Articles de revues : « Twist, oliver »

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Thompson, Corey Evan. « Dickens's Oliver Twist ». Explicator 61, n^o 3 (janvier 2003) : 147–49. http://dx.doi.org/10.1080/00144940309597788.

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Deutschendorf, Brian. « Dickens's Oliver Twist ». Explicator 63, n^o 3 (janvier 2005) : 146–49. http://dx.doi.org/10.1080/00144940509596922.

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Germain, Joan St. « Dickens' Oliver Twist ». Explicator 46, n^o 3 (avril 1988) : 16–20. http://dx.doi.org/10.1080/00144940.1988.9934717.

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Tini Mogea. « Struggle Of Oliver In Dickens’ Oliver Twist ». Jurnal Pendidikan dan Sastra Inggris 3, n^o 1 (16 février 2023) : 76–90. http://dx.doi.org/10.55606/jupensi.v3i1.1240.

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The purpose of this research is to learn about Oliver Twist's struggles. This research is qualitative, in which the data are in the form of words rather than numbers. The data were collected from the novel, with Oliver Twist as the primary source, and other books that were relevant to this topic. The result shows Oliver was suffering, but he never gave up; instead, he ran away and looked up a lover in London. in his struggle for survival. Oliver shows his hard work in the orphanage and tries hard to break the rule or regulation. Oliver Twist is the first person to speak out against orphan mistreatment in the infant farm, where orphans would go for several nights without food. Oliver is very brave and never afraid of anyone, even though he is still a child. Never think that the world is full of bad people; good people are all around; they embellish good thoughts, nurture fine souls, and welcome you with an open heart. Their positive personality traits have a great impact on lives, and their influences are far stronger and more everlasting. When Mr. Brownlow resolves to save innocent Oliver Twist, nothing can stop him from rescuing the boy. It is also because of Oliver’s pure and good heart.

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Saud, Indah Wardaty. « SLAVERY IN CHARLES DICKENS’ NOVEL OLIVER TWIST ». NOTION : Journal of Linguistics, Literature, and Culture 2, n^o 1 (7 mai 2020) : 51. http://dx.doi.org/10.12928/notion.v2i1.1110.

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This research discusses the slavery experienced by the characters in the Oliver Twist novel. Those who have no family and no place to stay eventually become slaves who are forced to work for the benefit of the owner. They are treated as property and often get physical violence. This research aims to analyze the types of slavery that are reflected in Oliver Twist novel. This research using descriptive qualitative methods. Researchers used the Marxist approach and slavery theory to find the types of slavery contained in Oliver Twist novel. From the results of the analysis, it was found that there are 4 types of slavery in Oliver Twist novel, namely forced labor, sex slavery, child slavery and domestic servitude.

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Carey, William B. « ShrinkLits II : Oliver Twist ». Journal of Developmental & ; Behavioral Pediatrics 24, n^o 5 (octobre 2003) : 363. http://dx.doi.org/10.1097/00004703-200310000-00009.

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de la Quintana, Alfonso. « Mobbing in Oliver Twist ». Procedia - Social and Behavioral Sciences 237 (février 2017) : 1418–22. http://dx.doi.org/10.1016/j.sbspro.2017.02.207.

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Maddy, Penelope. « MATHEMATICS AND OLIVER TWIST ». Pacific Philosophical Quarterly 71, n^o 3 (septembre 1990) : 189–205. http://dx.doi.org/10.1111/j.1468-0114.1990.tb00399.x.

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Hikmaharyanti, Putu Desi Anggerina, I. Gusti Agung Sri Rwa Jayantini et Ni Made Verayanti Utami. « A STUDY OF OLIVER TWIST INFERIORITY ON CHARLES DICKENSâ€™S OLIVER TWIST ». Apollo Project : Jurnal Ilmiah Program Studi Sastra Inggris 10, n^o 2 (3 août 2021) : 57–66. http://dx.doi.org/10.34010/apollo.v10i2.5306.

