DH (Digital Humanities): MIT Moral Machine and CLiC Dickens Project
DH (Digital Humanities): MIT Moral Machine and CLiC Dickens Project
Hello Everyone, this blog is written as a response to a task which is assigned by Dr. Dilip Barad Sir. In this blog I discuss about this topic DH: MIT Moral Machine and CLiC Dickens Project. For further info click here.
☆ Body Language and Characterisation :-
The characters from the works, like dramas and novels, play a vital role in them. And their body language makes a huge impact on viewers. The body language has its own language to convey the major message and drive the viewers throughout the storytelling. The nonverbal cues that humans employ to communicate are referred to as body language. These consist of posture, eye movements, facial expressions, and gestures. The portrayal of characters and storytelling can both benefit from an understanding of and good use of body language. Characterization is the process by which an author or actor creates and develops a character.
Whereas chin occurs 317 times in Dickens's Novels, which contains 15 books, it only occurs 1 time in Austen, which contains 7 books.
The use of Chin in Dickens's Novels :-
Charles Dickens masterfully uses physical descriptions to enhance character development in his novels, often focusing on facial features like the chin. A strong, well-defined chin in Dickens' works typically symbolizes strength, determination, and confidence, while a weak or receding chin can indicate timidity or lack of resolve.
Dickens often employed these stereotypes to quickly establish a character’s nature. For example, villains might be depicted with angular, sharp features, including a pointed chin, to evoke a sense of cunning or malevolence. One can see that Mr. Jaggers in "Great Expectations", Mr. Jaggers, the lawyer, is described as having a "large head" and "large shining bald forehead" with a "deep-set eye." His chin is firm and square, reinforcing his authoritative and intimidating presence. Mr. Bumble ("Oliver Twist"), his double chin emphasizes his gluttony and self-importance, adding to his comical and exaggerated portrayal.
For example, in 'Bleak House' Novel, 'I thought he was very strange, or at least that what I could see of him was very strange, for he was wrapped up to the chin, and his face was almost hidden in a fur cap with broad fur straps at the side of his head fastened under his chin; but I was composed again, and not afraid of him. So I told him that I thought I must have been crying because of my godmother's death and because of Mrs. Rachael's not being sorry to part with me.' By mentioning that the figure is wrapped up to the chin, Dickens underscores the narrator’s perception of the character as strange or unusual. This physical description mirrors the narrator's emotional state and adds to the atmosphere of the scene. Dickens' use of the word "chin" in this passage is part of his broader technique of using physical description to deepen characterization and evoke specific emotional responses. The way he describes the character helps establish the mood and reflect the narrator's feelings, while also potentially symbolizing deeper themes or character traits.
The use of Chin in 19th Century :-
In literature, including Charles Dickens’ works, the chin could be used symbolically to convey character traits. A “firm chin” might suggest determination or stubbornness, while a “weak chin” could indicate timidity or indecision. 'Haggard and ghastly though it was from recent suffering and long agitation, the countenance of Goisvintha (for it was she) appeared absolutely attractive as it was now opposed by the lamp-light to the face and figure of the individual she addressed. A flat nose, a swarthy complexion, long, coarse, tangled locks of deep black hair, a beardless, retreating chin, and small, savage, sunken eyes, gave a character almost bestial to this man's physiognomy.' In this, the "beardless, retreating chin" is used to enhance the overall unattractiveness of the Hun. In the context of the period’s literature, such a description serves to emphasize the character’s perceived lack of refinement or strength.
In 19th-century literature, noble or heroic characters often have a strong, prominent chin. This feature symbolizes strength, decisiveness, and moral integrity. A well-defined chin can convey a sense of leadership and courage. Examples, Characters like Dickens’ Fagin from Oliver Twist or Conan Doyle’s Professor Moriarty in the Sherlock Holmes series might be described with less pronounced chins to emphasize their villainous nature. In 'The Picture of Dorian Gray' by Oscar Wilde, Dorian Gray, the protagonist, is described with youthful beauty and refinement, which is evident in his physical features, including his chin. His appearance is meticulously crafted to embody the ideals of aestheticism and youth. Wilde’s portrayal of Dorian often highlights his strong and attractive chin, symbolizing his outward charm and allure. on the other hand, Lord Henry’s chin, along with his overall demeanor, conveys his influence and the seductive power he wields over Dorian. The chin here might be used to underline Lord Henry's authority and the confidence he exudes, which aligns with his role as a corrupter of Dorian.
The use of Chin in Jane Austen's Novel :-
In Austen’s novels, the chin can symbolize various aspects of a character’s social standing or demeanor. For example, in 'Pride and Prejudice', Mr. Darcy’s "proud" chin is often mentioned in the context of his aloofness and haughty demeanor. Austen also uses descriptions of the chin to reflect characters’ emotional states or moral qualities. In 'Sense and Sensibility', the contrasting physical descriptions of Elinor Dashwood and Marianne Dashwood include subtle details that hint at their differing temperaments.
