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Throughout his writing career Charles Dickens was a hugely prolific journalist. This volume of his later work is selected from pieces that he wrote after he founded the journal Household Words in 1850 up until his death in 1870. Here subjects as varied as his nocturnal walks around London slums, prisons, theatres and Inns of Court, journeys to the continent and his childhood in Kent and London are captured in remarkable pieces such as 'Night Walks', 'On Strike', 'New Year's Day' and 'Lying Awake'. Aiming to catch the imagination of a public besieged by hack journalism, these writings are an extraordinary blend of public and private, news and recollection, reality and fantastic description.
Dickens's career as a journalist spanned four decades, during which he wrote over 350 articles: reports, sketches, reviews, leaders, exposés, satires and reminiscences. This project offers the first critical guide to over a million words of vintage Dickens, which have been much overlooked in continuous assessments and re-assessments of his novels. It provides both a biographical and socio-historical account of the main phases of Dickens's career as a journalist, and a critical assessment of the thematic and stylistic development of his work.
Explores the coverage of music in the journals edited by Dickens and how they reflect Dickens' own attitude to music and its social role.
Dickens, Journalism, and Nationhood examines Charles Dickens’ weekly family magazine Household Words in order to develop a detailed picture of how the journal negotiated, asserted and simultaneously deconstructed Englishness as a unified (and sometimes unifying) mode of expression. It offers close readings of a wide range of materials that self-consciously focus on the nature of England as well as the relationship between Britain and the European continent, Ireland, and the British colonies. Starting with the representation and classification of identities that took place within the framework of the Great Exhibition of 1851, it suggests that the journal strives for a model of the world in concentric circles, spiraling outward from the metropolitan center of London. Despite this apparent orderliness, however, each of the national or regional categories constructed by the journal also resists and undermines such a clear-cut representation.
The figure of the child and the imaginative and emotional capacities associated with children have always been sites of lively contestation for readers and critics of Dickens. In Dickens and the Imagined Child, leading scholars explore the function of the child and childhood within Dickens’s imagination and reflect on the cultural resonance of his engagement with this topic. Part I of the collection examines the Dickensian child as both characteristic type and particular example, proposing a typology of the Dickensian child that is followed by discussions of specific children in Oliver Twist, Dombey and Son, and Bleak House. Part II focuses on the relationship between childhood and memory, by examining the various ways in which the child’s-eye view was reabsorbed into Dickens’s mature sensibility. The essays in Part III focus upon reading and writing as particularly significant aspects of childhood experience; from Dickens’s childhood reading of tales of adventure, they move to discussion of the child readers in his novels and finally to a consideration of his own early writings alongside those that his children contributed to the Gad’s Hill Gazette. The collection therefore builds a picture of the remembered experiences of childhood being realised anew, both by Dickens and through his inspiring example, in the imaginative creations that they came to inform. While the protagonist of David Copperfield-that 'favourite child' among Dickens’s novels-comes to think of his childhood self as something which he 'left behind upon the road of life', for Dickens himself, leafing continually through his own back pages, there can be no putting away of childish things.
Charles Dickens is famous for his deathbed scenes, but these have rarely been examined within the context of his ambivalence towards the Victorian commodification of death. Dickens repeatedly criticised ostentatious funeral and mourning customs, and asserted the harmful consequences of treating the corpse as an object of speculation rather than sympathy. At the same time, he was fascinated by those who made a living from death and recognised that his authorial profits implicated him in the same trade. This book explores how Dickens turned mortality into the stuff of life and art as he navigated a thriving culture of death-based consumption. It surveys the diverse ways in which death became a business, from body-snatching, undertaking, and joint-stock cemetery companies, to the telling and selling of stories. This broad study offers fresh perspectives on death in The Old Curiosity Shop and Our Mutual Friend, and discusses lesser-known works and textual illustrations.
Studying works by Charles Kingsley, Elizabeth Gaskell, and Charles Dickens, this volume illustrates how the Victorians used medicine and literature to develop a new way of thinking about starvation and the State.
This study argues that Dickens' villains embody the crucial fusion between the deviant and theatrical aspects of his writing.
Dickens, Religion and Society examines the centrality of Dickens's religious attitudes to the social criticism he is famous for, shedding new light in the process on such matters as the presentation of Fagin as a villainous Jew, the hostile portrayal of trade unions in Hard Times and Dickens's sentimentality.