Academic literature on the topic 'Thackeray'
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Journal articles on the topic "Thackeray"
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Mykhed, T. "WILLIAM MAKEPEACE THACKERAY: IRONIC CONTEXT OF HIS “KYIV TEXT”." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 33 (2018): 72–81. http://dx.doi.org/10.17721/2663-6530.2018.33.05.
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The article is devoted to the analysis of the parody ballad by W. M. Thackeray "The Legend of St. Sophia of Kioff" (1839). An attempt was made to indicate the source of information about Kyiv, which could be found in Jane Porter’s historical novel "Thaddeus of Warsaw", written according to the testimonies of Polish emigrants. The ballad is interpreted as a traditional for English oral and written literature genre, which has acquired formal signs of printed text. All these signs are present in Thackeray's ballad, including the division into chapters, a functionally significant paratext, topical historical and cultural allusiveness, satirical-defamatory pathos, polemics. "Kyiv text" in Thackeray’s poem is modeled according to the genre conventions of the ballads about St. George, stating an informative narrative with a programmed and incessant general message. Thackeray creates the image of Kyiv in the traditions of utopian literature, calling it a real paradise. Kyiv happy residents became victims of envious neighbors, whose ethnographic and religious affiliation is absurdly mottled. Thackeray does not hold on to the historical truth, forming a fictional space, markers of which are stereotypes of romantic literature topos, comparisons, the allusion to the works and the style of Byron, Hoffman and other romantics. Irony becomes the defining ideological and aesthetic dominant of Thackeray’s ballad about the confrontation between the Kyivans and Cossack invaders, which, marked by intertext, forms the distance of the narrator from the text, inducing the reader to form his own ironic perception of both the artistic world of the work and of the reality.
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Garcha, Amanpal. "FORGETTING THACKERAY AND UNMAKING CAREERS." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 531–45. http://dx.doi.org/10.1017/s1060150318000128.
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One of the peculiar challengesfacing scholars who wish to write about Thackeray's fiction is locating a dominant critical account to argue against. TheMLA Bibliographycontains a great number of examples of scrupulously argued, compelling research into Thackeray's body of writing, but few if any of them have reached any kind of canonical status as the (or even one of the) interpretive accounts that define how critics understand his fiction. It can seem, for example, that Thackeray is either consciously or unconsciously evaded by many scholars seeking to develop overarching, defining accounts of the nineteenth-century novel. In two works that helped set the terms for decades of critical conversation about nineteenth-century literature –Desire and Domestic Fiction(1987) andThe Novel and the Police(1988) – Nancy Armstrong and D. A. Miller each give at most a passing mention to Thackeray (he shows up four times in Armstong's book; never in Miller's). In their equally influential bodies of criticism, Mary Poovey and Catherine Gallagher provide no sustained – or even fragmentary – treatment of Thackeray's work. Moving into the twenty-first century, one would look in vain for a chapter on Thackeray in Amanda Anderson'sThe Powers of Distance(2001), Sharon Marcus'sBetween Women, and Alex Woloch'sThe One vs the Many(2003) – books that have provided us with key terms, issues, and methods to do our work. (To readers of this journal, it might be not necessary to say the following: Thackeray's fiction includes many illustrations of the phenomena discussed by these works – cosmopolitanism, female-female friendship, and minor characters – so his absence cannot be explained solely on this basis.) And to move backwards from the 1980s, Steven Marcus, J. Hillis Miller, and Raymond Williams produced pioneering analyses of the links between history, ideology, and Victorian literature, but Thackeray's writing played almost no part in their elaboration of those links, with Hillis Miller focusing on Thackeray only in one short essay and one book chapter among his large body of scholarship and Williams omitting him altogether fromThe English Novel from Dickens to Lawrence(1970).
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Farina, Jonathan. "Recent Thackeray Studies: 2009–2022." Dickens Studies Annual 53, no. 2 (September 1, 2022): 322–45. http://dx.doi.org/10.5325/dickstudannu.53.2.0322.
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ABSTRACT Thackeray’s presence in recent scholarship, on present-day syllabi, and on present-day nightstands still pales in comparison to his popularity in the Victorian period and to the relative investments we have in Dickens, Eliot, and other Victorians. But the last twelve or so years nevertheless feel like something of a Thackeray resurgence, at least in scholarship. This article reviews here more than twenty-five pieces of scholarship, a fifth of what we might typically see on Dickens in the same period, but that scholarship includes some exciting, insightful, and transformative thinking, particularly about genre and prose style. Reasons innumerable weigh against a revival of Thackeray’s popularity, foremost of which may simply be the length of his mature work, which can be too difficult to balance with other texts on syllabi sensitive to the attention spans and extracurricular demands of many students. As it happens, inattention, interruption, productive reverie, and distraction are the preeminent virtues that Nicholas Dames ascribes to Thackeray’s fiction and Victorian theories of fiction in “Distraction’s Negative Liberty: Thackeray and Attention,” from The Physiology of the Novel (2007), which is unquestionably one of the most perceptive, ingenious, and influential accounts of Thackeray in the past twenty-five years.