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This study focuses on Oliver Twist inferiority feeling during his childhood life. Oliver Twist as the main character of the novel experienced several miserable treatments from people around him. Along with the inferiority feeling, unfortunately it brings some effects towards him. This is the reason of why this study created by describing the inferiority feelings together with the impact qualitatively. Since the study is in literature matter, psychological and sociological approaches were applied to elaborate the inferior feeling experienced by the main character. There were five settings where Oliver Twist got bad treatment done by several supporting figures and made him become an innocent, rebel and courageous boy as the effects of those inferiority in this study.

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Widyaningsieh, Eka Weny. « A Study on Oliver Twist's Sadness in Charles Dicken's Novel ». Edusia : Jurnal Ilmiah Pendidikan Asia 1, n^o 1 (11 novembre 2021) : 159–73. http://dx.doi.org/10.53754/edusia.v1i1.122.

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This research uses the innovative Oliver Twist novel. The purpose of this study is to describe the sadness that can be taken as a lesson from the main character in the Oliver Twist novel, and to show how the sadness is presented by the main character. This research deals with how sadness affects learning and can be found in a novel by Charles Dickens. In this scientific study and research, the writer uses descriptive qualitative to describe, analyze, and discuss research problems. Other information relevant to the investigation is also being sought by the researchers. The author conducted a research question to find how sadness can be reduced by studying "Oliver Twist" in a story from a functionalist perspective, symbol perspective, conflict, and perspective. After analyzing Oliver Twist novel the author found some sadness that can make life lessons in the main character, such as fortitude, sympathy, courage, honesty, cooperation, gratitude, not giving up easily, humility, and kindness.

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Badić, Edin. « An Analysis of Paratexts in the (Re)translations of Oliver Twist into Croatian ». Libri et liberi 9, n^o 1 (18 novembre 2020) : 37–59. http://dx.doi.org/10.21066/carcl.libri.2020.1.3.

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The aim of the present study is to analyse paratextual elements in Croatian (re)translations of Charles Dickens’ classic social novel Oliver Twist; or, The Parish Boy’s Progress (1837–1839). We will explore the level of paratextual (in)visibility of translators in the (re)translations of Oliver Twist and observe how their (in)visibility might affect the reading and interpretation of the novel. The fact that Oliver Twist has been on the reading lists for Croatian primary schoolers ever since the early 1950s may account for the intense interest in the novel on the part of Croatian publishers. The first edition of Oliver Twist into Croatian appeared in 1901 and, since then, three (re) translations have been published, as well as a large number of reprints. The findings aim to contribute to a better understanding of Croatian translation history, shedding light on different approaches to translating children’s literature and the effects such translation practices may have had on the expectations of the target readership.

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Terci, Mahmut. « The Gentleman of Birth : Oliver Twist ». European Journal of Language and Literature 4, n^o 1 (30 avril 2016) : 104. http://dx.doi.org/10.26417/ejls.v4i1.p104-116.

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As the focus in this article is mainly on Dickens’s descriptions of the gentleman of birth in Oliver Twist, selected extracts from the novel as well as critics’ opinions will help us analyze the gentlemanly attitudes of the main characters connected to their noble origin and gentle manners. While Oliver opens his eyes in poor conditions, he always feels that he has noble blood. Dickens believes that manners not social status make people true gentlemen yet, he mixes the ‘noble origin’ issue in his novel Oliver Twist, probably as a result of the Victorian people’s perception of ‘gentility’ which was very close to the concept of ‘nobility’. Since Dickens added the flavor of ‘noble’ birth, his naïve nature as well as his perceptions – the way how he interprets people’s behavior and things which happen around him and which construct his identity, his pure heart and his fate (reference to his belief and sincere praying) remarkably influence the positive changes in his life time. Dickens’s little hero, Oliver Twist, while naturally appreciating goodness, is disgusted by immoral things like ‘stealing,’ which was unfortunately happening around. What are the main factors that shape his kind, noble and naïve character? Is it ‘nature’ or ‘nurture’? What could be the major reasons for Nancy, Rose and Mr. Brownlow to give their assistance to Oliver? Whose –Mr. Brownlow’s or Fagin’s– teachings or influences are welcomed by Oliver? The answers to these questions will eventually illustrate how gentlemanly manners are inherited or acquired by Oliver.

