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Relevant bibliographies by topics / Dickens, Charles, Oral reading

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Academic literature on the topic 'Dickens, Charles, Oral reading'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Dickens, Charles, Oral reading"

1

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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Alzouabi, Lina. "A Reading of Charles Dickens' Hard Times (1854) As a Crime Novel." International Journal of Linguistics, Literature and Translation 4, no. 4 (April 29, 2021): 193–99. http://dx.doi.org/10.32996/ijllt.2021.4.4.21.

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This study explores how Charles Dickens presents a panoramic picture of social and moral crimes, criminals, victims and the causes as well as consequences of criminality in his novel Hard Times (1854). By employing Collins' Dickens and Crime (1964), the article provides a reading of Dickens' Hard Times as a crime novel, arguing that this novel is not only a social commentary on England in the Victorian era for the purpose of achieving social reform at the time. It is also a crime novel, portraying different types of crimes with various motives and criminals from different backgrounds and classes. Gradgrind, a follower of the utilitarian philosophy, manipulates his daughter Louisa into marrying the capitalist Bounderby for social and economic benefit, which, as a result, gets her to be exploited by Harthouse. In addition, Gradgrind's philosophy has affected his son Tom who has turned into an idle and selfish person, stealing the bank and indicting Stephen and indirectly causing the latter's death. Stephen is also a victim of the capitalist society and the Divorce Law, as only the rich have been entitled to divorce. By investigating Dickens' Hard Times as a crime novel, the study attempts to provide new insights into reading Dickens' novels at the present time, arguing that they can be reread as crime novels that intriguingly portray crimes, criminals, motives and the dire consequences of crime.

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Han, Carrie Sickmann. "PICKWICK'S OTHER PAPERS: CONTINUALLY READING DICKENS." Victorian Literature and Culture 44, no. 1 (January 28, 2016): 19–41. http://dx.doi.org/10.1017/s1060150315000406.

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While carefully crafting a valentine to his would-be-lover Mary, Sam Weller finishes rather abruptly, and his father, looking over his shoulder, asks, “That's rayther a sudden pull up, ain't it, Sammy?” Sam's response emblematizes the driving force of the serial novel: “Not a bit on it. . . she'll vish there wos more, and that's the great art o' letter writin'” (344; no. XII, ch. XXXIII). Charles Dickens's great art of serial writing aimed to leave his readers repeatedly wishing there was more: more pages, more plot, more world, and above all, more time with their favorite characters. This desire encouraged readers to imagine beyond the novel – to pursue characters outside the pages of The Pickwick Papers itself. Their desires were rewarded with a wide range of continuations that included theatrical adaptations, plagiarisms, or unauthorized sequels – anything that, like the valentine, could reunite readers with their beloved Sam.

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Barzilai, Shuli. "THE BLUEBEARD BAROMETER: CHARLES DICKENS AND CAPTAIN MURDERER." Victorian Literature and Culture 32, no. 2 (September 2004): 505–24. http://dx.doi.org/10.1017/s1060150304000634.

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“You mustn't marry more than one person at a time, may you, Peggotty?”“Certainly not,” says Peggotty, with the promptest decision.“But if you marry a person, and the person dies, why then you may marry another person, mayn't you, Peggotty?”“You MAY,” says Peggotty, “if you choose, my dear. That's a matter of opinion.”—David Copperfield(1849–50)THE FIRST TIME I HEARD OF CAPTAIN MURDERERwas in the Jerusalem Theater many years ago when the Welsh actor Emlyn Williams (1905–87) gave a reading of scenes from the works of Charles Dickens. Williams's performance was a recreation of the initiative of Dickens himself who, in the late 1850s, took on yet another activity and persona, that of the itinerant player, and began a series of public tours in which he read from his own works. Of all the pieces Williams performed on that occasion, the story of “a certain Captain Murderer” remains most vividly present to memory not only for its eerie atmosphere and plot but especially for its effect on the audience. I can still recall the collective gasp of horror, as well as the outbursts of laughter, that the story's denouement elicited from a captivated company of listeners.

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Finley, Susan, and Morgan A. Parker. "Children Talk to Charles Dickens about Their Own “Hard Times”." International Review of Qualitative Research 4, no. 4 (February 2011): 403–15. http://dx.doi.org/10.1525/irqr.2011.4.4.403.