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COLE, SARAH ROSE. "The Aristocrat in the Mirror: Male Vanity and Bourgeois Desire in William Makepeace Thackeray's Vanity Fair." Nineteenth-Century Literature 61, no. 2 (September 1, 2006): 137–70. http://dx.doi.org/10.1525/ncl.2006.61.2.137.
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39 Alexis de Tocqueville, The Old R´´gime and the French Revolution, trans. Stuart Gilbert (Garden City, N.Y.: Doubleday and Doubleday, 1955), pp. 88-89.Taking their cue from Thomas Carlyle's Sartor Resartus (1833-34), scholars of Regency and early-Victorian dandyism have focused on a supposed opposition between the dandyism of a declining aristocracy and the moral earnestness of a rising bourgeoisie. This historical model obscures the full complexity of relations between the nineteenthcentury British bourgeoisie and aristocracy, a complexity that can be illuminated by a closer examination of William Makepeace Thackeray's works. Thackeray's novels and sketches, which are surprisingly filled with middle-class dandies (such as Vanity Fair's George Osborne and Jos Sedley) and vigorous, hypermasculine aristocrats (such as Vanity Fair's Rawdon Crawley), reverse the Victorian literary stereotypes of effete aristocrats and manly bourgeoisie. Focusing particularly on Vanity Fair (1847- 48) and on Thackeray's sketch journalism, I seek to understand why Thackeray repeatedly depicts bourgeois men who are feminized both by their vanity and by their homosocial-even homoerotic-desire for more powerful aristocratic men. My essay places Thackeray's works within recent historiographical models that emphasize the fusion of, rather than the opposition between, the nineteenth-century British bourgeoisie and aristocracy. Protesting against this fusion in the name of bourgeois independence, Thackeray indicts the British middle classes for their obsession with aristocratic concepts of gentility,a phenomenon that he was the first to label "snobbism." For Thackeray, I argue, the comic trope of bourgeois male vanity becomes an especially powerful device for critiquing"snobbism." By calling upon the scandalous figure of the mirror-gazing man,Thackeray attempts to shock his middle-class readers into acknowledging the artificial and performative nature of their own class personae.
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Schramm, Jan-Melissa. "“THE ANATOMY OF A BARRISTER'S TONGUE”: RHETORIC, SATIRE, AND THE VICTORIAN BAR IN ENGLAND." Victorian Literature and Culture 32, no. 2 (September 2004): 285–303. http://dx.doi.org/10.1017/s1060150304000506.
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IN THE HISTORY OF PENDENNIS(1848–50), William Thackeray calls upon the binary model of Victorian intellectualism in order to define the status and responsibilities of an author of fiction. For Thackeray, himself an initiate of the Middle Temple, the antagonist which permitted such a clarification of artistic privilege was the law, as conceived in utilitarian and mechanistic terms. Perhaps inspired by the ensign of the Inner Temple, the Winged Horse – suggestive of Thackeray's favorite trope for his own creativity, Pegasus-in-Harness – Thackeray effects a deft appropriation of the humanist history of the law for the services of literature, thus divorcing current legal praxis from its traditional role in the protection of liberties and the creation of English identity. Only the author can appreciate and animate the law's history, which is itself a tale of synergistic legal and literary productivity:
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Thomas, Deborah A. "THACKERAY, CAPITAL PUNISHMENT, AND THE DEMISE OF JOS SEDLEY." Victorian Literature and Culture 33, no. 1 (March 2005): 1–20. http://dx.doi.org/10.1017/s1060150305000707.