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Abida, Fithriyah Inda Nur, Fahri Fahri et Diana Budi Darma. « Humour in Dickens’ Oliver Twist ». Linguistics and Culture Review 6 (12 décembre 2021) : 120–28. http://dx.doi.org/10.21744/lingcure.v6ns2.1982.

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This paper attempts to investigate the use of humour in revealing the idea of corruption in Dickens’ novel Oliver Twist. Corruption was a huge problem in London in the 1830s when Dickens was writing. Oliver Twist was one of his best novels that portrayed how corruption lived. Through this novel, he also wanted to show how social and cultural at that time created corrupt behavior in the society. The art of humour created by Dickens is an interesting strategy to deliver the message of corruption. By understanding the art of humour that consists of idiomatic expression, social and cultural context, would help the translator to capture a distinctive creative process that incorporates the linguistic structures and cultural environment of the target language while at the same time remaining as faithful as possible to the original.

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Gannon, Frank. « Oliver Twist and Santa Claus ». EMBO reports 5, n^o 5 (mai 2004) : 431. http://dx.doi.org/10.1038/sj.embor.7400157.

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Lesnik-Oberstein, Karín. « Oliver Twist : The narrator's tale ». Textual Practice 15, n^o 1 (janvier 2001) : 87–100. http://dx.doi.org/10.1080/09502360010013875.

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Meyer, Susan. « ANTISEMITISM AND SOCIAL CRITIQUE IN DICKENS'SOLIVER TWIST ». Victorian Literature and Culture 33, n^o 1 (mars 2005) : 239–52. http://dx.doi.org/10.1017/s1060150305000823.

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WHEN SIKES AND NANCY RECAPTURE OLIVER, in Dickens'sOliver Twist, intending to return him to the gang of thieves, Sikes warns Oliver against crying out to passersby, announcing that his dog will go for Oliver's throat if he so much as speaks one word. Looking at the dog, who is eyeing Oliver and growling and licking his lips, “with a kind of grim and ferocious approval,” Sikes tells Oliver, “He's as willing as a Christian, strike me blind if he isn't!” (109; ch. 16). Sikes of course simply intends to say that his dog is as good as human, but Dickens's joke, in the context of the novel, is a chilling one. Sikes's bloodthirsty dogisas willing as the novel has shown many a professed Christian to be to exercise brute power over the weak and helpless, to drive Oliver into a life of crime, and to commit physical violence against him. In the course of the novel, Dickens shows what professed Christians have been willing to do to the poor and invites his readers to contemplate what they as Christians should instead be willing to do.Oliver Twistis of course deeply concerned with the condition of England's poor, and Dickens invokes the idea of Christianity as a rhetorical tool through which to make the social commentary that is at the novel's moral center.

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Schattschneider, Laura. « Mr Brownlow's Interest in Oliver Twist ». Journal of Victorian Culture 6, n^o 1 (janvier 2001) : 46–60. http://dx.doi.org/10.3366/jvc.2001.6.1.46.

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Hafezi, Ehsan, et Kermani Roshanak Fazli. « Oliver Twist and Inklings of ‘Grotesque’ ». Khazar Journal of Humanities and Social Sciences 15, n^o 1 (4 mai 2012) : 34–51. http://dx.doi.org/10.5782/2223-2621.2012.15.1.34.

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Trisnawati, Ika Kana, Sarair Sarair et Maulida Rahmi. « Irony in Charles Dicken's Oliver Twist ». Englisia Journal 3, n^o 2 (20 mars 2017) : 91. http://dx.doi.org/10.22373/ej.v3i2.1026.

