Dickens's multifacetedness as a writer and the wide range of his appeal to readers help to account for the extraordinarily large field of critical literature that has grown up in response to his work. Many anthologies of criticism devoted to particular works by Dickens have appeared, as have selections illustrating particular approaches to his writing or developments in criticism from the nineteenth to the twentieth century. However, the aim of this new series is to present a survey of the most important critical literature and key texts and thereby bring students and scholars up to date with developments at the forefront of research and provide a clear pathway through the mass of published material on Dickens. The six volumes in the series are organised around key thematic topics. Each volume is edited by a leading authority in the area who also provides a substantial introduction which surveys the current state of the field, identifies formative moments in its emergence, highlights important work and illustrates critical developments in relation to each theme. The essays and articles come from a variety of sources scattered across the globe, some of them now difficult to obtain. The volumes are published in hardcover and printed on acid-free paper suitable for library collections. This series reflects the international reach of Dickens scholarship, provides an authoritative selection of the best recent work and represents a significant resource for libraries and academics interested in easily locating the key modern literature published on Dickens. It is equally useful for scholars and students new to Dickens studies and experienced scholars who may have overlooked an important essay published in a journal with limited circulation.

This book analyses the significance of the special correspondent as a new journalistic role in Victorian print culture, within the context of developments in the periodical press, throughout the second half of the nineteenth century. Examining the graphic reportage produced by the first generation of these pioneering journalists, through a series of thematic case studies, it considers individual correspondents and their stories, and the ways in which they contributed to, and were shaped by, the broader media landscape. While commonly associated with the reportage of war, special correspondents were in fact tasked with routinely chronicling all manner of topical events at home and abroad. What distinguished the work of these journalists was their effort to 'picture' the news, to transport readers imaginatively to the events described. While criticised by some for its sensationalism, special correspondence brought the world closer, shrinking space and time, and helping to create our modern news culture.

The fictional representation of the family has long been regarded as a Dickensian speciality; yet 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. Drawing on feminist and new historicist methodologies, Catherine Waters argues that Dickens' novels record a shift in notions of the family away from stress on the importance of lineage and blood toward a new ideal of domesticity assumed to be the natural form of the family.

In 1850, Charles Dickens founded Household Words, a weekly miscellany intended to instruct and entertain an ever-widening middle-class readership. Published in the decade following the Great Exhibition of 1851, the journal appeared at a key moment in the emergence of commodity culture in Victorian England. Alongside the more well-known fiction that appeared in its pages, Dickens filled Household Words with articles about various commodities-articles that raise wider questions about how far society should go in permitting people to buy and sell goods and services: in other words, how far the laissez-faire market should extend.At the same time, Household Words was itself a commodity. With marketability clearly in view, Dickens required articles for his journal to be 'imaginative, ' employing a style that critics ever since have too readily dismissed as mere mannerism. Locating the journal and its distinctive handling of non-fictional prose in relation to other contemporary periodicals and forms of print culture, this book demonstrates the role that Household Words in particular, and the Victorian press more generally, played in responding to the developing world of commodities and their consumption at mid-century

In 1850, Charles Dickens founded Household Words, a weekly miscellany intended to instruct and entertain an ever-widening middle-class readership. Published in the decade following the Great Exhibition of 1851, the journal appeared at a key moment in the emergence of commodity culture in Victorian England. Alongside the more well-known fiction that appeared in its pages, Dickens filled Household Words with articles about various commodities-articles that raise wider questions about how far society should go in permitting people to buy and sell goods and services: in other words, how far the laissez-faire market should extend. At the same time, Household Words was itself a commodity. With marketability clearly in view, Dickens required articles for his journal to be 'imaginative,' employing a style that critics ever since have too readily dismissed as mere mannerism. Locating the journal and its distinctive handling of non-fictional prose in relation to other contemporary periodicals and forms of print culture, this book demonstrates the role that Household Words in particular, and the Victorian press more generally, played in responding to the developing world of commodities and their consumption at midcentury.

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.

The figure of the child and the imaginative and emotional capacities associated with children have always been sites of lively contestation for readers and critics of Dickens. In Dickens and the Imagined Child, leading scholars explore the function of the child and childhood within Dickens's imagination and reflect on the cultural resonance of his engagement with this topic. Part I of the collection examines the Dickensian child as both characteristic type and particular example, proposing a typology of the Dickensian child that is followed by discussions of specific children in Oliver Twist, Dombey and Son, and Bleak House. Part II focuses on the relationship between childhood and memory, by examining the various ways in which the child's-eye view was reabsorbed into Dickens's mature sensibility. The essays in Part III focus upon reading and writing as particularly significant aspects of childhood experience; from Dickens's childhood reading of tales of adventure, they move to discussion of the child readers in his novels and finally to a consideration of his own early writings alongside those that his children contributed to the Gad's Hill Gazette. The collection therefore builds a picture of the remembered experiences of childhood being realised anew, both by Dickens and through his inspiring example, in the imaginative creations that they came to inform. While the protagonist of David Copperfield-that 'favourite child' among Dickens's novels-comes to think of his childhood self as something which he 'left behind upon the road of life', for Dickens himself, leafing continually through his own back pages, there can be no putting away of childish things.

The Oxford Handbook of Charles Dickens is a comprehensive and up-to-date collection on Dickens's life and works. It includes original chapters on all of Dickens's writing and new considerations of his contexts, from the social, political, and economic to the scientific, commercial, and religious. The contributions speak in new ways about his depictions of families, environmental degradation, and improvements of the industrial age, as well as the law, charity, and communications. His treatment of gender, his mastery of prose in all its varieties and genres, and his range of affects and dramatization all come under stimulating reconsideration. His understanding of British history, of empire and colonization, of his own nation and foreign ones, and of selfhood and otherness, like all the other topics, is explained in terms easy to comprehend and profoundly relevant to global modernity.

The Oxford Handbook of Charles Dickens is a comprehensive and up-to-date collection on Dickens's life and works. It includes original chapters on all of Dickens's writing and new considerations of his contexts, from the social, political, and economic to the scientific, commercial, and religious. The contributions speak in new ways about his depictions of families, environmental degradation, and improvements of the industrial age, as well as the law, charity, and communications. His treatment of gender, his mastery of prose in all its varieties and genres, and his range of affects and dramatization all come under stimulating reconsideration. His understanding of British history, of empire and colonization, of his own nation and foreign ones, and of selfhood and otherness, like all the other topics, is explained in terms easy to comprehend and profoundly relevant to global modernity.