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The focus of this research narrative is children's perceptions of social class and their experiences of poverty as a social identity. Participatory action research that includes narrative reflection is demonstrated for its capacity and potential as a source of agency that may contribute to youths' academic, social, and political emancipation. In this research we analyze perceptions and attitudes about social class as these perceptions and attitudes are expressed by a group of children who are economically poor and who reside in an urban area in the Pacific Northwest. Our purpose has been to engage our students in a transformative educational process, with the further intention of deepening students' understandings of their own power to act in the world, or to “write their own futures” This readers' theater narrative has been scripted from personal, cultural texts that the co-authors (Susan and Morgan) selected from young people's writing in response to reading Charles Dickens' Hard Times and other period literature. The research takes place in the context of the At Home At School (AHAS) program at Washington State University Vancouver, directed by Susan Finley and where Morgan Parker is an undergraduate research assistant.

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Ahmad Bhat, Zubair. "Resistance in Literature: A Close Reading of Charles Dickens’ Hard Times and Little Dorrit." International Journal of Applied Linguistics and English Literature 8, no. 2 (March 31, 2019): 120. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.2p.120.

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Literature is the reflection of life or society. Whatever is going on in the society it reflects all. It may be any aspect of the society such as, political, historical, economical, religious, educational or administrational. All these driving forces of the society are being reflected by the literature. Literature on the whole encompasses all these parameters of the society. Resistance is always present in literature or in its genres. It may be present least or most, but it depends, whether it is expressed or not. From the evolution of English literature, English was mainly written in the genre of poetry, prose and drama in medieval era, but with the advent of advancement it takes other forms as well in the coming eras such as novel and novella. Many writers or authors from time to time put forward their issues in front of the society through their writings. They either satire their society indirectly or they put their issues in front of the society or governing bodies. Either they dissatisfied by the system or they revolt against them. A Modest Proposal by Jonathan Swift or Animal Farm by George Orwell, are satires on the political system of their era. But with the passage of time resistance in literature take dominant form in English literature as Resistance literature in the Third World. It encompasses the literature of third world writers especially of the colonized and imperialized ones. It covers all the dimensions of third world literature such as political, historical and sociological. By the introduction of Barbara Harlow’s Resistance Literature which is a ground breaking work in western literature, the third world literature came into being recognized and it was once avoided; now it is being studied in most of the western universities. Harlow not only presents new writing but a new critical perspective through Resistance Literature and part of her argument is that works written in the context of resistance does not allow for an independent approach, but instead requires an abandoning of the western model of criticism that renders art as apolitical. This paper analyses Dickens’ works as a precursor of resistance in literature and it especially takes into account Little Dorrit and Hard Times as revolting works.

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Bell, Emily. "Writing the Death of Dickens." Victoriographies 10, no. 3 (November 2020): 270–91. http://dx.doi.org/10.3366/vic.2020.0395.

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Through discussion of the author's final hours, final words, and final moments, this article enacts a metabiographical reading of the ways in which the death of Dickens has been written. It shows how major biographies from the 1870s to the present, including John Forster's Life of Charles Dickens (1872–4), reinforce a particular narrative, and how more radical representations such as Claire Tomalin's The Invisible Woman (1991) seek to disrupt it. These accounts are discussed alongside lesser-known life writing and representations, from obituaries and the earliest posthumous biographies to family reminiscences and biofiction. The few existing metabiographical approaches to Dickens's life primarily explore his childhood; by analysing the significance of the public readings and interrogating the argument that Dickens caused his own early demise, the article refines the meta-narrative of his death. In doing so, it argues for greater recognition of the role played by friends and family as the earliest biographers, and of later biographers as mediators of Dickens's cultural legacy. The article also explores the broader narrative purpose of the attribution of his death to overwork, and concludes with an examination of the ways in which it has been used as a springboard to evaluate the author's afterlife.

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Doherty, Ruth. "‘Blest’ or ‘t’othered’: Alternative Graveyards in Bleak House, Reynolds, and Walker." Victoriographies 8, no. 3 (November 2018): 267–89. http://dx.doi.org/10.3366/vic.2018.0318.

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This article proposes an alternative reading of Charles Dickens's Bleak House (1852–3), by attempting to recreate the reading experience of the first audience of this now well-studied novel. A comparison is made between key scenes in Bleak House and similar scenes in the first volume of George William Macarthur Reynolds's The Mysteries of London (1844), to demonstrate the differing literary styles of these two popular writers. The article draws on contemporary non-fiction, including George Alfred Walker's Gatherings from Grave Yards (1839) and several news articles, as well as more recent scholarship on Dickens to place the representations of graveyards in the novels of Reynolds and Dickens within the larger discussion of the necessity of sanitary reform in London at the time. The article argues that a proper consideration of this context enriches our understanding of the thematic structure of Bleak House.