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This paper describes the types of irony used by Charles Dickens in his notable early work, Oliver Twist, as well as the reasons the irony was chosen. As a figurative language, irony is utilized to express one’s complex feelings without truly saying them. In Oliver Twist, Dickens brought the readers some real social issues wrapped in dark, deep written expressions of irony uttered by the characters of his novel. Undoubtedly, the novel had left an impact to the British society at the time. The irony Dickens displayed here includes verbal, situational, and dramatic irony. His choice of irony made sense as he intended to criticize the English Poor Laws and to touch the public sentiment. He wanted to let the readers go beyond what was literally written and once they discovered what the truth was, they would eventually understand Dickens’ purposes.

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Edgecombe, R. S. « Three Augustan Allusions in Oliver Twist ». Notes and Queries 60, n^o 2 (15 avril 2013) : 266–68. http://dx.doi.org/10.1093/notesj/gjt040.

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Brennan, P. O. « Oliver Twist, textbook of child abuse ». Archives of Disease in Childhood 85, n^o 6 (1 décembre 2001) : 504–5. http://dx.doi.org/10.1136/adc.85.6.504.

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Richardson, Ruth. « The Subterranean Topography of Oliver Twist ». Dickens Quarterly 32, n^o 4 (2015) : 293–312. http://dx.doi.org/10.1353/dqt.2015.0035.

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Long, William F. « Early Figurative Allusions to Oliver Twist ». Dickens Quarterly 36, n^o 2 (2019) : 136–55. http://dx.doi.org/10.1353/dqt.2019.0013.

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Liang, Lisi. « The Chinese Oliver Twist ». Translation and Translanguaging in Multilingual Contexts 9, n^o 3 (9 novembre 2023) : 352–78. http://dx.doi.org/10.1075/ttmc.00118.lia.

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Abstract This article sheds light upon subtitling as the audiovisual translation (AVT) mode applied to three subtitled versions of Oliver Twist. The comparison takes place within the subtitling context of two officially sanctioned versions (i.e., the musical and the film) and the non-professional and transcreated versions released on social media platforms. Research has been carried out within audiovisual translation studies with the scope of verifying issues relating to the translation of characters’ names (appellation), religious terminology, and songs, which are subject to changes and innovative transformations when transcreated. There is an increasingly high demand for viewer-generated participation in the translation of audiovisual productions as opposed to traditional passive viewing experiences (Di Giovanni and Gambier 2018, vii–viii). The significant rise of user-oriented modes of translation released on popular video-sharing platforms has not been systematically researched. Attention is primarily paid to the Chinese subtitles produced for Oliver Twist’s most recent film adaption directed by Polanski (2005). These subtitles reinterpret and redirect the product’s cultural and temporal specificities and complexities to reinforce Chinese cultural heritage (Liang 2020, 26). A particular role is played by transcreation in subtitling as a translation method that is able to embrace the richness of Oliver Twist in its various adapted forms: theatre, cinema, and social media platforms. Drawing upon the concept of abusive subtitling coined by Abé Mark Nornes (1999), the paper investigates the definition of transcreation within subtitling procedures and scrutinises technological advances and multimodal creativity within the context of Oliver Twist. In this sense, transcreation as a fan-driven practice in subtitling has the scope of giving visibility to artistic works in a more creative way, as well as of presenting them tinted with individualised characteristics which cater to the various demands for a variety of audiences.

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Persulessy, Sylvia Irene, Emzir et AcengRahmat. « Social Values in Charles Dickens’s Novel “Oliver Twist” ». Advances in Language and Literary Studies 9, n^o 5 (31 octobre 2018) : 136. http://dx.doi.org/10.7575/aiac.alls.v.9n.5p.136.

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The objective of this research is to acquire deep understanding about social values in the novels Oliver Twist by Charles Dickens. The type of research was qualitative by using content analysis method. The data collected through document study and data observation about social values in the novel. The result of this research revealed that social values found and described in the novel Oliver Twist were love values consist of love and affection, dedication, mutual help, kinship, concern, and loyalty. Responsible values consist of sense of acceptance and belonging, obligations and discipline. Harmony of life values consist of justice, tolerance, cooperation, and democracy. The values were found and described through generic structure of the novel by the text quotations. Those results led to implication that Indonesian literature educators can apply Charles Dickens novel Oliver Twist directly in the teaching process and motivate the students to analyze the novels.

