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Journal articles on the topic 'Charles Dickens'

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Published: 4 June 2021

Last updated: 30 July 2024

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1

NESTOR, Mihaela. "Rolul vestimentației în definirea personajelor din Documentele Postume ale Clubului Pickwick." ANALELE UNIVERSITĂȚII DIN CRAIOVA SERIA ȘTIINȚE FILOLOGICE LIMBI STRĂINE APLICATE 2024, no. 1 (July 19, 2024): 369–80. http://dx.doi.org/10.52744/aucsflsa.2024.01.40.

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Anghelescu Irimia, Mihaela. Dict ionarul universului britanic, Humanitas, Bucuresti, 1999, 2002 Bottez, Monica. Aspects of the Victorian Novel Reccurent Images in Charles Dickens's Work, București, 1985. Chesterton, G.K. Charles Dickens, Ed. Univers, 1970. Carlyle, Thomas. Filosofia vestimentației, Ed. Institutul European, Iasi,1998. Dickens, Charles. Documentele postume ale clubului Pickwick, Ed. de stat pentru Literatura si Arta, Bucuresti, 1954. Nanu, Adina. Arta, stil, costum, Noi media print, Bucuresti, 2006 Veres, Grigore. Opera lui Charles Dickens in Romania, Minerva, 1982.

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2

Buckland, Adelene. "Charles Dickens, Man of Science." Victorian Literature and Culture 49, no. 3 (2021): 423–55. http://dx.doi.org/10.1017/s1060150319000457.

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Though there is now a vast body of work detailing Dickens's extensive interests in contemporary science, technology, and medicine, still there is an overriding sense that Dickens was in energetic contact with scientific knowledge but had no precise role in its constitution, creation, or contestation. In this essay, I argue instead that Dickens was one of the most powerful communicators of scientific knowledge in the mid-Victorian period. Drawing on James A. Secord's model of “knowledge in transit,” the idea that the content of scientific knowledge is arrived at at the same time as audiences for knowledge are constituted or imagined, I also argue that Dickens had a significant role to play in shaping the practices, objects, and values of scientific work. If we have lost sight of this Dickens, I argue, it is because the kinds of science he advocated and the power he wielded threatened other literary-scientific practitioners—including G. H. Lewes—who reshaped Dickens's reception in ways that suited their own aims and agendas. Dickens—a vocal exponent of mesmerists, spontaneous combustionists, sanitary campaigners, early-development hypothesizers, and fantastical engineers—had a far more direct and central role in scientific culture than has yet been understood.

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3

MacMillan, Lorena N. "The Afterlife of Charles Dickens: His Posthumous Impact on Nineteenth-Century Spiritualism." Dickens Studies Annual 53, no. 2 (September 1, 2022): 271–82. http://dx.doi.org/10.5325/dickstudannu.53.2.0271.

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ABSTRACT Although an avid skeptic, Charles Dickens can be found having conversations with spiritualist communities while he was alive—and after he was dead. The most intriguing use of Dickens’s name in the spiritualist community was through the American medium T. P. James, who became known as Dickens’s medium, and gained popularity when he published Part Second of the Mystery of Edwin Drood (1873) from the “spirit-pen of Charles Dickens.” In addition to the publication of the manuscript itself, writers for the spiritualist press were quick to attempt to prove or disprove the text’s validity. Later, James started his own spiritualist magazine, The Summerland Messenger (1874), which continued to publish short stories and social commentary from the “spirit-pen of Charles Dickens.” This article will analyze the various spiritualist messages that James included in Part Second while connecting it to the supernatural themes present in Dickens’s original novel. It will examine James’s claim that his manuscript was written through the spirit-pen of Charles Dickens, evaluating the text and its influence on its audience. It concludes that James, and the spiritualist press, used Dickens’s work and name to increase the followers of Spiritualism, proving that it was at its core, a community of readers.

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4

Barry, Herbert. "Characters Named Charles or Charley in Novels by Charles Dickens." Psychological Reports 101, no. 2 (October 2007): 497–500. http://dx.doi.org/10.2466/pr0.101.2.497-500.

