop
《巴納比·拉奇》Barnaby Rudge
《美國紀行》American Notes
《聖誕頌歌》A Christmas Carol
《馬丁·翟述偉》Martin Chuzzlewit
《董貝父子》Dombey and Son
《大衛·科波菲爾》David Copperfield
《寫給孩子看的英國歷史》A Child's History of England
《荒涼山莊》Bleak House
《艱難時世》Hard Times
《小杜麗》Little Dorrit
《雙城記》A Tale of Two Cities
《遠大前程》Great Expectations
《我們共同的朋友》Our Mutual Friend
《艾德溫·德魯德之謎》The Mystery of Edwin Drood
❹ 我想找一篇查爾斯·狄更斯的小說，中文名叫窮追到底，英文叫「Hunted Down」。
中文名稱《被獵》
❺ 求Charles Dickens所有作品中英文名
作品列表
轉換為繁體中文
雙城記
雙城記 英文版 A Tale of Two Cities
聖誕頌歌 英文版 A Christmas Carol
大衛.科波菲爾
大衛.科波菲爾 英文版 David Copperfield
艱難時世 英文版 Hard Times
荒涼山莊 英文版 Bleak House
董貝父子
董貝父子 英文版 Dombey and Son
遠大前程
遠大前程 英文版 Great Expectations
霧都孤兒
霧都孤兒 英文版 Oliver Twist
作者簡介
查爾斯·狄更斯 英國小說家，出生於海軍小職員家庭，10歲時全家被迫遷入負債者監獄，11歲就承擔起繁重的家務勞動。曾在皮鞋作坊當學徒，16歲時在律師事務所當繕寫員，後擔任報社采訪記者。他只上過幾年學，全靠刻苦自學和艱辛勞動成為知名作家。 他生活在英國由半封建社會向工業資本主義社會的過渡時期。其作品廣泛而深刻地描寫這時期社會生活的各個方面，鮮明而生動地刻畫了各階層的代表人物形象，並從人道主義出發對各種丑惡的社會現象及其代表人物進行揭露批判，對勞動人民的苦難及其反抗斗爭給以同情和支持。
狄更斯一生共創作了14部長篇小說，許多中、短篇小說和雜文、游記、戲劇、小品。其中最著名的作品是描寫勞資矛盾的長篇代表作《艱難時代》（1854）和描寫1789年法國革命的另一篇代表作《雙城記》（1859）。前者展示了工業資本家對工人的殘酷剝削和壓迫，描寫了工人階級的團結斗爭，並批判了為資本家剝削辯護的自由競爭原則和功利主義學說。後者以法國貴族的荒淫殘暴、人民群眾的重重苦難和法國大革命的歷史威力，來影射當時的英國社會現實，預示這場「可怕的大火」也將在法國重演。其他作品有《奧列佛·特維斯特》（又譯《霧都孤兒》1838）、《老古玩店》（1841），《董貝父子》（1848），《大衛·科波菲爾》（1850）和《遠大前程》（1861），等等。
狄更斯是19世紀英國現實主義文學的主要代表。藝術上以妙趣橫生的幽默、細致入微的心理分析，以及現實主義描寫與浪漫主義氣氛的有機結合著稱。馬克思把他和薩克雷等稱譽為英國的「一批傑出的小說家」。
查爾斯·狄更斯 (又名: Charles Dickens )
職業 : 原著
作品
馬丁·翟述偉 （又名: Martin Chuzzlewit） （本作品中 : 原著）
原著: 查爾斯·狄更斯
簡介: 這部改編自狄更斯原著的劇集，演員陣容強勁，充滿了善良、邪惡及逗趣的人物，以極其深入的手法呈現富裕老人的家族成員，為了繼續龐大遺產無所不用其極的丑態。憤世嫉俗的老人馬丁·朱述爾維特時日無多了，但繼承他巨額遺產的將會是誰呢？他唯一信任的人就 ...
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艱難時世 （又名: Hard Times） （本作品中 : 原著）
原著: 查爾斯·狄更斯
簡介: 大文豪查爾斯·狄更斯不朽之作 銀行家邦德比是當時社會的象徵人物：白手起家、自命不凡的實業巨子，負責侍候他的是出身良好的寡婦史巴斯特太太。當地的議員兼校長格拉德格林以「實事求是，腳踏實地」這套經濟制度為教務教育他的子女-路易莎和湯姆。
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遠大前程 （又名: Great Expectations,孤星血淚） （本作品中 : 原著）
原著: 查爾斯·狄更斯
簡介: 故事描述一名女子如何因遇人不淑而矢志對天下男人展開報復；一名年輕人如何從鐵匠學徒搖身一變成為倫敦的紳士，以及對一名冷漠女子的痴心愛戀。《遠大前程》是一個由沖突和波瀾交織而成的故事，皮普富裕的助養人、艾絲黛拉的父親、哈維森小姐的未婚夫等等 ...
