First published in 1984, this title examines the development of a special rhetoric in Dickens’ work, which, by using grotesque effects, challenged the complacency of his middle-class Victorian readers. The study begins by exploring definitions of the grotesque and moves on to look at three key aspects that particularly impacted on Dickens’ imagination: popular theatre (especially pantomime), caricature, and the tradition of the Gothic novel. Michael Hollington traces the development of Dickens’ application of the grotesque from his early work to his late novels, showing how its use becomes more subtle. Hollington’s title greatly enhances our appreciation of Dickens’ technique, showing the skill with which he used the grotesque to undermine stereotyped responses and encourage his readership to challenge their context.
‘Dickens and America’ has been amply studied, his no less important relationship to Italy much less so, despite his friend Forster's assertion that his long stay in Genoa represented ‘the turning-point of his career.’ This book, arising from a major conference held in Genoa in 2007, attempts to redress the balance, focusing primarily on Dickens's two major writings about Italy—the travel book Pictures from Italy of 1845, and Part Two of his great novel Little Dorrit of 1855–7. It falls into six sections: the first concerns Dickens's enjoyment of leisure for the first time in his life in Italy; the second, his response to the visual attractions of Italy, both natural and artistic; the third, his political stance about Italy in the period of the Risorgimento; the fourth, his preoccupation with death and decay in what he saw and experienced in Italy; the fifth, his representation of ‘Italianness’ in Little Dorrit and elsewhere; and the sixth, his relation to modern and contemporary writers about Italy. It thus aims to fill a vital gap in Dickens studies.
Charles Dickens 200: Text and Beyond: a commemorative volume is the second volume in the new SPECHEL e-ditions series. It commemorates the two-hundredth anniversary of Dickens’s birth, and for the purpose brings together, in addition to ‘dyed-in-the-wool’ Dickensians, a curious variety of experts from a miscellany of areas of expertise ranging from folksinger to linguist and even magician. The chapters approach Charles Dickens from musical aspects ranging from opera to music-hall song and street ballad, from his role as a family conjuror, to psychological analyses of various of his characters and linguistic analysis of his style. He is regarded through the prism of the Irish literary scene but also through the eye of the Hungarian translator of his work, through operatic and photographic adaptations of his subject-matter. Every new chapter produces an exciting and unexpected new facet of the author, whose birth the volume celebrates.
First published in 1984, this title examines the development of a special rhetoric in Dickens’ work, which, by using grotesque effects, challenged the complacency of his middle-class Victorian readers. The study begins by exploring definitions of the grotesque and moves on to look at three key aspects that particularly impacted on Dickens’ imagination: popular theatre (especially pantomime), caricature, and the tradition of the Gothic novel. Michael Hollington traces the development of Dickens’ application of the grotesque from his early work to his late novels, showing how its use becomes more subtle. Hollington’s title greatly enhances our appreciation of Dickens’ technique, showing the skill with which he used the grotesque to undermine stereotyped responses and encourage his readership to challenge their context.
Charles Dickens 200: Text and Beyond: a commemorative volume is the second volume in the new SPECHEL e-ditions series. It commemorates the two-hundredth anniversary of Dickens’s birth, and for the purpose brings together, in addition to ‘dyed-in-the-wool’ Dickensians, a curious variety of experts from a miscellany of areas of expertise ranging from folksinger to linguist and even magician. The chapters approach Charles Dickens from musical aspects ranging from opera to music-hall song and street ballad, from his role as a family conjuror, to psychological analyses of various of his characters and linguistic analysis of his style. He is regarded through the prism of the Irish literary scene but also through the eye of the Hungarian translator of his work, through operatic and photographic adaptations of his subject-matter. Every new chapter produces an exciting and unexpected new facet of the author, whose birth the volume celebrates.
The 1960s were the most turbulent era in Cleveland history—and an exciting time to be a newspaper reporter. This memoir takes you back to the tumult. It’s an eyewitness account by a veteran journalist who, as an ambitious young reporter, covered the major events of the day: civil rights violence, corruption and crime, Vietnam, Kent State, and more. Cleveland was already changing by the beginning of the 1960s. Racial unrest, migration to the suburbs and the decline of its once-mighty industrial base reshaped the city’s politics and population. Cleveland found itself at the forefront of social upheaval that would sweep the nation and alter America. In those days, a journalist could find a story that reflected the times down the street or around the world. Reporting for the Plain Dealer, Michael D. Roberts covered a decade of destruction, death and dissension—from the riots on Cleveland’s East Side to the Tet Offensive in Vietnam, the aftermath of the Six-Day War in the Middle East and the tragedy of the Kent State shootings. There were enlightened moments, too. For a good part of that decade the eyes of the nation were on Cleveland, watching whether it would elect the first African American mayor of a major American city. It did, in Carl B. Stokes. It was also the last golden hour of print newspapers—although they didn’t know it yet. Technology had not yet altered the business. All a journalist needed was a pen, a notebook, a typewriter, a pay phone and a pocketful of change. Television was only just beginning to make a serious impact on news reporting. Newspapers were a unifying force in communities, a friendly visitor that arrived on your doorstop every day. But by decade’s end, the spirit of revolt would come to haunt the newspaper and pluck both the verve and the soul from it. For a reporter in search of a big story, though, bad times were also the best of times. This is the way it was.
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