DH:CLiC Dickens Project

Hello Everyone, This blog is the part of lab activity of the unit Digital Humanities assigned by Dr. Dilip Barad sir.  In this I have browse through activity book by CLiC Project of Birmingham University. I am displaying  two 'thematic' activities.

Activity 1 : The fireplace pose – texts and cultural context

The social importance of the fire-place

This activity aims to make connections between textual patterns in the novels and social or cultural behavious and conventions in the real world. As most texts in CLiC were written in the 19th century, we focus on the cultural context of that period.Section 12 above looked at the role of fire in A Christmas Carol and here we focus on a related topic: the so-called ‘fireplace pose’ in 19th century fiction. Thispose has been identified in literature and other cultural material from the time, such as paintings; Barbara Korte describes this in her book on body language (Korte 1997:212). Mahlberg (2013) has looked at textual patterns of the fireplace pose in Dickens’s novels and finds that the cluster with his back to the fire is particularly

frequent.

"Jellyby," said Mr. Kenge, standing with his back to the fire and casting his eyes over the dusty hearthrug. "On!" said Mr. Turveydrop, also standing with his back to the fire.

In Bleak House, six out of five sentences describe men standing with their backs to the fireplace. This stance often signifies authority, highlighting a gender dynamic. In one sentence, a character is deep in thought, while in another, they are waiting for a reply. Two other sentences show characters watching others.

The fireplace, usually a symbol of warmth and comfort, is used differently to highlight masculine behavior. Turning one's back to the fire suggests a focus on external issues or work, rather than home life. From a Freudian perspective, the fire could represent the unconscious, and turning away might indicate a defense against deeper feelings or desires.

In Dombey and Son, the fireplace is also a place where male characters think, stare, or wait. Out of seven instances, six involve male characters.

When a character is described as looking at the fire, it often suggests a melancholic mood. In Dickens's novels, gazing at the fire can symbolize avoiding eye contact with others in the room, indicating a sense of isolation or introspection.

The fire-place pose in 19th century literature : 

In other 19th-century works, fire holds different meanings but often shows similar postures to those in Dickens's novels, indicating a confused state of mind. 

In The Small House at Allington by Anthony Trollope, a character faces the fire and talks about the past and London's cold weather, suggesting that the coldness of the past burdens the present.

In Jude the Obscure by Thomas Hardy, Jude looks at the sleeping Sue and feels on the verge of falling in love. This scene is different from the typical Dickens living room. Jude's feelings for Sue, who represents the new woman archetype, become clearer and brighter with the presence of the fire. This transformation of the fireplace's symbolic meaning shows why Hardy is considered an early modernist writer.

Activity 2: Body Language and Characterisation

Characters in dramas and novels play a crucial role, and their body language significantly impacts viewers. Body language, consisting of posture, eye movements, facial expressions, and gestures, communicates nonverbal cues. Understanding and effectively using body language can enhance character portrayal and storytelling. Characterization is the process by which an author or actor develops a character.

For example, the word "chin" appears 317 times in Charles Dickens's 15 novels, but only once in Jane Austen's 7 books.

The use of Chin in Dickens's Novels :-

Charles Dickens skillfully uses physical descriptions, like the chin, to develop his characters. A strong, prominent chin in Dickens' novels often symbolizes strength and confidence, while a weak or receding chin can suggest timidity. Dickens frequently uses these physical traits to quickly convey a character's nature.

For instance, villains in Dickens’ works often have sharp, angular features, including a pointed chin, to hint at their cunning or malice. In "Great Expectations," Mr. Jaggers is described with a firm, square chin that emphasizes his authoritative presence. Similarly, in "Oliver Twist," Mr. Bumble’s double chin highlights his gluttony and self-importance, contributing to his comical portrayal.

In "Bleak House," a character wrapped up to the chin is described as strange, which reflects the narrator’s feelings and adds to the scene's atmosphere. Dickens uses the word "chin" to enhance character portrayal and evoke emotional responses, showing how physical details can deepen characterization and highlight themes.

The use of Chin in 19th Century 

In literature, including Dickens' works, the chin often symbolizes different character traits. A “firm chin” can suggest determination or stubbornness, while a “weak chin” might indicate timidity or indecision. For example, in one description, a character with a "beardless, retreating chin" is portrayed as unattractive and lacking in refinement, emphasizing his less appealing qualities.

In 19th-century literature, heroic or noble characters frequently have a strong, prominent chin, symbolizing strength, decisiveness, and moral integrity. This feature can also convey leadership and courage. For instance, Dickens’ Fagin and Conan Doyle’s Professor Moriarty are depicted with less pronounced chins to highlight their villainous traits.

In Oscar Wilde’s "The Picture of Dorian Gray," Dorian’s well-defined chin reflects his youthful beauty and charm, aligning with his aesthetic ideals. On the other hand, Lord Henry’s chin and overall demeanor emphasize his influence and seductive power over Dorian, showcasing his authority and confidence.

The use of Chin in Jane Austen's Novel :-

In Jane Austen’s novels, the chin can represent various aspects of a character’s social standing and personality. For example, in "Pride and Prejudice," Mr. Darcy’s "proud" chin reflects his aloofness and haughty attitude. Similarly, in "Sense and Sensibility," the physical descriptions of Elinor Dashwood and Marianne Dashwood use subtle details to hint at their different temperaments.

Mr. Collins in "Pride and Prejudice" is described with a "weak" chin, highlighting his obsequious and submissive nature. This feature underscores his sycophantic character and allows Austen to satirize those who seek status over genuine morality. On the other hand, Mr. Darcy’s strong chin symbolizes determination and moral strength. Austen’s use of the chin in her descriptions adds depth to her characters and offers social commentary.

In a humorous passage from "Pride and Prejudice," Lydia critiques a waiter’s "long chin," revealing her superficial and immature nature. Her focus on the waiter’s appearance, rather than his character, highlights her tendency to judge people based on trivial physical traits. This moment of irony underscores Lydia’s shallow perspective and reflects the broader societal tendency to focus on appearance over substance.

Learning Outcome :

This activity  through we can Analyzing a writer’s entire work in  identify symbols and patterns is challenging. However, using this method makes the research process much quicker and simpler. Overall, this approach enhances understanding of a writer's style, themes, and character use, and it enables comparisons between different writers from the same era.

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