Pub Date : 2023-08-18DOI: 10.1353/dqt.2023.a904847
Iain Crawford
warrants more attention than it receives here. That mystery derives in large part from the arcane networks in which each character forms a central node, a mystery which is compounded by professional decorums of gentlemanly reserve – a decorum in keeping with the role of “confidential clerk.” That mystery in turn amplifies the anxieties associated with the circulation of money and credit, as worries about far-reaching, seemingly impersonal financial markets come to be incarnated in the volatility of deeply personal relationships. Such mystery may or may not be charged with transgressive sexuality, as it clearly is (very differently) in Heep and Carker, but not at all clearly in Lorry and Harmon. The search for the erotically “queer,” unfortunately, tends to cloud both these distinctions and the larger structural importance of the characters, both within the financial networks they represent and within the novels where they appear. Dobbins does helpfully alert us to the affective complexity of finance in Dickens’s novels, and thereby enriches a topic that has long been recognized as a central concern of his fiction. But her study also brings home how very elusive the queer can be.
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Pub Date : 2023-08-18DOI: 10.1353/dqt.2023.a904846
J. Adams
biblical figures such as Jacob and Jonah, and eventually even ventriloquizes Jesus to paradoxically teach his readers a philosophy of paganism and pantheism. Considering the fact that Goethe’s Italian Journey is commonly hailed as the precursor of Wagner’s and Nietzsche’s radical aestheticism, it is surprising to see that Goethe makes ample use of biblical patterns and at one point, around Easter, is not even loath to see himself transfigured like Christ who is not recognized by his disciples at Emmaus. By the end of this slim volume, the reader is at a loss to find a reliable answer to the question of what induces an author to re-publish essays on Goethe and Dickens in German with a small, marginalized sub-publisher in Baden-Baden. Despite the tendency of some of the essays to be rather long-winded, they are refreshingly knowledgeable and thought-provoking, and thus it might have been more sensible if the author had taken the time to re-arrange the book, to put some effort into editorial updating and to have shaped it into an English publication for the benefit of a wider international audience. Dickens’s hitherto neglected German side thus remains a topic that is still waiting for a wider platform.
{"title":"Queer Economic Dissidence and Victorian Literature by Meg Dobbins (review)","authors":"J. Adams","doi":"10.1353/dqt.2023.a904846","DOIUrl":"https://doi.org/10.1353/dqt.2023.a904846","url":null,"abstract":"biblical figures such as Jacob and Jonah, and eventually even ventriloquizes Jesus to paradoxically teach his readers a philosophy of paganism and pantheism. Considering the fact that Goethe’s Italian Journey is commonly hailed as the precursor of Wagner’s and Nietzsche’s radical aestheticism, it is surprising to see that Goethe makes ample use of biblical patterns and at one point, around Easter, is not even loath to see himself transfigured like Christ who is not recognized by his disciples at Emmaus. By the end of this slim volume, the reader is at a loss to find a reliable answer to the question of what induces an author to re-publish essays on Goethe and Dickens in German with a small, marginalized sub-publisher in Baden-Baden. Despite the tendency of some of the essays to be rather long-winded, they are refreshingly knowledgeable and thought-provoking, and thus it might have been more sensible if the author had taken the time to re-arrange the book, to put some effort into editorial updating and to have shaped it into an English publication for the benefit of a wider international audience. Dickens’s hitherto neglected German side thus remains a topic that is still waiting for a wider platform.","PeriodicalId":41747,"journal":{"name":"DICKENS QUARTERLY","volume":"40 1","pages":"384 - 387"},"PeriodicalIF":0.6,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43853980","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-18DOI: 10.1353/dqt.2023.a904841
Dana Pines
Abstract:While critics have often read Hard Times as Dickens’s defense of imagination against utilitarianism, industrialism, and the fact-driven education of his time, the source of Dickens’s defensive theory and poetics has remained comparatively obscure. This article will argue that Dickens, in his attempt to defend imaginative literature, invokes Sir Philip Sidney’s sixteenth-century Defence of Poetry. More specifically, Dickens borrows from Sidney the trope of “Horsemanship” as a means to discuss the value of “Poetry.” Throughout the novel, Dickens turns to the image of the horse and the members of Sleary’s Horse-Riding as the catalysts for poetic powers, fancy, and imagination. Sleary’s troupe exposes the failure of the mechanical residents of Coketown, who insist on manufacturing passionless Bitzers rather than sensitive Sissys. The novel’s equine aesthetic repeatedly conjures the anxiety of the Gradgrindian School of “poesy,” where Dickens, through the equine invocation, carries out his apologetic debate.