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Vyas, Amritha. « Exploring Social Realism in Dickens’ Oliver Twist : A Study of Victorian London’s Underclass ». International Journal of Environment, Agriculture and Biotechnology 9, n^o 3 (2024) : 013–14. http://dx.doi.org/10.22161/ijeab.93.2.

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This paper explores into Charles Dickens’ Oliver Twist to examine its portrayal of social realism amidst the backdrop of Victorian London's underclass. Through a multidimensional analysis, it scrutinizes Dickens’ depiction of poverty, exploitation, and societal injustices faced by the marginalized segments of society. By exploring the lives of characters like Oliver, Fagin, and Nancy, the paper elucidates the intricate web of economic disparity, moral decay, and systemic oppression prevalent in the era. Drawing on historical context and literary analysis, it highlights Dickens’ adeptness in capturing the harsh realities of urban poverty and the resilience of individuals navigating through adversity. Ultimately, this study contributes to a deeper understanding of Dickens’ socio-political commentary and the enduring relevance of Oliver Twist in critiquing societal inequities.

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Wilson, Michelle L. « Buried Narratives : Exhuming the Mother's Story in Oliver Twist ». Victoriographies 8, n^o 3 (novembre 2018) : 247–66. http://dx.doi.org/10.3366/vic.2018.0317.

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Initially, Oliver Twist (1839) might seem representative of the archetypal male social plot, following an orphan and finding him a place by discovering the father and settling the boy within his inheritance. But Agnes Fleming haunts this narrative, undoing its neat, linear transmission. This reconsideration of maternal inheritance and plot in the novel occurs against the backdrop of legal and social change. I extend the critical consideration of the novel's relationship to the New Poor Law by thinking about its reflection on the bastardy clauses. And here, of course, is where the mother enters. Under the bastardy clauses, the responsibility for economic maintenance of bastard children was, for the first time, legally assigned to the mother, relieving the father of any and all obligation. Oliver Twist manages to critique the bastardy clauses for their release of the father, while simultaneously embracing the placement of the mother at the head of the family line. Both Oliver and the novel thus suggest that it is the mother's story that matters, her name through which we find our own. And by containing both plots – that of the father and the mother – Oliver Twist reveals the violence implicit in traditional modes of inheritance in the novel and under the law.

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Priley, Angela Marie. « An Analysis of Oliver Twist And Oliver ! » Children's Literature Association Quarterly 18, n^o 4 (1993) : 189. http://dx.doi.org/10.1353/chq.0.1043.

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West, Nancy M. « Order in Disorder : Surrealism and "Oliver Twist" ». South Atlantic Review 54, n^o 2 (mai 1989) : 41. http://dx.doi.org/10.2307/3200550.

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Kaur, Rupinder. « Oliver Twist : Dickens Crusade against Social Evils ». Asian Journal of Research in Social Sciences and Humanities 7, n^o 8 (2017) : 422. http://dx.doi.org/10.5958/2249-7315.2017.00436.1.

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Esmaeili, Sonour. « Interactional Meta-Discourse Resources in Oliver Twist ». International Journal of English Linguistics 10, n^o 6 (18 août 2020) : 78. http://dx.doi.org/10.5539/ijel.v10n6p78.

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For long, there has been debate over the appropriateness of using simplified literary texts in second language classrooms. In examining the simplified form, the main question is persuasion that is partly achieved through meta-discourse resources, which are “Self-reflective linguistic material referring to the evolving text and to the writer and the imagined reader of the text” (Hylan & Tse, 2004, p. 156). The present study compares the use of interactional meta-discourse resources (IMRs) in terms of the frequency and categorical distribution in the original copy of a novel (i.e., Oliver Twist) and its simplified counterparts. The corpus was analyzed based on the Hyland (2005) model. The frequency and categorical distribution of IMRs were calculated per 1,000 words, and the difference in their distribution was calculated using Chi-Square statistical analysis. The findings indicate a significant difference in the frequency of IMRs between the original and the simplified versions of the Dickensian novel, implying that despite having more complex syntax and semantics, the original novel seems to be more persuasive, at least on the part of IMRs, compared to its simplified counterparts. In terms of categorical distribution, there was no significant difference between them.

