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Dickens' concept of gentilityGupta, Manjari Shivhare. January 1979 (has links)
No description available.
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Dickens' concept of gentilityGupta, Manjari Shivhare. January 1979 (has links)
No description available.
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Revisiting the sublime history : Dickens, Christianity, and The life of Our LordColledge, Gary January 2008 (has links)
While the study of Charles Dickens’s religion has produced various results, few would contest that Dickens’s religious views are shaped by his peculiar emphasis on Jesus and the Gospels. As to the precise nature of his views and the degree to which his commitment to the Christian faith extends, however, a much lesser degree of consensus has been established. I attempt to demonstrate here that at the heart of his work is a conspicuous Christian worldview, which is grounded squarely in the imitation of Jesus and which pervades his life and his work in the most profound yet unobtrusive ways. I argue, then, that Dickens’s The Life of Our Lord is a definitive source in the Dickens corpus for our understanding of his Christian thought and worldview. Moreover, as a serious expression of Dickens’s understanding of Christianity, The Life of Our Lord also functions as an index to his Christian thought in the larger Dickens corpus. Of first importance then, I attempt to establish the authority of The Life of Our Lord as a composition that will bear the full weight of such assertions. Then, I analyze its content as to its implicit theology in order to establish not only its thoroughgoing Christian character but also to demonstrate that it reveals Dickens’s own genuine Christian conviction manifested in all his work. Drawing the work to a close, I attempt to demonstrate how The Life of Our Lord helps us to understand Dickens’s churchmanship and his relationship to the church. In the end, I comment on its intended purpose as moral instruction for his children exemplifying his understanding of Christianity. The study demonstrates throughout how the Christianity embodied and articulated in The Life of Our Lord is consistently and naturally reflected in all of Dickens’s work, whether fiction, journalism or correspondence.
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Realism and ritual in the rhetoric of fiction: anti-theatricality and anti-catholicism in Brontë, Newman and DickensFanucchi, Sonia January 2016 (has links)
A dissertation submitted to the Faculty of Humanities, University of the
Witwatersrand, Johannesburg, in fulfilment of the requirements of Doctor of Philosophy, Johannesburg, 2016. / This thesis is concerned with the meeting point between theatre and religion in
the mid-Victorian consciousness, and the paradoxical responses that this engendered
particularly in the novels and thought of Dickens, Newman and Charlotte Brontë. It
contributes to the still growing body of critical literature that attempts to tease out the
complex religious influences on Dickens and Brontë and how this manifests in their
fiction. Newman is a religious writer whose fictional treatment of spiritual questions
in Callista (1859) is used as a foil to the two novelists. There are two dimensions to
this study: on the one hand it is concerned with the broader cultural anti-Catholic
mood of the period under consideration and the various ways in which this connects
with anti-theatricality. I argue that in the search for a legitimate means of expressing
religious sentiments, writers react paradoxically to the latent possibilities of the
conventions of religious ceremony, which is felt to be artificial, mystical,
transcendent and threatening, inspiring the same contradictory responses as the theatre
itself. The second dimension of this study is concerned with the way in which these
sentiments manifest themselves stylistically in the novels under consideration:
through a close reading of Barnaby Rudge (1841), Pictures From Italy (1846), and
Villette (1852), I argue that in the interstices of a wariness of Catholicism and
theatricality there is a heightening of language, which takes on a ritual dimension,
evoking the paradoxical suggestions of transcendent meaning and artificiality
associated with performance. Newman’s Callista (1859) acts as a counterpoint to
these novels, enacting a more direct and persuasive argument for the spiritual value of
ritual. This throws some light on the realist impulse in the fiction of Brontë and
Dickens, which can be thought of as a struggle between a language that seeks to
distance and explain, and a language that seeks to perform, involve, and inspire.
In my discussion of Barnaby Rudge (1841) I argue that the ritual patterns in
the narrative, still hauntingly reminiscent of a religious past, never become fully
embodied. This is because the novel is written in a style that could be dubbed
“melodramatic” because it both gestures towards transcendent presences and patterns
and threatens to make nonsense of the spiritual echoes that it invokes. This sense of a
gesture deferred is also present in the travelogue, Pictures from Italy (1846). Here I
argue that Dickens struggles to maintain an objective journalistic voice in relation to a
sacramental culture that is defined by an intrusive theatricality: he experiences
Catholic practices and symbolism as simultaneously vital, chaotic and elusive,
impossible to define or to dismiss. In Villette (1852) I suggest that Charlotte Brontë
presents a disjuncture between Lucy’s ardour and the commonplace bourgeoisie
world that she inhabits. This has the paradoxical effect of revitalising the images of
the Catholic religion, which, despite Lucy’s antipathy, achieves a ghostly presence in
the novel. In Callista (1859), I suggest that Newman concerns himself with the ritual
possibilities and limitations of fiction, poetry and theatre. These dramatic and literary
categories invoke and are ultimately subsumed in Christian ritual, which Newman
considers the most refined form of language – the point at which detached description
gives way to communion and participation.
Keywords: Victorian literature, Charles Dickens, Charlotte Brontë, John
Henry Newman, ritual, religion, realism, theatricality, anti-Catholicism
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