Titlebook: Dickens, Europe and the New Worlds; Anny Sadrin (Professor of English) Book 1999 Palgrave Macmillan, a division of Macmillan Publishers Li

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Why D.I.J.O.N.? Crossing Forbidden Boundaries in .N.’, with this unusual spelling, does sound like a cryptic abbreviation, a message to be decoded. Yet I did not have the slightest intention to hide any formula of my own behind these signs. I was very ingenuously trying to answer a question raised in the novel.

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From Interactions to Integrationsand dislocation which Dickens associates with crossing the English Channel (as we British presumptuously call it), and, on the other, the feelings of comfort, normality and balance which tend to supervene as soon as he begins to write about actually being in France.

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Rolando Tomasini,Luk Van Wassenhove those suspect full stops between each letter, was taken by some as a joke or a riddle. I had a few phone calls from friends who hazarded guesses, at least on the first letter: ‘Of course, it is “D” for Dickens,’ one said; ‘Of course, it is “D” for Dombey,’ asserted another. And, of course, ‘D.I.J.O

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https://doi.org/10.1007/978-3-319-15455-8he left shoulder; no other mark.’ This is how Dudley Costello, at the end of his impressive . article ‘Blank Babies in Paris’ (HW, VIII, 379–82; 17 December 1853), translates the registry entry for a new arrival at the Foundling Hospital in Paris in the Rue d’Enfer. Costello, responding to Dickens’s

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Humanitarian Logistics and Sustainabilitypalazzo in Venice, a strange spectacle looms before her as she gazes down at the ancient canals that flow outside her window: Venice disappears, and London rises into view. Dickens describes how Amy would stand on her balcony and, ‘watch the sunset, in its long low lines of purple and red, and its b