狄更斯小说英语名字
❶ 介绍查里斯狄更斯的小说（用英文介绍）
Charles Dickens: His Novels and Society
〔 作者：Dickens 转贴自：http://wwwsoc.nii.ac.jp/dickens/archive/general/g-saijo.html 点击数：426 更新时间：2005-4-23 文章录入：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译
《博兹札记》（Sketches by Boz） —— 1836年
《匹克威克外传》（The Pickwick Papers） —— 1836年
《雾都孤儿》（Oliver Twist） —— 1837年-1839年
《尼古拉斯·尼克贝》（Nicholas Nickleby）—— 1838年-1839年
《老古玩店》（The Old Curiocity Shop）—— 1840年-1841年
《巴纳比·拉奇》（Barnaby Rudge）—— 1841年
《美国纪行》（American Notes）—— 1842年
《圣诞颂歌》（又名：小气财神）（A Christmas Carol）—— 1843年
《马丁·翟述伟》（Martin Chuzzlewit）—— 1843年-1844年
《董贝父子》（Dombey and Son）—— 1846年-1848年
《大卫·科波菲尔》（David Copperfield）—— 1849年-1850年
《写给孩子看的英国历史》（A Child's History of England）——1851年-1853年
《荒凉山庄》（Bleak House）—— 1852年-1853年
《艰难时世》（Hard Times）—— 1854年
《小杜丽》（Little Dorrit）—— 1855年-1857年
《 双城记 》（A Tale of Two Cities）—— 1859年
《远大前程》（Great Expectations）—— 1860年-1861年
《我们共同的朋友》（Our Mutual Friend）—— 1864年-1865年
《艾德温·德鲁德之谜》（The Mystery of Edwin Drood）—— 未完成，1870年
❸ 狄更斯的所有作品的英文名称是什么
《博兹札记》Sketches by Boz
《匹克威克外传》The Pickwick Papers
《雾都孤儿》Oliver Twist
《尼古拉斯·尼克贝》Nicholas Nickleby
《老古玩店》The Old Curiocity Shop
《巴纳比·拉奇》Barnaby Rudge
《美国纪行》American Notes
《圣诞颂歌》A Christmas Carol
《马丁·翟述伟》Martin Chuzzlewit
《董贝父子》Dombey and Son
《大卫·科波菲尔》David Copperfield
《写给孩子看的英国历史》A Child's History of England
《荒凉山庄》Bleak House
《艰难时世》Hard Times
《小杜丽》Little Dorrit
《双城记》A Tale of Two Cities
《远大前程》Great Expectations
《我们共同的朋友》Our Mutual Friend
《艾德温·德鲁德之谜》The Mystery of Edwin Drood
❹ 我想找一篇查尔斯·狄更斯的小说，中文名叫穷追到底，英文叫“Hunted Down”。
中文名称《被猎》
❺ 求Charles Dickens所有作品中英文名
作品列表
转换为繁体中文
双城记
双城记 英文版 A Tale of Two Cities
圣诞颂歌 英文版 A Christmas Carol
大卫.科波菲尔
大卫.科波菲尔 英文版 David Copperfield
艰难时世 英文版 Hard Times
荒凉山庄 英文版 Bleak House
董贝父子
董贝父子 英文版 Dombey and Son
远大前程
远大前程 英文版 Great Expectations
雾都孤儿
雾都孤儿 英文版 Oliver Twist