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VANITY FAIRIS A NOVEL OF ENIGMAS. In particular, after finishing the book, readers have often wondered why Thackeray refuses to tell us clearly whether or not Becky actually kills Joseph Sedley in chapter 67–a question recently given prominence by John Sutherland as one of the “Great Puzzles in Nineteenth-Century Literature” (66–72). The explanation most commonly given for Thackeray's evasiveness on this point is that such unanswered questions inVanity Fairare part of the artistry of this unconventional work of fiction, a book that A. E. Dyson has described as “surely one of the world's most devious novels” (76). This view ofVanity Fairas a novel of narrative legerdemain–intended to keep the reader constantly alert and pondering what is being shown (or concealed)–is certainly true. However, an additional possible explanation for Thackeray's ambiguity on the subject of Jos's death also ought to be considered. This explanation lies in Thackeray's horrified reaction to the public execution of François Benjamin Courvoisier on 6 July 1840. The echoes between Thackeray's appalled description of the events of that morning and his subsequent famous novel suggest that he privately conceived of Becky as murdering Jos. The echoes also suggest that one reason why Thackeray handled this fictional murder obliquely is that, by the time of writingVanity Fair, he had come to believe that, although executions might occur, they should not take place in public. Exploring the subtle connections between Thackeray's profound revulsion at the death of Courvoisier and Thackeray's later treatment of Jos's death gives deeper meaning to the intentional ambiguities in chapter 67. These connections make the ambiguities surrounding the death of Jos part of a widespread debate over capital punishment in the 1840s and have significant ramifications in terms of the parallel between public executions and pornography and with regard to the role of Becky in this novel.
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Fielding, K. J. "THACKERAY AND “THE GREAT MASTER OF CRAIGENPUTTOCH”: A NEW REVIEW OF THE LIFE OF JOHN STERLING — AND A NEW UNDERSTANDING." Victorian Literature and Culture 27, no. 1 (March 1999): 307–14. http://dx.doi.org/10.1017/s1060150399271161.
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TWO OF THE BEST accounts of the relations between Thackeray and Carlyle are those by Gordon N. Ray in his great life and letters of the novelist, and the well-informed essay by C. R. Sanders “The Carlyles and Thackeray” in his Carlyle’s Friendships and Other Studies. Yet both of them are crucially and entirely wrong in attributing a review of a work by Carlyle in the Times to Thackeray when we now find it was obviously by a regular reviewer Samuel Phillips.1 So they are mistaken in several conclusions that go well beyond biographical detail and bear on the way both writers represent mid-Victorian opinion in matters affecting fiction and belief. The Times, the two writers, and the work in question, which was Carlyle’s Life of John Sterling (1851), were all opinion-formers, going to the centre of what we think of as Victorianism. But it seemed curiously clear to the otherwise perceptive Sanders and Gordon Ray that, since Carlyle and Thackeray differed on a number of questions such as the place of the great man in history, it was acceptable that the savage and stupid Times review of 1 November 1851 was his. After all, Thackeray’s daughter Lady Ritchie declared that she had talked to Carlyle about The Life of Sterling in 1871, when she “spoke of her father’s review in the Times” (Ritchie 160), with the result that it was included in the standard Centenary edition of his Works.
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Chesterton, G. K. "Thackeray." Chesterton Review 32, no. 1 (2006): 17–19. http://dx.doi.org/10.5840/chesterton2006321/256.
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Dieguez, Sebastian. "Thackeray." Cerveau & Psycho N° 113, no. 8 (January 8, 2019): 94–97. http://dx.doi.org/10.3917/cerpsy.113.0094.
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Murphy, Ryan Francis. "The Puppet Narrator of Vanity Fair." Victoriographies 5, no. 1 (March 2015): 36–53. http://dx.doi.org/10.3366/vic.2015.0182.
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My essay sheds new light on the perceived shortcomings of Thackeray's narrator in Vanity Fair. There exists, I maintain, a level of narratological sophistication for which Thackeray is not adequately praised, and his dramatised narrator – a character long misunderstood and often maligned – is the key to our renewed understanding. In addition to thoroughly canvassing the ‘puppet’ narrator's dramatic evolution, I examine the ways in which previous scholars have both rejected and misrepresented ‘Before the Curtain’, Thackeray's introduction to the complete novel – what I call the novel's ‘surprise beginning’.
Dissertations / Theses on the topic "Thackeray"
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Harland-Lang, Antonia Louise. "Thackeray and Bohemia." Thesis, University of Cambridge, 2010. https://www.repository.cam.ac.uk/handle/1810/279098.
