Academic literature on the topic 'Dickens, charles, 1812-1870, fiction'
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Journal articles on the topic "Dickens, charles, 1812-1870, fiction"
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Asst. Prof. Ali Mohammed Segar. "Characteristics of Tragi-Comedy in Charles Dickens's Novel Oliver Twist." journal of the college of basic education 26, no. 106 (March 1, 2020): 1–19. http://dx.doi.org/10.35950/cbej.v26i106.4879.
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The English novelist Charles John Hoffman Dickens (1812-1870) is well known for scholars and students of English literature. His name is always accompanied to some( classics) in the history of the English novel such as: ( Oliver Twist( 1839), David Copperfield (1850), Hard Times ( 1854 ), The Tale of Two Cities ( 1859 )Great Expectations (1860) and other novels. He is one of the most professional novelists of the Victorian age; rather, he is regarded by many critics as the father of the realistic trend and the greatest novelist of his age.
In his fiction, Dickens created some of the world's best-known fictional characters that became prototypes not only in English but in world literature as well. Oliver Twist presents a unique depiction of evil and good characters in English society through a highly serious and powerful conflict full of dramatic events like a traditional tragedy, but the line of action turns to satisfaction and happy end just like a work of comedy. This paper claims that the novelist employs the dramatic genre: Tragi-comedy into a novel by mixing elements of both tragedy and comedy. Although the action in the novel is highly tragic and full of miseries and evil plots, the novel ends happily.
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Larner, A. J. "Charles Dickens (1812–1870) and epilepsy." Epilepsy & Behavior 24, no. 4 (August 2012): 422–25. http://dx.doi.org/10.1016/j.yebeh.2012.05.006.
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Damon, Julien. "La pensée de... - Charles Dickens (1812-1870)." Informations sociales 137, no. 1 (2007): 53. http://dx.doi.org/10.3917/inso.137.0053.
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Allahyari, Keyvan. "Antipodeanism, and Charles Dickens’ Imperialist Undertakings in Depicting Australia." MANUSYA 14, no. 2 (2011): 24–35. http://dx.doi.org/10.1163/26659077-01402002.
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Charles Dickens (1812-1870) was, at once, the most prominent English novelist of the mid-nineteenth century and one of the most industrious workers in facilitating the emigration of the British lower classes to colonial Australia. Throughout his novelistic and journalistic depictions of Australia, Dickens draws upon the textual tradition of the imaginary construction of the southern continent. His writings, therefore, function as complementing pieces for the discursive puzzle of ‘Australia’ and ‘the Australian’ from the Empire’s point of view. I will argue that Dickens’ picture of Australia echoes the tenets of the centuries-held discourse of Antipodeanism. Under the guise of an impartial outlook, Dickens’ writings about the southern colony act as a hegemonic drive to ease the dissemination of imperialist ideas, hence the material domination of Australia. The power-directed aspect of these items, however, remains hidden under a philanthropic veneer. In addition, economic and spatial availability of Australia could not be justified in Dickens’ words, unless the core binarist system of representing the colony in relation to the metropolis is maintained.
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Karam Ahmadova, Latifa. "REALISM IN NINETEENTH-CENTURY ENGLISH LITERATURE." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 117–20. http://dx.doi.org/10.36719/2663-4619/61/117-120.
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In England, realism was formed very quickly, because it appeared immediately after the Enlightenment, and its formation occurred almost simultaneously with the development of Romanticism, which did not hinder the success of the new literary movement. The peculiarity of English literature is that in it romanticism and realism coexisted and enriched each other. Examples include the works of two writers, Elizabeth Gaskell and Charlotte Bronte. However, the discovery and confirmation of realism in English literature is primarily associated with the legacy of Charles Dickens (1812-1870) and William Makepeace Thackeray (1811-1863). The works of Charles Dickens differ not only in the strengthening of the real social moment, but also in the previous realist literature. Dickens has a profoundly negative effect on bourgeois reality. Key words: England, realism, literary trend, bourgeois society, utopia, unjust life, artistic description
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Franco, Gustavo Naves. "Modos ficcionais e historicidade: Charles Dickens, Franz Kafka, Raymond Carver." História da Historiografia: International Journal of Theory and History of Historiography 7, no. 16 (December 31, 2014): 121–37. http://dx.doi.org/10.15848/hh.v0i16.824.