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Taylor, Steven. « Oliver Twist Approaches Bumble, The Parish Beadle ». Critical Quarterly 44, n^o 3 (octobre 2002) : 108. http://dx.doi.org/10.1111/1467-8705.00442.

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Richardson, Ruth. « Charles Dickens, The Lancet, and Oliver Twist ». Lancet 379, n^o 9814 (février 2012) : 404–5. http://dx.doi.org/10.1016/s0140-6736(12)60178-0.

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Gasa, Yeremias, Fransiskus M. Separ et Maksimilianus Doi. « MORAL VIRTUES OF NANCY IN CHARLES DICKENS’ OLIVER TWIST ». Lantern : Journal of Language and Literature 8, n^o 2 (1 septembre 2022) : 92–104. http://dx.doi.org/10.37478/lantern.v8i2.3958.

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This study aimed at knowing what moral virtues are in Nancy’s character and the influence of moral virtues to the main character in Oliver Twist. This study also employed virtue ethics theory with qualitative descriptive design. Source of data were taken from the novel of Charles Dickens, Oliver Twist. The methods of collecting data were by reading, identifying, and writing dialogs relating to the problems of the study. This analysis reveals that Nancy is a good person because she has a moral nature. The criminal environment cannot affect one's disposition. Nancy can maintain her character with her moral virtues that are full of kindness, courage, honesty, and loyalty. With those virtues, Nancy can live righteously and can make decisions in deciding what is good for her and for Oliver's life. Oliver can be free from criminals and get his happiness.

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Zhao, Haiyun. « Analysis of the Main Characters’ Needs in Oliver Twist from the Perspective of Maslow’s Hierarchy of Needs ». International Journal of Social Sciences and Public Administration 2, n^o 3 (17 avril 2024) : 252–62. http://dx.doi.org/10.62051/ijsspa.v2n3.35.

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Oliver Twist tells us about the tough experiences of the main characters and faithfully depicts the underworld of the UK during the Victorian reign. Maslow’s hierarchy of needs theory classifies human needs into five hierarchical levels. The gradual realization from low-level needs to high-level needs is a process to pursue life values. Nancy and Oliver have similar life experiences, but their final fates are different. The reasons lie in the realization of the five-level needs during their formative years. This paper focuses on the life experiences of Nancy and Oliver and the satisfaction and dissatisfaction of their five-level needs in the light of Maslow’s hierarchy of needs and reveals the underlying reasons for their disparate fates, so as to enhance the understanding of the connotation of this novel. Through the research, we can come to realize the wide applicability of Maslow’s hierarchy of needs. When an individual’s basic material and survival needs are met, he would gain impetus for higher level needs. The gradual realization from low-level needs to high-level needs is a process to pursue life values. By reading Oliver Twist, we can come to recognize Dickens’s belief that the poor and the disadvantaged could get rid of their tragic fate with the benevolent help of the morally noble ones from the upper class, but he didn’t pay adequate attention to the crux of the social problem, that is, the lower class often fail to meet their hierarchical needs due to personal and external factors. Therefore, analyzing the main characters’ needs in Oliver Twist with Maslow’s hierarchy of needs can provide the readers a new perspective to understand this novel and help to testify to the importance of Maslow’s hierarchy of needs in understanding the causes of social problems during the Victorian reign.

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Castro-Santana, Anaclara. « Del espíritu de las narrativas pasadas en Oliver Twist ». Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, n^o 5 (19 février 2022) : 34–58. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2022.5.1551.