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12 fictional characters named Charles or Charley are contained in eight of the 14 completed novels by Charles Dickens. Most of the author's namesakes have humorous attributes, an unusually close relationship with one or more other characters, and a happy subsequent life. Three stages of the author's adult life are youthful, mature, and after separation from his wife. The fictional namesakes are most humorous in the author's youthful stage and least humorous after separation from his wife. The 12 fictional namesakes of Charles Dickens are compared with the two fictional namesakes of Jane Austen.

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5

Chesterton, G. K. "Charles Dickens." Chesterton Review 11, no. 4 (1985): 415–19. http://dx.doi.org/10.5840/chesterton198511455.

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6

Monod, Sylvere, and Harland S. Nelson. "Charles Dickens." Modern Language Review 80, no. 2 (April 1985): 442. http://dx.doi.org/10.2307/3728701.

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7

Kennedy, Valerie. "Charles Dickens." English Studies 93, no. 2 (April 2012): 236–37. http://dx.doi.org/10.1080/0013838x.2011.649071.

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8

Editorial Submission, Haworth. "Charles Dickens." Collection Management 8, no. 3-4 (November 22, 1986): 171–74. http://dx.doi.org/10.1300/j105v08n03_45.

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9

Jacoby, N. M. "Charles Dickens' Asthma." Journal of Medical Biography 3, no. 1 (February 1995): 34–42. http://dx.doi.org/10.1177/096777209500300106.

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10

Bouvard, Luc. "Christine Huguet (éd.), Charles Dickens l’Inimitable (Charles Dickens the Inimitable)." Cahiers victoriens et édouardiens, no. 76 Automne (October 20, 2012): 152–55. http://dx.doi.org/10.4000/cve.535.

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11

Pines, Dana. "Charles Dickens & Sir Philip Sidney: Hard Times , An Equine Defence for the Novel." Dickens Quarterly 40, no. 3 (September 2023): 321–40. http://dx.doi.org/10.1353/dqt.2023.a904841.

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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.

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12

III, HERBERT BARRY. "CHARACTERS NAMED CHARLES OR CHARLEY IN NOVELS BY CHARLES DICKENS." Psychological Reports 101, no. 6 (2007): 497. http://dx.doi.org/10.2466/pr0.101.6.497-500.

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13

Adel Bader, Murtadha. "A Literary Manipulation of Dicken’s “Fantasy” in The Christmas Carol, The Chimes, and the Cricket on the Hearth." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 641–46. http://dx.doi.org/10.37648/ijrssh.v13i02.052.

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The purpose of this study is to investigate selected fantasy short stories by Charles Dickens. The study focuses on "impulse for fantasy," which leads Dicken’s readers to a captivating world of other reality. Dickens, as a Victorian figure, had always redefined and defined the fantastic method to expose and probe the world of reality. The imaginary/alternate world therefore shaped, gives expression to its new reality creatively manipulated and adapted to expose the truth of the actual world.

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14

Piggott, Gillian. "Charles Dickens / Going Astray: Dickens and London." Journal of Victorian Culture 16, no. 1 (April 2011): 146–50. http://dx.doi.org/10.1080/13555502.2010.519550.

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15

Charles, Katherine G. "Meeting “Me”: Charles Dickens's Moments of Self-Encounter." Dickens Studies Annual 49, no. 1 (March 1, 2018): 47–69. http://dx.doi.org/10.5325/dickstudannu.49.1.0047.