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Whether as a counter-cultural phenomenon or a sociological myth, Bohemia has long eluded concrete definitions. In the last thirty years, however, there has been a noticeable contrast between the ambitious theoretical concerns of cultural historians of nineteenthcentury Continental Bohemianism and the more staunchly biographical approaches of critics concerned with Bohemian writers in mid-Victorian England. In the absence of the Latin Quarter, attempts to define the English Bohemianism of Thackeray's era have been somewhat reductive, revolving around London establishments such as the Garrick Club and disparate groupings such as the metropolitan novelists, journalists, and playwrights who are sometimes pigeonholed as 'Dickens‘s Young Men'. This thesis uses the work of William Makepeace Thackeray (1811-63) to argue that such readings have lost sight of the profound impact which mid-Victorian ideas of Bohemianism had on a far wider section of middle-class Englishmen. Chapter 1 explores the pivotal role which Thackeray played in the translation of Bohemian behavioural ideals from France to England. Beginning and ending with his seminal Bohemian protagonist in 'Vanity Fair' (1847-48), it surveys his engagement with the still-evolving ideas of Bohemianism at home and on the Continent. The chapter interrogates the relationship between the anglicized brand of homosociality which characterizes Thackeray‘s later fiction and the often contradictory images of Bohemianism which were circulating in 1830s and 40s Paris while he was an art student and then a foreign correspondent in the city. In the process, it considers the significant influence which these factors have exerted over later conceptions of Thackeray‘s biography and personality. As a whole, the chapter argues that his increasing focus on more anglicized spheres of masculine interaction in the late 1840s contributed to the emergence of a de-radicalized brand of middle-class English Bohemia. The second chapter considers the parallels between the impact of Thackeray‘s work and the contemporaneous writings of the famous chronicler of Parisian Bohemianism, Henry Murger (1822-61). Through analysis of cultural reception and literary form, this chapter investigates the way in which these writers have been both criticized and revered for perpetuating particularly inclusive myths of Bohemianism. It then explores the way in which Thackeray's 'Bildungsroman, The History of Pendennis' (1848-50), helped to shape other myths of collective homosocial unconventionality — in particular, those which came to surround Fleet Street journalism. Chapters 3 and 4 are companion chapters, surveying the way in which ideas of Bohemianism developed post-'Pendennis' in the course of the 1850s and 60s. They demonstrate that the myths of 'fast' Bohemian life which came to be associated with particular journalists, playwrights, and performers, were as much the product of critical attacks as any form of Bohemian self-representation. Exploring the work of 'Bohemian‘ writers such as George Augustus Sala (1828-95) and Edmund Yates (1831-94), as well as the dynamics of London's eclectic club scene, these chapters conclude that ideas of a 'fast‘ disreputable Bohemianism always coexisted with more widely accepted and understated Bohemian ideals which thrived on remaining undefined.
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Amoroso, Angelica Anna. "W.M. Thackeray and the tradition of English comedy." Thesis, University of Leicester, 2004. http://hdl.handle.net/2381/30279.
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This thesis is about Thackeray and the comic tradition in the plays and novels of the seventeenth and eighteenth centuries. It aims at showing that a study of Thackeray's fiction and its connection with the comedy of the past contributes to an understanding of the sophistication and subtlety of his comic vision. In his fiction Thackeray takes some of the comedic conventions of the tradition, though in some respects he also departs from them, expanding, developing and applying them to his time to make ironic comments on the inconsistencies and follies of English society from the eighteenth to the mid-nineteenth century. In the early and central stage of his career as a novelist he adheres to the comic tradition, yet he also introduces unconventional elements, while in the later phase occasionally he detaches himself from it temporarily, but never completely. This study examines the Thackeray's major works of fiction in chronological order, because it allows us to trace a development of his comic perspective, his narrative technique and his concerns through time. Each chapter deals with a single work of fiction, except Chapter 1 and Chapter 8. A selection of his illustrations, which offer visual comments on the story, will also be analysed; they have various purposes and integrate with the text, adding subtlety and sophistication to the author's vision. Thackeray's comic perspective is a complex combination of satire and sentimentality where the two aspects often overlap and generate ambiguity and challenge for the reader. But, ultimately, this thesis reveals that towards the end of his life the writer enriches his vision considerably by adding tragic elements in alignment with comic ones, and that he was turning to a new direction: he was embracing the tragicomic.
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Richards, Mary. "Picture and vision in the novels of W.M. Thackeray." Thesis, University of Liverpool, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367543.
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Chrétien, Maurice. "Individu et société dans l'oeuvre de W. M. Thackeray." Paris 3, 1987. http://www.theses.fr/1987PA030004.
