Dickens And The Unreal City

Dickens's London often acts as a complex symbol, composed of numerous sub-symbols, such as crowd, river, railway networks and police systems. This book is particularly interested in how Dickens's treatment of the city allows him to re-examine traditional Christian discourses on the issues of revelation, renunciation and regeneration.

Dickens's relationship to cities is part of his modernity and his enduring fascination. How he thought about, grasped and conceptualised the rapidly expanding and anonymous urban scene are all fascinating aspects of a critical debate which, starting virtually from Dickens's own time, has become more and more active and questioning of the significance of that new thing, the unknown and unknowable, city. Although Dickens was influenced by several European and American cities, the most significant city for Dickens was London, the city he knew as a boy in the 1820s and which developed in his lifetime to become the finance and imperial capital of the nineteenth-century. His sense of London as monumental and fashionable, modern and anachronistic, has generated a large number of writings and critical approaches: Marxist, sociological, psychoanalytic and deconstructive. Dickens looks at the city from several aspects: as a place bringing together poverty and riches; as the place of the new and of chance and coincidence, and of secret lives exposed by the special figure of the detective. Another crucial area of study is the relationship of the city to women, and women's place in the city, as well as the way Dickens's London matches up with other visual representations. This anthology of criticism surveys the field and is a major contribution to the study of cities, city culture, modernity and Dickens. It brings together key previously published articles and essays and features a comprehensive bibliography of work which scholars can continue to explore.

Placing the works of Charles Dickens and Walter Benjamin in conversation with one another, Gillian Piggott argues that the two writers display a shared vision of modernity. Her analysis of their works shows that both writers demonstrate a decreased confidence in the capacity to experience truth or religious meaning in an increasingly materialist world and that both occupy similar positions towards urban modernity and its effect upon experience. Piggott juxtaposes her exploration of Benjamin's ideas on allegory and messianism with an examination of Dickens's The Old Curiosity Shop, arguing that both writers proffer a melancholy vision of a world devoid of space and time for religious experience, a state of affairs they associate with the onset of industrial capitalism. In Benjamin's The Arcades Project and Dickens's Sketches by Boz and Tale of Two Cities, among other works, the authors converge in their hugely influential treatments of the city as a site of perambulation, creativity, memory, and autobiography. At the same time, both authors relate to the vertiginous, mutable, fast-paced nature of city life as involving a concomitant change in the structure of experience, an alteration that can be understood as a reduction in the capacity to experience fully. Piggott's persuasive analyses enable a reading of Dickens as part of a European, particularly a German, tradition of thinkers and writers of industrialization and modernity. For both Dickens and Benjamin, truth appears only in moments of revelation, in fragments of modernity.

Charles Dickens is credited with creating some of the world's best-known fictional characters, and is widely regarded as the greatest novelist of the Victorian age. Even before reading the works of Dickens many people have met him already in some form or another. His characters have such vitality that they have leapt from his pages to enjoy flourishing lives of their own: The Artful Dodger, Miss Havisham, Scrooge, Fagin, Mr Micawber, and many many more. His portrait has been in our pockets, on our ten-pound notes; he is a national icon, indeed himself a generator of what Englishness signifies. In this book Jenny Hartley explores the key themes running through Dickens's corpus of works, and considers how they reflect his attitudes towards the harsh realities of nineteenth century society and its institutions, such as the workhouses and prisons. Running alonside this is Dickens's relish of the carnivalesque; if there is a prison in almost every novel, there is also a theatre. She considers Dickens's multiple lives and careers: as magazine editor for two thirds of his working life, as travel writer and journalist, and his work on behalf of social causes including ragged schools and fallen women. She also shows how his public readings enthralled the readers he wanted to reach but also helped to kill him. Finally, Hartley considers what we mean when we use the term 'Dickensian' today, and how Dickens's enduring legacy marks him out as as a novelist different in kind from others.