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Abstract In short stories and novels ranging from A Christmas Carol (1843) to Great Expectations (1860–61), Charles Dickens again and again reiterated close encounters between his fictional characters' adult and childhood selves. Turning to the journalistic context of The Uncommercial Traveller essays, this article identifies moments of self-encounter that are similar but staged between adult Dickens and avatars of his child or adolescent self. Drawing on research into media studies, temporality, and form, I argue that Dickens developed the new formal technology of the self-encounter in response to the pressure of his desire to connect personally with a mass audience, a cultural politics and marketing practice that Juliet John has termed “intimate publicity.” I propose a skeptical reading of Dickens's moments of self-encounter that finds evidence of the author's vexed approach to autobiographical form and a resulting pivot outward to his audience. Through a logical doublethink that sanctions the narrator's recognition of the child as simultaneously me and not me, these self-with-self-encounters create both ironic detachment and sentimental irony, while leaving the task of calibrating their tonal balance to the reader. Attending to these artful moments of self-encounter carries insight into the creation of Dickens's public persona and to the reception of his novels.

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Abderrezzaq Ghafsi. "Rethinking Global Dickens." International Journal of Linguistics, Literature and Translation 7, no. 6 (June 20, 2024): 94–100. http://dx.doi.org/10.32996/ijllt.2024.7.6.11.

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This article critically reviews the international works that situate Charles Dickens from a global perspective. The current ‘global’ turn in Dickens’s scholarship and in Victorian literary and cultural studies in general led to a heated debate among scholars and researchers on why there is no complete, comprehensive global study on Dickens. Scholars also disagree on whether systematic or non-systematic methodologies are efficient in the completion of what became known as the Global Dickens Project in the late 1960’s. In this paper, I will refer to the scholarly attempts that aimed to bring Dickens to world audiences. Special attention will be given to the challenges and gaps as far as methodology is concerned, suggesting, in the end, a more effective and productive methodology for systematic scholars.

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17

Dransfield, Scott. "Charles Dickens and the Victorian “Mormon Moment”." Religion and the Arts 17, no. 5 (2013): 489–506. http://dx.doi.org/10.1163/15685292-12341297.

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Abstract The growth of Mormonism in England in the middle of the nineteenth century presented a number of challenges relating to the cultural status of the new religion and its followers. Charles Dickens’s “uncommercial traveller” sketch describing a group of 800 Mormon converts preparing to emigrate to the United States, “Bound for the Great Salt Lake,” represents the challenge effectively. While Mormons were quickly identified by their heresies and by those qualities that characterized cultural and religious otherness, they were also observed to possess traits of Englishness, reflecting the image of a healthy working class. This article considers the tensions among these contradictory qualities and traces them to a middle-class “secular gospel” that Dickens articulates in his novels. Dickens utilizes this “gospel”—an ethic that valorizes work and domestic order as bearing religious significance—to perceive the followers of the new religion.

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18

Buckland, Adelene. "“THE POETRY OF SCIENCE”: CHARLES DICKENS, GEOLOGY, AND VISUAL AND MATERIAL CULTURE IN VICTORIAN LONDON." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 679–94. http://dx.doi.org/10.1017/s1060150307051716.

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DESPITE THE WELL-ESTABLISHED CONNECTIONSbetween Dickens's novels and Victorian popular entertainment, and between Victorian show business and the display and dissemination of science, critics have not yet explored the possible links between scientific shows and Dickens's fiction. Work on Dickens and science has proliferated since George Levine's work inDarwin and the Novelists, but its central problem has been the fact that, as Francis O’Gorman described it, Dickens's scientific reading was “nugatory” (252). The most well-represented branch of science on his bookshelves was natural history; in even this, Dickens displayed only the “intelligent interest that would be expected of a man of the world” (Hill 203). Levine's influential “one culture” model surmounted the problem by pointing out the similar structural patterns implicit in the worlds described by Dickens and Darwin, but in an attempt to develop more direct links between Dickens's work and evolutionary science, almost all subsequent studies have focused on Dickens's 1860s novels, written after the publication of theOrigin of Species(1859) (Morris 179–93; Fulweiler 50–74; Morgentaler 707–21). There has not been a study that explores Dickens's acquaintance with natural history at different points in his career, or through the visual and material cultures with which he was so familiar.

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19

Sanders, Andrew, and Graham Storey. "Charles Dickens: 'Bleak House'." Modern Language Review 84, no. 2 (April 1989): 447. http://dx.doi.org/10.2307/3731594.

