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date: 22 November 2019

Abstract and Keywords

This chapter examines how Great Expectations, often characterized as Dickens’s ‘best-loved’ novel, has also become one of his most frequently adapted, and suggests that the relationship is not as straightforward as it might appear. Recently, Rachel Malik (2012) has provided us with a promising new avenue for enquiry, attributing the novel’s enduring power and adaptability to its unusual ‘capsularity’, by means of which particular storylines or even paragraphs can be easily extracted for remediation elsewhere. This chapter demonstrates through an analysis of several different—and often lesser-known—examples of such extractions and remediations that situating Great Expectations in a nascent Victorian version of multiplatform publishing of which Dickens was well aware as he was writing offers enormous potential for a better understanding, both of his main creative preoccupations in 1860–1, and of the novel’s power over time and space.

Keywords: Great Expectations, Darwin, environment, heredity, guilt, Victorian England, multimedia publishing, adaptation, film, television

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