charlie and chocolate factory novel pdf

Charlie And Chocolate Factory Novel Pdf

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To browse Academia. Skip to main content. By using our site, you agree to our collection of information through the use of cookies. To learn more, view our Privacy Policy. Log In Sign Up. Download Free PDF. Charlie and the Chocolate Factory; Versions and Changes. Dominic Cheetham. Download PDF. A short summary of this paper. Charlie and The Chocolate Factory, Versions and Changes Charlie and the Chocolate Factory; Versions and Changes by Dominic Cheetham Sophia University Tokyo It is a well established feature of literary study that changes actively introduced to a text are significant indications of how the operators of a text; the authors, editors, translators and adaptors, attempt to control the interaction between the text and the reading public, and specifically with the implied readership of the text.

This control, in turn, reveals assumptions held by the textual operators about that implied audience. Changes which are made to a text over an extended period of time help to display the way assumptions change within a culture. These changes are, of course, evident in texts produced for a purely adult audience, but are perhaps most noticeable in texts produced for a child audience.

Texts written or marketed for children are commonly subject to quite vigorous and value based criticism such that aspects of the text which would pass unobserved in an adult oriented text are attacked as being in some way inappropriate for a child audience McClure, p The contextual usage of the word is ignored, and the simple fact that a taboo word has been used is sufficient to initiate criticism.

When adapted or simplified versions of Huckleberry Finn are produced, this criticism is sufficiently influential to result in texts purged of the offending vocabulary. Neither the English language text, nor the Japanese translation are marked as revised editions in the published printing histories, and are only marked as new impressions or printing runs of the same text.

It is unlikely that a book aimed at an adult market would be criticised in this way, and even more unlikely that such criticisms would be acted upon. It is interesting also that the changes to the Harry Potter text occurred with the full knowledge and permission of the author, J. However, the object of this paper is not to discuss changes between the various Harry Potter texts, interesting though they are.

The aim here is to lay out and discuss changes to the various editions of the Roald Dahl story Charlie and the Chocolate Factory. Charlie and the Chocolate Factory was first published in in the United States even though the author, Roald Dahl, was an Englishman, living in England at the time of writing and publication. That the first publication was in a foreign country can be explained by the fact that Dahl had previously lived and worked in the United States, and had maintained professional contacts there since his return to England.

Indeed, at the time when Charlie was first published, Dahl was considerably better known and respected as an author in the United States than he was in Britain. Despite this difference in fame and popularity, it is still very significant that the British edition of Charlie was not released in Britain until , three years after the American publication. This was despite a notable degree of financial success, and excellent newspaper and magazine reviews in the United States. James had also failed to find a publisher in Britain, but this was perhaps not quite so significant as the lack of interest in Charlie.

James was popular, and did receive some good reviews, but it was not as well received as Charlie, nor did it sell as well. On financial grounds alone there would have been ample reason to take on the books, whatever their content. In England he did not have this power, and he became very disillusioned by the negative reactions of the British publishing industry. Allen and Unwin soon sent a letter to Dahl expressing interest. Dahl replied with the bluff that several other British publishing houses were interested, and through this bluff gained a very satisfactory publishing deal.

Indeed, since the incredible popularity of the Harry Potter books, it is almost preferred that books be attractive to a mixed audience. Charlie and the Chocolate Factory, once actually published in Britain in , went on, unsurprisingly, to become a very popular and well selling book.

There were objections to some of the content of Charlie, but this was mainly directed to the perceived tastelessness of the book, or occasionally to the very high-handed way in which Mr Willy Wonka treats other people in the book. There was however, a growing unease with the combination of the high-handed treatment of the Oompa-Loompas and the portrayal of the Oompa-Loompas as Pigmies from Africa, and this unease was reflected in the film version of the book entitled Willy Wonka and the Chocolate Factory.

In the film version, the Oompa-Loompas ceased to be black, and were shown as orange skinned with green hair. At the time of editing and publication of Charlie, the fact that the Oompa- Loompas were black Pigmies, imported by Willy Wonka, from Africa in packing cases, without visas, without passports, and brought in to work in a factory, paid not with money but in food and accommodation, never allowed out of the factory, and given no introduction to the new society in which they lived, had not, it seems, made anybody think of the slave trade, of white imperialism or of the social or legal problems of illegally imported cheap, bonded, foreign labour.