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La premiere partie de cette these etudie le snobisme comme relation triangulaire et comme mode original de quete des valeurs. Sont ensuite recherchees les causes du snobisme, la these soutenue etant que le snob est l'individu typique d'un monde sans dieu, incapable d'assumer sa liberte. La seconde partie defend la these que les personnages principaux des grands romans de thackeray apres vanity fair sont des "individus problematiques", a la recherche de valeurs authentiques dans un monde dont la degradation prend la forme du snobisme et de la valeur d'echange. Les romans de thackeray visent donc a cette adequation de l'individu et de la societe, qu'est la totalite selon georg lukacs, et qui se realiserait de maniere nostalgique et imaginaire a la fin, si l'ironie de l'auteur n'intervenait pas<br>Starting from the concept of "mediation" defined by rene girard, the first part studies snobbery as a triangular relationship and a particular way of seeking values. In this part, the causes of snobbery are also analysed, the main conclusion being that the snob is the typical individual of a world without god, unable to "assume" his freedom. In the second part, the main thesis is that the main characters of thackeray's novels after vanity fair are "problematic individuals" in search of authentic values in a world degraded by snobbery and the value of exchange. Thackeray's novels are the quest for a harmony between the individual and society, called "totality", after georg lukacs, which would be achieved at the end of the novels in a nostalgic and imaginary way, if the author's irony did not question it
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Milne, Kirsty. "Vanity Fair from Bunyan to Thackeray : transformations of a trope." Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.560553.
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Although Vanity Fair is just one episode in The Pilgrim's Progress, taking up barely a dozen pages in the first edition of 1678, it has had a potent and versatile afterlife. My thesis examines how the Vanity Fair trope is transformed between its appearance in The Pilgrim's Progress and the publication of Thackeray's novel Vanity Fair (1847-1848). Canvassing a range of printed material, from pamphlets and periodicals to canonical texts, my research contributes to literary scholarship in two ways. First, I show how the idea of Vanity Fair, which in Bunyan is a place of trial and terror, was tamed, secularised and feminised, becoming associated with consumption, pleasure and the notion of social life as a performance. Second, by exploring how Bunyan and Thackeray engaged with cultural memories, my thesis sheds light on the relationship between the individual and the collective imagination. Chapter 1 interrogates the critical tradition of interpreting Vanity Fair literally, as an actual fair and a critique of capitalism. Chapter 2 argues that Bunyan challenged and subverted an existing trope - that of the disruptive puritan, familiar from Ben Jonson's Bartholomew Fair. Chapter 3 looks at Vanity Fair in early imitations of The Pilgrim's Progress (including Bunyan's own Second Part). Chapter 4 ranges across the eighteenth century to show how Vanity Fair is appropriated as an idiom for conceptualising public space and leisure. Chapter 5 examines how the trope becomes, in Thackeray's Vanity Fair, an ambivalent memory of a puritan inheritance. My conclusion reflects on how, through the medium of cultural memory, Bunyan's puritan protest became one of the governing metaphors of modern consumerism.
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Thornton, Sara M. "La vanité du texte : l'oeuvre de W.M. Thackeray 1837-1848." Paris 3, 1992. http://www.theses.fr/1992PA030118.
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Dans l'oeuvre de thackeray ecrire est depeint comme une activite malsaine. Le lecteur remarque que tous ceux qui ecrivent, lisent, trafiquent ou contribuent de quelle maniere que ce soit a la fabrication et a la distribution de textes sont en quelque sorte souilles par ce contact impur. Afin d'eclaircir l'attitude de thackeray envers le texte, ce travail considere le statut du texte dans le texte thackerayen ainsi que la position de l'auteur vis-avis de l'ecriture comme mode de representation. Le texte de thackeray est examine a travers et a l'aide des differentes definitions du mot "vanite": ostentation, orgueil, frivolite, futilite, suffisance, traitrise, vide et illusion. Les textes sont des objets de veneration qui provoquent une iconolatrie et un fetichisme nefastes, ils sont autoreferentiels et hypotextuels, et le texte thackerayen trahit son lecteur, le prive de directives et designe le texte comme un espace d'illusion aussi fugace et frivole qu'une attraction dans une foire. Thackeray decourage ses lecteurs de chercher un signifie dans son texte, sauf peut-etre le signifie de la vanite d'une telle recherche<br>In the work of thackeray writing is portrayed as an unhealthy activity. The reader quickly perceives that all those who write, read, traffic in or contribute in any way to the manufacture and distribution of texts is in some way sullied by such an undesirable contact. To clarify thackeray's attitude to texts, it is necessary to consider the status of the text in thackeray's text as well as the author's position concerning writing as a mode of representation. Thackeray's text is examined with the help of the different definitions of the word "vanity": ostentation, pride, frivolity, futility, self-importance, betrayal, emptiness and illusion. Texts are objects of veneration which engender a harmful iconolatry and fetichism, they are self-referential and "hypotextual", and thackeray's own text betrays the reader, depriving him of authorial maps and presenting the text as a place of illusion, as ephemeral and frivolous as an attraction in a fair. Thackeray discourages his readers from seeking a signified in his text, except perhaps the signified of the vanity of such a quest
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Kellett, Sue. "Trollope : second-rate Dickens, a lesser Thackeray or first-rate artist? /." Title page and topic only, 1996. http://web4.library.adelaide.edu.au/theses/09AR/09ark291.pdf.
