Pub Date : 2023-09-01DOI: 10.5325/dickstudannu.54.2.0229
Emily Bell
This article provides a survey of Dickens scholarship published in 2021, organized under the following headings: (1) Biographical Dickens; (2) Dickens, Man of Science & Medicine; (3) Ecocriticism, Environment & Nature; (4) Dickensian Education in Great Expectations; (5) Dickens & Gender; (6) Character, Conventions & Genre Reexamined; (7) Dickens & Religion; (8) Dickens & Language; (9) Politics & Movement; (10) Dickens’s Geographies: London & Abroad; (11) Dickensian Influences; (12) Dickens Adapted, Dickens & Theater; (13) Art & Dickens; and (14) Teaching Dickens & Digital Resources. The conclusion synthesizes some of the threads of these sections in considering areas that are growing in popularity. The review aims to be comprehensive, with my apologies for any work overlooked.
本文对2021年出版的狄更斯学术研究进行了综述，并按以下标题进行了整理:(1)狄更斯传记;(2)狄更斯，科学与医学之人;(3)生态批评、环境与自然;(4)《远大前程》中的狄更斯教育(5)狄更斯与性别;(6)重新审视角色、惯例和类型;(7)狄更斯与宗教;(8)狄更斯与语言;(9)政治与运动;(10)狄更斯地理:伦敦与海外;(11)狄更斯的影响;(12)狄更斯改编、狄更斯与戏剧;(13) Art & Dickens;(14)狄更斯教学与数字资源。结论综合了这些章节的一些线索，考虑到越来越受欢迎的领域。审查的目的是全面的，我为任何被忽视的工作道歉。
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Pub Date : 2023-09-01DOI: 10.5325/dickstudannu.54.2.0176
Natalie McKnight, Michael Hollington
The coeditors of DSA are launching a series of interviews with senior Victorianists, and they are beginning with an interview with Michael Hollington. Michael reflects on his early reading experience with Dickens via Classics Illustrated and celebrates influential educators he studied under, including a primary school headmaster, a professor at Cambridge University, and a Milton professor at University of Illinois. Throughout, Michael extols the benefits of being a generalist in literary studies, not just a specialist.
{"title":"Interview with Michael Hollington, the Anti-Specialist","authors":"Natalie McKnight, Michael Hollington","doi":"10.5325/dickstudannu.54.2.0176","DOIUrl":"https://doi.org/10.5325/dickstudannu.54.2.0176","url":null,"abstract":"\u0000 The coeditors of DSA are launching a series of interviews with senior Victorianists, and they are beginning with an interview with Michael Hollington. Michael reflects on his early reading experience with Dickens via Classics Illustrated and celebrates influential educators he studied under, including a primary school headmaster, a professor at Cambridge University, and a Milton professor at University of Illinois. Throughout, Michael extols the benefits of being a generalist in literary studies, not just a specialist.","PeriodicalId":53232,"journal":{"name":"Dickens Studies Annual","volume":"1 1","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42493760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.5325/dickstudannu.54.2.0121
Peter Katz
Dickens’s novels explicitly critique the disaggregation of economics and morality in speculative capitalism. This article argues that the novels equally condemn the logic of speculation in other forms: speculative knowledge and speculations about other people’s interiors. All these logics depend on a process of distancing from materiality to create wealth: speculation on value is far removed from gold, and a character’s interiority is far from the clothing that one might interpret to signify their feelings. And so, just as to remove morality from economic relationships dehumanizes people, to remove materiality from reading dehumanizes literature. In place of speculative logic, Dickens’s fiction magnifies surfaces. To critique speculative reading in his novels, Dickens creates characters who read texts and people metaphorically for their own social and monetary gain: literary men. Through Arthur Clennam’s speculative gaze in Little Dorrit, Silas Wegg’s disembodied leg in Our Mutual Friend, and Pickwick’s discovery of a very nice rock in The Pickwick Papers, this article argues that the critique of speculation in these texts creates a materialist ethics of reading—one that foregrounds surface over interpretation.