{"title":"Charles Dickens & Sir Philip Sidney: Hard Times, An Equine Defence for the Novel","authors":"Dana Pines","doi":"10.1353/dqt.2023.a904841","DOIUrl":"https://doi.org/10.1353/dqt.2023.a904841","url":null,"abstract":"Abstract:While critics have often read Hard Times as Dickens’s defense of imagination against utilitarianism, industrialism, and the fact-driven education of his time, the source of Dickens’s defensive theory and poetics has remained comparatively obscure. This article will argue that Dickens, in his attempt to defend imaginative literature, invokes Sir Philip Sidney’s sixteenth-century Defence of Poetry. More specifically, Dickens borrows from Sidney the trope of “Horsemanship” as a means to discuss the value of “Poetry.” Throughout the novel, Dickens turns to the image of the horse and the members of Sleary’s Horse-Riding as the catalysts for poetic powers, fancy, and imagination. Sleary’s troupe exposes the failure of the mechanical residents of Coketown, who insist on manufacturing passionless Bitzers rather than sensitive Sissys. The novel’s equine aesthetic repeatedly conjures the anxiety of the Gradgrindian School of “poesy,” where Dickens, through the equine invocation, carries out his apologetic debate.","PeriodicalId":41747,"journal":{"name":"DICKENS QUARTERLY","volume":"40 1","pages":"321 - 340"},"PeriodicalIF":0.6,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44291453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-18DOI: 10.1353/dqt.2023.a904843
William F. Long
Abstract:Visiting America in 1842, Dickens found the problem of drunkenness in the process of being vigorously addressed. He was questioned about the prevalence of alcohol consumption in his fiction and criticized for an inferred less than totally serious regard for America’s efforts to confront the problem by promoting abstinence. His response was to question the logic and potential effectiveness of that approach. He reacted similarly to such an approach at home, consistently reiterating the view that there was “such a thing as Use without Abuse” in personal correspondence, and, sometimes coupled to arguments for moderation in other matters, in his journalism. During his 1842 visit, declining in a previously uncollected letter an invitation to attend a temperance-observing event in New York, he instead sent a striking aphorism, which thereafter appeared in temperance-promoting literature.
{"title":"Boz, New York and a Temperance Aphorism","authors":"William F. Long","doi":"10.1353/dqt.2023.a904843","DOIUrl":"https://doi.org/10.1353/dqt.2023.a904843","url":null,"abstract":"Abstract:Visiting America in 1842, Dickens found the problem of drunkenness in the process of being vigorously addressed. He was questioned about the prevalence of alcohol consumption in his fiction and criticized for an inferred less than totally serious regard for America’s efforts to confront the problem by promoting abstinence. His response was to question the logic and potential effectiveness of that approach. He reacted similarly to such an approach at home, consistently reiterating the view that there was “such a thing as Use without Abuse” in personal correspondence, and, sometimes coupled to arguments for moderation in other matters, in his journalism. During his 1842 visit, declining in a previously uncollected letter an invitation to attend a temperance-observing event in New York, he instead sent a striking aphorism, which thereafter appeared in temperance-promoting literature.","PeriodicalId":41747,"journal":{"name":"DICKENS QUARTERLY","volume":"40 1","pages":"362 - 375"},"PeriodicalIF":0.6,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46572501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-18DOI: 10.1353/dqt.2023.a904842
Jennifer Judge
Abstract:This essay argues that Dickens rejected the Victorian literary consensus that satire, especially in its extravagant Juvenalian form, was unsuited to the novel. In several prefaces, he positions satire’s magnifying aesthetic of “extreme exposition” as an ideal mode for disrupting readers’ preconceptions. In Our Mutual Friend, Dickens forcefully revives Juvenal’s rhetorical overabundance and open scorn for avarice to showcase the voracious inhumanity of capitalism. Drawing upon prevalent ideas about the power of habit, he floods the novel with examples of the near inescapability of individual and institutional bad habit in a materialistic world. A variety of addictions are shown to dominate human character and deaden empathy and will. With satirical excess, Dickens blatantly displays the apocalyptic pull of solipsism and greed in a series of ostentatious Society dinners that echo Juvenal. In opposition to his critics, Dickens felt his audience urgently needed bold truths delivered with Juvenalian force.