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Gibson, Richard Hughes. "Charles Dickens, Domestic Economist." Dickens Quarterly 39, no. 1 (2022): 62–82. http://dx.doi.org/10.1353/dqt.2022.0004.

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21

Smith, Constance. "Charles Dickens on More." Moreana 23 (Number 91-9, no. 3-4 (December 1986): 37–38. http://dx.doi.org/10.3366/more.1986.23.3-4.9.

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22

Edwards, Marini. "Reflections on Charles Dickens." London Journal of Primary Care 5, no. 1 (April 7, 2013): 49–50. http://dx.doi.org/10.1080/17571472.2013.11493372.

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23

Lewandowski, Klaus, and Kurt W. Schmidt. "Weihnachten mit Charles Dickens." DMW - Deutsche Medizinische Wochenschrift 145, no. 25 (December 2020): 1833–39. http://dx.doi.org/10.1055/a-1232-4839.

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24

Resch, Christoph. "Vertragsgeschichte mit Charles Dickens." Rechtsgeschichte - Legal History 2019, no. 27 (2019): 416–18. http://dx.doi.org/10.12946/rg27/416-418.

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25

Tucker, Edward L. "James and Charles Dickens." Henry James Review 17, no. 2 (1996): 208–9. http://dx.doi.org/10.1353/hjr.1996.0018.

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26

Raj Sharma, L. "CHARLES DICKENS AND ME." English 61, no. 234 (August 21, 2012): 290–309. http://dx.doi.org/10.1093/english/efs027.

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27

Carlyle, T. "TC TO CHARLES DICKENS." Carlyle Letters Online 14, no. 1 (January 1, 1987): 92–94. http://dx.doi.org/10.1215/lt-18420326-tc-chdi-01.

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Carlyle, T. "TC TO [CHARLES DICKENS]." Carlyle Letters Online 16, no. 1 (January 1, 1990): 171–72. http://dx.doi.org/10.1215/lt-18430518-tc-chdi-01.

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29

Moore, Wendy. "Charles Dickens' scientific network." Lancet 392, no. 10143 (July 2018): 204. http://dx.doi.org/10.1016/s0140-6736(18)31577-0.

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30

Cosnett, J. E. "Charles Dickens and Epilepsy." Epilepsia 35, no. 4 (July 1994): 903–5. http://dx.doi.org/10.1111/j.1528-1157.1994.tb02530.x.

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31

Wood, Claire. "Dickens and the Art of Epitaph." Victoriographies 10, no. 3 (November 2020): 248–69. http://dx.doi.org/10.3366/vic.2020.0394.

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This essay offers a twofold exploration of the art of epitaph in Charles Dickens's writing. First, it considers the memorial inscriptions that Dickens wrote for friends and family members in light of contemporary debates about epitaph's proper form and function, nuancing understanding of the author's epitaphic aesthetic. Second, it examines the creative potential of epitaph in Dickens's fiction, by tracing the migration of epitaphic text from actual to fictional inscriptions and between paper and stone. In doing so, it argues that for Dickens the art of epitaph is fundamentally carnivalesque, as a supposedly succinct form of death writing generates extended texts and paratexts, new stories, and fresh associations.

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Ledger, Sally. "FROM QUEEN CAROLINE TO LADY DEDLOCK: DICKENS AND THE POPULAR RADICAL IMAGINATION." Victorian Literature and Culture 32, no. 2 (September 2004): 575–600. http://dx.doi.org/10.1017/s1060150304000671.

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ON AN AUTUMN DAY IN1842, William Hone lay dying. He was by now an obscure figure, but through the services of an old friend, George Cruikshank, he sent a request to Charles Dickens that he might shake his hand before he died. The famous novelist agreed to the request, and for a brief moment Dickens, Cruikshank, and William Hone came together in Hone's shabby London home. The meeting apparently meant little to Dickens who, subsequently attending Hone's funeral, recounted with comic viciousness Cruikshank's histrionics as his old friend was laid to rest. Writing to an American friend, Cornelius Felton, Dickens described how he found himself “almost sobbing with laughter at the funereal absurdities of George Cruikshank and others” (Ackroyd 407). The encounter between Dickens, Cruikshank, and Hone in 1842 is a little-known but with hindsight a significant convergence; for despite Dickens's seeming disregard for the ailing and rather threadbare old bookseller, the deathbed tableau crystallizes an important and much overlooked connection between Dickens's writings and an earlier popular radical tradition.

