Dickens and the Virtual City : Urban Perception and the Production of Social Space

Posted on January 1, 2017

Thornton Sara

Editeur : Palgrave Macmillan

Parution : 01/01/2017

Nombre de pages : 295

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This book explores the aesthetic practices used by Dickens to make the space which we have come to know as the Dickensian City.

It concentrates on three very precise techniques for the production of social space (counter-mapping, overlaying and troping).

The chapters show the scapes and writings which influenced him and the way he transformed them, packaged them and passed them on for future use.

The city is shown to be an imagined or virtual world but with a serious aim for a serious game: Dickens sets up a workshop for the simulation of real societies and cities.

This urban building with is transferable to other literatures and medial forms.

The book offers vital understanding of how writing and image work in particular ways to recreate and re-enchant society and the built environment. It will be of interest to scholars of literature, media, film, urban studies, politics and economics.

Estelle Murail is Research Fellow in the LARCA research centre at the University of Paris Diderot, France. She also teaches at the at the Lycée Saint-Jean de Passy in Paris. She gained her jointly-supervised PhD in English Literature at the Université Paris Diderot and King’s College London. Her PhD examined the figure of the flâneur in London and Paris in the Nineteenth Century. She has published several articles on flânerie, London and Paris in literature. She has taught English Literature and translation at the Université Paris-Diderot, at the Université Paris Est Marne-La-Vallée and at Sciences-Po Paris.

Sara Thornton is Professor of English at the University of Paris Diderot, France, where she teaches nineteenth-century literature and cultural studies. She is president of the SFEVE (Société Française d’Etudes Victoriennes et Edouardiennes). She has published Advertising, Subjectivity and the Nineteenth-Century Novel (Palgrave Macmillan, 2009), David Copperfield (2006), Circulation and Transfer of Key Scenes in Nineteenth-Century Literature (2010), Persistent Dickens (with Alain Jumeau, 2012), and Littérature et publicité (co-edited with L. Guellec and F. Hache-Bissette, 2012). She is currently working on the way aesthetics responds to economic pressures in the nineteenth-century in Britain and the Empire.

  •  Dickensian Counter-Mapping, Overlaying, and Troping: Producing the Virtual City
    Pages 3-32
    Murail, Estelle (et al.)
  •  The Railway and the River: Conduits of Dickens’ Imaginary City
    Pages 35-56
    Moore, Ben
  • Re-envisioning Dickens’ City: London Through the Eyes of the Flâneur and Asmodeus
    Pages 57-77
    Murail, Estelle
  • The Bleeding Heart of Criminal Geography in Dickens’ London
    Pages 79-98
    Bertrand, Cécile
  • One Hundred and Five, North Tower’: The City as a Prison-Home Narrative in Charles Dickens’ A Tale of Two Cities (1859)
    Pages 99-118
    Athmanathan, Divya
  • The ‘Something’ that His Brain Required: America’s Role in the Development of Dickens’ Urban Imagination
    Pages 121-132
    Aycock Metz, Nancy
  • Dickens and His Urban Museum: The City as Ethnological Spectacle
    Pages 133-153
    Robles, Fanny
  • ‘Reddening the Snowy Streets:’ Manchester London, Paris or a Tale of Three Cities
    Pages 155-174
    Lanone, Catherine
  • ‘Our Mutual City:’ The Posterity of the Dickensian Urbanscape
    Pages 175-194
    Letissier, Georges
  • The Role of Hypallage in Dickens’ Poetics of the City: The Unheimlich Voices of Martin Chuzzlewit
    Pages 197-215
    Dupeyron-Lafay, Françoise
  • No Thoroughfares in Dickens: Impediment, Persistence, and the City
    Pages 217-239
    Tambling, Jeremy
  • A Production of Two Cities and of Four Illustrators
    Pages 241-271
    Allingham, Philip V., Ph.D.
  • “It is a topic that has appealed to scholars and anyone fascinated by Britain’s world city, but also by the representation of urban experience as a phenomenon of modernity, as well as postmodernity.”
    Efraim Sicher, Dickens Quarterly, Vol. 37 (1), March, 2020