{"title":"Speculative Capital, Speculative Reading: The Materialist Ethics of Fiction in Charles Dickens’s Our Mutual Friend and The Pickwick Papers","authors":"Peter Katz","doi":"10.5325/dickstudannu.54.2.0121","DOIUrl":"https://doi.org/10.5325/dickstudannu.54.2.0121","url":null,"abstract":"\u0000 Dickens’s novels explicitly critique the disaggregation of economics and morality in speculative capitalism. This article argues that the novels equally condemn the logic of speculation in other forms: speculative knowledge and speculations about other people’s interiors. All these logics depend on a process of distancing from materiality to create wealth: speculation on value is far removed from gold, and a character’s interiority is far from the clothing that one might interpret to signify their feelings. And so, just as to remove morality from economic relationships dehumanizes people, to remove materiality from reading dehumanizes literature. In place of speculative logic, Dickens’s fiction magnifies surfaces. To critique speculative reading in his novels, Dickens creates characters who read texts and people metaphorically for their own social and monetary gain: literary men. Through Arthur Clennam’s speculative gaze in Little Dorrit, Silas Wegg’s disembodied leg in Our Mutual Friend, and Pickwick’s discovery of a very nice rock in The Pickwick Papers, this article argues that the critique of speculation in these texts creates a materialist ethics of reading—one that foregrounds surface over interpretation.","PeriodicalId":53232,"journal":{"name":"Dickens Studies Annual","volume":" ","pages":""},"PeriodicalIF":0.8,"publicationDate":"2023-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48664115","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-01DOI: 10.5325/dickstudannu.54.2.0188
Paris Shih
Histories of Victorian queer studies often start with Eve Kosofsky Sedgwick’s Between Men (1985). In these historiographies, sexuality remains the center of scholarly inquiries and eventually comes to stand for forms of “queerness.” Seeking to expand our understanding of “queerness,” this article traces alternative histories of Victorian queer studies through feminist historicist and postcolonial criticism in the 1980s and 1990s. Writing against the first wave of feminist criticism, these studies problematize the figure of the domestic woman and theorize her queerness through different lenses. By exploring the conflicting and often contradictory process of gender-making in the nineteenth century, feminist historicists foreground the “gender trouble” of the domestic woman and her queer potential. Such queer potential, however, is subsequently located in the context of English imperialism by postcolonial feminist scholars, who revisit the ambivalent relationship between domestic femininity and imperial ideology, thereby highlighting the intertwined processes of gender- and empire-making in Victorian England. Simultaneously building on and revising contemporary queer theory, these works not only constitute alternative histories of Victorian queer studies but also point to its possible futures.
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Pub Date : 2023-09-01DOI: 10.5325/dickstudannu.54.2.0147
Alexander Lynch
This article examines Dickens’s Bleak House alongside the history of crossing-sweeping, a species of “vague” labor whose variable duties frustrated practices of Foucauldian discipline inside and outside Victorian novels. To depict this labor, the article argues, Dickens’s novel makes use of the flexible mechanisms of social management Foucault calls “security,” and, more specifically, the aesthetic infrastructure of these mechanisms, a regime of representation the essay terms “figural.” This regime mobilizes “typical” personae, like “the crossing-sweeper” and “the nervous woman,” to represent and regulate ungraspable groups. These vaguely formulated figures, the article shows, “problematize” those persons who resemble them, making them objects of action within relevant dispositifs (e.g., health, criminality, sexuality). By recounting the figural pursuits of his crossing-sweeper (Jo) by a police detective (Inspector Bucket), other professionals, and laypeople, Dickens ironizes the use of figures, exposing figures’ typifying effects and the absurd presumptions of “narratorial” omniscience they license. In turn, Dickens illuminates the violent abstractions effected by the agencies that deploy figures to regulate social vagueness. By moving between figures’ police-effects and figural policing, this article expands the history of police detection to include its participation in regimes of representation and traces the figural interventions central to the novel form.
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Pub Date : 2023-09-01DOI: 10.5325/dickstudannu.54.2.0212
Tamara S. Wagner
Over the last decades, projects of rediscovery, driven by feminist criticism as well as a growing interest in the noncanonical itself, have reshaped Victorian Studies. Nevertheless, even as a growing number of these rediscovered texts have now been absorbed into the canon, their inclusion in anthologies, general overviews, and companions has been intriguingly uneven. This article offers a reconsideration of the feminist recovery of noncanonical Victorian texts in the contrasting case studies of the sensation novel, the silver-fork novel, and antifeminist writing. Examining the rediscovery and shifting reception of these three genres sheds light on the changing goals, methods, and effects of recovery work, as well as the opportunities that exist for this work in the twenty-first century.
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Pub Date : 2022-09-01DOI: 10.5325/dickstudannu.53.2.0241
Mark M. Hennelly, Jr.