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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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WORTHINGTON, MARTIN. "On Names and Artistic Unity in the Standard Version of the Babylonian Gilgamesh Epic." Journal of the Royal Asiatic Society 21, no. 4 (October 2011): 403–20. http://dx.doi.org/10.1017/s1356186311000423.

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Great is the importance of names in literature. For modern audiences, good names are an important and enjoyable part of the experience of reading, and many authors have delighted their readers with new creations or especially apposite matches – one could cite examples as varied as J. K. Rowling (Malfoy, Dumbledore, Snape), Aldous Huxley (Tantamount, Burlap, Spandrill), Charles Dickens (Pickwick, Sweedlepipe, Honeythunder), Andrea Camilleri (Catarella, Montalbano, Boneti-Alderighi), or Franz Kafka (K.).

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Dissertations / Theses on the topic "Dickens, Charles, Oral reading"

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Ho, Lai-ming Tammy. "Reading aloud and Charles Dickens's style." Click to view the E-thesis via HKUTO, 2005. http://sunzi.lib.hku.hk/hkuto/record/B35512386.

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Ho, Lai-ming Tammy, and 何麗明. "Reading aloud and Charles Dickens's style." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2005. http://hub.hku.hk/bib/B35512386.

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Milhan, Trish. "Developing new approaches to Dickens' Great Expectations." CSUSB ScholarWorks, 1993. https://scholarworks.lib.csusb.edu/etd-project/707.

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Wadoux, Charlotte. "The Intertextual Quest(ion) ˸ detection in Neo-Victorian Rewritings of Charles Dickens." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030028.

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Cette thèse explore un corpus de romans contemporains qui ont en commun la réécriture de Charles Dickens, l’œuvre et l’homme. Dans ces romans, l’Inimitable apparait tantôt sous les traits du détective, tantôt sous ceux du criminel. Ces portraits de Dickens nous amènent à nous interroger sur l’usage des modalités de la détection dans les romans néo Victoriens qui réécrivent l’auteur. Cette thèse vise à démontrer que la détection est partie intégrante du roman néo-Dickensien (et, par extension, du roman néo Victorien), offrant une autre façon de concevoir la double structure temporelle caractéristique du genre ainsi que le rapport à l’intertextualité. Le premier chapitre offre une réflexion sur la lecture et la représentation de l’espace, en particulier, la ville, Londres, que l’on comprend ici non pas comme reflet de la réalité historique mais comme appropriation du Londres fictionnel de Dickens. Mon étude de la relation entre le lieu et l’espace s’appuie sur les théories de Yi-Fu Tuan (1977) et de Franco Moretti (1998). Ce dernier permet de voir comment les romans postcoloniaux réécrivent et renversent la topographie des romans victoriens. Se pose également la question de la biofiction. Si les historiens et biographes peuvent être considérés comme des sortes de détectives, les auteurs néo-Victoriens ayant recours à la biofiction sont des détectives qui déforment, remettent en question et jouent avec les faits historiques, ce qui les amène à créer des intrigues alternatives et inquiétantes. Le néo Victorianisme créée sa propre critique au fur et à mesure, en défiant et taquinant les critiques qui eux n’ont guère d’autre choix que de plonger et démêler ces énigmes intertextuelles
This thesis concerns a body of contemporary novels which all use Charles Dickens’s works as hypotext while also featuring the Victorian author amongst their cast of characters. In these novels, the Inimitable is either presented as a detective, or as a criminal figure, or both. Drawing upon both Detective Fiction and Neo-Victorian Studies, the present work shows how the neo-Dickensian novel (and neo-Victorianism at large) may be thought of in terms of a detective mode, which provides a framework that enables a renegotiation of intertextuality. Neo-Victorian fiction is fascinated with the emergence of the city as the site of modernity, of a shattered, threatened identity. From the crowded streets the figure of the flâneur emerges first, soon to be followed by that of the detective. Neo-Dickensian novels exhume the Victorian, or rather Dickensian London, to immerse their readers in this re-constructed past. The study of the relation to space and place draws upon Yi-Fu Tuan’s theory (1977) but also Franco Moretti’s (1998), which enables to see that in novels from the Antipodes, the topographical plots of the nineteenth century are reversed. The texts under study not only invest the Dickensian city but Dickens himself through the use of biofiction. If historians and biographers may be thought of as detectives of a kind, then neo-Victorian writers engaging in biofiction are detectives who distort, play with and question the historical facts that they encounter thereby revealing uncanny but also alternative plots. Neo-Victorianism creates its own criticism as it goes and thus challenges, teases its critics who have no choice but to try and go through with these riddles

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Larsson, Per. "Within the Interpretation of Dreams : A Freudian Reading of Nick Hornby’s High Fidelity." Thesis, Halmstad University, School of Teacher Education (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-1305.

