This article advocates reading for moods, moments in literary texts that draw attention to textual forms conditioning the experiential parameters of narrative. Drawing from Hans Ulrich Gumbrecht’s reception aesthetics, I demonstrate how the normative critical history of Charles Dickens’s 1850 novel David Copperfield is a product of the novel’s delimitation of its horizons of expectation and structuration of contingency. I then link these delimited horizons to the accepted austerity politics of academic labor today.
David Copperfield’s Moods
JOEL SIMUNDICH has taught literature and first-year composition courses at colleges and universities in the greater New England area for the past ten years. His writing has appeared in Victorian Review, Novel: A Forum on Fiction, the Fortnightly Review, DSQ, and Victoriographies.
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Joel Simundich; David Copperfield’s Moods. Representations 1 August 2022; 159 (1): 1–33. doi: https://doi.org/10.1525/rep.2022.159.1.1
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