{"title":"The Juvenalian Satire of Our Mutual Friend","authors":"Jennifer Judge","doi":"10.1353/dqt.2023.a904842","DOIUrl":"https://doi.org/10.1353/dqt.2023.a904842","url":null,"abstract":"Abstract:This essay argues that Dickens rejected the Victorian literary consensus that satire, especially in its extravagant Juvenalian form, was unsuited to the novel. In several prefaces, he positions satire’s magnifying aesthetic of “extreme exposition” as an ideal mode for disrupting readers’ preconceptions. In Our Mutual Friend, Dickens forcefully revives Juvenal’s rhetorical overabundance and open scorn for avarice to showcase the voracious inhumanity of capitalism. Drawing upon prevalent ideas about the power of habit, he floods the novel with examples of the near inescapability of individual and institutional bad habit in a materialistic world. A variety of addictions are shown to dominate human character and deaden empathy and will. With satirical excess, Dickens blatantly displays the apocalyptic pull of solipsism and greed in a series of ostentatious Society dinners that echo Juvenal. In opposition to his critics, Dickens felt his audience urgently needed bold truths delivered with Juvenalian force.","PeriodicalId":41747,"journal":{"name":"DICKENS QUARTERLY","volume":"40 1","pages":"341 - 361"},"PeriodicalIF":0.6,"publicationDate":"2023-08-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47754160","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dickens and Democracy in the Age of Paper: Representing the People by Carolyn Vellenga Berman","authors":"J. Drew","doi":"10.1353/dqt.2023.0013","DOIUrl":"https://doi.org/10.1353/dqt.2023.0013","url":null,"abstract":"","PeriodicalId":41747,"journal":{"name":"DICKENS QUARTERLY","volume":"1 1","pages":""},"PeriodicalIF":0.6,"publicationDate":"2023-06-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47997935","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Dickens Checklist Dominic Rainsford The Dickens Checklist, recording new publications, doctoral dissertations, and online ressources of significance for Dickens studies, appears in each issue of the journal. A cumulative cross-referenced edition of the Checklist, consisting of listings since vol. 37, no. 1 (March 2020), is available at dickenssociety.org, and is