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我們共同的朋友 （又名: Our Mutual Friend） （本作品中 : 原著）
原著: 查爾斯·狄更斯
簡介: 潺潺河流靜靜流過維多利亞時期的倫敦，暗涌的河水攜帶著一個激情的犯罪故事。在泰晤士河岸旁，貧窮但能乾的麗西，幫助他的父親從事河流拾荒的工作。但父女兩發現，他們所尋獲的一具屍體將帶領他們前往一個原本遙不可及的世界，這是個虛浮，注重表面的世界 ...
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大衛科波菲爾 （又名: David Copperfield） （本作品中 : 原著）
原著: 查爾斯·狄更斯
簡介: 「與許多慈愛的父母一樣，我心中也有個最喜愛的孩子。他叫大衛·科波菲爾」 ——查爾斯·狄更斯 世界著名文學《大衛·科波菲爾》首次拍成劇集，由多位著名巨星精心演繹，故事描述一位早年喪父的小男孩，因母親的性格比較柔弱怕事，童 ...
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苦海孤雛 （又名: 霧都孤兒,Oliver Twist） （本作品中 : 原著）
原著: 查爾斯·狄更斯
簡介: 改編自大文豪狄更斯著名同名小說。 故事講述孤兒奧利華因不能忍受貧院的惡劣環境及不人道待遇偷走出來，逃到倫敦街頭後遇上一扒手，其後更被臭名遠揚的惡棍拐去，被迫加入「扒手黨」以偷竊為生。「扒手黨」的偷竊活動，以及那些對奧利華母親遺物虎 ...
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雙城記 （又名: A Tale of Two Cities） （本作品中 : 原著）
導演: Michael E. Briant 原著: 查爾斯·狄更斯 演員: Paul Shelley Harry Fielder Vivien Merchant Ralph Michael
簡介: 「我現在做的遠比我所做過的一切都美好。我將獲得的休息遠比我所知的一切都甜蜜。」 卡頓是揮霍無度，生活放盪的富家子弟，他是害群之馬，墜落天使，他在斷頭台上的臨終遺言令他在名言集留一席位。這角色今日仍跟這部名著當年初出版時一樣震撼人 .
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霧都孤兒 （又名: Oliver Twist） （本作品中 : 原著）
導演: 羅曼·波蘭斯基 演員: Barney Clark Jeremy Swift Ian McNeice Richard Durden Timothy Bateson
簡介: 《霧都孤兒》由奧斯卡最佳改編劇本獎得主羅納德·哈伍德根據英國大文豪查爾斯·狄更斯同名經典小說改編，蜚聲世界影壇大師羅曼·波蘭斯基為全世界的孩子們傾力執導，奧斯卡影帝本·金斯利及英國新晉人見人愛天才小童星巴尼·克拉克聯袂主演。影片由英、法、德、 ...
❻ 狄更斯有哪些作品，要全
一、狄更斯主要作品如下：
1、《博茲札記》、《霧都孤兒》、《尼古拉斯·尼克貝》、《老古玩店》、《巴納比·拉奇》、《美國紀行》、《雙城記》。
2、《聖誕頌歌》、《馬丁·瞿述偉》、《董貝父子》、《大衛·科波菲爾》、《寫給孩子看的英國歷史》、《荒涼山莊》。
3、《艱難時世》、《小杜麗》、《雙城記》、《遠大前程》、《我們共同的朋友》《艾德溫·德魯德之謎》、《匹克威克外傳》。
二、狄更斯1812年2月7日生於朴次茅斯市郊， 出生於海軍小職員家庭，少年時因家庭生活窘迫，只能斷斷續續入校求學。後被迫到工場做童工。15歲以後，當過律師事務所學徒、錄事和法庭記錄員。20歲開始當報館采訪員，報道下議院。1837年他完成了第一部長篇小說《匹克威克外傳》，是第一部現實主義小說創作，後來創作才能日漸成熟。
三、狄更斯特別注意描寫生活在英國社會底層的「小人物」的生活遭遇，深刻地反映了當時英國復雜的社會現實，為英國批判現實主義文學的開拓和發展做出了卓越的貢獻。他的作品對英國文學發展起到了深遠的影響。
查爾斯·狄更斯(Charles Dickens，1812--1870)是英國十九世紀偉大的批判現實主義作家，一生創作了大量作品，廣泛描寫了19世紀英國維多利亞時代的社會生活，揭露了資產階級金錢世界的種種罪惡。
狄更斯出生於海軍小職員家庭，10歲時全家被迫遷入負債者監獄，11歲就承擔起繁重的家務勞動。曾在皮鞋作坊當學徒，16歲時在律師事務所當繕寫員，後擔任報社采訪記者。他只上過幾年學，全靠刻苦自學和艱辛勞動成為知名作家。
狄更斯是高產作家，他憑借勤奮和天賦創作出一大批經典著作。他又是一位幽默大師，常常用妙趣橫生的語言在浪漫和現產中講述人間真相，狄更斯是19世紀英國現實主義文學的主要代表。藝術上以妙趣橫生的幽默、細致入微的心理分析，以及現實主義描寫與浪漫主義氣氛的有機結合著稱。馬克思把他和薩克雷等稱譽為英國的「一批傑出的小說家」。
參考資料來源：網路—狄更斯
❼ 查爾斯 狄更斯中英文對照簡介
查爾士•狄更斯是英國維多利亞時期最著名、最被廣泛閱讀的作家。他創造了許多令人過目難忘的人物。
狄更斯很喜歡18世紀的「哥特式小說」 – 其實當時這種文體已經式微，成了許多「新派作家」嘲諷的一種文體，但是筆尖常帶感情的狄更斯，巧妙地以倫敦為創作背景，編織了許許多多賺人熱淚的故事。
狄更斯文筆流暢而富有詩意，亦不乏詼諧。英國眼高於頂、自視過高的貴族，常是他筆下嘲諷的對象。例如他曾經形容一個貴族為「高貴的冰箱」，「David Copperfield」裡面的人物「Mr. Murdstone」則是「謀殺」（murder）和「石頭」(stone)的合寫，直接描繪出了這個人的冷硬和陰險。狄更斯關注工業革命剛萌芽時期英國悲苦的童工命運，他把他們比作任人買賣的「股票」，或是將晚宴里無趣的賓客比作「傢具。」他的小說糅合了寫實主義和豐富的想像，但又入情入理，扣人心弦。
Charles Dickens, was the most popular English novelist of the Victorian era and one of the most popular of all time. He created some of literature's most memorable characters.