Figure 1. The change in the way the Oompa-Loompas were portrayed is commonly thought to have been initiated by a critical essay written by Eleanor Cameron for the October edition of Horn Book Magazine. Treglown p In fact, Treglown, and other commentators on the editorial changes in Charlie may be slightly mistaken.

The changes made were only in relation to the Oompa-Loompas race and origin — nothing else was changed. Now, although the timing suggests that these changes might have been made as a direct result of the Cameron article, it is more likely that the changes came from discussions made during the making of the first film version of Charlie. It is very unlikely that new editions could have been planned, executed and printed in such a short period of time, especially as the new hardback editions were published simultaneously in Britain and the USA, and simultaneously with the first softback editions in both the USA and Britain, and were timed to coincide with the release of the sequel to Charlie and the Chocolate Factory, Charlie and the Great Glass Elevator.

The importance of Dahl himself in the re-editing process is made clear by the fact that changes were made simultaneously in both the British and American editions of Charlie, since Dahl himself would have been the main point of connection between these two publishing houses.

Wonka remains authoritarian, the supposedly tasteless features remain, the violence to the various children remains, and the supposed dual nature of the intended readership also remains firmly unchanged. Indeed, nothing which Cameron specifically criticises is changed in the revised edition. Other Sensitive Features The potentially offensive racial elements of Charlie were changed in the new editions, but these were the only things which were changed.

Obviously, if changes are made to a text for sociopolitical reasons, then changes which are not made are equally as significant as changes which are made.

Changes made show areas which the operators on the text recognise as needing attention, and changes not made are indicative of a relative lack of concern on the part of the textual operators. Cameron made criticisms the same as those which Dahl had already successfully resisted and argued against in the original discussions with his publishers, and which he had reacted angrily against when made by members of the British publishing industry.

Also, it is very unlikely that Dahl would willingly make any changes suggested by Cameron, simply because, thinly disguised as literary criticism, her article had included a very strong personal attack on Dahl himself. She then goes on directly to explain the lack of worth of Charlie and the Chocolate Factory.

It is therefore, very unlikely that such an angry Dahl would willingly introduce any changes suggested by Cameron when Cameron is clearly wrapping personal value judgements in a thin packaging of literary terminology. Here, I shall make brief introduction of the main points of potential sensitivity.

In the original, the revised edition, and the edition illustrated by Michael Foreman there are illustrations which clearly show a dark skinned prince clothed in traditional Indian dress. Mr Wonka warns him that the chocolate will melt, but the Prince does not believe him. Naturally, Wonka is proved correct, and the palace melts under the hot Indian sun. Such a portrayal of incredible stupidity in a stereotyped racial icon should have at least resulted in discussion as it is easily as racist as the original representation of the Oompa-Loompas, but to this day it remains as it appeared in the first edition, and appears to provoke little or no discussion in the Literature.

In Britain at least, this is an extremely insensitive oversight. At the end of there was an incredible influx into Britain of 30, people of Indian and Pakistani origin, expelled by Idi Amin from Uganda and hoping to find new homes and lives in Britain.

These people were expelled from their homes with no personal belongings or wealth, and upon arriving in Britain suffered a great deal of reactionary racism. As such, Chapter 3 of Charlie is potentially extraordinarily sensitive in a British context, but sees no revision. Prince Pondicherry. We are given a fraudulent ticket finder from Russia p38 , and the unpleasant other children in the story are for the most part identifiable as American.

Augustus Gloop is of indeterminate nationality, but obesity has long been seen by the British as a particularly American disease. Veruca Salt is probably American, as her father own a peanut factory. Peanut factories are not a common feature of British industry, but are much more clearly associated with the United States.

Mike Teavee can also be seen as American, as his fault is that he likes television too much, especially the gangster shows, and gangsters with guns are inseparably associated with the United States.

Only the hard working and uncomplaining, happily subservient Oompa- Loompas are positive — they fit the childlike image of helpful, innocent, obedient African natives. Apart from the possible legal problems, the employer, Wonka, is not seen as having any responsibility towards the people who rely upon him for their living. He was so nice. And he made such marvellous things. Mr Wonka shows a similar disregard for the Oompa-Loompas as his new workers.