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Crossley, Alice Charlotte. "Male adolescence in the novels of George Meredith and W.M. Thackeray." Thesis, University of Leeds, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.534758.
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Moya, Ana. "La Mujer y el matrimonio en las principales novelas de William Makepeace Thackeray." Doctoral thesis, Universitat de Barcelona, 1989. http://hdl.handle.net/10803/1673.
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El objetivo principal de este tesis doctoral es el poner de relieve le evolución que se de en W. M. Thackeray en cuanto al tratamiento de la mujer y del matrimonio en sus noveles, evolución que nos lleva a pensar en un Thackeray progresista y reformista respecto de la sociedad de su tiempo. Los temas "mujer" y "matrimonio" han sido estudiados conjuntamente por considerar que en la obra de Thackeray el matrimonio aparece como la vertiente social de la mujer (el papel da ésta en la sociedad que Thackeray describe es el matrimonio), constituyendo ambos temes de este modo un todo inseparable en la obra de este autor victoriano.<br/><br/>Cabe destacar, asimismo, que este trabajo se centra en las cuatro novelas principales de Thackeray, a saber "Vanity Fair", "Pendennis", "Henry Esmond" y "The Newcomes", por considerar que en ellas (contrariamente a lo que ocurre con el resto de su novelística) existe une clara evolución hasta la creación de Ethel Newcome, en "The Newcomes". Así, y teniendo siempre presente que Thackeray centró su obra en unos grupos sociales determinados (esencialmente en la clase media-alta del Londres de principios del siglo XIX), podemos decir que a través de sus cuatro novelas principales explora la naturaleza de le mujer y su papel en le sociedad, llegando a la creación de un nuevo ideal de mujer que sitúa a caballo entre el ideal victoriano y las nueves ideas que sobre la mujer empezaban a aflorar en la Inglaterra de su época.<br/><br/>Pare lograr el objetivo central de este trabajo, el material se encuentra estructurado en cinco capítulos. El primero de ellos es de tipo introductorio, pues ofrece el lector une breve historia social de la mujer en la primera mitad del siglo XIX, creando así un contexto socio-histórico contra el que se podrá contrastar la figura de la mujer y el matrimonio tal y como aparece en la obra de Thackeray, al tiempo que se podrá apreciar mejor su evolución como escritor.<br/><br/>Tras este capítulo introductorio, se ha dedicado uno independiente a cada novela. Estos cuatro capítulos se encuentran ordenados cronológicamente, es decir, siguiendo el orden de publicación de las novelas. En cada novela, su texto ha sido el punto de partida en la elaboración de las hipótesis, así como el punto de llegada para su confirmación. Se ha tratado, pues, de poner de relieve como los diferentes textos exponen una serie de idees que, contrastadas con el marco social de la época, nos revelan la preocupación de Thackeray por la situación de la mujer y su papel en la sociedad de la Inglaterra de la primera mitad del siglo XIX. Thackeray se caracterizó siempre por su búsqueda del ideal de "gentleman"; a lo largo de su obra se puede observar cómo esta búsqueda le preocupaba enormemente y de qué modo exploró este concepto a lo largo de sus personajes masculinos, llegando a dar vida al Coronel Newcome, el más "gentleman" de todos ellos. Paralelamente, y como se puede apreciar en estas cuatro novelas, Thackeray exploro también el ideal de "gentlewoman", tratando de dar con un ideal de mujer que se acoplara al nuevo mundo pero que, al mismo tiempo, conservara ciertos valores tradicionales tales como la maternidad, valor que consideraba esencial en este figura global y perfecta de la "gentlewoman".<br/><br/>El análisis detallado de estas cuatro novelas nos ha llevado a la conclusión de que Thackeray nos revela, a través de ellas, su gran preocupación par la naturaleza y situación de la mujer en un momento en que se empezaba a percibir la necesidad de que esta situación experimentara un cambio. Este estudio nos lleva a ver de qué manera Thackeray desarrolla en su obra básicamente dos tipos de mujer en busca de un equilibrio que, como hemos mencionado anteriormente, no encuentra hasta su creación de Ethel Newcome. Estos dos tipos de mujer, que se pueden agrupar en torno a los personajes de Becky y Amelia, engloban su retrato de la mujer de principios del siglo XIX, y e través de ellos el autor hace un estudio de la naturaleza de la mujer y su papel en la sociedad. En torno a Amelia se agrupan Helen, Rachel, Rosey y Clara, y Thackeray explora la fragilidad, dependencia, maternidad, amor e infelicidad, características comunes a todas estas mujeres. En torno a Becky se agrupan Blanche y Beatrix, y las principales características que les unen son la fortaleza, la independencia, el rechazo a la maternidad y la incapacidad de amar, manteniendo como característica común a las mujeres agrupadas en torno a Amelia la infelicidad. El equilibrio entra estos dos tipos de mujer lo encuentra Thackeray en Ethel, aunque hay que tener presente sus primeros esbozos en los personajes de Lady Jane y Laura. Así, si hemos comenzado anotando la preocupación de este autor victoriano por la situación de la mujer en la sociedad de su época, se debe concluir que el análisis detallado de la obra de este autor nos lleva a reafirmarlo como progresista y reformista respecta de la misma. <br/><br/>Por último, destacar que se han incluido dos apéndices. El primero de ellos contiene une tabla cronológica donde se destacan los hechos más relevantes de la vide de Thackeray, así como la fecha de publicación de sus novelas. El segundo contiene un breve repaso a las críticas que se he escrito sobre la obra de este autor (es interesante para ello ver la sección de la bibliografía dedicada a este tema), con el objetivo de demostrar la originalidad del tema de este trabajo.