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“To be, or not to be” surely constitutes a strange walk on the tight rope between delusion and reality, and apparently, Robert Fleming is a man with immense problems. Who is Ziggy Stardust, and who is Stephen Dedalus? Is it relevant to claim that there is more of David Bowie’s true personality inside Ziggy than of, for instance Charles Dickens’ great expectations within Pip? By examining Nick Hornby’s novel High Fidelity and it’s main character from a Freudian perspective using Freud’s theories and ideas of the oedipal concept, this is basically a plain attempt in search for a better psychological knowledge and understanding of the musical world of illusion, which finally ends up in a serious effort to interpret the true and inner meanings of Rob’s dreams and personality.

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Verge, Carrie Ann. "Mr. Dickens's Book of Household Management:(Re)-Reading Bleak House as Domestic Literature." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1540210132173239.

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Connolly, Matthew C. "Reading as Forgetting: Sympathetic Transport and the Victorian Literary Marketplace." The Ohio State University, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=osu1531503253619764.

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Martin, Jillian. "Making it in America: How Charles Dickens and His Cunning Manager George Dolby Made Millions from a Performance Tour of The United States, 1867-1868." 2014. http://scholarworks.gsu.edu/communication_theses/112.

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Charles Dickens embarked on a profitable journey to the United States in 1867, when he was the most famous writer in the world. He gave seventy-six public readings, in eighteen cities. Dickens and his manager, George Dolby, devised the tour to cash in on his popularity, and Dickens earned the equivalent of more than three million dollars. They created a persona of Dickens beyond the literary luminary he already was, with the help of the impresario, P.T. Barnum. Dickens became the first British celebrity to profit from paid readings in the United States. This research thesis asks how Dickens earned a fortune from his performance tour.

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Devilliers, Ingrid. "Victorian commodities : reading serial novels alongside their advertising supplements." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1653.

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Victorian serial novels were bound with pages upon pages of advertisements marketing goods to readers, yet the relative inattention paid to this significant material component of the novel is surprising. This project explores the interaction between fictional narrative and commercial advertisements, and aims to recover the material context in which three Victorian novels—Bleak House, Middlemarch, and Adventures of Huckleberry Finn—were first published and read. These three case studies—a novel published in 20 monthly serial numbers, another packaged in the rare format of eight “books” in bimonthly installments, and the third published in a monthly magazine in three excerpts—are exemplary of a larger phenomenon in Victorian book production wherein fiction and commerce were inextricably bound. This project investigates the ways in which the advertisements can be reconceived as a significant element of the novel, mediating the reader’s experience of the text. The Bleak House chapter examines how the advertisements for hair products in the “Bleak House Advertiser” serve to highlight an aspect of Charles Dickens’s text about Victorian responses to the mass of new consumer goods and individuals’ desire to control the physical aspects of their world. The following chapter considers George Eliot’s (Mary Ann Evans’s) Middlemarch, finding that just as the narrator’s asides compel readers to attend to the temporal difference between the 1830s setting of the novel and the 1870s perspective of the serial edition, sewing machine advertisements in the advertising supplement of the novel serve to remind readers of their role as observers of past events. The examination of Mark Twain’s (Samuel Clemens’s) Huck Finn, as published in three excerpts in The Century Illustrated Monthly Magazine, demonstrates that the magazine articles, the excerpts from Huck Finn, and the advertisements all engage in a project of unifying the nation and alleviating the physical and metaphorical wounds of war. The unity of the message emerges when the excerpts are read together with the many advertisements for wheelchairs and other such implements for disabled bodies. The dissertation ends with a chapter indicating the merits of further analysis and critical discussion of advertisements in the undergraduate literature classroom.
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Books on the topic "Dickens, Charles, Oral reading"

1

Field, Kate. Pen photographs of Charles Dickens's readings: Taken from life. Troy, N.Y: Whitston Pub. Co., 1998.

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Ltd, Book Marketing. Who's reading Charles Dickens?. London: Book Marketing, 1995.

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Moss, Sidney P. American episodes involving Charles Dickens. Troy, NY: Whitstore, 1998.

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Moss, Sidney Phil. American episodes involving Charles Dickens. Troy, N.Y: Whitston Pub. Co., 1999.