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O artigo propõe uma leitura comparativa das obras de Charles Dickens (1812-1870), Franz Kafka (1883-1924) e Raymond Carver (1938-1988), com base na “Teoria dos Modos” de Northrop Frye. Neste percurso, os diferentes usos do modo cômico e do modo trágico são analisados como signos de historicidade que acompanham transformações culturais verificadas entre os séculos XIX e XX no ocidente. Observa-se, então, que os contrapontos modais recorrentes em cada autor criam uma dinâmica de identidades e diferenças entre suas narrativas, bem como entre os textos e as circunstâncias contextuais em que emergem. E, por fim, é indicada uma possibilidade de mobilização desses recursos analíticos para o entendimento de aspectos da relação entre literatura e sociedade no período pós-1945, quando a proeminência do modo trágico confere relevância distintiva às manifestações pontuais do cômico na ficção.
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Prasetyo, Agung, and Wildah Saputri. "Analysis of Main Character Amy Dorrit in the Film "Little Dorrit" by Charles Dickens." Candradimuka: Journal of Education 1, no. 1 (January 7, 2023): 23–31. http://dx.doi.org/10.60012/cje.v1i1.24.
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Purpose This study the author wants to analyze the main character Amy Dorrit in the film Little Dorrit by Charles Dickens (1812-1870). The author hopes that students of Indraprasta PGRI University and other readers will know more about Dickens' work and ideas. The research used descriptive qualitative method. The research was conducted in two ways; the first source of data, the author used Little Dorrit. The second source of data the author uses opinions and criticisms about the film Little Dorrit, information about the character of the girl in the Victorian era and the biography of Charles Dickens, in addition to that the author also uses a literary approach to analyze the film. The main character in the film Little Dorrit is Amy Dorrit. Amy, otherwise known as Little Dorrit, lives in the Marshalsea Prison with her father, William, who is the prison's longest serving inmate. Although born and bred in the prison, Amy is far from being downtrodden and has grown up to be a gentle and kind-hearted yet enterprising and spirited young woman. Amy became a major figure in this story because of the intensity of his presence from the beginning to the end of the story and has a relationship with each character in the story. Character that is in the main character is kind, merciful, modest, and polite. The writer analyses the subordinate leaders such as attitudes, and actions to clarify the nature and affect the main character.
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Sadoon, Majid, and Saja Al-Aassam. "Phonological Deviations in Dickens Hard Times." Kufa Journal of Arts 1, no. 8 (September 19, 2023). http://dx.doi.org/10.36317/kaj/2011/v1.i8.13410.
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Charles Dickens (1812-1870) achieved a recognizableplace among English writers through the use of the stylisticfeatures in his fictional language. This study is concernedwith Dickens' unique fictional language, used in one of hisnovels entitled "Hard Times", in relation to phonologicaldeviation from settled norms in English. It endeavors toshow Dickens' manipulating language and the effectsachieved through this manipulation.This research investigates Dickens' use of languagewhich deviates from the linguistic norm phonologically. Assuch, it is hypothesized that Dickens used phonologicaldeviation to show the character's social class.The study aims to analyze the types of phonologicaldeviations in Dickens' "Hard Times". It determines thereasons behind these deviations, and how that reflects
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Abraham, Adam. "Dickens in Motion: Still Moving after Two Hundred Years." English Studies in Latin America: A Journal of Cultural and Literary Criticism, no. 3 (June 22, 2023). http://dx.doi.org/10.7764/esla.61739.
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The following is a meditation on the career of English novelist Charles Dickens (1812–1870), on the occasion of the two hundredth anniversary of his birth. Taking its cue from Jonathan H. Grossman’s Charles Dickens’s Networks, this piece reflects on the themes of Dickens and motion (the role of public transport in his novels), Dickens and emotion (his determination to move his readers), and Dickens in motion (his personal restlessness).
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"Charles Dickens, 1812-1870: An Anthology from the Berg Collection. 2nd ed.Lola L. Szladits." Papers of the Bibliographical Society of America 84, no. 2 (June 1990): 195. http://dx.doi.org/10.1086/pbsa.84.2.24303105.
Full textDissertations / Theses on the topic "Dickens, charles, 1812-1870, fiction"
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Waters, Catherine. "The politics of the family in Dickens's fiction." Thesis, The University of Sydney, 1992. https://hdl.handle.net/2123/26450.
