Dickens, Women and Language


Book Description




Dickens, Women, and Language


Book Description

This is the first full-length study of the treatment of women in Dickens' novels to make use of modern critical approaches. It replaces traditional biographical methods with a new linguistic model which directs attention back to the texts. Patricia Ingham's innovatory approach characterises Dickens' novelistic language by relating it to linguistic representations of women in contemporary non-fictional works (handbooks on womanly conduct, documentary works on prostitution, and Florence Nightingale's Cassandra). This analysis reveals that Dickens' individual account of the womanly ideal is shot through with contradiction. Fallen women are both degraded and valuable, worthless and powerful; 'ideal' women are desirable and undesirable, passive and destructive of the very social structure they are supposed to sustain. The book's conclusion is that the ambiguous struggle between convention and dissent in the language he uses for representing women charges Dickens' novels with their uneasy excitement and power.




Dickens' Women


Book Description

A captivating portrait of some of Charles DickensOCO most memorable female characters presented by popular actress Miriam Margolyes to accompany her hugely successful one-woman show touring the world in 2012. In his novels Dickens presents a series of unrivalled portraits of women, young and old. From Little Nell to Miss Havisham, these girls and women speak to us today, making us laugh and sometimes cry. The popular British actress Miriam Margolyes will be touring the world in 2012, the bicentenary of Dickens birth, with a one-woman show about DickensOCO women, and this book accompanies the show by building on the script and expanding to include many more of the female characters Dickens described and analysed so astutely in his novels. ?Mrs Pipchin was a marvellous ill-favoured, ill-conditioned old lady, of a stooping figure, with a mottled face, like bad marble, a hook nose, and a hard grey eye, that looked as if it might have been hammered at on an anvil without sustaining any injury.OCO"




The Dickens Industry


Book Description

Undoubtedly the best-selling author of his day and well loved by readers in succeeding generations, Charles Dickens was not always a favorite among critics. Celebrated for his novels advocating social reform, for half a century after his death he was ridiculed by those academics who condescended to write about him. Only the faithful band of devotees who called themselves Dickensians kept alive an interest in his work. Then, during the Second World War, he was resurrected by critics, and was soon being hailed as the foremost writer of his age, a literary genius alongside Shakespeare and Milton. More recently, Dickens has again been taken to task by a new breed of literary theorists who fault his chauvinism and imperialist attitudes. Whether he has been adored or despised, however, one thing is certain: no other Victorian novelist has generated more critical commentary. This book traces Dickens's reputation from the earliest reviews through the work of early 21st-century commentators, showing how judgments of Dickens changed with new standards for evaluating fiction. Mazzeno balances attention to prominent critics from the late 19th century through the first three quarters of the 20th with an emphasis on the past three decades, during which literary theory has opened up new ways of reading Dickens. What becomes clear is that, in attempting to provide fresh insight into Dickens's writings, critics often reveal as much about the predilections of their own age as they do about the novelist. Laurence W. Mazzeno is President Emeritus of Alvernia University, Reading, Pennsylvania.




Charles Dickens and the Image of Woman


Book Description

Dickens, of course, had to accept the conventions of his time. Clearly the Victorian problem - which was man's problem as much as it was woman's - was that of bringing the ideal woman and the libidinal woman together. It is obvious, argues Holbrook, that Dickens idealized the father-daughter relationship, and indeed, any such relationship that was unsexual, like that of Tom Pinch and his sister, but why? And why, for example, is the image of woman so often associated with death, as in Great Expectations? Dickens's own struggles over relationships with women have been documented, but much less has been said about the unconscious elements behind these problems.




Language of Gender and Class


Book Description

The Language of Gender and Class challenges widely-held assumptions about the study of the Victorian novel. Lucid, multilayered and cogently argued, this volume will provoke debate and encourage students and scholars to rethink their views on ninteenth-century literature. Examining six novels, Patricia Ingham demonstrates that none of the writers, male or female, easily accept stereotypes of gender and class. The classic figures of Angel and Whore are reassessed and modified. And the result, argues Ingham, is that the treatment of gender by the late nineteenth century is released from its task of containing neutralising class conflict. New accounts of feminity can begin to emerge. The novels which Ingham studies are: * Shirley by Charlotter Bronte * North and South by Elizabeth Gaskell * Felix Holt by George Eliot * Hard Times by Charles Dickens * The Unclassed by George Gissing * Jude the Obscure by Thomas Hardy




Dickens, Sexuality and Gender


Book Description

This volume of essays examines Dickens's complex representations of sexuality and gender as well as his use of gender ideologies and sexual and gender differences over the course of his literary career, from his first sketches and early novels to his late works of fiction. The essays approach gender issues in Dickens's writing by focusing on a number of topics: his treatment of gender ideals and transgressions; the intersections and displacements among gender, class and race; the ties between gender and the body, and among gender, voice and language; his depiction of the homosocial and the homoerotic; and the relation between gender and the law. The essays provide an introduction to the most recent approaches to Dickens's fiction in addition to those now considered classic, draw on queer theory and also feature a variety of methodologies, ranging across feminist, historicist and psychoanalytic methods of interpretation. The collection represents the best of previously published research by Dickens's scholars and illuminates for students and scholars alike the meaning of gender in such novels as The Pickwick Papers, Dombey and Son, and Our Mutual Friend.




