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This Electronic Thesis Or Dissertation Has Been Downloaded from the King’S Research Portal At This electronic thesis or dissertation has been downloaded from the King’s Research Portal at https://kclpure.kcl.ac.uk/portal/ Inimitable? The Afterlives and Cultural Memory of Charles Dickens’s Characters England, Maureen Bridget Awarding institution: King's College London The copyright of this thesis rests with the author and no quotation from it or information derived from it may be published without proper acknowledgement. END USER LICENCE AGREEMENT Unless another licence is stated on the immediately following page this work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International licence. https://creativecommons.org/licenses/by-nc-nd/4.0/ You are free to copy, distribute and transmit the work Under the following conditions: Attribution: You must attribute the work in the manner specified by the author (but not in any way that suggests that they endorse you or your use of the work). Non Commercial: You may not use this work for commercial purposes. No Derivative Works - You may not alter, transform, or build upon this work. Any of these conditions can be waived if you receive permission from the author. Your fair dealings and other rights are in no way affected by the above. Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 08. Oct. 2021 1 INIMITABLE? THE AFTERLIVES AND CULTURAL MEMORY OF CHARLES DICKENS’S CHARACTERS Maureen Bridget England King’s College London Candidate Number: 1233164 Thesis for PhD in English Literature 2 This paper is dedicated to the two doctors in my life who inspired me to pursue this dream: Martin England and Jenna Higgins 3 ‘Any successfully evoked character, no matter how apparently insignificant, stands a good chance of surviving its creator.’ David Galef, The Supporting Cast (1993) 4 Table of Contents TABLE OF CONTENTS ......................................................................................................... 4 TABLE OF FIGURES ............................................................................................................. 6 ACKNOWLEDGMENTS ..................................................................................................... 10 ABBREVIATIONS ................................................................................................................ 12 ABSTRACT ............................................................................................................................ 13 1. INTRODUCTION ........................................................................................................... 14 2. DIFFERENT WAYS OF LOOKING AT CHARACTER IN LITERATURE. ......... 31 2.1. CHARACTER IN LITERATURE ....................................................................................... 33 2.1.1. TRACING THE GENRE ‘CHARACTERY’ ..................................................................................... 35 2.1.2. SKETCHES BY BOZ AS A FORM OF CHARACTERY .................................................................... 46 2.2. CHARACTER IN VISUAL FORM ..................................................................................... 61 2.3. CHARACTER THEORY ................................................................................................... 73 2.4. CONCLUSION ................................................................................................................ 92 3. DICKENS THE INIMITABLE? ................................................................................... 96 3.1. DICKENS’S STYLE AND RELATIONSHIP WITH HIS WORK ......................................... 107 3.1.1. WRITING HIS ‘CHILDREN’...................................................................................................... 110 3.1.2. DICKENS MEETING HIS OWN CREATIONS ............................................................................. 120 3.2. ‘I WORK HERE, LIKE A STEAM ENGINE’: MANUSCRIPT ANALYSES ........................ 127 3.2.1. DOLLY VARDEN: WRITING THE FEMALE OBJECT ................................................................. 128 3.2.2. SAIREY GAMP: WRITING A FAVOURITE ............................................................................... 138 3.2.3. MISS MOWCHER: DICKENS CHANGES HIS PLANS ............................................................... 147 3.3. DICKENS AND PERFORMING CHARACTER ............................................................... 156 3.4. CONCLUSION .............................................................................................................. 164 4. ‘WANTING MORE’: CHARACTER AND THE ARCHONTIC MEMORY ......... 166 4.1. ‘DISHONEST DULLARDS’: DICKENS, COPYRIGHT, AND APPROPRIATION ............. 170 4.2. FANFICTION: ARCHONTIC AND COMMUNAL ‘TEXTS’ .............................................. 178 4.3. DICKENS ‘WANTING MORE’: MASTER HUMPHREY’S CLOCK, MRS GAMP AND THE STROLLING PLAYERS, AND MR. NIGHTINGALE’S DIARY .................................................. 197 4.3.1. MASTER HUMPHREY’S CLOCK .............................................................................................. 199 4.3.2. MRS GAMP WITH THE STROLLING PLAYERS ....................................................................... 204 4.3.3. MR. NIGHTINGALE’S DIARY ................................................................................................. 208 4.4. READERS AND RECEPTION IN CULTURAL MEMORY ............................................... 211 4.4.1. DICKENSIAN FAN CLUBS ...................................................................................................... 217 4.5. CONCLUSION .............................................................................................................. 222 5 5. CURIOSITY SHOPPING FOR DICKENS ............................................................... 224 5.1. THE THEORY OF THINGS: USE AND VALUE ............................................................. 224 5.2. MUSEUM ARTEFACT OR COLLECTIBLE? ................................................................... 230 5.2.1. DOLLS AND FIGURINES (USE V ART) .................................................................................... 240 5.3. THE CURIOUS CASE OF DOLLY VARDEN .................................................................. 272 5.4. CONCLUSION .............................................................................................................. 301 6. CONCLUSION: ‘REBOOTING’ THE DICKENS FRANCHISE WITH BBC’S DICKENSIAN ...................................................................................................................... 303 7. APPENDIX A: LETTERS DATABASE ..................................................................... 314 8. BIBLIOGRAPHY ......................................................................................................... 318 6 Table of Figures Figure 1: Dickens' Dream, by R. W. Buss (1875). Image© Charles Dickens Museum ....... 14 Figure 2: Dickens and Little Nell, by Frank Ewell (1890, Photograph 1959), Clark Park Philadelphia. Image© City of Philadelphia Department of Public Records. .............. 18 Figure 3: Dickens and Characters, by W. Reynolds (1864). Image© Charles Dickens Museum ............................................................................................................................................ 18 Figure 4: Mr Pickwick’s Reception: Sam Weller Introduces to Mr Pickwick the Leading Characters in Mr Dickens’s Novels, by S. Eytinge Jr., pub. Every Saturday, Supplement to N.15 (9 April, 1870). Image© Library of Congress. ............................... 18 Figure 5: A Coaching Dream of Dickens (Waiting for the Horses), by John W. Houghton (1911). Image© Charles Dickens Museum ......................................................... 20 Figure 6: Frontispiece to Martin Chuzzlewit, by Phiz (1844). Image© Charles Dickens Museum ............................................................................................................................................ 22 Figure 7: Tattoo of Dickens's last used signature. Image© Maureen England. .................. 26 Figure 8: 'Consider Yourself' screen capture from Oliver!, dir. Carol Reed (1968). Image©http://lecinemadreams.blogspot.co.uk/2014/04/oliver-1968.html. ............. 53 Figure 9: Derby Day, by W. P. Frith (1856-8). Image© Tate Gallery. .................................... 65 Figure 10: Inset Derby Day ................................................................................................................. 66 Figure 11: Gin Lane, by William Hogarth (1751). Image© Tate Gallery ................................. 67 Figure 12: The child in her gentle slumber, by Samuel Williams (1840). Image© Charles Dickens Museum ............................................................................................................................ 70 Figure 13: The Great Magician, by Joseph Clayton Clarke (Kyd) (1887). Image© Charles Dickens Museum ............................................................................................................................ 96 Figure 14: Photograph of Dickens in Photograph Album belonging to Katie Perugini (nee Dickens). Image© Charles Dickens Museum .............................................................. 98 Figure 15: Will o’ the Wisp, by Unknown (Saturday, 25 June, 1870). Image ©Charles Dickens Museum .........................................................................................................................
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