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On 12 June 1858, habitual readers of Household Words were amazed to find a proclamation on the front page announcing the editor's from his wife, the differences which had separation and attempting to controvert rumours addressed himself occasioned it. Dickens about to the public under the heading " PERSONAL":
Some domestic trouble of mine, of long-standing, on which I will make no further remark than that it claims to be respected, as being of a sacredly private nature, has lately been brought to an arrangement, which involves no anger or ill-will of any kind, and the whole origin, progress, and surrounding circumstances of which have been, throughout, within the knowledge of my children. It is amicably composed, and its details have now but to be forgotten by those concerned in it. By some means, arising out of wickedness, or out of folly, or out of inconceivable wild chance, or out of all three, this trouble has been made the occasion of misrepresentations, most grossly false, most monstrous, and most cruel - involving, not only me, but innocent persons dear to my heart, and innocent persons of whom I have no knowledge, if indeed, they have any existence - and so widely spread, that I doubt if one reader in a thousand will peruse these lines, by whom some touch of the breath of these slanders will not have passed, like an unwholesome air.
The simile of pollution recalls the imagery of disease spread by noxious winds, so prevalent in Bleak House, and indicates the strength and vehemence of Dickens's indignation. But according to his friend Percy Fitzgerald, the belief that all his readers had heard of some slander concerning his domestic trouble was a "delusion" on Dickens's part:
People were all but bewild ered and almost stunne d, so unexpe cted was the revelat ion. Everyone was for the most part in supreme ignorance of what the document could possibly refer to.
As a result, Dickens's declared wish, in writing this document, to "circulate the Truth," was overshadowed by the titillating revelation made to otherwise uninformed people that the man held to be "so peculiarly a writer of home life, a delineator of household gods, "3 was embroiled in a domestic scandal.
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RAZANANTSOA, GAYET LALAO FARA. "La question du sujet dans la fiction de charles dickens : oliver twist, david copperfield et great expectations." Lyon 2, 1999. http://www.theses.fr/1999LYO20020.
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La fiction dickensienne met en scene ce qui permet l'avenement d'un sujet a l'ordre symbolique de la parole. La diegese des trois romans choisis illustre comment le desir vient s'articuler a la loi de l'interdit, lorsqu'un processus de substitution permet a l'innommable de se faire entendre a travers les rets du discours, regulant ainsi le rapport du sujet a l'objet du desir. Notre tache, en tantque lecteur, a consiste a etre a l'ecoute de cette parole venue d'ailleurs, d'etudier le travail d'un texte qui voile et devoile a la fois le desir qu'il tait et l'impuissance a le dire, tout en disant sous une forme travestie son incapacite a taire ce desir. Notre but a ete de recenser les elements textuels et narratifs contribuant a l'elaboration de cette parole inconsciente, de voir "comment cela se fait texte" a l'aide de l'ecran de la fiction, et parfois de deceler ce qu'un langage apparemment chaotique vient a convoquer et invoquer. Ce parcours nous a permis d'entrevoir, dans des instants fugitifs, la beaute poetique des textes dickensiens, lorsque la lettre inconsciente, en frolant les bords de l'impossible a dire, ouvre une voie a la voix du desir, nous faisant ainsi parvenir les echos de ses cris dans l'ecrit.
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Moon, Sangwha. "Dickens in the Context of Victorian Culture: an Interpretation of Three of Dickens's Novels from the Viewpoint of Darwinian Nature." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc279322/.
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The worlds of Dickens's novels and of Darwin's science reveal striking similarity in spite of their involvement in different areas. The similarity comes from the fact that they shared the ethos of Victorian society: laissez-faire capitalism. In The Origin of Species, which was published on 1859, Charles Darwin theorizes that nature has evolved through the rules of natural selection, survival of the fittest, and the struggle for existence. Although his conclusion comes from the scientific evidence that was acquired from his five-year voyage, it is clear that Dawinian nature is reflected in cruel Victorian capitalism. Three novels of Charles Dickens which were published around 1859, Bleak House, Hard Times, and Our Mutual Friend, share Darwinian aspects in their fictional worlds. In Bleak House, the central image, the Court of Chancery as the background of the novel, resembles Darwinian nature which is anti-Platonic in essence. The characters in Hard Times are divided into two groups: the winners and the losers in the arena of survival. The winners survive in Coketown, and the losers disappear from the city. The rules controlling the fates of Coketown people are the same as the rules of Darwinian nature. Our Mutual Friend can be interpreted as a matter of money. In the novel, everything is connected with money, and the relationship among people is predation to get money. Money is the central metaphor of the novel and around the money, the characters kill and are killed like the nature of Darwin in which animals kill each other. When a dominant ideology of a particular period permeates ingredients of the society, nobody can escape the controlling power of the ideology. Darwin and Dickens, although they worked in different areas, give evidence that their works are products of the ethos of Victorian England.