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Gumanova, Tat'yana Sergeevna. "CHARLES DICKENS’S IMAGE IN JOHN FORSTER’S BIOGRAPHY “THE LIFE OF CHARLES DICKENS”." Philological Sciences. Issues of Theory and Practice, no. 5-2 (May 2018): 253–59. http://dx.doi.org/10.30853/filnauki.2018-5-2.8.

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34

JOSHI, PRITI. "Mutiny Echoes: India, Britons, and Charles Dickens's A Tale of Two Cities." Nineteenth-Century Literature 62, no. 1 (June 1, 2007): 48–87. http://dx.doi.org/10.1525/ncl.2007.62.1.48.

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This essay asks what, if any, import the Indian ““Mutiny”” of 1857 had on A Tale of Two Cities (1859), Charles Dickens�s fictionalized account of the French Revolution. Begun shortly after the Indian uprising started, Dickens�s historical novel appears studiously to avoid any mention of events on the Indian subcontinent, even though these events preoccupied and enraged the author. Few scholars have attended to the question of A Tale of Two Cities and the ““Mutiny,”” but when they have, scholars have looked for analogies between India and Dickens�s account of the French Revolution. In this essay, by contrast, I examine A Tale of Two Cities in a larger context——of Britons' response to the Uprising, of Dickens's short stories and essays in Household Words in the years before the ““Mutiny”” and immediately after, of Dickens's disenchantment with aspects of British culture, and of his need to articulate a national identity grounded in action. I argue that the events in India were the match that ignited Dickens's already established midcentury interests in national identity, nobility, and masculine heroism. I do not wish to suggest that A Tale of Two Cities is an Indian ““Mutiny”” novel, but rather that it is a novel about the ““Making of Britons,”” an important endeavor for an author who was intensely dissatisfied with the Britain that he saw around him.

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Richardson, Ruth. "Charles Dickens Post Mortem & Bare Life under the New Poor Law." European Journal of Life Writing 9 (July 6, 2020): LW&D81—LW&D107. http://dx.doi.org/10.21827/ejlw.9.36901.

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The theme of this article is how life writing can bury things, sometimes for generations, and how secrets buried in life can re-emerge after death, and disturb.1 Lives often make best sense read backwards, so here we start with revelations that emerged only after Charles Dickens’s death: in his will, and in John Forster’s famous biography and its use of the important document known as the ‘autobiographical fragment’ written by Dickens himself in the late 1840s. Forster covered gaps in the biography by guiding attention away from certain aspects of Dickens’s life, in particular his family’s geographical origins. Forster’s decisions concerning what secrets could be shared have worked to influence generations of biographers. Recent discoveries have brought fresh light to Dickens’s life after both Dickens and Forster had been dead for over a century. Attention is given to why some of these discoveries had not been made sooner, their implications and reverberations, and a fuller understanding is shared of Dickens’s fierce antipathy to the cruelties of the workhouse regime under the UK New Poor Law.

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Hollington, Michael. "Charles Dickens: The Woolf Afterlife." Victoriographies 10, no. 3 (November 2020): 292–310. http://dx.doi.org/10.3366/vic.2020.0396.

