Through close attention to the representation of the reader in ten
of Dickens's novels, this study brings their specifically Victorian
assumptions into direct confrontation with the insights of modern
critical theory. The study locates in Dickens a tendency to so
reanimate the ancient principle of mimesis that not only does the
text become a mirror held up to its reader but, in a radical
revision of our post-Saussurean understanding, language becomes not
so much a deconstructive system of differences as a reconstructive
system of resemblances.
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