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Ferron-Haghighat, Anne. "La famille victorienne à travers les œuvres de Charles Dickens : entre la réalité et la fiction." Paris 4, 1999. http://www.theses.fr/1999PA040095.
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La première partie de cette thèse offre un aperçu des conditions sociales et économiques dans lesquelles a émergé la nouvelle idéologie familiale qui s'est imposée au XIXe siècle au sein des classes moyennes. Y sont analysés la fonction normalisatrice de cette idéologie, le développement du culte du foyer et la doctrine de la séparation des sphères féminine et masculine. Après avoir rappelé quelques données historiques sur la structure familiale et la législation en vigueur à l'époque victorienne, l'auteur examine le rôle des femmes, pivots de cette idéologie domestique, dans le maintien du statut et de l'identité de la classe moyenne ainsi que la légitimation de l'ordre social. La seconde partie est consacrée à l'étude des œuvres de Charles Dickens, traditionnellement considéré comme l'un des apôtres du culte du foyer et le chantre des valeurs familiales victoriennes. Pourtant, ses écrits sont marqués par l'ambivalence et les contradictions, ce qui est le sujet principal de ce travail. Les qualités tant célébrées du foyer se révèlent aussi, dans l'imaginaire dickensien, porteuses de potentialités destructrices, l'utopie domestique ne cesse d'apparaitre comme illusoire. La représentation des figures féminines, chez Dickens, à la fois conforte et remet en question la mythologie de l'ange du foyer. Que ce soit dans le traitement du mariage, des relations conjugales ou la mise en scène des liens entre parents et enfants, il ressort une glorification du modèle domestique mais aussi une puissante révolte contre ce même modèle.
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Pingitore, Gavin Viviane. "Charles Dickens, un auteur de transition à la croisée du gothique et du policier." Thesis, Bordeaux 3, 2018. http://www.theses.fr/2018BOR30051/document.
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Afin d'explorer la transition du genre Gothique vers le Policier dans la fiction de Dickens, notre étude suivra un plan général en trois grandes parties, divisées elles-mêmes en trois chapitres chacune. Il s'agira tout d'abord de présenter le contexte sociétal qui a conduit à la collision de deux genres littéraires, le Gothique et le Policier. Pour cela nous définirons les caractéristiques du Gothique dickensien. Dickens met en scène un univers doublement familier – un univers qui appartient au passé, un monde réel connu de ses lecteurs, mais également un univers qui appartient à l'histoire de la fiction, qui relève d'une intertextualité forte, que l'on pourrait qualifier de typique, aisément partagée par ses lecteurs. En second lieu, nous nous tournerons vers les effets de cette transition violente sur la mémoire des personnages, en définissant d'abord l'expression du trauma dans la fiction de Dickens. Nous verrons que le trauma repose en particulier sur le trouble identitaire que créent le sentiment d'une faillite de l'appartenance, ainsi que la disparition des repères que les Victoriens, et les personnages que Dickens met en scène, pensaient immuables. Dans un troisième temps, nous montrerons comment le Gothique et le Policier interagissent dans la fiction de Dickens, en analysant les éléments de société qui expliquent, à notre avis, cette rencontre presque contre nature – puisqu'on pourrait supposer que l'explication rationnelle obtenue au terme d'une fiction policière résolve les tensions gothiques. Nous verrons qu'il n'en est rien, et que la résolution des enquêtes ne libère pas complètement la fiction d'un après-coup gothique. Afin d'illustrer cette ligne d'analyse, nous étudierons la passation des pouvoirs entre les hommes de loi et les détectives, une passation des pouvoirs visible à la fois dans la société victorienne et dans le texte dickensien, et enfin la rémanence du Gothique qui fait des détectives les antiquaires d'un nouveau genreIn order to investigate the transition from the Gothic genre to the detective fiction in Charles Dickens's works, our study will first concentrate on the Victorian social context that led to the collision of two literary genres, the Gothic and the detective fiction. We will define Dickensian Gothic. Actually, Dickens stages a twofold familiar universe. One universe belongs to the past – a real world that is well known to the readers. The second universe shows an insertion in literary history of an intertextual fabric – described as typical and easily shared by his readers. We will then deal with the effects of this violent collision upon the characters' memories and will define the expression of trauma in Dickens's fiction. Trauma primarily rests upon identity confusion. It originates from a sense of failure of identity belonging together with a sense of loss of society bearings that Dickens's characters experience and thought to be immutable. Finally, we will show how Gothic and Detective fictions interact in Dickens's fiction. We will analyse the societal elements that explain this almost against nature meeting for we could assume that the rational explanation that comes at the end of the detective novel should solve the Gothic tensions. But in fact, the solving of the inquests doesn't free the fiction from a Gothic aftermath. We will then study the transfer of powers from lawyers to detective police officers. This transfer of powers is noticeable both in Victorian society and the Dickensian text. We will then conclude with the persistence of Gothic in Dickens's fiction that makes detective police officers some sort of antiquarians of a new genre
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JUBAULT, RICHARD. "L'hysterie chez charles dickens." Rennes 1, 1992. http://www.theses.fr/1992REN1M098.