作者简介
查尔斯·狄更斯 英国小说家，出生于海军小职员家庭，10岁时全家被迫迁入负债者监狱，11岁就承担起繁重的家务劳动。曾在皮鞋作坊当学徒，16岁时在律师事务所当缮写员，后担任报社采访记者。他只上过几年学，全靠刻苦自学和艰辛劳动成为知名作家。 他生活在英国由半封建社会向工业资本主义社会的过渡时期。其作品广泛而深刻地描写这时期社会生活的各个方面，鲜明而生动地刻画了各阶层的代表人物形象，并从人道主义出发对各种丑恶的社会现象及其代表人物进行揭露批判，对劳动人民的苦难及其反抗斗争给以同情和支持。
狄更斯一生共创作了14部长篇小说，许多中、短篇小说和杂文、游记、戏剧、小品。其中最著名的作品是描写劳资矛盾的长篇代表作《艰难时代》（1854）和描写1789年法国革命的另一篇代表作《双城记》（1859）。前者展示了工业资本家对工人的残酷剥削和压迫，描写了工人阶级的团结斗争，并批判了为资本家剥削辩护的自由竞争原则和功利主义学说。后者以法国贵族的荒淫残暴、人民群众的重重苦难和法国大革命的历史威力，来影射当时的英国社会现实，预示这场“可怕的大火”也将在法国重演。其他作品有《奥列佛·特维斯特》（又译《雾都孤儿》1838）、《老古玩店》（1841），《董贝父子》（1848），《大卫·科波菲尔》（1850）和《远大前程》（1861），等等。
狄更斯是19世纪英国现实主义文学的主要代表。艺术上以妙趣横生的幽默、细致入微的心理分析，以及现实主义描写与浪漫主义气氛的有机结合著称。马克思把他和萨克雷等称誉为英国的“一批杰出的小说家”。
查尔斯·狄更斯 (又名: Charles Dickens )
职业 : 原著
作品
马丁·翟述伟 （又名: Martin Chuzzlewit） （本作品中 : 原著）
原著: 查尔斯·狄更斯
简介: 这部改编自狄更斯原著的剧集，演员阵容强劲，充满了善良、邪恶及逗趣的人物，以极其深入的手法呈现富裕老人的家族成员，为了继续庞大遗产无所不用其极的丑态。愤世嫉俗的老人马丁·朱述尔维特时日无多了，但继承他巨额遗产的将会是谁呢？他唯一信任的人就 ...
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艰难时世 （又名: Hard Times） （本作品中 : 原著）
原著: 查尔斯·狄更斯
简介: 大文豪查尔斯·狄更斯不朽之作 银行家邦德比是当时社会的象征人物：白手起家、自命不凡的实业巨子，负责侍候他的是出身良好的寡妇史巴斯特太太。当地的议员兼校长格拉德格林以“实事求是，脚踏实地”这套经济制度为教务教育他的子女-路易莎和汤姆。
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远大前程 （又名: Great Expectations,孤星血泪） （本作品中 : 原著）
原著: 查尔斯·狄更斯
简介: 故事描述一名女子如何因遇人不淑而矢志对天下男人展开报复；一名年轻人如何从铁匠学徒摇身一变成为伦敦的绅士，以及对一名冷漠女子的痴心爱恋。《远大前程》是一个由冲突和波澜交织而成的故事，皮普富裕的助养人、艾丝黛拉的父亲、哈维森小姐的未婚夫等等 ...
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我们共同的朋友 （又名: Our Mutual Friend） （本作品中 : 原著）
原著: 查尔斯·狄更斯
简介: 潺潺河流静静流过维多利亚时期的伦敦，暗涌的河水携带着一个激情的犯罪故事。在泰晤士河岸旁，贫穷但能干的丽西，帮助他的父亲从事河流拾荒的工作。但父女两发现，他们所寻获的一具尸体将带领他们前往一个原本遥不可及的世界，这是个虚浮，注重表面的世界 ...
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大卫科波菲尔 （又名: David Copperfield） （本作品中 : 原著）
原著: 查尔斯·狄更斯
简介: “与许多慈爱的父母一样，我心中也有个最喜爱的孩子。他叫大卫·科波菲尔” ——查尔斯·狄更斯 世界著名文学《大卫·科波菲尔》首次拍成剧集，由多位著名巨星精心演绎，故事描述一位早年丧父的小男孩，因母亲的性格比较柔弱怕事，童 ...
