Abstract In this article, the writer discusses that 'Great Expectations' contains specific symbols to represent the themes of the novel. The writer points out that these themes include: the importance of money to happiness, the importance of money to the quality of a person, the influence of the past on the present, the administration of justice and the definition of true love which could be romantic or filial. The writer shows how Dickens conveys these themes through his continued used of certain symbols in the novel. The writer concludes that Dickens artfully draws the symbols of clothing, prisons and the blacksmith's forge through the novel and intertwines them to validate the themes that he wanted his readers to take from this work.
From the Paper "Just as Miss Havisham dresses the part of the bride, Pip when he comes into money feels that he must dress the part of the gentleman so he goes to the tailor, Mr. Trabb. Pip finds Mr. Trabb over his breakfast and the tailor sees no reason to get up for a commoner like Pip. As soon as Mr. Trabb finds out that Pip's station in life has been elevated, he becomes subservient and fawns over Pip while showing him a variety of fabrics. Dickens uses this scene to illustrate how people will change their attitude due to money. Pip sees himself as important as does Mr. Trabb now that he has money."
"Pip's extravagance in clothing continues during the next several years when he is in London, and it adds significantly to his debt. He is very materialistic as a young man. He is also critical of others who do not dress as well. When Joe comes to see him, Pip feels uncomfortable due to Joe's country manners and rough appearance."
From the Paper "This paper analyzes and compares The Epic of Son-Jara: A West African Tradition and The Mande Blacksmiths: Knowledge. Power, and Art in West Africa, two books that take quite different approaches to examining two of the groups of clan families that specialize in the Mande community in West Africa. The Epic of Son-Jara records a meticulous translation of the oral tradition of storytelling crucial to the community's recording and preservation of its history. The translation is drawn from a performance by a jeli or griot, a professional bard trained to tell the epic story of the legendary figure who founded the civilization more than 750 years ago. The Mande Blacksmiths is a more conventional examination of another of the four hereditary clan families within Mande society, the numuw, professional blacksmith/sculptors who also hold a distinct place in Mande..."
Abstract This paper discusses and analyzes the topic of the Tokugawa period in Japanese history. Specifically, the paper examines life as a member of the craftsman class during this period and answers some questions regarding life and the culture of the time. The paper explains that the craftsmen of the Tokugawa period were certainly not the highest caste in Japanese society, but they enjoyed some respect, especially those who were skilled craftsmen, such as carpenters or blacksmiths.
From the Paper "My life as a craftsman in Japan during the Tokugawa period is difficult, but certainly much better than some of the other citizens of Japan during the time. We are seen as the third and forth levels of Japanese society, with the fourth level being the merchants, but we are often quite similar to the merchants, and some people might find it difficult to tell us apart in our lives and works. One reason for this is because many craftsmen, in order to ply their trades, actually begin working for merchant houses, rather than working for themselves, and so, the merchant and the craftsman often blend. However, I instead ply my trade for myself, I do not work for a merchant directly. I am a blacksmith, and I make fine, sharp swords. Much of my work goes to the castle of my feudal lord the "daimyo," but much also goes to the rich residents of my town, for my swords are popular and well made."
Abstract This essay discusses whether Pip's 'unruliness' can be attributed to his own innate passions or to detrimental outside influence. It draws heavily upon Robert Garnett's opinion that he is solely culpable and seeks to refute his points. Because of the development, both good and bad, that Pip undergoes, he is not entirely guilty of the 'unruliness' that he has been pegged with.
From the Paper "It is difficult to classify the personality of any one person as being entirely one way or another. So, too, it is difficult to classify a rich, round character like Pip in Charles Dickens's Great Expectations as being essentially passionate or essentially moderate. While, as Robert R. Garnett asserts in his essay "The good and the unruly in Great Expectations - and Estella," there is an apparent distinction between these "two mutually exclusive parties-the moderate and those governed by unruly passions" (25), it is not so facile to apply this categorization to Pip, whose only connection to the latter category is caused by Miss Havisham's influence. An author may choose to reveal only certain aspects of a character's personality or exaggerate specific qualities in order to achieve an effect, giving that character a seemingly simplistic nature, as perhaps is the case with Joe or Miss Havisham. Pip, however, makes distinct development throughout the course of the novel and, as such, must be considered carefully before a label can be applied to him. Consequently, rather than being the result of his own actions, Pip's apparent unruliness is more the product the detrimental influence of characters who have their own interests in mind, regardless of Pip's benefit."
