From terror to terrorism in Bleak House: Writing the event, representing the people

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From terror to terrorism in Bleak House: Writing the event, representing the people. / Burke, Tristan.
In: The London Journal, Vol. 45, No. 1, 01.03.2020, p. 17-38.

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Burke T. From terror to terrorism in Bleak House: Writing the event, representing the people. The London Journal. 2020 Mar 1;45(1):17-38. Epub 2019 Nov 17. doi: https://doi.org/10.1080/03058034.2019.1687221

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TY - JOUR

T1 - From terror to terrorism in Bleak House: Writing the event, representing the people

AU - Burke, Tristan

PY - 2020/3/1

Y1 - 2020/3/1

N2 - This paper argues for strong affinities between Dickens’s handling of political violence in Bleak House (1852–3) and the alteration in meaning of the words ‘terror’ and ‘terrorism’ in the nineteenth century. Between the French Revolution and the beginning of the twentieth century, ‘terror’ and ‘terrorism’ shifted from connoting revolutionary violence wielded by the state to criminal political violence committed by clandestine organisations and individuals. I first read two key moments of political violence in the novel via Lyotard’s definition of ‘the Event’ as the occurrence that cannot be represented. I argue that Dickens’s novel responds to this problem of representation in a dual movement: on the one hand revolutionary violence is confined to the criminal discourse of the detective police, on the other, ‘modern’ conspiratorial terrorism is returned to the discourse of the French Revolution.

AB - This paper argues for strong affinities between Dickens’s handling of political violence in Bleak House (1852–3) and the alteration in meaning of the words ‘terror’ and ‘terrorism’ in the nineteenth century. Between the French Revolution and the beginning of the twentieth century, ‘terror’ and ‘terrorism’ shifted from connoting revolutionary violence wielded by the state to criminal political violence committed by clandestine organisations and individuals. I first read two key moments of political violence in the novel via Lyotard’s definition of ‘the Event’ as the occurrence that cannot be represented. I argue that Dickens’s novel responds to this problem of representation in a dual movement: on the one hand revolutionary violence is confined to the criminal discourse of the detective police, on the other, ‘modern’ conspiratorial terrorism is returned to the discourse of the French Revolution.

U2 - https://doi.org/10.1080/03058034.2019.1687221

DO - https://doi.org/10.1080/03058034.2019.1687221

M3 - Article

VL - 45

SP - 17

EP - 38

JO - The London Journal

JF - The London Journal

SN - 0305-8034

IS - 1

ER -