A publishing and reception history of Charles Dickens' "Great Expectations" 1860-2012

查尔斯·狄更斯的《远大前程1860-2012》的出版和接受史是一本约11万字的委托专著，将于2014年由阿什盖特出版。这本书结合了文学、改编和接受研究以及书史的方法，以调查这部小说的写作、出版和全球影响，这部小说是由创作它的维多利亚时代期刊出版社的熔炉塑造的，但即使在今天，它仍然在各种媒体上与全球受众相关。即使按照狄更斯的标准，这部小说也有着异常漫长和多种多样的来世。在作者生命的最后十年里(并不总是得到他的同意)，它在大西洋两岸被多次盗版出版和演出，甚至被完成、改编、翻译和再版数十次，此后产生了无数的改编和衍生产品，包括流行语、无声电影、被遗弃的安德烈·普雷文音乐剧、凯西·阿克尔、彼得·凯里和劳埃德·琼斯的小说、流行歌曲、南方公园的一集，以及卡罗尔·安·达菲的一首诗。除了为学生和学者提供迄今为止关于这部小说多重生活的最全面的描述，以及他们在一个半世纪以来被观众和评论家接受的情况--这本身就是一个有用的资源--我认为，如此密切地关注一本书的价值远远超出了狄更斯的学术研究甚至维多利亚研究。我认为，这本《小说传记》能够更广泛地加深对跨文化、跨媒体翻译现象的理解。它将为一系列问题提供新的线索，包括翻译和审查制度的政治，全球媒体行业各分支的互动历史，民族和其他身份通过文化艺术品表现(或抵制)的方式，以及这些表述和拨款随着时间的推移而变化的方式。通过整理之前从英国和美国档案馆收集的关于这部小说的创作、传播和接受的零散信息，通过一系列最近可用的电子资源，以及对现代改编者的采访，我提出了以下关键问题：这部小说在19世纪60年代期刊市场的特定条件下的创作，以及在其创作者的个人和职业生活相当动荡的时期，如何影响它的形式和中心主题？这部被多次转载和改编的小说的哪些方面在时间和空间上以及在不同的背景下保持着它们的力量？小说每一次改编的历史意义是什么：在这些不同的化身中，有没有模式、趋势或共同的文化关切？关于媒体行业和观众期望的互动方式，以及旧文化偶像服务于新需求的方式，他们的反复翻译和重铸能告诉我们什么？这本书包括四个部分。第一节探讨了狄更斯在19世纪50年代末和60年代初的复杂生活及其对他创作《远大前程》的影响。《远大前程》被公认为是狄更斯黑暗后期的第一部小说，也是他最具创新性和自传性的作品之一。这一部分将这部作品置于最近关于期刊出版、权威、作者身份以及传记和小说之间的关系的批判性辩论中。第二节涵盖了小说在时间和空间上的分布，深入讨论了关键版本、翻译、改编和重铸。第三节侧重于对不同版本的批判性和一般性接受，利用已出版和未出版的来源和电子资源，以获得读者和观众的反应。第四节包括版本、翻译、改编和衍生产品的附录，一些评论精选，以及与现代改编人员的采访记录。

A publishing and reception history of Charles Dickens' Great Expectations 1860-2012 is a commissioned monograph of approximately 110,000 words, to be published by Ashgate in 2014. The book combines approaches drawn from literary, adaptation and reception studies and book history in order to investigate the writing, publication and global impact of a novel that was indelibly shaped by the crucible of the Victorian periodical press in which it was created, but continues to have relevance to global audiences in a wide variety of media even today. This novel has had an exceptionally long and varied afterlife even by Dickens' standards. It was pirated several times for publication and performance on both sides of the Atlantic before it was even completed, adapted, translated and reissued dozens of times in the remaining decade of its author's lifetime (not always with his consent), and has spawned numerous adaptations and spin-offs ever since, including catch-phrases, silent movies, an abandoned André Previn musical, novels by Kathy Acker, Peter Carey and Lloyd Jones, pop songs, a South Park episode, and a poem by Carol Ann Duffy. In addition to providing the fullest account yet available to students and scholars of this novel's multiple lives and their reception by audiences and critics over a century and a half - a resource useful in and of itself - I argue that the value of such a close focus on a single text extends far beyond Dickens scholarship or even Victorian Studies. This 'biography of a novel', I suggest, enables a deeper understanding of the phenomenon of cross-cultural, cross-media translation more broadly. It will shed new light on a range of issues including the politics of translation and of censorship, the interactive histories of various branches of the global media industries, the ways in which national and other identities are represented (or resisted) through and by cultural artefacts, and the ways in which these representations and appropriations change over time. By collating previously scattered information on the novel's creation, dissemination and reception gathered from archives in Britain and the US, through a range of recently available electronic resources, and via interviews with modern adaptors, I ask the following key questions: how did this novel's creation under the specific conditions of the periodical market of the 1860s, and during a period of considerable upheaval in its creator's personal and professional lives, affect its form and its central thematic concerns? Which aspects of this much-reprinted and adapted novel retain their power over time and space and across different contexts? What is the historical significance of the novel's adaptation in each instance: are there patterns, trends or shared cultural concerns in these various incarnations? What can their repeated translation and re-casting tell us about the ways in which media industries and audience expectations interact, and old cultural icons serve new needs? The book contains 4 sections. Section 1 explores Dickens' own complicated life in the late 1850s and early 1860s and its impact on his writing of Great Expectations, generally acknowledged to be the first novel of his late 'darker' period and one of his most innovative and autobiographical. This section situates the work within recent critical debates about the periodical press, authority, authorship, and the relationship between biography and fiction. Section 2 covers the distribution of the novel over time and space, discussing in depth key editions, translations, adaptations and re-castings. Section 3 focuses on the critical and general reception of the various versions, drawing on published and unpublished sources and electronic resources for reader and audience response. Section 4 comprises appendices of editions, translations, adaptations and spin-offs, a selection of critical reviews, and transcripts of interviews with modern adaptors.