Charles Dickens is credited with creating some of the world's best-known fictional characters, and is widely regarded as the greatest novelist of the Victorian age. Even before reading the works of Dickens many people have met him already in some form or another. His characters have such vitality that they have leapt from his pages to enjoy flourishing lives of their own: The Artful Dodger, Miss Havisham, Scrooge, Fagin, Mr Micawber, and many many more. His portrait has been in our pockets, on our ten-pound notes; he is a national icon, indeed himself a generator of what Englishness signifies. In this Very Short Introduction Jenny Hartley explores the key themes running through Dickens's corpus of works, and considers how they reflect his attitudes towards the harsh realities of nineteenth century society and its institutions, such as the workhouses and prisons. Running alonside this is Dickens's relish of the carnivalesque; if there is a prison in almost every novel, there is also a theatre. She considers Dickens's multiple lives and careers: as magazine editor for two thirds of his working life, as travel writer and journalist, and his work on behalf of social causes including ragged schools and fallen women. She also shows how his public readings enthralled the readers he wanted to reach but also helped to kill him. Finally, Hartley considers what we mean when we use the term 'Dickensian' today, and how Dickens's enduring legacy marks him out as as a novelist different in kind from others. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable. · This book was previously published in hardback as Charles Dickens: An Introduction

Charles Dickens once commented that in each of his Christmas stories there is “an express text preached on . . . always taken from the lips of Christ.” This preaching, Linda M. Lewis contends, does not end with his Christmas stories but extends throughout the body of his work. In Dickens, His Parables, and His Reader, Lewis examines parable and allegory in nine of Dickens’s novels as an entry into understanding the complexities of the relationship between Dickens and his reader. Through the combination of rhetorical analysis of religious allegory and cohesive study of various New Testament parables upon which Dickens based the themes of his novels, Lewis provides new interpretations of the allegory in his novels while illuminating Dickens’s religious beliefs. Specifically, she alleges that Dickens saw himself as valued friend and moral teacher to lead his “dear reader” to religious truth. Dickens’s personal gospel was that behavior is far more important than strict allegiance to any set of beliefs, and it is upon this foundation that we see allegory activated in Dickens’s characters. Oliver Twist and The Old Curiosity Shop exemplify the Victorian “cult of childhood” and blend two allegorical texts: Jesus’s Good Samaritan parable and John Bunyan’s ThePilgrim’s Progress. In Dombey and Son,Dickens chooses Jesus’s parable of the Wise and Foolish Builders. In the autobiographical David Copperfield, Dickens engages his reader through an Old Testament myth and a New Testament parable: the expulsion from Eden and the Prodigal Son, respectively. Led by his belief in and desire to preach his social gospel and broad church Christianity, Dickens had no hesitation in manipulating biblical stories and sermons to suit his purposes. Bleak House is Dickens’s apocalyptic parable about the Day of Judgment, while Little Dorrit echoes the line “Forgive us our debts as we forgive our debtors” from the Lord’s Prayer, illustrating through his characters that only through grace can all debt be erased. The allegory of the martyred savior is considered in Hard Times and A Tale of Two Cities. Dickens’s final completed novel, Our Mutual Friend, blends the parable of the Good and Faithful Servant with several versions of the Heir Claimant parable. While some recent scholarship debunks the sincerity of Dickens’s religious belief, Lewis clearly demonstrates that Dickens’s novels challenge the reader to investigate and develop an understanding of New Testament doctrine. Dickens saw his relationship with his reader as a crucial part of his storytelling, and through his use and manipulation of allegory and parables, he hoped to influence the faith and morality of that reader.

From 1895 to 1915, Chinese translations of Dickens's fiction first appeared as part of a growing interest in Western literature and culture among Chinese intellectuals. Klaudia Hiu Yen investigates the multifarious ways in which Dickens’s works were adapted, reconfigured, and transformed for the Chinese readership against the turbulent political and social conditions in the last stages of the Qing dynasty (1644-1912) and the early Republic (1912-1949). Moving beyond the 'Response to the West’ model which often characterises East-West interactions, Lee explores how Chinese intellectuals viewed Dickens’s novels as performing a particular social function; on occasion, they were used to advance the country’s social and political causes. Translation and adaptation became a means through which the politics and social values of the original Dickens texts were undermined or even subverted. Situating the early introduction of Dickens to China within the broader field of Victorian studies, Lee challenges some of the theoretical and conceptual underpinnings of the ’global’ turn, both in Dickens scholarship and in Victorian studies in general.