Ministry of higher and secondary specialized education of the republic of uzbekistan state university of world languages english language faculty №1 Course paper Theme: Problems of childhood and education in Charles Dickens's novels

Thе thеmе оf thе cоursе pаpеr is about Problems of childhood and education in Charles Dickens' novels.
Thе аim оf thе cоursе pаpеr is tо an exploration of Problems of childhood and education in Charles Dickens's novels.
Thе tаsks оf thе invеstigаtiоn includе:
-Tо givе infоrmаtiоn аbоut Charles Dickens's biography.
Thе оbjеct оf thе cоursе pаpеr is tо Exploring the life and writings Charles Dickens.
Thе subjеct оf thе cоursе pаpеr is tо cоnduct rеsеаrch аbоut Charles Dickens's novels.
Thе mаin lаnguаgе mаtеriаl оf thе rеsеаrch pаpеr hаs bееn gаthеrеd frоm thе litеrаry wоrks оf vаriоus аuthоrs аnd intеrnеt sоurcе. Thus, thе infоrmаtiоn аnd dаtа аnd еxаmplеs аrе tаkеn frоm thе аuthеntic Еnglish sоurcеs, sо thаt thе еvidеncе оf thе rеsеаrch rеsults cоuld bе dоubtlеss.
Thе cоursе pаpеr includеs: intrоductiоn, 2 chаptеrs, cоnclusiоn аnd references.

• 
  intrоductiоn givеs infоrmаtiоn аbоut thе mаin аims оf оur cоursе pаpеr, оbjеcts аnd subjеct mаttеrs оf thе givеn cоursе pаpеr.
  
• 
  chаptеr I includеs infоrmаtiоn About Charles Dickens and his biography.
  
• 
  chаptеr II аlsо includеs Problems of childhood and education in Charles Dickens's novels.
  
• 
  cоnclusiоn will еnd thе cоursе pаpеr by giving gеnеrаl, privаtе оpiniоn rеgаrding thе prоcеss оf prеpаring cоursе pаpеr.
  
• 
  list оf usеd litеrаturе includеs thе nаmеs оf thе bооks аnd mаgаzinеs thаt I utilizеd during thе rеsеаrch.
  

