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Sensation and sublimation in Charles Dickens[electronic resource] /

レコード種別:	言語・文字資料 (印刷物) : 単行資料
[NT 15000414] null:	823/.8
タイトル / 著者:	Sensation and sublimation in Charles Dickens/ John Gordon.
著者:	Gordon, John,
出版された:	New York : : Palgrave Macmillan,, 2011.
記述:	1 online resource (226 p.) : : ill.
主題:	Senses and sensation in literature.
主題:	Sublimation (Psychology) in literature.
主題:	LITERARY CRITICISM - European
主題:	LITERARY CRITICISM - General.
主題:	LITERARY CRITICISM - Books & Reading.
国際標準図書番号 (ISBN) :	9780230119697 (electronic bk.)
国際標準図書番号 (ISBN) :	0230119697 (electronic bk.)
国際標準図書番号 (ISBN) :	9780230110885 (hardback)
国際標準図書番号 (ISBN) :	0230110886 (hardback)
[NT 15000227] null:	Includes bibliographical references and index.
[NT 15000228] null:	"What Right Have They to Butcher Me?" * "Thankee, Mum," said Toodle, Since You Are Suppressing" * "In a Thick Crowd of Sounds, but Still Intelligibly Enough to be Understood" * "Is Esther Pretty?" and Nine Other Questions About Bleak House��.
[NT 15000229] null:	"My book sets out to explore three crucial stages in Dickens' ongoing voyage of discovery into what has been called the "hidden springs" of his fiction. The three novels under examination are Oliver Twist, Dombey and Son, and Bleak House. (Other Dickens writings are considered when pertinent.) I argue that in all three we can witness Dickens responding to some identifiable force represented as coming from underneath the ground plan (plot, character interaction, development of themes, stylistic effects) of the book in question. In Oliver Twist, it is the ancient story of the blood libel; in Dombey and Son, it is the power of language as an independent agent; in Bleak House, it is a pre-verbal array of desires and interdicts. I also explore the question of Dickens' self-awareness, at these different stages: to what extent did he see himself as a medium of forces beyond his conscious control, and what did he think the psychological mechanisms at work might be? The issues raised have certainly been considered before but have not gone in the directions taken here. Many critics, for instance, have commented on anti-Semitism in Oliver Twist, and some have mentioned the blood libel; no one has argued that Oliver Twist is a blood libel. Previous considerations of ideas of the subconscious have been overwhelmingly Freudian and have concentrated on Dickens' biography; mine, by contrast, relies on pre-Freudian concepts common in Dickens' time and concentrates on the evidence of the writings"--Provided by publisher.
電子資源:	An electronic book accessible through the World Wide Web; click for information

Sensation and sublimation in Charles Dickens[electronic resource] /
Gordon, John,1945-

Sensation and sublimation in Charles Dickens[electronic resource] /John Gordon. - 1st ed. - New York :Palgrave Macmillan,2011. - 1 online resource (226 p.) :ill.

Includes bibliographical references and index.

"What Right Have They to Butcher Me?" * "Thankee, Mum," said Toodle, Since You Are Suppressing" * "In a Thick Crowd of Sounds, but Still Intelligibly Enough to be Understood" * "Is Esther Pretty?" and Nine Other Questions About Bleak House��.

"My book sets out to explore three crucial stages in Dickens' ongoing voyage of discovery into what has been called the "hidden springs" of his fiction. The three novels under examination are Oliver Twist, Dombey and Son, and Bleak House. (Other Dickens writings are considered when pertinent.) I argue that in all three we can witness Dickens responding to some identifiable force represented as coming from underneath the ground plan (plot, character interaction, development of themes, stylistic effects) of the book in question. In Oliver Twist, it is the ancient story of the blood libel; in Dombey and Son, it is the power of language as an independent agent; in Bleak House, it is a pre-verbal array of desires and interdicts. I also explore the question of Dickens' self-awareness, at these different stages: to what extent did he see himself as a medium of forces beyond his conscious control, and what did he think the psychological mechanisms at work might be? The issues raised have certainly been considered before but have not gone in the directions taken here. Many critics, for instance, have commented on anti-Semitism in Oliver Twist, and some have mentioned the blood libel; no one has argued that Oliver Twist is a blood libel. Previous considerations of ideas of the subconscious have been overwhelmingly Freudian and have concentrated on Dickens' biography; mine, by contrast, relies on pre-Freudian concepts common in Dickens' time and concentrates on the evidence of the writings"--Provided by publisher.

ISBN: 9780230119697 (electronic bk.)

Standard No.: 9786613209795

Source: 526988Palgrave Macmillanhttp://www.palgraveconnect.comSubjects--Personal Names:

373017
Dickens, Charles,
1812-1870--KnowledgeSubjects--Topical Terms:

522404
Senses and sensation in literature.
Index Terms--Genre/Form:

336502
Electronic books.

LC Class. No.: PR4592.S43 / G67 2011

Dewey Class. No.: 823/.8

Sensation and sublimation in Charles Dickens[electronic resource] /
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520 $a "My book sets out to explore three crucial stages in Dickens' ongoing voyage of discovery into what has been called the "hidden springs" of his fiction. The three novels under examination are Oliver Twist, Dombey and Son, and Bleak House. (Other Dickens writings are considered when pertinent.) I argue that in all three we can witness Dickens responding to some identifiable force represented as coming from underneath the ground plan (plot, character interaction, development of themes, stylistic effects) of the book in question. In Oliver Twist, it is the ancient story of the blood libel; in Dombey and Son, it is the power of language as an independent agent; in Bleak House, it is a pre-verbal array of desires and interdicts. I also explore the question of Dickens' self-awareness, at these different stages: to what extent did he see himself as a medium of forces beyond his conscious control, and what did he think the psychological mechanisms at work might be? The issues raised have certainly been considered before but have not gone in the directions taken here. Many critics, for instance, have commented on anti-Semitism in Oliver Twist, and some have mentioned the blood libel; no one has argued that Oliver Twist is a blood libel. Previous considerations of ideas of the subconscious have been overwhelmingly Freudian and have concentrated on Dickens' biography; mine, by contrast, relies on pre-Freudian concepts common in Dickens' time and concentrates on the evidence of the writings"--Provided by publisher.
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