Dissenting Women in Dickens' Novels


Book Description

Given their pedagogical nature, many Victorian novels are highly politicized; their narratives are filtered through the value schemes, social views, and conscious purposes of their authors. Victorian women were largely expected to dedicate themselves to the social and moral betterment of their families. Women were expected to be soft, meek, quiet, modest, submissive, gentle, patient, and spiritual; men were supposed to be aggressive, assertive, resilient, disciplined, and competitive. These expectations were repeatedly endorsed through the conduct books of the period, which encouraged people to adhere to proper behavior. The Victorian era also viewed fiction as a didactic tool and as a means to propagate morality. Thus novels of the period typically present women as subordinate to men and as angels of the home. Women who conform to the social norms are usually rewarded in these fictitious worlds, whereas women who violate society's standards are often penalized. Certainly the novels of Charles Dickens fall into the larger didactic trend of Victorian fiction, and like other works of the period, his novels overtly support the conventional values of Victorian society. Dickens typically uses descriptive detail to register approval or disapproval of certain women, and these women are rewarded or chastized through his plots. But on a less obvious level, Dickens also challenges the prevailing Victorian attitude toward women. A close look at his works shows that patriarchs do not automatically deserve the respect they command from their privileged social positions. Women—however virtuous—are unable to produce moral or social change, and many women succeed outside the constraints of domesticity. This book provides a penetrating analysis of how Dickens' novels ultimately fail to promote the conventional Victorian behavioral ideal for women and discusses how his works subvert the domestic ideology of the nineteenth century.




Dickens and Women Reobserved


Book Description

Dickens & Women ReObserved is a rich collection of new essays by scholars and critics from various parts of the world who represent a new appreciation and understanding of Charles Dickens and things woman. / A new generation of scholars and critics, first led by feminist critics of the 1970s, began to re-observe the man and his works with fresh eyes. A second generation of critics--those now schooled in gender studies, cultural studies, psychological theory, play theory, eco-criticism, thing theory, and a range of isms and schisms that flourish in the academy today--have originated a new and more reflective discourse on Dickens and women, and women generally in the nineteenth century. / Collectively, the essays in this volume overturn a prevalent and largely unchallenged belief held for more than 150 years: that Dickens' female characters were one-dimensional Victorian stereotypes only and that, as exemplified by his literary depictions and conflicted personal life, he did not understand or value women as important, capable, or gifted in their own right. / While neither ignoring nor discounting Dickens' troubled relationships with women and reliance on certain Victorian stereotypes, the essays in Dickens & Women ReObserved demonstrate that in a myriad of ways Dickens' appreciation of women in his fiction and his life was far more subtle, sophisticated, and complex than previously understood. Consciously or unconsciously he crafted characters more individualized, independent, rounded, and assertive than typical stock cultural characterizations of women. Additionally, in his exuberant social and professional life, he was drawn to and worked amiably with such "new" women. Dickens life and work today appear evidently modern and nuanced in his regard for women and their abilities. / Dickens & Women ReObserved is an important work for comprehending one of the world's greatest novelists and, by extension, facilitating greater study of contemporary views of Victorian women. In prose accessible to the general reader as well as scholars in literary studies, the diverse essays in this volume investigate a broad range of subjects in Dickens' celebrated artistry, including Modernism, Queen Victoria, Ellen Ternan, adaptations, composition methods, gender, sensuality, agency, major female characters, and French as well as African relevancies.




Women in Charles Dickens' Great Expectations


Book Description

Seminar paper from the year 2003 in the subject English Language and Literature Studies - Literature, grade: 2 (B), University of Frankfurt (Main) (Institute for England - und American Studies), course: Charles Dickens - Great Expectatoins, language: English, abstract: 1. Introduction Charles Dickens' novel "Great Expectations" as a Bildungsroman or gothic novel depicts the growth of a young boy from low social class origin to an adult gentleman containing the struggles with women, employers and relatives. The main character Philip 'Pip' Pirrip introduces the reader to the novel as a young boy from about six years, although Pip indeed wrote down the story of his life as an adult. Pip has always dreamt of becoming well-educated and of being introduced to a higher social class than he actually belonged to at first. Fortunately, Pip is granted the chance of social rising and he gets to know a lot of people who influence him and his great expectations from his early youth crucially. In Victorian times women and men were regarded to be different in their nature but never-theless complementary. Women should be a guideline for their husbands in moral and reli-gious questions. When the husbands were at home they were protected from "destructive tendencies of the market" (Farrell). In "Great Expectations" it is not easy to find one woman who fits into this ideal. Especially the three main female characters are rather de-structive than protective for men. However, throughout the novel Pip is confronted with several women of different calibre, from shrewd and hysterical, cold-hearted and distant to caring and loveable. On the follow-ing pages I am going to introduce and characterise the three main female characters who influence Pip's life the most: his sister Mrs. Joe Gargery, Mrs. Havisham and Estella. Of course Pip gets to know more women, but since they play only a more or less minor role in his life, I am not going to put them under consideration. After having descr