This article focuses on stains, blushes, flushes, and other nonphonetic marks such as scriptural signifiers in Our Mutual Friend. These metonymic markings help constitute what Dickens called the “main line” of the novel’s development. This line turns rhizomorphic as it figuratively begins with the rope line salvaging the stained corpse in the novel’s fifth paragraph and extends to the later lines ironically salvaging Gaffer Hexam’s own marked corpse and the dead-alive Rogue Riderhood’s body as examples of the death-by-drowning with the possibility of resurrection motif. But the fifth paragraph also anticipates other significant signifying tropes and events in Our Mutual Friend as the meaning of all such signifiers, whether finally legible or illegible, requires close reading by the novel’s characters and readers alike. And other Dickens novels, like Oliver Twist, A Tale of Two Cities, and The Mystery of Edwin Drood, provide a significantly larger context for the stains and other markings in Our Mutual Friend. According to the problematic principle of the inside outside the outside, surface signifiers, particularly somatic signifiers, often become self-defining indicators of nearly all the novel’s characters and their interrelationships.
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Pub Date : 2022-03-01DOI: 10.5325/dickstudannu.53.1.0001
J. Gordon
Steerforth's seduction of Emily instead of David is an example of “troilism,” of homosexual desire displaced onto a more acceptable third party. In this, it resembles, but is different from, the “homosociality” introduced into critical discourse by Eve Kosofsky Sedgwick. Notably, it intersects with another triangle, that of Rosa Dartle, Emily, and Steerforth, in which homosexual desire is not in play. The storm that kills Steerforth originates in Rosa's thwarted desire for him and, especially, in her resentment of his affair with another woman, Emily, who, from the same motive, she tracks down and threatens to pursue and have killed. Her wish to have Emily “branded” on her “face” comes from a defining trauma, the scar that Steerforth inflicted on her face. The storm is, explicitly, a meteorological version of similar dynamics in play in the triangles of Our Mutual Friend and Edwin Drood. Addressing these novels along with David Copperfield requires addressing and confuting what I believe to be Sedgwick's erroneously “homosocial” readings of all three.
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Pub Date : 2022-03-01DOI: 10.5325/dickstudannu.53.1.0088
Leslie S. Simon
This article surveys Dickens scholarship published in 2020, identifying these key trends: (1) adaptations and other afterlives, with dozens of publications appearing that year in commemoration of the sesquicentennial of Dickens's death; (2) form, with special attention to genre and affect, as observed in Victorian studies broadly; (3) gender and sexuality, with a primary focus on Dickens and women; and (4) politics and media, with a new urgency given to fact-checking as a rhetorical marker of critical integrity. The article also nods to the trends likely to increase in popularity in the next few years of research, by highlighting scholarship that deals even tangentially with (5) science and health and (6) race and intercultural exchanges.
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Pub Date : 2022-03-01DOI: 10.5325/dickstudannu.53.1.0070
Lydia Craig
Utilizing open-access, institutional, and subscription-only digital databases for research can advance studies in Victorian literature. Despite occasional issues with sample size, barriers to access, or bad OCR, these databases hold unprecedented quantities of nineteenth-century literature awaiting scrutiny, as indicated by research examples provided. Several long-standing or recent projects on the novel, literary culture, or race in the Victorian era are discussed in terms of their application for personal research and classroom instruction. Among these are the recently unveiled databases One More Voice and Undisciplining the Victorian Classroom, which bring non-European perspectives to the forefront of discourse in answer to the recent call to center and engage with marginalized nineteenth-century voices previously buried in archives due to racial difference. Primary sources, by offering new perspectives on life in the nineteenth century, can now enrich both scholarship and academic syllabi. Digital scans, if defined as free access or fair use, can be requisitioned for groundbreaking projects centered around literary writing, publication, and culture, or historical inquiry.
利用开放获取、机构化和仅限订阅的数字数据库进行研究可以推进维多利亚文学的研究。尽管偶尔会出现样本量、访问障碍或OCR不好的问题，但正如所提供的研究实例所示，这些数据库中有数量空前的19世纪文献等待审查。讨论了几个关于维多利亚时代小说、文学文化或种族的长期或近期项目在个人研究和课堂教学中的应用。其中包括最近公布的数据库《One More Voice》和《Unscinding the Victorian Classroom》，它们将非欧洲视角带到了话语的前沿，以回应最近的中心化呼吁，并与之前因种族差异而被埋葬在档案中的边缘化的19世纪声音接触。通过提供对十九世纪生活的新视角，初级资料现在可以丰富学术和学术大纲。数字扫描，如果被定义为免费访问或公平使用，可以被征用用于以文学写作、出版、文化或历史调查为中心的开创性项目。
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