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Textes réunis par Marie-Amélie Coste, Christine Huguet et Nathalie Vanfasse
Though Dickens is best known for his unique characters, he is also associated with unforgettable descriptions of London. These memorable cityscapes will be used here as a springboard to conduct an in-depth analysis of Dickensian landscapes in general. In the wake of Malcolm Andrews’s study of Landscape and Western Art, the word landscape is understood here as a twofold process in which land is not just perceived as landscape but actually built into art ; in other words landscape is defined here as land “aesthetically processed” (Andrews 1, 7), or to paraphrase Simon Schama in Landscape and Memory, as a way of elaborating on land as raw matter (10). It is this complex construction of landscapes—which in this instance are made of words—that the following collection of articles brings to light.
Illustration : Bleak House frontispiece by ‘Phiz’