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苦海孤雏 （又名: 雾都孤儿,Oliver Twist） （本作品中 : 原著）
原著: 查尔斯·狄更斯
简介: 改编自大文豪狄更斯著名同名小说。 故事讲述孤儿奥利华因不能忍受贫院的恶劣环境及不人道待遇偷走出来，逃到伦敦街头后遇上一扒手，其后更被臭名远扬的恶棍拐去，被迫加入“扒手党”以偷窃为生。“扒手党”的偷窃活动，以及那些对奥利华母亲遗物虎 ...
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双城记 （又名: A Tale of Two Cities） （本作品中 : 原著）
导演: Michael E. Briant 原著: 查尔斯·狄更斯 演员: Paul Shelley Harry Fielder Vivien Merchant Ralph Michael
简介: “我现在做的远比我所做过的一切都美好。我将获得的休息远比我所知的一切都甜蜜。” 卡顿是挥霍无度，生活放荡的富家子弟，他是害群之马，坠落天使，他在断头台上的临终遗言令他在名言集留一席位。这角色今日仍跟这部名著当年初出版时一样震撼人 .
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雾都孤儿 （又名: Oliver Twist） （本作品中 : 原著）
导演: 罗曼·波兰斯基 演员: Barney Clark Jeremy Swift Ian McNeice Richard Durden Timothy Bateson
简介: 《雾都孤儿》由奥斯卡最佳改编剧本奖得主罗纳德·哈伍德根据英国大文豪查尔斯·狄更斯同名经典小说改编，蜚声世界影坛大师罗曼·波兰斯基为全世界的孩子们倾力执导，奥斯卡影帝本·金斯利及英国新晋人见人爱天才小童星巴尼·克拉克联袂主演。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、《博兹札记》、《雾都孤儿》、《尼古拉斯·尼克贝》、《老古玩店》、《巴纳比·拉奇》、《美国纪行》、《双城记》。
2、《圣诞颂歌》、《马丁·瞿述伟》、《董贝父子》、《大卫·科波菲尔》、《写给孩子看的英国历史》、《荒凉山庄》。
3、《艰难时世》、《小杜丽》、《双城记》、《远大前程》、《我们共同的朋友》《艾德温·德鲁德之谜》、《匹克威克外传》。
二、狄更斯1812年2月7日生于朴次茅斯市郊， 出生于海军小职员家庭，少年时因家庭生活窘迫，只能断断续续入校求学。后被迫到工场做童工。15岁以后，当过律师事务所学徒、录事和法庭记录员。20岁开始当报馆采访员，报道下议院。1837年他完成了第一部长篇小说《匹克威克外传》，是第一部现实主义小说创作，后来创作才能日渐成熟。
三、狄更斯特别注意描写生活在英国社会底层的“小人物”的生活遭遇，深刻地反映了当时英国复杂的社会现实，为英国批判现实主义文学的开拓和发展做出了卓越的贡献。他的作品对英国文学发展起到了深远的影响。
查尔斯·狄更斯(Charles Dickens，1812--1870)是英国十九世纪伟大的批判现实主义作家，一生创作了大量作品，广泛描写了19世纪英国维多利亚时代的社会生活，揭露了资产阶级金钱世界的种种罪恶。
狄更斯出生于海军小职员家庭，10岁时全家被迫迁入负债者监狱，11岁就承担起繁重的家务劳动。曾在皮鞋作坊当学徒，16岁时在律师事务所当缮写员，后担任报社采访记者。他只上过几年学，全靠刻苦自学和艰辛劳动成为知名作家。