Dickens loved the style of 18th century gothic romance, although it had already become a target for parody.One "character" vividly drawn throughout his novels is London itself. All aspects of the capital are described over the course of his body of work.
His writing style is florid and poetic, with a strong comic touch. His satires of British aristocratic snobbery—he calls one character the "Noble Refrigerator"—are often popular. Comparing orphans to stocks and shares, people to tug boats, or dinner-party guests to furniture are just some of Dickens's acclaimed flights of fancy. Many of his character's names provide the reader with a hint as to the roles played in advancing the storyline, such as Mr. Murdstone in the novel David Copperfield, which is clearly a combination of "murder" and stony coldness. His literary style is also a mixture of fantasy and realism.
狄更斯的名作至今刊印不絕，包括：
雙城記 A Tale of Two Cities
聖誕頌歌 A Christmas Carol
大衛.科波菲爾 David Copperfield
艱難時世 Hard Times
荒涼山莊Bleak House
董貝父子 Dombey and Son
遠大前程Great Expectations
霧都孤兒 Oliver Twist
❽ 求《遠大前程》英文版簡介 狄更斯的作品
The development of the novel story can be roughly divided into three parts. The first part describes Pip's simple childhood in the countryside.
He met a fugitive by chance.
And stole something from home to help him. Soon, Pip was invited to play in Miss Haweishamu's Sadisi.
And his heart changed. He fell in love with the beautiful but indifferent Estella and began to feel ashamed of his own origin and loved ones.
One day, Pip was suddenly funded by a person who did not want to be named. He was overjoyed to be sent to London to receive a superior ecation.
譯文如下：
小說故事的發展大致可分成三個部分。第一部分記述了皮普在鄉間的質朴的童年生活。一次偶然的機會他遇見了一名逃犯。
並偷了家裡的東西幫助他。不久，皮普受邀到哈維沙姆小姐的薩蒂斯大院玩耍，從此內心發生變化。他愛上了美麗卻冷漠的埃斯特拉，開始為自己的出身及親人感到害臊。
一天，皮普突然受到一位不願透露姓名的人士資助。被送到倫敦接受上等人的教育，他為此欣喜若狂。
《遠大前程》又譯《孤星血淚》，是英國作家查爾斯·狄更斯晚年寫成的長篇小說。成書於1860年至1861年之間，該小說自1860年12月到1861年8月連載於作者製作的周刊《一年四季》。
(8)狄更斯小說英語名字擴展閱讀：
創作背景
《遠大前程》一書屬於查爾斯·狄更斯的晚期作品，它寫於狄更斯生活中出現危機之後。他剛與妻子凱瑟琳分手，這給他帶來了巨大的痛苦。同時，他開始了與年輕的演員愛倫·特南的婚外愛情，這一段感情給他帶來的痛苦多於幸福。
這一時期，由於對社會黑暗認識的進一步加深，加上年齡的增長，個人婚姻愛情生活方面的不幸，作者思想中抑鬱的一面有所增強，反映在創作中，樂觀的基調大大削弱。作為對社會弊端的反映和對人情世態的寫照，狄更斯的敘事藝術顯示出微妙的變化，狄更斯的創作處於自我疑慮增長的時期。
❾ 這部電影由狄更斯的同名小說改編 用英語怎麼說
This movie was made from the novel of the same name by Dickens.
❿ 狄更斯作品英語簡介
《博茲札記》《匹克威克外傳》《霧都孤兒》《尼古拉斯·尼克貝》《老古玩店》《巴納比·拉奇》《美國紀行》《聖誕頌歌》（又名：小氣財神）《馬丁·翟述偉》《董貝父子》《大衛·科波菲爾》《寫給孩子看的英國歷史》《荒涼山莊》《艱難時世》《小杜麗》《 雙城記 》《遠大前程》《我們共同的朋友》《艾德溫·德魯德之謎》（未完成）
希望我的回答對你有所幫助，狄更斯的所有作品都在這里了