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Bentley, Colene. "Constituting political interest : community, citizenship, and the British novel, 1832-1867." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36875.
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This dissertation asserts a strong connection between democratic culture and the novel form in the period 1832--1867. As England debated constitutional reform and the extension of the franchise, novelists Charles Dickens, Elizabeth Gaskell, and George Eliot endeavoured to define human communities on democratic terms. Drawing on work of contemporary political philosopher John Rawls to develop a methodology that considers constitutions and novelistic representations as analogous contexts for reasoning about shared political values and citizenship, this study provides readings of Bleak House, North and South, and Felix Holt that emphasize each novel's contribution to the period's ongoing deliberations about pluralism, justice, and the meaning of membership in democratic life. When read alongside Bentham's work on legislative reform, Bleak House offers a parallel model of social interaction that weighs the values of diversity of thought, security from coercion, and the nature of harmful actions. Felix Holt and North and South are novelistic contributions to defining and contesting the attributes of the new liberal citizen. Through their central characters, as well as in their respective novelistic practices, Eliot and Gaskell highlight the difficulty of uniting autonomous individuals with collective social groups, and this was as much a problem for literary practice in the period as it was for constitutional reform.
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Coats, Jerry B. (Jerry Brian). "Charles Dickens and Idiolects of Alienation." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc277905/.
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A part of Charles Dickens's genius with character is his deftness at creating an appropriate idiolect for each character. Through their discourse, characters reveal not only themselves, but also Dickens's comment on social features that shape their communication style. Three specific idiolects are discussed in this study. First, Dickens demonstrates the pressures that an occupation exerts on Alfred Jingle from Pickwick Papers. Second, Mr. Gradgrind from Hard Times is robbed of his ability to communicate as Dickens highlights the errors of Utilitarianism. Finally, four characters from three novels demonstrate together the principle that social institutions can silence their defenseless constituents. Linguistic evaluation of speech habits illuminates Dickens's message that social structures can injure individuals. In addition, this study reveals the consistent and intuitive narrative art of Dickens.
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Daly, Robyn Anne. "Asleep in a glass coffin: fairy tales as illuminating attitudes to women in the novels of Charles Dickens." Thesis, Rhodes University, 1996. http://hdl.handle.net/10962/d1002270.
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The field of research of this thesis covers three main areas: the novels of Charles Dickens; fairy tales and storytelling; and notions of women as reflected in feminist literary theory. A reading of selected novels by Dickens provides the primary source. That he copiously drew on fairy tales has been explored in such notable works as Harry Stone's, but the thesis concentrates on Dickens 's propensity in his creation of female protagonists to give them a voice which is vivified through fairy tale. The analysis of fairy story through narrative theory and feminist literary theory functions as the basis of an exploration of the role female narrative voices play in a reading of the novels which reveals a more sympathetic vision of the feminine than has been observed hitherto. The context of this study is Victorian attitudes to women and that modem criticism has not sufficiently acknowledged Dickens's insight into of the condition of women; much of this is discovered through an examination of his use of fairy tale wherein the woman is bearer of imaginative and emotional capacities magically bestowed. The research aims to counter the view of Dickens's novels as being sexist, through the iIluminatory characteristics of fairy tale. Dickens activates his women characters by means of their often being tellers of tales replete with fairy tale imagery, and their tales are almost always seminal to the novelist's moral purpose.
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Crowe, Julian. "Money and character in the novels of Charles Dickens." Thesis, University of St Andrews, 1998. http://hdl.handle.net/10023/15063.
