The fictional representation of the family has long been regarded
as a Dickensian speciality. But while nineteenth-century reviewers
praised Dickens as the pre-eminent novelist of the family, any
close examination of his novels reveals a remarkable disjunction
between his image as the quintessential celebrant of the hearth,
and his interest in fractured families. Catherine Waters offers an
explanation of this discrepancy through an examination of Dickens's
representation of the family in relation to nineteenth-century
constructions of class and gender. Drawing upon feminist and new
historicist methodologies, and focusing upon the normalising
function of middle-class domestic ideology, Waters concludes that
Dickens's novels record a shift in notions of the family away from
an earlier stress upon the importance of lineage and blood towards
a new ideal of domesticity assumed to be the natural form of the
family.
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