updated once a year. _______ Secondary Sources: Biography and Criticism Celeste, Mark. “Visualizing Mutuality: Teaching / Networks in Our Mutual Friend.” Victorians Institute Journal, vol. 49, 2022, pp. 166–97. Chelebourg, Christian. “Scrooge en famille: lecture socialisée d’un rite fictionnel.” Noël entre magie blanche et magie noire, edited by Christian Chelebourg, Lettres Modernes Minard, 2022, pp. 121–37. Revue des lettres modernes: Écritures jeunesse: 4. [CC ] Dick, Archie. Reading Spaces in South Africa, 1850–1920s. Cambridge UP, 2020. Elements in Publishing and Book Culture. [Ch. 3: “Dickens on the Page, the Podium, and the Stage”] Dickens Quarterly, vol. 40, no. 1, Mar. 2023. [Dominic Rainsford, “From the Editor,” pp. 5–7; Benjamin O’Dell, “David Copperfield, Émile, and the Legacy of Enlightenment Education Literature,” pp. 8–27; James Armstrong, “‘In a Dark Wig’: Reinventing Byron as Steerforth in David Copperfield,” pp. 28–44; Kathryne Ford, “Dickensian Divisions: David Copperfield’s ‘Hero[ine] of my own life,’” pp. 45–63; Lanya Lamouria, “Charles Dickens, Charles Babbage, Richard Babley: Material Memory in David Copperfield,” pp. 64–82; Jeremy Parrott, “Electrical Undercurrents in David Copperfield,” pp. 83–107; Robert Sirabian, review of The Lawyer in Dickens, by Franziska Quabeck, pp. 108–12; Michelle Allen-Emerson, review of Bite the Hand that Reads: Dickens, Animals, and Sanitary Reform, by Terry Scarborough, pp. 112–16; Tamara S. Wagner, review of The Tramp in British Literature, 1850–1950, by Luke Lewin Davies, and Vagrancy in the Victorian Age: Representing the Wandering Poor in Nineteenth-Century Literature and Culture, by Alistair Robinson, pp. 116–21; Dominic Rainsford, “The Dickens Checklist,” pp. 127–30] Dickens Studies Annual, vol. 54, no. 1, 2023. [Introduction, pp. v–vii; James Armstrong, “Rejecting ‘Nature’ in Martin Chuzzlewit: Racism, Slavery, and Death in Eden,” pp. 1–13; Jane E. Kim, “Watching the Detectives: The Reciprocal Gaze in Our Mutual Friend,” pp. 14–34; Laura White, “Insects, Age, and Failure: The Suppressed Chapter of ‘The Wasp in a Wig,’” pp. 35–50; James Hamby, “‘Let us veil our meaning’: Holiday Romance and the Second Reform Act of 1867,” pp. 51–73; Melissa Jenkins, “Whither, Hardy?: Selected Hardy Studies 2010–2022,” pp. 74–83; Richard A. Kaye, “Twenty-First-Century Oscar Wilde: A Review Essay,” pp. 84–119.] The Dickensian, vol. 118, part 3, no. 516, Winter 2022. [Catherine Waters, “From the New President,” pp. 253–56; William F. Long, “Dickens, Ainsworth and Turpin’s Gyves,” pp. 258–68; Renata Goroshkova, “A Tale of Two Magazines: Dickens