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This thesis discusses the relationship between money and character in the novels of Charles Dickens, concentrating mainly on the later novels, from Dombey & Son onwards. Money is extremely important in Dickens's social criticism, and he is always conscious of money-related motives in his conception of character. However, despite its importance and omnipresence, money ought not to be elevated into the key explanatory principle in Dickens's thought. Dickens has been valued for different qualities over the years. Many who value him as an entertainer with a powerful poetic imagination tend to undervalue his social criticism and moralising, and to treat those aspects as non-essential or as belonging to a different side of his life and work. On the other hand those who value him as social and moral critic have combined this with exaggerated claims of thematic coherence. This thesis suggests that we can dispense with such claims while still regarding Dickens's novels as serious contributions to the moral and social debates of his day. A close consideration will be given to most of the later novels, with the intention of placing the money themes alongside other themes, so as to emphasise the many-sidedness of Dickens's social and moral criticism. Other themes explored in the thesis include marriage and the home, and hypocrisy and self-deception. The thesis seeks to do justice to Dickens's thorough-going ambivalence towards money, and to his capacity for revisiting characters and themes from one work to another. The bias of the thesis is towards the personal and individual, but money is inevitably a social topic. Much consideration is therefore given to Dickens's fictional and non- fictional responses to contemporary social problems and attitudes, and also to material not written by Dickens but published by him in Household Words and All the Year Round.
Books on the topic "Dickens, charles, 1812-1870, fiction"
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Storey, Graham. Charles Dickens, Bleak House. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.
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D, Sell Roger, ed. Great expectations, Charles Dickens. New York: St. Martin's Press, 1994.
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Crothers, Samuel McChord. The children of Dickens. Chicago, Ill: Academy Chicago Publishers, 1999.
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Storey, Graham. David Copperfield: Interweaving Truth and Fiction. Boston: Twayne Publishers, 1991.
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Moss, Sidney P. American episodes involving Charles Dickens. Troy, NY: Whitstore, 1998.
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Newsom, Robert. Dickens on the romantic side of familiar things: 'Bleak House' and the novel tradition. [Santa Cruz, Calif.]: Dickens Project, University of California, Santa Cruz, 1988.
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Blishen, Edward. Stand up, Mr. Dickens: A Dickens anthology. London: Orion Children's Books, 1995.
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ill, Bennett Jill, and Dickens Charles 1812-1870, eds. Stand up Mr. Dickens: A Dickens anthology. Boston: Houghton Mifflin, 1996.
Find full textBook chapters on the topic "Dickens, charles, 1812-1870, fiction"
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Hofer-Robinson, Joanna. "Introduction." In Dickens and Demolition, 1–18. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420983.003.0001.
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Sentimental obituaries published after Charles Dickens’s death in 1870 remark that phrases and characters from his fiction “[mingle] with our daily converse and our daily life” (Glasgow Herald, 11 Jun. 1870, p. 4). This is certainly true. However, the convivial tone of this eulogy obscures how literary afterlives were appropriated to argue for material changes to London’s built environment, the effects of which were often misaligned with Dickens’s broadly humanitarian ethos. For example, tropes, extracts, and characters from his novels were mobilised to advocate the demolition of insanitary and overcrowded slum areas, but such modernisations were rarely accompanied by the building of new housing for the displaced population. The introduction to Dickens and Demolition introduces these central concerns of the book: to trace Dickensian afterlives across multiple media and fora; to examine what role these afterlives played in urban development discourses; and to argue that fiction was part of the dialectical relations between past, present and future, through which London’s modernisation was conceived and represented. The chapter also introduces key terminology, such as remediation, appropriation, and adaptation.
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Dasgupta, Ushashi. "Coda." In Charles Dickens and the Properties of Fiction, 275–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859116.003.0008.
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The Coda discusses the changing representations of tenancy after Dickens’s death in 1870. It moves through the fin de siècle, offerings readings of novellas by Wilkie Collins and tracing Dickens’s legacy in these texts. Collins’s novellas use rented space as a prism through which to address broad concerns about modernity. The Coda briefly notes the role of rented space in works by George Gissing, Thomas Hardy, Henry James, and Bram Stoker. It concludes by shifting its focus to the twentieth and twenty-first centuries, and considers examples from literature, film, television, and contemporary installation art, including Tatzu Nishi’s 2002 project, Villa Victoria.
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Mas, Marion. "Dickens, Charles (1812-1870)." In Dictionnaire du fouet et de la fessée, 212–14. Presses Universitaires de France, 2022. http://dx.doi.org/10.3917/puf.poutr.2022.01.0212.
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Bowen, John. "Charles Dickens (1812–1870): Englishman and European." In The Cambridge Companion to European Novelists, 209–26. Cambridge University Press, 2012. http://dx.doi.org/10.1017/ccol9780521515047.014.
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