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Blishen, Edward. Stand up, Mr. Dickens: A Dickens anthology. London: Orion Children's Books, 1995.

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ill, Bennett Jill, and Dickens Charles 1812-1870, eds. Stand up Mr. Dickens: A Dickens anthology. Boston: Houghton Mifflin, 1996.

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photographer, Hafejee Salim, ed. Reading London's Suburbs: From Charles Dickens to Zadie Smith. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2015.

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The pleasures of memory: Learning to read with Charles Dickens. New York: Fordham University Press, 2011.

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Dickens, novel reading, and the Victorian popular theatre. Cambridge: Cambridge University Press, 1998.

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Brigaglia, Franco. Il romanzo inglese in versione semplificata: Analisi comparativa di Grandi speranze di Charles Dickens. Roma: EdUP, 1998.

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Book chapters on the topic "Dickens, Charles, Oral reading"

1

Smith, Grahame. "Dickens’s Reading." In Charles Dickens, 40–59. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24489-8_3.

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Vincent, David. "Dickens’s Reading Public." In Palgrave Advances in Charles Dickens Studies, 176–97. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230524200_9.

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Selby, Keith. "Introduction: reading a Dickens novel." In How to Study a Charles Dickens Novel, 1–9. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-10283-9_1.

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Ho Lai Ming, Tammy. "Reading aloud and Charles Dickens’ aural iconic prose style." In Insistent Images, 73–89. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/ill.5.09hol.

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Cabanes, Isabel Vila. "2.5 Reading the Grotesque in the Works of Charles Dickens and Jonathan Swift." In Texts, Contexts and Intertextuality, 99–114. Göttingen: V&R unipress, 2014. http://dx.doi.org/10.14220/9783737002868.99.

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Haschemi Yekani, Elahe. "Consolidations: Dickens and Seacole." In Familial Feeling, 223–71. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_5.

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AbstractDiscussing Charles Dickens’s American Notes for General Circulation and Bleak House in conjunction with Mary Seacole’s Wonderful Adventures of Mrs Seacole in Many Lands this chapter traces a crucial shift in mid-nineteenth-century literature which consolidates British imperialism via “enlightened” differentiation from the United States and culminates in the more paternalistic rhetoric following the 1857 Sepoy Rebellion. While travelling both authors construct conciliatory images of the English home that do not overtly challenge the sensibilities of the British reading audience. In her travel account, Seacole utilises a confident tone often directly addressing her readers more familiarly than the Black authors before her. Dickens too uses excessive overt narrative comment to promote an idea of a shared sense of indignation at lacking American manners in his travelogue and at the misguided international philanthropy of Mrs Jellyby in Bleak House. Both their consolidating tonalities rest less on complex introspection than on an explicit reassuring British familiarity. However, while Dickens increasingly understands British familial feeling as tied to whiteness, Seacole contests such racialised conceptions of national belonging.

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Nicholson, John B. "Charles Dickens." In Reading and the Art of Librarianship, 171–73. Routledge, 2019. http://dx.doi.org/10.4324/9780367809416-45.

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Winter, Sarah. "Dickens's LaughterSchool Reading and Democratic Literature, 1870–1940." In The Pleasures of MemoryLearning to Read with Charles Dickens, 270–324. Fordham University Press, 2011. http://dx.doi.org/10.5422/fordham/9780823233526.003.0007.

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Winter, Sarah. "The Pleasures of Memory, Part IIEpitaphic Reading and Cultural Memory." In The Pleasures of MemoryLearning to Read with Charles Dickens, 177–225. Fordham University Press, 2011. http://dx.doi.org/10.5422/fordham/9780823233526.003.0005.

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Dasgupta, Ushashi. "‘To Let To Let To Let’." In Charles Dickens and the Properties of Fiction, 93–143. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198859116.003.0003.

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This chapter explores the significance of rented spaces in the nineteenth-century Bildungsroman, reading David Copperfield and Great Expectations alongside novels by Catherine Gore and WM Thackeray. Some of the most memorable characters in these coming-of-age narratives are landlords and landladies, who act as mentors to the protagonist as he tries to find his place in the world. Dickens interrogates the idea that it is a rite of passage for a young man to take lodgings before he moves into a private house. The chapter reveals that Dickens uses spatial and architectural metaphors, including images drawn from the world of tenancy, to articulate the process of growing up. It ends with a section on the window tax debate of the 1840s and 1850s and the traces it leaves in the fiction of the period; the window is a site charged with symbolism for characters preoccupied with their ‘prospects’.

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