《狄更斯清单》记录了对狄更斯研究有重要意义的新出版物、博士论文和在线资源，每期都出现在该杂志上。清单的累积交叉参考版本，包括自第37卷以来的清单。1(2020年3月)，可在dickenssociety.org上查阅，每年更新一次。_______次要资料来源:传记和批评Celeste, Mark。“可视化相互关系:在我们共同的朋友中教学/网络。”《维多利亚学院学报》，第49卷，2022年，第166-97页。Chelebourg,基督徒。"家族中的斯克鲁奇:社会主义的变革，不是虚构的"Noël白色魔法师与黑色魔法师中心，克里斯蒂安·谢勒堡编辑，《现代文学》，2022年，第121-37页。现代文学评论:Écritures青年:4。[CC]迪克，阿奇。南非的阅读空间，1850 - 1920。剑桥大学，2020年。出版与图书文化的要素。[第3章:“在纸上、讲台上和舞台上的狄更斯”]《狄更斯季刊》，第40卷，第2期。2023年3月1日。[Dominic Rainsford，“来自编辑”，第5-7页;本杰明·奥戴尔，《大卫·科波菲尔Émile与启蒙教育文学遗产》，第8-27页;詹姆斯·阿姆斯特朗，《戴着黑假发:在《大卫·科波菲尔》中将拜伦重塑为斯蒂福兹》，第28-44页;凯瑟琳·福特，《狄更斯式的划分:大卫·科波菲尔的“我自己生命中的英雄”》，第45-63页;Lanya Lamouria，“查尔斯·狄更斯，查尔斯·巴贝奇，理查德·巴伯利:大卫·科波菲尔的物质记忆”，第64-82页;杰里米·帕罗特，《大卫·科波菲尔的电流暗流》，第83-107页;罗伯特·西拉宾，《狄更斯笔下的律师》书评，弗兰兹斯卡·奎贝克著，第108-12页;米歇尔·艾伦-爱默生，《咬手读:狄更斯、动物和卫生改革》书评，特里·斯卡伯勒著，第112-16页;塔玛拉·s·瓦格纳，对卢克·卢因·戴维斯的《英国文学中的流浪者》(1850-1950)和阿利斯泰尔·罗宾逊的《维多利亚时代的流浪者:19世纪文学和文化中流浪穷人的代表》(116-21页)的评论;多米尼克·雷恩斯福德，《狄更斯的清单》，第127-30页。1, 2023。[导言，第5至7页;詹姆斯·阿姆斯特朗，《在马丁·丘兹莱维特中拒绝“自然”:伊甸园中的种族主义、奴隶制和死亡》，第1-13页;简·e·金，《观看侦探:我们共同朋友的相互凝视》，第14-34页;劳拉·怀特，《昆虫、年龄与失败:《戴假发的黄蜂》中被压抑的一章》，第35-50页;詹姆斯·汉比，“让我们掩盖我们的意义”:假日浪漫和1867年的第二次改革法案，第51-73页;梅丽莎·詹金斯《哈迪，去哪儿?》:《哈代研究选集2010-2022》，第74-83页;理查德·A·凯，<二十一世纪奥斯卡·王尔德:一篇评论文章>，第84-119页。狄更斯，第118卷，第3部分。516，冬季2022。[凯瑟琳·沃特斯，《来自新总统》，第253-56页;威廉·f·朗，《狄更斯、安斯沃思和特平的小说》，第258-68页;Renata Goroshkova，《两本杂志的故事:当代与祖国笔记中的狄更斯》，第269-80页;Abderrezzaq Ghafsi，《查尔斯·狄更斯日记中的埃米尔·阿卜杜勒卡迪尔》，第281-90页;Robert C. Hanna，“Joseph M. Field，国际版权和Boz的面具”，第291-308页;唐·理查德·考克斯，《查尔斯·柯林斯的信:一些额外的谜团》，第309-18页;Brian Ruck，“狄更斯的私生子和Ellen Ternan之谜”，第319-32页;伊恩·克劳福德，《纸时代的狄更斯与民主:代表人民》，卡罗琳·韦伦加·伯曼著，第334-37页;海伦娜·凯利，《从伦敦下来:铁路时代的海边阅读》书评，卡罗琳·w·德·拉·l·奥尔顿著，第337-39页;弗朗西斯卡·奥雷斯塔诺，《甜蜜的景色:一首英国田园诗的形成》书评，马尔科姆·安德鲁斯著，第339-42页;波兹·赫灵顿:《狄更斯时代的英国:1812-1870》，杰里米·布莱克著，第343-44页;西德尼·雷恩，《狄更斯与斯台普赫斯特:铁路事故传记》，杰拉尔德·狄更斯著，第345-47页;露西·怀特黑德，对米里亚姆·马戈耶斯所著《这是真的》的评论，第347-49页;玛丽亚·朱科，《亲爱的狄更斯先生》的书评，南希·丘宁和贝瑟尼·斯坦克利夫著，第349-51页;Philipp Röttgers，对《圣诞颂歌》(音乐专辑)的评论，作者:majestic，第352-53页;保罗·格雷厄姆，《弗雷德里克·基顿与圣奥尔本斯:从匹克威克到保存》(展览)，第354-55页;“团契笔记和新闻……
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