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This essay begins with a survey of attitudes towards Charles Dickens in the extended Stephen family, as these were inherited by the modernist writer Virginia Woolf. On the one hand, there is the strongly negative view of her Uncle Fitzy (Sir James Fitzjames Stephen), and the lukewarm, rather condescending opinion of her father Leslie Stephen. On the other, there is the legacy of enthusiastic attention and appropriation from William Makepeace Thackeray's two daughters – her aunt Anne Thackeray Ritchie and (posthumously) Min, Leslie Stephen's first wife. In the second section I survey Woolf's critical writings on Dickens, adding a glance at the opinions of her husband Leonard. In both, there is an evolution towards greater attention and enthusiasm. Besides Woolf's familiar essay on David Copperfield (1849–50), I give prominence to lesser-known writings, in particular to her laudatory assessment and analysis of Bleak House (1852–3). The third and final part concerns signs of the influence of Dickens in Woolf's first novel, The Voyage Out (1915). The earlier, satiric part of the novel shows the impact both of Jane Austen and Dickens as ironists and humourists. During the tragic conclusion, influenced by a reading of Fyodor Dostoevsky, Jane Austen drops out, but Dickens is retained.

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Longworth, Gail, and Jerome Carson. "Recovery heroes from the past: Charles Dickens (1859:2003): “it was the best of times it was the worst of times”." Mental Health and Social Inclusion 22, no. 2 (April 9, 2018): 78–84. http://dx.doi.org/10.1108/mhsi-02-2018-0002.

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Purpose The purpose of this paper is to provide a profile of the novelist Charles Dickens. Design/methodology/approach Several biographies and articles about the life of Charles Dickens were examined, to see if there was evidence that he experienced mental health problems. Findings While Dickens has been acclaimed for his ability to authentically portray the living conditions of the poor in the nineteenth-century Britain, there is comparatively little historical record of the fact that he may have experienced bipolar disorder. This paper suggests that he displayed many of the characteristic symptoms of bipolar. Research limitations/implications The story of Dickens’ own childhood is an amazing example of personal resilience. It no doubt enhanced the quality of his writing, but it may also have “sown the seeds” of a later mental illness. Practical implications So much attention has been focused on the colourful characters from Dickens’ novels, but little on the problems of the man himself. Social implications The story of Charles Dickens is as fascinating as any of the fictional characters he created, if not even more intriguing. His story confirms the link between writers, creativity and mood disorders. Originality/value Given the huge attention and worldwide acclaim paid to the books of Charles Dickens, which have inspired numerous films as well as musicals, it is surprising how little attention has been paid to the author himself and his struggles with mental illness.

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Imansari, Nurul. "Representation of Social Class in the Illustration of Sketches by Boz by Dickens." ELS Journal on Interdisciplinary Studies in Humanities 3, no. 4 (December 30, 2020): 506–17. http://dx.doi.org/10.34050/elsjish.v3i4.11914.

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The study object in this research is the representation of social class in the illustration of Sketches by Boz by Charles Dickens (1895). Social class is one of the most prominent themes raised by Charles Dickens in his work to satirize the condition of Victorian England as a form of empathy towards the lower class people. Dickens tries to portray that phenomenon into a series of story and illustration of people’s everyday life in his work ‘Sketches by Boz’. However, this social phenomenon is always depicted and discussed mostly in term of the narration form. On the contrary, illustration is often being ignored. The aim of this study is to bring together the importance of illustration in its relationship to the text. The method used in this study was a descriptive qualitative. It will examine how social class is portrayed in the illustration of Dickens’ Sketches by Boz by focusing particularly on the variety of techniques used by the illustrators in producing the illustrations. The result shows that both narration and illustration highlights the social class reality in the Victorian era. The narration and the illustration cannot be separated in Charles Dickens’ Sketches by Boz since it is created to be a description of people’s everyday life in Victorian London. Keywords: Charles Dickens, Illustration, Narration, Social Class

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Trisnawati, Ika Kana, Sarair Sarair, and Maulida Rahmi. "Irony in Charles Dicken's Oliver Twist." Englisia Journal 3, no. 2 (March 20, 2017): 91. http://dx.doi.org/10.22373/ej.v3i2.1026.

