In her study of Dickens's relationship to canines, Gray shows that dogs, real and invented, were intrinsic to Dickens's vision and experience of London and its representation. She makes use of personal reminiscences, periodicals, images of dogs by...
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Universitätsbibliothek der Eberhard Karls Universität
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In her study of Dickens's relationship to canines, Gray shows that dogs, real and invented, were intrinsic to Dickens's vision and experience of London and its representation. She makes use of personal reminiscences, periodicals, images of dogs by portrait artists and Dickens's illustrators, and institutional archives to shed light not only on Dickens's life and works, but also on his society's complex and conflicting perceptions of and attitudes towards dogs
Cover; Contents; List of Figures; Acknowledgements; List of Abbreviations; Introduction; Part I: A Life with Dogs; 1 Dog Fancy; 2 A Dog's Life with Dickens: Timber (1842-54); 3 'I have taken to Dogs lately': The Great Gad's Hill Dogs; 4 Dogs Encountered; 5 Dickens's Dream Dog: Mrs Bouncer; Part II: Knowing his Place: The Dog in Dickens''s Art; 6 Man and Dog: Oliver Twist and The Old Curiosity Shop; 7 The Circus Dog and the Whelp: Hard Times; 8 The Drover's Dog: Bleak House; 9 The Essential Dog: Dombey and Son and Little Dorrit; 10 The Defining Dog: David Copperfield and Great Expectations
In her study of Dickens's relationship to canines, Gray shows that dogs, real and invented, were intrinsic to Dickens's vision and experience of London and its representation. She makes use of personal reminiscences, periodicals, images of dogs by portrait artists and Dickens's illustrators, and institutional archives to shed light not only on Dickens's life and works, but also on his society's complex and conflicting perceptions of and attitudes towards dogs
