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Description
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This volume shows how highly conscious Dickens was of words - of their meaning of course, and of the ideas they conjured up, but also of their very substance, texture, plasticity, visuality, and resonance, as well as their interactions with other words, and with their cultural environment. Each keyword is treated not as a semantic unit with a fixed meaning but rather as a flexible linguistic construct. Some keywords are just a word, a characteristic or even idiosyncratic lexical unit; some are treated as a load-bearing conceptual category or theme; some disintegrate into noise, complicating readers' assumptions about what a keyword must be. The focus shifts from "word" at micro- to macro-levels of signification, at times denoting wider cultural usage. Dynamic relations, oppositions, correlations and overlappings result from these individualized reading journeys, creating unforeseen and rich systems of meaning.
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(Author portrait)
Hollington, MichaelMichael Hollington is Life Member of Clare Hall, Cambridge University, and best known as a Dickensian for his book "Dickens and the Grotesque", and two edited collections, "Charles Dickens: Critical Assessments" in 4 volumes and "The Reception of Charles Dickens" in 2.Orestano, FrancescaFrancesca Orestano is Professor of English at the University of Milan, Italy. She works in the area of English literature from XVIII to XX c., visual studies, gardens and the picturesque, children's literature; recently she works on food, maps and Little Dorrit.Vanfasse, NathalieNathalie Vanfasse is Professor of English at Aix-Marseille University, France. She is the author of "Dickens, entre normes et déviance", short-listed for the 2008 French MLA prize; and of "La plume et la route: Charles Dickens écrivain-voyageur", awarded the 2018 SELVA prize.