狄更斯是高产作家，他凭借勤奋和天赋创作出一大批经典著作。他又是一位幽默大师，常常用妙趣横生的语言在浪漫和现产中讲述人间真相，狄更斯是19世纪英国现实主义文学的主要代表。艺术上以妙趣横生的幽默、细致入微的心理分析，以及现实主义描写与浪漫主义气氛的有机结合著称。马克思把他和萨克雷等称誉为英国的“一批杰出的小说家”。
参考资料来源：网络—狄更斯
❼ 查尔斯 狄更斯中英文对照简介
查尔士•狄更斯是英国维多利亚时期最著名、最被广泛阅读的作家。他创造了许多令人过目难忘的人物。
狄更斯很喜欢18世纪的“哥特式小说” – 其实当时这种文体已经式微，成了许多“新派作家”嘲讽的一种文体，但是笔尖常带感情的狄更斯，巧妙地以伦敦为创作背景，编织了许许多多赚人热泪的故事。
狄更斯文笔流畅而富有诗意，亦不乏诙谐。英国眼高于顶、自视过高的贵族，常是他笔下嘲讽的对象。例如他曾经形容一个贵族为“高贵的冰箱”，“David Copperfield”里面的人物“Mr. Murdstone”则是“谋杀”（murder）和“石头”(stone)的合写，直接描绘出了这个人的冷硬和阴险。狄更斯关注工业革命刚萌芽时期英国悲苦的童工命运，他把他们比作任人买卖的“股票”，或是将晚宴里无趣的宾客比作“家具。”他的小说糅合了写实主义和丰富的想象，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绝，包括：
双城记 A Tale of Two Cities
圣诞颂歌 A Christmas Carol
大卫.科波菲尔 David Copperfield
艰难时世 Hard Times
荒凉山庄Bleak House
董贝父子 Dombey and Son
远大前程Great Expectations
雾都孤儿 Oliver Twist
❽ 求《远大前程》英文版简介 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.
译文如下：
小说故事的发展大致可分成三个部分。第一部分记述了皮普在乡间的质朴的童年生活。一次偶然的机会他遇见了一名逃犯。
并偷了家里的东西帮助他。不久，皮普受邀到哈维沙姆小姐的萨蒂斯大院玩耍，从此内心发生变化。他爱上了美丽却冷漠的埃斯特拉，开始为自己的出身及亲人感到害臊。
一天，皮普突然受到一位不愿透露姓名的人士资助。被送到伦敦接受上等人的教育，他为此欣喜若狂。
《远大前程》又译《孤星血泪》，是英国作家查尔斯·狄更斯晚年写成的长篇小说。成书于1860年至1861年之间，该小说自1860年12月到1861年8月连载于作者制作的周刊《一年四季》。
(8)狄更斯小说英语名字扩展阅读：
创作背景
《远大前程》一书属于查尔斯·狄更斯的晚期作品，它写于狄更斯生活中出现危机之后。他刚与妻子凯瑟琳分手，这给他带来了巨大的痛苦。同时，他开始了与年轻的演员爱伦·特南的婚外爱情，这一段感情给他带来的痛苦多于幸福。
这一时期，由于对社会黑暗认识的进一步加深，加上年龄的增长，个人婚姻爱情生活方面的不幸，作者思想中抑郁的一面有所增强，反映在创作中，乐观的基调大大削弱。作为对社会弊端的反映和对人情世态的写照，狄更斯的叙事艺术显示出微妙的变化，狄更斯的创作处于自我疑虑增长的时期。
❾ 这部电影由狄更斯的同名小说改编 用英语怎么说
This movie was made from the novel of the same name by Dickens.
❿ 狄更斯作品英语简介
《博兹札记》《匹克威克外传》《雾都孤儿》《尼古拉斯·尼克贝》《老古玩店》《巴纳比·拉奇》《美国纪行》《圣诞颂歌》（又名：小气财神）《马丁·翟述伟》《董贝父子》《大卫·科波菲尔》《写给孩子看的英国历史》《荒凉山庄》《艰难时世》《小杜丽》《 双城记 》《远大前程》《我们共同的朋友》《艾德温·德鲁德之谜》（未完成）
希望我的回答对你有所帮助，狄更斯的所有作品都在这里了