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Oliver Twist, el huérfano más célebre de la literatura, hizo su aparición en las páginas de Bentley’s Miscellany en febrero de 1837. Desde entonces, su historia ha figurado en todo tipo de medios textuales y audiovisuales, de suerte que la imagen del infante de familia desconocida, cuya inocencia le lleva a triunfar ante la injusticia social que lo asedia, guarda una relación indisoluble con la obra de Charles Dickens. El linaje diegético del expósito Oliver se descubre en las páginas finales de la novela que lleva su nombre. Su genealogía artístico-literaria, sin embargo, es un secreto a voces que inspira personajes peculiares y una estructura narrativa basada en coincidencias y revelaciones. En este artículo se exploran algunas de las conexiones más relevantes entre Oliver Twist y las narrativas dieciochescas que le antecedieron. En específico, se atienden los legados de las novelas de Henry Fielding y las narrativas visuales de William Hogarth, los cuales fueron determinantes no sólo en la representación tragicómica de las clases bajas —como se ha llegado a sugerir— sino también en la concepción del protagonista, la caracterización de personajes secundarios y el diseño de la trama principal.

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ÇELİKKOL, Ayşe. « Poverty, Dickens’s Oliver Twist, and J. R. McCulloch ». Selçuk Üniversitesi Edebiyat Fakültesi Dergisi, n^o 45 (31 mai 2021) : 35–48. http://dx.doi.org/10.21497/sefad.943870.

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Teets. « Ghosts of Abolition in Oliver Twist ». Dickens Studies Annual 50, n^o 2 (2019) : 232. http://dx.doi.org/10.5325/dickstudannu.50.2.0232.

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Sirabian, Robert. « The Illusion of Game Playing in Oliver Twist ». CEA Critic 79, n^o 1 (2017) : 38–57. http://dx.doi.org/10.1353/cea.2017.0002.

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Maynard, Alan. « The vultures gather to do the Oliver Twist ». British Journal of Healthcare Management 11, n^o 9 (septembre 2005) : 286. http://dx.doi.org/10.12968/bjhc.2005.11.9.24044.

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Masfa Maiza et Ulya Himawati. « An Analysis of Speech Acts in The Oliver Twist Script ». English Language and Education Spectrum 2, n^o 1 (28 janvier 2022) : 31–36. http://dx.doi.org/10.53416/electrum.v2i1.61.

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Language as a means of communication has an important role in delivering a message. Moreover, it is related to speech acts the speakers use. Each utterance has a different meaning to understand, and that is the job of the hearers and readers to interpret the meaning. Speech acts have three different distinct levels: locutionary (the actual words uttered), illocutionary (the force or intention behind the words), and perlocutionary (the effect of the illocution on the hearer). The researchers chose the “Oliver Twist” script as the data to analyse. Some of the scripts were taken and classified into the three levels of speech act: locutionary, illocutionary, and perlocutionary. This research aimed to describe the three distinct levels of speech acts that are shown in the “Oliver Twist” script and to examine how speech acts are used in the “Oliver Twist” script. The researchers used a descriptive analysis technique in which the data were taken from some scripts which contain three distinct levels of speech acts. The researchers then identified the utterances and classified how they performed what the speaker meant. The result shows that some utterances have three distinct levels of speech act, such as I want some more, You must be hungry, A polite boy, Can we start the game and Because he is a street child. Since speech acts are essential to indicate what a speaker means, English learners should enrich themselves by understanding the function of speech acts and their distinct levels.

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Aminah, Sitti. « Social Injustice as Reflected in Charles Dickens’ Oliver Twist ». ELS Journal on Interdisciplinary Studies in Humanities 1, n^o 4 (26 décembre 2018) : 409–22. http://dx.doi.org/10.34050/els-jish.v1i4.4869.