CHAPTER.I.Charles Dickens and his biography.
1.1.Charles Dickens Early years and Last years
Young Dickens left Portsmouth. In Chatham (1817–22), where he spent his best early years, he often returned in his fiction. From 1822 until 1860, he resided in London before making a permanent transfer to Gad's Hill, a country estate close to Chatham. One of his grandfathers had worked as a domestic servant, and the other had been an embezzler, thus his origins were middle class, if of a newfound and shaky respectability. His father was a well-paid clerk in the navy pay office, but his excess and incompetence frequently caused the family's financial disgrace or tragedy. In the somewhat autobiographical David Copperfield, Mr. Micawber dramatizes some of his flaws and ebullience. The family hit rock bottom in 1824. The oldest son, Charles, had been expelled from school and was now working in a factory as a manual laborer, while his father had been sent to prison for debt. Charles was severely damaged by these shocks. Despite detesting this brief exposure to the working class, he started to develop a sympathetic understanding of its plight, which influenced his writing. Additionally, numerous novels frequently depict imagery of prisons and lost, tormented, or confused children.. Many other aspects of his personality and work also developed during this time, such as his eventual difficulties, as a man and author, in comprehending women, which can be linked to his profound resentment toward his mother, who he believed had failed miserably to understand his sorrows at the time. When his father's release from prison and a rise in the family's financial situation made the boy's return to school conceivable, she had wanted him to remain at his job. Thankfully, the father's perspective won out. At age 15, his lackluster and interupted education came to an end. He worked as a clerk in a law firm, then as a shorthand reporter in courtrooms (gaining expertise of the legal system, which is frequently referenced in the novels), before eventually becoming a parliamentarian and newspaper reporter like other members of his family. These years left him with a lifelong love of journalism and a deep-seated disdain for both the law and Parliament. His development as a man during the reform-minded 1830s, and in particular his work on the Liberal Benthamite Morning Chronicle (1834–36), had a significant impact on his political beliefs. His rejection as a suitor by Maria Beadnell due to his inadequate family and prospects was another significant event at this time; his disappointment at losing her increased his drive to achieve. David Copperfield's adoration of Dora Spenlow and the middle-aged Arthur Clennam's discovery (in Little Dorrit) that Flora Finching, who had seemed enthralling years ago, was "diffuse and silly," that Flora, "whom he had left a lily, had become a peony), are both reflections of his feelings about Beadnell then and at her later brief and disillusioning reentry into his life Dickens was captivated to the theater and came close to becoming a career performer in 1832. He started submitting short stories and descriptive essays to periodicals and newspapers in 1833. These gained attention and were later published as Sketches by "Boz" (February 1836). He received an invitation the same month to write a humorous serial story to go with engravings by a well-known artist; seven weeks later, The Pickwick Papers' first chapter was published. Dickens became the most well-known novelist of the day and Pickwick became the rage within a few months. In 1836, he also published two plays and a treatise on a timely topic (how the poor should be permitted to observe the Sabbath), and after quitting his job as a newspaper editor, he took up the editorship of Bentley's Miscellany, a monthly magazine where he serialized Oliver Twist (1837–39). As a result, he needed to write two serial chapters each month. The first of his nine living children had already been born when he wed Catherine, the eldest child of renowned Scottish journalist and author George Hogarth, in April 1836. His life was this intense for a number of years. In Nicholas Nickleby (1838–1899), he replicated the Pickwick pattern of 20 monthly parts because he found serialization to be profitable and agreeable. Later, he experimented with shorter weekly installments for The Old Curiosity Shop (1840–41) and Barnaby Rudge (1841). Finally worn out, he took a five-month vacation in America where he traveled extensively, received quasi-royal honors as a literary celebrity, and protested the lack of copyright protection, hurting national sensitivities. He had higher expectations for "the republic of my imagination" as a radical critic of British institutions, but instead of finding admirable social structures, he discovered greater ugliness and cutting practice. Martin Chuzzlewit and American Notes (1842) both include some of similar sentiments (1843–44). Dickens's aspirations to become a journalist were finally realized in Household Words (1850–59) and its successor, All the Year Round (1859–88). These well-liked weekly anthologies of short stories, poems, and essays on a variety of subjects had sizable and rising circulations, exceeding 300,000 for some of the Christmas issues. Dickens made other serial contributions, including the regrettable Child's History of England (1851–53), Hard Times (1854), A Tale of Two Cities (1859), and Great Expectations (1860–61), as well as essays, some of which were collected in Reprinted Pieces (1858) and The Uncommercial Traveller (1861, later amplified). He published numerous articles on current political and social matters, especially between 1850 and 1852 and during the Crimean War; in later years, he wrote less—significantly less on politics—and the journal also became less political. Serials were also contributed by other well-known authors, such as Wilkie Collins, Edward George Bulwer-Lytton, Elizabeth Gaskell, and Charles Reade. Dickens was unobservant in this section since the poetry was all weak. The reporting was