London, Radical Culture, and the Making of the Dickensian Aethetic
Publication Year: 2012
Published by: The Ohio State University Press
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Title Page, Copyright
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C o n t e n t s
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ChApteR 1 Dickens, Thackeray, and “The Language of Radicalism” 13ChApteR 2 The Aesthetics and Politics of Caricature: Bleak House, Little Dorrit, and Vanity Fair in Relation to “Radical Expression” 36ChApteR 3 Re-Visioning the City: The Making of an Urban Aesthetic ChApteR 4 Novelizing the City: Bleak House, Vanity Fair, and the ...
I ll u st rat i o n s
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...1. George Cruikshank, frontispiece to The Political House That Jack Built (1819) 52. George Cruikshank, Coriolanus Addressing the Plebeians (1820) 283. George Cruikshank, from The Queen’s Matrimonial Ladder (1820) 294. William Hogarth, “The Industrious ’Prentice Lord-Mayor of London,” 5. William Hogarth, “The Fellow ’Prentices at their Looms,” Plate 1 of ...
Ac kn owl ed gme n t s
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...t hIs 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 but because it provided a context that helped to explain, in ways London no longer can, some of the central concerns of the Dickensian aesthetic: ...
I n t rodu c t i o n
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In 1859, many years after he had established himself as the preeminent nov- elist of his age, Charles Dickens launched what would, for long after-wards, be considered the definitive edition of his novels. The novels that appeared as part of the Charles Dickens Edition were designed for poster-ity. Each reissued work took the form of a single, freestanding hardbound volume. Every volume, moreover, was embossed with gold lettering and car-...
1. Dickens, Thackeray, and "The Language of Radicalism"
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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 but also about his relationship with certain tech-niques of representation that my “Introduction,” following James Epstein, ...
2. The Aesthetics and Politics of Caricature: Bleak House, Little Dorrit, and Vanity Fair in Relation to "Radical Expression"
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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 in the palace ante-room is satirized but also constituted as part of a process by which the ...
3. Re-Visioning the City: The Making of an Urban Aesthetic from Hogarth to the Stereoscope
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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. This chapter will turn to the ways in which Dickens related ...
4. Novelizing the City: Bleak House, Vanity Fair, and the Hybridizing Challenge
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...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 surveil-lance capable always of penetrating into London’s most obscure corners, ...
5. Radical Culture, the City, and the Problem of Selfhood: Great Expectations and Pendennis
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...t hIs book has focused throughout on the expressive resources that ger-minated 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, and its repre-sentation of the discourses of power, from parliamentary speeches and the ...
6. Working with Fragments: Our Mutual Friend as a Reflection on the Popular Aesthetic
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In MAny wAys, Our Mutual Friend is the most metatexual of Dickens’s novels: it looks back on and continues to develop, in extraordinarily pro-ductive ways, the differing tropes, expressive techniques, and ways of see-ing that have been associated, through the course of this book, with the urban aesthetic. Thus, Our Mutual Friend draws imaginatively on mod-ern capitalism’s capacity to “uproot . . . and make mobile that which is ...
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Page Count: 240
Illustrations: 13 images
Publication Year: 2012