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This paper describes the types of irony used by Charles Dickens in his notable early work, Oliver Twist, as well as the reasons the irony was chosen. As a figurative language, irony is utilized to express one’s complex feelings without truly saying them. In Oliver Twist, Dickens brought the readers some real social issues wrapped in dark, deep written expressions of irony uttered by the characters of his novel. Undoubtedly, the novel had left an impact to the British society at the time. The irony Dickens displayed here includes verbal, situational, and dramatic irony. His choice of irony made sense as he intended to criticize the English Poor Laws and to touch the public sentiment. He wanted to let the readers go beyond what was literally written and once they discovered what the truth was, they would eventually understand Dickens’ purposes.

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40

Akoi, Mohammed Rasul Murad. "Understanding Violence in Charles Dickens’ A Tale of Two Cities." Journal of University of Raparin 7, no. 1 (December 3, 2019): 38–48. http://dx.doi.org/10.26750/vol(7).no(1).paper4.

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This paper, Understanding Violence in Charles Dickens’ A Tale of Two Cities, deals with violence in its various forms in Charles Dickens’ novel, A Tale of Two Cities. The novel recounts the French Revolution of 1789. In the novel, Dickens portrays a terrifying scene of blood and brutality. Violence appears in different forms. Critics have paid attention to Charles Dickens’ own fear of a similar revolution in England. The paper attempts to find the substance of that fear. The paper will discuss the three forms of violence in Dickens’ A Tale of Two Cities; namely, violence as an inherent part of the French Revolution; violence committed by the crowds or mobs, and the evil that rises and grows as the Revolution continues. It will be argued that Dickens’ depiction of the crowd and mob behavior in A Tale of Two Cities captures the potential which is in the mentality of any crowd to grow violent. That is, a seemingly innocent start could lead to evil. A socio-psychological approach will also be consulted to analyze violence in the novel; violence as part of the revolution; violence committed by the mobs, and finally how the revolutionary masses turn evil.

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Gautam, Dr Archana. "Ego-Centric Parents in The Novels of Dickens." SMART MOVES JOURNAL IJELLH 4, no. 7 (July 28, 2016): 7. http://dx.doi.org/10.24113/ijellh.v4i7.10923.

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The purpose of this paper is to show EGO-CENTRIC PARENTS IN THE NOVELS OF CHARLES DICKENS. Many of Dickens’ children suffer because of the failure of their parents to play their proper parental role. Dickens himself said his most painful memories of childhood were of his being abandoned by his own parents, and, later, of his mother’s insistence on sending him to work even when the family was out of debt, and young Charles eager to resume his studies. It is no surprise, therefore, that several of the children in Dickens’ novels suffer at the hands of their own callous and uncaring, and selfish and demanding parents. Dickens’ mothers are often ‘odd’ and his father’s ‘bad’. It is indeed true that in Dickens’ novels evil too often threatens to intrude the scenes of fellowship and warmth because of the parents themselves.

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D'Alessandro, Michael. "Heroines and Villains, Orphans and Thieves: The Motley Melodramas of Oliver Twist." Genre 57, no. 2 (July 1, 2024): 113–41. http://dx.doi.org/10.1215/00166928-11186135.

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Abstract This essay examines Charles Dickens's incorporation of Georgian- and early Victorian-era theatrical melodrama into his 1837–39 novel Oliver Twist. It studies Dickens's text against genre theories of melodrama, Dickens's own staged readings of Twist, social histories of contemporaneous England, and highlights from the era's English melodramas (including The Castle Spectre and A String of Pearls; or, The Fiend of Fleet Street). Crucial to Twist's literary history was Dickens's engagement with a pervasive London theatrical culture, a move that both trained his readers and led to the book's enduring afterlife as a melodrama itself. The essay argues that Dickens utilizes consumers’ preconceived understandings of popular theatrical tropes to guide their expectations when reading Twist. Moreover, by tweaking recognizable melodrama tropes—altering genders, multiplying villainies—Dickens finally suggests that familial reconstruction and moral collectivity can counter society's ills.

