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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.
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
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.
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 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.
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 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.
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 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.
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