| 000 -LEADER |
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| fixed length control field |
02344nam a22002297a 4500 |
| 003 - CONTROL NUMBER IDENTIFIER |
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| control field |
IN-MiVU |
| 005 - DATE AND TIME OF LATEST TRANSACTION |
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| control field |
20191129122119.0 |
| 006 - FIXED-LENGTH DATA ELEMENTS--ADDITIONAL MATERIAL CHARACTERISTICS |
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| 007 - PHYSICAL DESCRIPTION FIXED FIELD--GENERAL INFORMATION |
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cr uuu---uuuuu |
| 008 - FIXED-LENGTH DATA ELEMENTS--GENERAL INFORMATION |
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180522s2011 xxu||||go|||| 00| 0 eng d |
| 020 ## - INTERNATIONAL STANDARD BOOK NUMBER |
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| International Standard Book Number |
9780199257928 ( e-book ) |
| 040 ## - CATALOGING SOURCE |
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| Original cataloging agency |
MAIN |
| Language of cataloging |
eng |
| Transcribing agency |
IN-MiVU |
| 041 0# - LANGUAGE CODE |
|---|
| Language code of text/sound track or separate title |
eng |
| 100 1# - MAIN ENTRY--PERSONAL NAME |
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| Personal name |
John, Juliet |
| 245 00 - TITLE STATEMENT |
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| Title |
Dickens and Mass Culture [ electronic resource ] / |
| Statement of responsibility, etc. |
by Juliet John. |
| 260 ## - PUBLICATION, DISTRIBUTION, ETC. |
|---|
| Name of publisher, distributor, etc. |
Oxford Scholarship Online , |
| Date of publication, distribution, etc. |
2011 |
| 520 ## - SUMMARY, ETC. |
|---|
| Summary, etc. |
That the idea of Dickens and the adjective ‘Dickensian’ continue to have a cultural resonance which extends beyond the book‐buying public almost two centuries after Dickens's birth is testimony to his sense of himself as a mass cultural artist. This book contends that Dickens's popularity is unique, different even from that of Shakespeare because, writing in ‘the first age of mass culture’, Dickens was instinctively aware of the changed context of art, or of the need for popular art to find its place in an age of mechanical reproduction. The book describes the ways in which he envisioned and engineered his cultural pervasiveness, the media that enabled it, and the posthumous processes — technological, commercial, ideological, and emotional — that have perpetuated it. The first part examines Dickens's cultural vision and practice — his model of authorship, his journalism, his public readings, his relationship with America and the machine — and the second part explores Dickens's screen and ‘heritage’ afterlives, as well as the Dickens visitor attraction, ‘Dickens World’. Dickens's one‐time presence on the ten‐pound note symbolizes the book's guiding interest in the relationship between the commercial, cultural, and political aspects of Dickens's populist vision and legacy. The book argues that the aspects of Dickens's art that have underscored critical ambivalence about Dickens — his relationship with money, mechanical reproduction, and the mass market in particular — have ultimately ensured both his iconic cultural status and his centrality to the academic canon. |
| 650 10 - SUBJECT ADDED ENTRY--TOPICAL TERM |
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| Topical term or geographic name entry element |
English |
| 655 #4 - INDEX TERM--GENRE/FORM |
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| Genre/form data or focus term |
Electronic books |
| 856 40 - ELECTRONIC LOCATION AND ACCESS |
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| Uniform Resource Identifier |
<a href="https://doi.org/10.1093/acprof:oso/9780199257928.001.0001">https://doi.org/10.1093/acprof:oso/9780199257928.001.0001</a> |
| Link text |
https://doi.org/10.1093/acprof:oso/9780199257928.001.0001 |
| Public note |
View to click |
| 942 ## - ADDED ENTRY ELEMENTS (KOHA) |
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| Source of classification or shelving scheme |
|
| Koha item type |
E-Book |