<br><i>The main aim of this thesis is to show the evolution that exists in W.M. Thackeray's treatment of women and marriage in his four main novels, that is to say in "Vanity Fair", "Pendennis", "Henry Esmond" and "The Newcomes". Women and marriage have been studied together because in Thackeray's novels marriage appears as the role of women in society and thus it seemed that both aspects should be regarded as a unique whole.<br/><br/>In these four novels it can be seen that, parallel to his search for an ideal gentleman, Thackeray was as well in pursuit of an ideal gentlewoman who he would find in Ethel Newcome. Thackeray created basically two types of women which may be grouped around the two central female characters in "Vanity Fair", that is to say Becky and Amelia. These two groups of women constitute in this way Thackeray's portrait of women at the beginning of the nineteenth century at the same time as a profound analysis of the nature of women and her role in society.<br/><br/>What Thackeray explores in his search for the ideal gentlewomen is one that he thought would adapt to the "new times" but that would nevertheless keep some traditional values among which "motherhood" is the one that he thought should be inherent to that ideal women.<br/><br/>From the thorough analysis of Thackeray's four main novels, the evolution in his creation of women characters until his creation of Ethel reveals his concern with both the nature of women and her role in society and thus points to his progressive attitude as reformer in his relation with the society of his time. </i>
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Beidler, Paul Gorman. "From empiricism to Bohemia, the idea of the sketch from Sterne to Thackeray." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ27603.pdf.
Full textBooks on the topic "Thackeray"
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Harden, Edgar F. Thackeray the Writer. London: Palgrave Macmillan UK, 1998. http://dx.doi.org/10.1057/9780230377417.
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Harden, Edgar F. Thackeray the Writer. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1057/9780230287204.
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Salmon, Richard. Thackeray in Time. Burlington, VT : Ashgate, 2016. | Series: The nineteenth: Routledge, 2016. http://dx.doi.org/10.4324/9781315612232.
Full textBook chapters on the topic "Thackeray"
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Dickens, Charles, and Corinna Russell. "Thackeray." In Lives of Victorian Literary Figures, Part I, Volume 2, 221–28. London: Routledge, 2024. http://dx.doi.org/10.4324/9781003512950-11.
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Winnifrith, Tom. "Thackeray." In Fallen Women in the Nineteenth-Century Novel, 71–91. London: Palgrave Macmillan UK, 1994. http://dx.doi.org/10.1057/9780230377721_5.
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Tillotson, Geoffrey. "The Content of the Authorial ‘I’." In Thackeray, 55–70. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-4.
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Tillotson, Geoffrey. "‘To Define the Thackerayan Oneness’." In Thackeray, 1–4. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-1.
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Tillotson, Geoffrey. "The Authors Truthfulness of Personage and Action." In Thackeray, 115–74. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-6.
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Tillotson, Geoffrey. "The Oneness of the Materials." In Thackeray, 5–10. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-2.
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Tillotson, Geoffrey. "The Author's Philosophy." In Thackeray, 175–272. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-7.
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Tillotson, Geoffrey. "The Oneness of Form and Manner." In Thackeray, 11–54. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-3.
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Tillotson, Geoffrey. "The Author's Conduct of His Commentary." In Thackeray, 71–114. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003399629-5.
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Brosch, Renate. "Thackeray, William Makepeace." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17225-1.
Full textConference papers on the topic "Thackeray"
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Burova, Irina. "Three guises of A. Thackeray, Lady Ritchie: a writer, literary critic and a prototype of two heroines of novels." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.4.