In 'Pride and Prejudice', Mr. Collins is described as having a "weak" chin, which subtly emphasizes his obsequious and subservient nature. Example, when Elizabeth Bennet first meets Mr. Collins, his physical appearance, including his weak chin, reinforces his sycophantic character. Austen uses this to satirize the clergy and social climbers who prioritize status over genuine morality. A well-defined chin is often associated with determination and strength of character. Characters with strong chins, like Mr. Darcy, are portrayed as decisive and morally upright, while those with weak chins, like Mr. Collins, are depicted as lacking in resolve and easily swayed by others. In "Pride and Prejudice," Jane Austen’s use of the word "chin" and its variations is a deliberate and insightful tool for character development and social commentary.
"Jane and Elizabeth looked at each other, and the waiter was told he need not stay. Lydia laughed, and said: "Aye, that is just like your formality and discretion. You thought the waiter must not hear, as if he cared! I dare say he often hears worse things said than I am going to say. But he is an ugly fellow! I am glad he is gone. I never saw such a long chin in my life. Well, but now for my news; it is about dear Wickham; too good for the waiter, is it not? There is no danger of Wickham's marrying Mary King. There's for you! She is gone down to her uncle at Liverpool: gone to stay. Wickham is safe." (Pride and Prejudice, Jane Austen, Chapter 39)
Austen’s use of irony is evident in this passage. Lydia, who herself lacks discretion and maturity, criticizes the waiter for his appearance while remaining oblivious to the implications of her own behavior. This irony adds a layer of humor to the novel, even as it underscores more serious themes. Lydia’s comment about the waiter having a long chin is casual and superficial, indicative of her frivolous and immature nature. By focusing on the waiter's appearance, she reveals her tendency to judge others based on trivial physical attributes rather than their character or actions. Lydia's focus on the waiter's physical appearance, specifically his chin, underscores her shallow and immature personality. Lydia’s comment reflects the broader societal tendency to judge people based on their physical features.
☆ Setting and Atmosphere in novels :-
Austen’s novels often have female protagonists, which naturally leads to a higher frequency of words related to women, their roles, and experiences. Austen’s novels frequently explore themes of marriage, social status, and the limited roles available to women, which necessitates a focus on female characters and their perspectives, example like 'Pride and Prejudice' Novel.
Dickens frequently describes characters in vivid physical detail, often using body parts to convey personality traits and social conditions. Dickens’s frequent references to body parts may reflect his broader aim of portraying the harsh realities of Victorian life, example like 'Hard Times', 'Bleak House' etc. Detailed settings, including the physical conditions of characters, help to immerse readers in the gritty reality of Victorian England.
The analysis of keyword frequency and context in Jane Austen’s and Charles Dickens’s novels reveals distinct narrative focuses and techniques. Austen’s emphasis on female protagonists and social dynamics contrasts with Dickens’s vivid physical descriptions and social realism. These differences highlight how each author approaches characterization and setting to convey their themes and critiques of society.
Comparative Analysis :-
Charles Dickens represent society in their works through their distinct narrative techniques and the strategic use of words to reflect social dynamics and critique their respective societies. Her use of words in dialogue, irony, and keen social observation allows her to subtly critique the norms and expectations surrounding marriage, class, and gender. For instance, in "Pride and Prejudice," the witty exchanges between Elizabeth Bennet and other characters reveal the complexities of social status and personal relationships, highlighting the limited roles and expectations placed on women. Charles Dickens employs vivid physical descriptions and dramatic narratives to depict the harsh realities of Victorian society. In Austen's view we can see that the famine perspective, and on the other side Charles Dickens's view we can see that the men, societal issue, working class and many more. Austen’s nuanced depiction of romantic relationships goes beyond mere courtship to address the economic and social imperatives driving marriage.
For example, in "Oliver Twist," the squalid conditions of London's underbelly and the distinctive features of characters like Fagin and Bill Sikes serve to highlight the systemic issues and moral decay within society. "Pride and Prejudice," the witty exchanges between Elizabeth Bennet and other characters reveal the complexities of social status and personal relationships, highlighting the limited roles and expectations placed on women. While Austen uses precise, socially observant language to critique societal norms through the lens of personal relationships and social manners, Dickens employs more descriptive and often melodramatic language to expose and challenge the broader socio-economic issues of his time. Both authors, through their masterful use of words, offer powerful commentaries on the societies they depict, albeit through different stylistic approaches and thematic focuses.
Dickens also frequently employs body part nouns such as "eyes" and "hands" to convey deeper character insights and emotional states. another set of words "marry," "marriage," "marrying," "invitation," "dance," and "ball" pertains to romantic relationships and social rituals. These terms are frequently associated with the formal and often public nature of courtship and matrimonial pursuits in Austen's novels.
Conclusion :-
Dickens's detailed portrayal of body parts and settings enhances his depiction of social conditions and character traits. Austen’s emphasis on interpersonal manners and romantic settings reflects her focus on social dynamics and character development. By leveraging digital humanities methods, researchers can more effectively analyze these nuanced aspects of literature, revealing how language and setting contribute to the rich tapestry of character and thematic development in novels.
Comments
Post a Comment