vivid (and occasionally excruciatingly so), with a lot of good foundation. His management of these weeklies demonstrated both his considerable editorial and journalistic talents as well as some of his stylistic and intellectual shortcomings. In relation to his novels, the contents are revealing because he accepted responsibility for all opinions expressed (since the articles were anonymous) and chose and modified contributions accordingly. As a result, comments on current affairs and other topics can generally be taken to represent his opinions, whether or not he wrote them. The success of the weeklies was owed not only to his illustrious name but also to his practical sagacity and persistent industry. No English author of comparable standing has dedicated 20 years of his mature life to such unceasing editorial work. Dickens continued to be imaginative and daring in his final writings, even though he was exhausted and ill, according to his eldest son. A Tale of Two Cities (1859) was an experiment that relied less on humor, dialogue, and characterization. Although it is a compelling and condensed story, it is too weak in comparison to his other big works. Dickens and many readers thought Sydney Carton's self-sacrifice to be incredibly affecting; nevertheless, Dr. Manette now seems to be a more outstanding effort in serious characterization. Although the historical background is poor, the French Revolution scenes are striking. Great Expectations (1860–61), which uses a first-person narrative and incorporates elements of Dickens' personality and experience, is comparable to David Copperfield in style. Although it isn't as expansive as Bleak House, Little Dorrit, or Our Mutual Friend, it is his most skillfully executed novel despite being compact like its predecessor. The hero Pip's intellect is subtly examined, and his growth through a childhood and youth filled with difficult character tests is lovingly but critically followed. Many of the "high expectations" in the book turn out to be unfounded, which is both a critique of the values of the time and an allegory for the flaws and tragedies of the characters. Dickens's final finished book, Our Mutual Friend (1864–1865), continues this critique of material and social ideals. The corruption, complacency, and superficiality of "respectable" society are passionately contested in today's grimmer-than-ever London. Dickens' fictitious world gains a lot of new components, making it expansive and all-encompassing, yet his treatment of the classic comic-eccentrics (such Boffin, Wegg, and Venus) is occasionally tediously mechanical. It's unclear how The Mystery of Edwin Drood (1870), which was never completed, would have progressed. Dickens stepped away from expansive fiction once more in order to focus on a small-scale private activity. The main character was obviously going to be John Jasper, whose preeminent respectability as a cathedral organist stood in stark contrast to his haunting low opium dens and his murdering his nephew out of passionate sexual jealousy. Although he was a great proponent of life, he was equally preoccupied with death, thus it would have been his most thorough portrayal of the themes of crime, evil, and psychological abnormalities that appear throughout his books. Observations made by acquaintances who reconnected with Dickens after a long absence on the American reading tour in 1867–1868 reveal just how much the author had changed personally in his final years. One person wrote, "I sometimes think... I must have known two people carrying the same name, at distinct times in my own life." But just as the fiction, despite many changes, still contained many stylistic and narrative elements that were consistent with the earlier work, so, too, the man continued to be a "human hurricane" despite his advanced age, deteriorating health, and jangled nerves from travel ever since his involvement in a railway accident in 1865. Although weathered, he was "as fast and supple in his motions as ever," according to other Americans. After one of the readings, a journalist observed that his photos "gave no idea of his genial countenance. To us, he seems like a robust, sociable man who enjoys having fun. Dickens, though, was writing "I am practically used up" and a list of the ailments that were "telling heavily upon me" that exact day. He tried to hide his sorrow out of pride and old-fashioned custom. And even if it took some willpower, his former joie de vivre was frequently on display. His American publisher, J.T. Fields, referred to him as "the cheeriest man of his era," while Fields's wife more astutely observed, "Wonderful, the flow of spirits C.D. possesses for a sad man. Though the public's disdain for him was growing, his fame did not fade. When discussing the overwhelming support for him on the American tour, Henry Wadsworth Longfellow said, "One can hardly take in the whole truth about it, and feel the universality of his fame." However, he was "a melancholy guy" in many ways throughout these later years. He was never calm or at ease. He was now leading a less social life and spending more time with youthful acquaintances of a lower caliber than his former circle because many of his old pals were now estranged, deceased, or for other reasons less available. His sons were causing a lot of stress and disappointment, and a friend remarked that all of his renown was for naught since he lacked the essential quality. He is really dissatisfied with his kids. However, his existence wasn't entirely depressing. Gad's Hill was his favorite country home, and he still had the ability to "warm the social environment whenever he arrived with that summer glow which seemed to attend him." The author of that passage, Anthony Trollope's brother T.A. Trollope, who contributed to Dickens' All the Year Round, expressed his anguish at conveying to readers who had never met him any sense of the general appeal of his demeanor. … He laughed heartily, relishing the moment. His passion was unbridled. He was a cheerful, generous, and unmistakably male man.