ABSTRACT
Great Expectations was born in England, its symbolic appropriation has not been confined to, or ever been controllable solely by, either European Victorians, or post-Victorian nostalgics bent on commemorating an idealised past. Great Expectations was certainly born into a powerful, extensive and influential family: both Dickens's popular fame and his entrenchment in the Western canon have fed into the novel's remediation in other languages and locations almost since the moment of its first publication. Ankhi Mukherjee has offered a related exploration of what she calls the 'constructedness of the literary artefact' using Freudian and Lacanian psychoanalysis. At the end of the 1990s, Franco Moretti offered the notion of 'literary geography' as a way of trying to understand literature's influence beyond its own linguistic borders, tracking the translation histories of a 'sample of popular British novels' in order to 'measure the internal variation of the European system' of publication, translation, import and export.