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Alhaj, Ali Albashir Mohammed. "Charles Dickens’s David Copperfield: New Critical Reconsiderations." English Language and Literature Studies 5, no. 4 (November 30, 2015): 31. http://dx.doi.org/10.5539/ells.v5n4p31.

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<p>The current study aims at reconsidering critically Charles Dickens’s <em>David Copperfield</em>. Charles Dickens is perhaps the greatest—if not the most perfect—of Victorian story-teller whose works have become synonymous with Victorian England. Many of his novels came out in monthly installments and were awaited by his readers eagerly. His popularity lay in his ability to write gripping, sentimental stories filled with memorable characters. On a more serious level, his novels are a detailed account of both the good and bad sides of Victorian life. In the semi-autobiographical <em>David Copperfield</em>, the author paints a graphic picture of the living condition of the urban poor. He also denounces the exploitation of children by adults and the cruel competitive nature of Victorian society.</p><p>To conclude, characters such as Micawber (a portrait based on Dickens’s own father) has passed into folk lore and become household names, used by people who have never read a Dickens novel in their lives. Also, the writer uses too much black paint. However, he wanted to raise kindness and goodness in men’s hearts, and he used tears and laughter to reach his aims. He probably brought a little improvement in some condition, but very often, he failed to do so.</p>

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Alzahlan, Aya. "Controlled Childhood and the Moulding of the Children's Characters; Critical Analysis of Oliver Twist, David Copperfield, Hard Times, and Great Expectations." International Journal of Linguistics, Literature and Translation 7, no. 3 (March 1, 2024): 12–21. http://dx.doi.org/10.32996/ijllt.2024.7.3.2.

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This study reads Charles Dickens's Oliver Twist, David Copperfield, Hard Times, and Great Expectations as "condition of England novels" by applying realism and naturalism theories, which focus on "parole". The term referred to by Ferdinand de Saussure in language acquisition to mean "performance". This paper addresses how Charles Dickens uses the term "parole" to refer to children's performance under social influences. Through his works, Dickens shows that the environment plays an elementary role in building children's characters as they grasp knowledge from their surroundings. They interact with the social environment, which fosters or hinders their development. Childhood is a crucial stage in the development of societies. Through the portrayal of children in Oliver Twist, David Copperfield, Hard Times, and Great Expectations, Dickens highlights the ordeals and suffering of children in the nineteenth century and shows the plight of the Industrial Revolution as it damaged the essential block of Victorian society. Accordingly, schools, factories, streets, workhouses, teachers, masters, and parents all of these take part in the formation of the child’s character. Children during that time faced different types of social pressures that affected their characters and future lives. This study investigates Dickens’ embedded message, showing how childhood is not only a stage of playing but is also important and influential in the performance and shaping of the child’s character.

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Goroshkova, Renata Rishatovna. "The Charles Dickens Letters Project." Filologičeskie nauki. Voprosy teorii i praktiki, no. 4 (April 2021): 1075–76. http://dx.doi.org/10.30853/phil210141.

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Bradbury, Nicola, and Doris Alexander. "Creating Characters with Charles Dickens." Modern Language Review 88, no. 2 (April 1993): 417. http://dx.doi.org/10.2307/3733778.

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Kryger, Meir H. "Fat, Sleep, and Charles Dickens:." Clinics in Chest Medicine 6, no. 4 (December 1985): 555–62. http://dx.doi.org/10.1016/s0272-5231(21)00394-4.

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Wegelin, Christof A., and Sidney P. Moss. "Charles Dickens' Quarrel with America." American Literature 57, no. 4 (December 1985): 666. http://dx.doi.org/10.2307/2926370.

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Polloway, Edward, J. Smith, and James Patton. "Charles Dickens and Intellectual Disability." Journal of Intellectual Disability - Diagnosis and Treatment 3, no. 1 (March 25, 2015): 1–6. http://dx.doi.org/10.6000/2292-2598.2015.03.01.1.

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Curry, George. "Charles Dickens and Annie Fields." Huntington Library Quarterly 51, no. 1 (January 1988): 1–71. http://dx.doi.org/10.2307/3817302.

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