• List of Illustrations


• Acknowledgements


• Editions and Abbreviations


• INTRODUCTION


• PART ONE - DICKENS IN HIS DAY


• 1: The Amusements of the People: Cultural Politics, Class and Commerce


• 2: 'A body without a head': Culture Shock in Dickens's American Notes (1842)


• 3: 'Personal' Journalism: Getting Down into the Masses


• 4: 'Coming Face to Face with Multitudes': The Public Readings


• 5: Culture, Machines and Cultural Industry


• PART TWO - AFTERLIVES


• 6: Moving Pictures and Moving People: The Aesthetics of 'Mass Success'


• 7: The Making of a Cultural Myth: Oliver Twist on Screen


• 8: Heritage Dickens; or, Culture and the Commodity


• Conclusion: Dickens World Past, Present and Future


• BIBLIOGRAPHY

Juliet John is Head of the Department of English at Royal Holloway, University of London, having previously served as Associate Dean Education for the Faculty of Arts, Director of Research for English, and Director of the Centre for Victorian Studies. Before joining Royal Holloway in February 2012, she was Professor of English at the University of Liverpool and had spent 20 years working at institutions in the North West of England - the University of Manchester, the University of Salford and Edge Hill University.
She is an internationally recognised Dickensian and much of her work focuses on the relationship between Dickens's work and the popular cultural contexts of the Victorian and post-Victorian periods. She thus also has research expertise in areas such as melodrama, nineteenth-century theatre, the popular Victorian novel, journalism, film, adaptation, heritage, neo-Victorianism, thing theory, and affect studies. She previously founded and led the Gladstone Centre for Victorian Studies for a decade and was PI on the AHRC-funded Gladstone Cataloguing and Annotation Project.

Dickens and Mass Culture shows that Dickens's unusual success in combining literary with wider popular appeal is directly related to his sense of himself as a mass cultural artist. It examines the ways in which his consciousness of a mass market for his work affected both his cultural vision and practice and his post-Victorian afterlives.