Cover

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pp. 1-3

Title Page, Copyright

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pp. 4-7

Contents

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pp. v-vi

List of Illustrations

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pp. vii-viii

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Acknowledgments

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pp. ix-xii

This book, which is about Charles Dickens and the popular print and visual culture of nineteenth-century Britain, has been written almost entirely in India. My location in Delhi turned out to be very helpful not because it enabled me to sustain some shopworn postcolonial perspective ...

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Introduction

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pp. 1-12

In 1859, many years after he had established himself as the preeminent novelist of his age, Charles Dickens launched what would, for long afterwards, be considered the definitive edition of his novels. The novels that appeared as part of the Charles Dickens Edition were designed for posterity. ...

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1. Dickens, Thackeray, and "The Language of Radicalism"

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pp. 13-35

In a letter to Mrs. Brookfield, written a few months before he resigned from Punch, Thackeray declared that he found it impossible to “pull in the same boat” with a “savage little Robespierre” like Douglas Jerrold.1 Thackeray’s outburst is significant for what it reveals not only about his overt political opinions ...

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2. The Aesthetics and Politics of Caricature: Bleak House, Little Dorrit, and Vanity Fair in Relation to "Radical Expression"

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pp. 36-64

In chapter 30 of Pendennis, Archer, a pillar of the “Corporation of the Goosequill,” boasts of his encounter in the palace anteroom with the Lord Chamberlain, who walked in “holding the royal tea cup and saucer in his hand” (vol. 1, 313). This vignette is significant because in it Archer’s claim about providing an insider’s account of activities ...

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3. Re-Visioning the City: The Making of an Urban Aesthetic from Hogarth to the Stereoscope

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pp. 65-93

My focus so far has been on “radical expression” as an important presence in the print market of the early nineteenth century and on the ways in which it shaped Dickens’s fiction. One way in which radical expressive techniques affected Dickens’s fiction was in terms of moving it away from the more realistic forms of novel writing embodied in the work of Thackeray. ...

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4. Novelizing the City: Bleak House, Vanity Fair, and the Hybridizing Challenge

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pp. 94-115

Hogarth’s dream of a comprehensively mapped city that would allow access to its darkest and most criminalized corner continued to remain potent in Bleak House—a novel that appeared more than a hundred years after the publication of Industry and Idleness. Thus Bleak House makes a powerful ideological investment in Inspector Bucket as an agent of surveillance ...

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5. Radical Culture, the City, and the Problem of Selfhood: Great Expectations and Pendennis

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pp. 116-140

This book has focused throughout on the expressive resources that germinated in radical culture and in popular visual representations of the city and on the effect that these expressive resources had on some of the fundamental features of the Dickensian novel: its organization of time and space, its modes of characterization and plot construction, ...

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6. Working with Fragments: Our Mutual Friend as a Reflection on the Popular Aesthetic

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pp. 141-162

In many ways, Our Mutual Friend is the most metatexual of Dickens’s novels: it looks back on and continues to develop, in extraordinarily productive ways, the differing tropes, expressive techniques, and ways of seeing that have been associated, through the course of this book, with the urban aesthetic. ...

Notes

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pp. 163-176

Bibliography

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pp. 177-183

Index

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pp. 184-188

Back Cover

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pp. 204-204