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Social injustice is a phenomenon which occurred since long time ago and it still becomes a social problem nowadays, it is also depicted in many literary works, especially in the 19th century literary tradition in England. This research aims to find out the kinds of social injustice depicted along the plot story in Charles Dickens’ Oliver Twist and to know how the main characters react and solve such social injustice they encounter in their daily communal life. The research is categorized as a descriptive qualitative research, using the sociological approach. The data are collected from primary data and secondary data. The primary data are taken from Charles Dickens’ Oliver Twist through the description of events and characterizations, while the secondary data are from various books, journals, articles and some sources from internet. The research reveals that among many kinds of social injustice, poverty, social stratification and child labor are the most common issues depicted in Charles Dickens’ Oliver Twist. The researcher also finds that most of characters that experience social injustice are those who come from the lower class. They suffer poverty and cannot do anything to change the condition. In order to stay alive, most of the characters who experience such kind of social injustice prefer to conduct criminal. In relation to the application of sociology of literature theory, it is found that social injustice like poverty, social stratification and child labor depicted in the novel are the representation of the real condition at the time the novel was written.

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Alwan, Zainab Hussein. « A Lexical Analysis of Words Signifying Happiness in Dickens' Novel Oliver Twist ». SMART MOVES JOURNAL IJELLH 8, n^o 2 (28 février 2020) : 24. http://dx.doi.org/10.24113/ijellh.v8i2.10417.

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Being a transient state, happiness extends from the highest degree of pleasure to the lowest one. It differs from one person to another. Lexically, happiness can be fulfilled by using certain words that are used to describe this feeling. The existing study tries tofind answers for the subsequent queries: What are the most common words uttered to express happiness in Dickens' novel Oliver Twist? Is there a distinction between happiness and other negative feelings in the texts above? Do they all have the same indications of happiness? This paper aims at: Examining the semantic aspects of words denoting happiness in Dickens' novel Oliver Twist. Identifying the correlation between happiness and other negative feelings in the text above. 3.Investigating the implied meaning of that words used in this particular novel.

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Evernden, Tamsin. « "How do you solve a problem like Oliver?" : Character and Complexity in Oliver Twist ». Dickens Quarterly 38, n^o 3 (2021) : 233–56. http://dx.doi.org/10.1353/dqt.2021.0026.

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Moon, Sang-Wha. « Re-reading Oliver Twist : From the Viewpoint of Bakhtin ». English21 22, n^o 4 (décembre 2009) : 49–63. http://dx.doi.org/10.35771/engdoi.2009.22.4.003.

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McMillan, lan. « Service users should make Oliver Twist their role model ». Mental Health Practice 10, n^o 4 (décembre 2006) : 7. http://dx.doi.org/10.7748/mhp.10.4.7.s11.

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Kim, Wey-Hyun. « The Strategy for Controlling the Poor in Oliver Twist ». NEW STUDIES OF ENGLISH LANGUAGE & ; LITERATURE 64 (31 août 2016) : 23. http://dx.doi.org/10.21087/nsell.2016.08.64.23.

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Pettersson, Torsten. « Enough to have Bodies ? : Two Incongruities in Oliver Twist ». Orbis Litterarum 45, n^o 2 (septembre 1990) : 341–50. http://dx.doi.org/10.1111/j.1600-0730.1990.tb01972.x.

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Simon, Leslie S. « The De-Orphaned Orphan : Oliver Twist and Deep Time ». Dickens Quarterly 34, n^o 4 (2017) : 306–30. http://dx.doi.org/10.1353/dqt.2017.0033.

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Camelo, Franciano. « romance, dos traducciones : tras la huella de Oliver Twist ». Mutatis Mutandis. Revista Latinoamericana de Traducción 7, n^o 1 (18 mars 2014) : 43–61. http://dx.doi.org/10.17533/udea.mut.18883.

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En 1870, atendiendo a la invitación de los propietarios del Jornal da Tarde, Machado de Assis tradujo parte de la novela de Charles Dickens Oliver Twist. Es importante señalar que la traducción de la novela de Dickens en el contexto brasileño del siglo XIX no se hizo directamente del inglés hacia el portugués, sino vía una traducción francesa. De hecho, el recorrido de la novela de Dickens implica una red de publicaciones, ediciones y traducciones en la que Francia jugó el papel de intermediaria. Este artículo presenta el recorrido de la novela de Dickens desde Inglaterra hasta Brasil, considerando particularidades (con)textuales de la novela inglesa y de las traducciones francesa y machadiana.

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