By Sabine Clemm
Dickens, Journalism, and Nationhood examines Charles Dickens’ weekly relations journal loved ones phrases with the intention to increase a close photograph of ways the magazine negotiated, asserted and concurrently deconstructed Englishness as a unified (and occasionally unifying) mode of expression. It deals shut readings of quite a lot of fabrics that self-consciously concentrate on the character of England in addition to the connection among Britain and the ecu continent, eire, and the British colonies. beginning with the illustration and type of identities that happened in the framework of the good Exhibition of 1851, it means that the magazine strives for a version of the realm in concentric circles, spiraling outward from the metropolitan middle of London. regardless of this obvious orderliness, although, all of the nationwide or nearby different types built by means of the magazine additionally resists and undermines this sort of uncomplicated illustration.
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Extra resources for Dickens, Journalism, and Nationhood: Mapping the World in Household Words (Studies in Major Literary Authors)
50 All they can produce are useless ornaments and ‘ridiculous abortion[s]’ such as the Chinese Junk. 51 The authors base this judgement of China as regressive largely on its porcelain production, which dominated the Chinese section of the Great Exhibition. 52 Hence, the very porcelain production which the authors see as symptomatic of China’s supposed self-willed isolation and incapability to trade, proved that Chinese manufacturers were in fact perfectly able to cater for a particular demand in the international market.
13 Consequently, when the CWCC asked for the Royal Commission’s approval of its work, it received a blanket rejection. At the proposal of Charles Dickens, ‘the CWCC dissolved itself after being in existence for barely one month’, since ‘without official recognition, [it . . 14 The reins of the Great Exhibition were thus very much in the hands of the elite, a group of powerful, wealthy men, some of whom had not only an ideological but also a commercial interest in the way in which the Exhibition represented the world.
On the one hand, the manufacturing tools used in India looked primitive and poor in comparison to the steam-driven machinery supplied by Britain and other European countries. On the other hand, the artefacts, elaborate textiles, crystal vases, and jewellery produced with those simple tools outshone Britain’s own in aesthetic value and craftsmanship. 44 Similar reactions were provoked by the Chinese section of the Great Exhibition, which consisted of large, painted porcelain vases, cabinets and other furniture, decorative figures, and paintings.