He treats them almost as pets, he gives them no freedom, no pay except for board and lodging, and allows them no contact with the outside world. Wonka, with his top hat, his wealth, even his eccentricity, is clearly seen as a member of the upper classes, and his arrogance and insensitivity are clearly bound up in that image. Others who are rich, but who are not graced by class, are presented as crass or tasteless.

The parents of the other four children are all well off financially, some are even rich, but their wealth is the tainted wealth of trade and manufacturing, and they are presented as examples of people who are stupid, uncultured, but rich; people who have advanced beyond their natural station in life and who are justly punished for it. The crowd in their extreme reaction assert their acceptance of the special status of the person assaulted.

Nice poor people are polite, clean, honest, hard working, they never complain, their clothes have patches but they are always cleanly washed, their shoes are old but they are neatly polished, they fully accept their place in society and blame no-one for it. The nasty poor were rude, angry, dirty, criminal, probably with alcoholic fathers, sluttish mothers and bullying, aggressive children.

Being poor was presented almost as the noble sacrifice which allows their betters to be comfortably rich. Often as not, the rewards for being the nice kind of poor people would be to receive a small, but well deserved elevation in social status, for which the lucky recipients were properly and dutifully grateful.

The stereotype is a very firm justification of the class system, and an equally firm criticism of those who are ungrateful enough to question the system. But there is no other book by Dahl which is so clearly critical. Do not over-eat, do not chew gum, do not watch too much television, and do not demand to get the things you want. He wins the prize simply by virtue of being the only one left. Charlie Bucket, as his name implies, is an empty vessel behaving only as an icon of adult views of a good, polite, obedient child.

What he really thinks or feels is not relevant to the story, he only needs to be passively good, polite and obedient. It makes them tiddly. You can here them in there now, whooping it up. They like that best of all. Buttergin and tonic is also very popular. The historical evidence on the effects on alcohol on the native American and Australian populations, and the use of alcohol as a controlling factor with bonded or exploited labour, does not need stressing.

Texts for children are under greater pressure than texts for adults to conform to current standards of political correctness. Mostly this kind of pressure does not result in changes to an already published text, as changes are normally made by authors in anticipation of social expectation, or are recommended by editors prior to publication. Editors, publishing houses and authors are usually well aware of the possible criticisms, and are eager to avoid negative responses from the critics, or from the general public, and they avoid possibly offensive material from the beginning.

Questions of race, imperialism, industrial relations, class, gender, and alcohol abuse were of much less concern.

charlie and the chocolate factory book summary pdf

He shut down the factory and fired everyone because he was furious about the fact that his competition was stealing his recipes with the help of their spies who worked in the factory. One of his books even inspired Walt Disney to make a cartoon about little gremlins that destroyed airplane motors. He spent most of his youth in Africa in an oil company. Grandpa Joe was the oldest of the four grandparents. The next in line was the room where squirrels were preparing the walnuts. He bought a chocolate and gave the rest to his mom.

Roald.Dahl_Charlie-and-the-Chocolate-Factory-EN.pdf

Want to get the main points of Charlie and the Chocolate Factory in 20 minutes or less? Read a quick 1-Page Summary, a Full Summary, or watch video summaries curated by our expert team. Charlie is a poor young boy who lives with his family in a tiny wooden house on the edge of the city. He has four grandparents, Mr.

The story features the adventures of young Charlie Bucket inside the chocolate factory of eccentric chocolatier Willy Wonka. Knopf, Inc. Dahl had also planned to write a third book in the series but never finished it. The story was originally inspired by Roald Dahl's experience of chocolate companies during his schooldays.

Charlie and the Chocolate Factory Book Summary, by Roald Dahl

This book is fantastic it is about a very poor boy named Charlie Bucket.

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4 comments

Diana M.

Literature opens new insights into life and language.

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Scalariner

Roald. Dahl is one of the most successful and well known of all children's writers. His books, which are read by children the world over, include. The BFG and The​.

REPLY

Janice L.

Adapted from the original text, Charlie and the Chocolate Factory by Roald Dahl. Chapter 3: Mr. Wonka and the Indian Prince. 3.

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Belinda L.

Charlie can't believe his luck when he finds a golden ticket and wins the trip of a lifetime around the famous factory. Copyright: Book Details. Book Quality.

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