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Chi, Le Thi Giao, and Doan Phan Anh Truc. "Isolating Intensification in English Literary Discourse into Vietnamese." In The 4th Conference on Language Teaching and Learning. AIJR Publisher, 2022. http://dx.doi.org/10.21467/proceedings.132.19.
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Intensification is a category of language much discussed by a lot of linguistics, however, this category is specifically identified just in the position of Martin and White (2005). This is, it is divided into two infused and isolated lexical-grammatical classes, of which isolating intensification is known as the markers which raise or lower the level of intensity of a certain individual item as qualities or processes. How isolating intensification is explored through the lens of translation is still left untouched. This paper aims to find out the encoding of meaning embodied in isolating intensification. Or rather, it explores how the nuance of meaning of isolating intensifiers and maximisers is when being rendered into Vietnamese. The study was operated using qualitative method and basing on 400 samples extracted from four literary works in English namely Wuthering Heights by Bronté, The Man of Property by Galsworthy, The Moon and Sixpence by Maugham and Vanity Fair by Thackeray, and their equivalents in Vietnamese. The research results show that there are adjustments of up-scaling and down-scaling, or losses of level of intensity when these intensifiers are translated into Vietnamese. The findings help learners and translators be aware of the changes occurring in the process of translation so that they can apply them to learning and using this point of language effectively.
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Chkheidze, Paata. "The Type of a Hero in Anglo-Saxon Epic and Georgian Folklore/Mythology." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.3.8933.
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The hero, as the main constituent of fiction, experienced a palpable, almost absolute devaluation from medieval literary texts before William Thackeray declared the arrival of a novel without a hero and since then, with varying degrees of success, writers have tried to bring back the hero in fiction but mostly in vain. It should not be surprising that similar processes take place in the texts of geographically and culturally distant literatures. The current research is about the hero of Anglo-Saxon heroic epic “Beowulf” and the hero of the Georgian folk ballad Iakhsari. A comparative analysis of these two heroes would have been artificially forced and would not have aroused any scientific or literary interest had it not been for one important detail which is common and strangely connects these two, as I already mentioned, geographically and culturally distant texts and heroes. This important detail refers to the special location of the heroism committed by the characters. Both heroes fight the evil enemy of the people and both fight the monster or devil (giant) in the lake, particularly on the bottom of the lake. This remarkable detail became one of the important reasons for the translation of the Anglo-Saxon epic “Beowulf” into Georgian (by Paata and Rostom Chkheidze) in 1989, from Barton Raffel’s Translation into new English; in the commentaries of the translation, the similarities between the deeds of the heroes (Beowulf and Iakhsar) were mentioned, which was stated earlier by the writer Otar Chkheidze in the biographical novel, “Novel and History’. Since then, no detailed comparative analysis of the heroes has been conducted. Our goal is not to study the mythological archetype of heroism – diving in the lake, exploring the depth, the cycle of death and life – but to identify the heroes and phenomenon of heroism in the early Medieval (may be earlier) Anglo-Saxon and Georgian literary texts.
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Emproto, Christopher, Thomas Benson, Daniel Ibarra, Catherine Gagnon, and Adam Simon. "STABLE ISOTOPES FOR TRACKING ORE FORMATION AT THE THACKER PASS SEDIMENT-HOSTED LITHIUM DEPOSIT, NEVADA, USA." In GSA Connects 2022 meeting in Denver, Colorado. Geological Society of America, 2022. http://dx.doi.org/10.1130/abs/2022am-381382.
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Hampton, Rachel. "EXPLORATION AND DEVELOPMENT AT THE THACKER PASS LITHIUM CLAYSTONE DEPOSIT, NORTHERN NV: UNLOCKING A DOMESTIC ENERGY REVOLUTION." In GSA Connects 2023 Meeting in Pittsburgh, Pennsylvania. Geological Society of America, 2023. http://dx.doi.org/10.1130/abs/2023am-392470.
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Ingraffia, James T., and Michael Ressel. "LITHIUM AT THACKER PASS DEPOSIT, MCDERMITT CALDERA, NORTH-CENTRAL NEVADA: HYDROTHERMAL OR FOSSIL BRINE ORIGIN IN AN INTRACALDERA LACUSTRINE SETTING?" In 115th Annual GSA Cordilleran Section Meeting - 2019. Geological Society of America, 2019. http://dx.doi.org/10.1130/abs/2019cd-329775.
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Benson, Thomas. "GEOLOGY OF THE THACKER PASS DEPOSIT IN THE MCDERMITT CALDERA, NEVADA: THE LARGEST AND HIGHEST-GRADE KNOWN SEDIMENTARY LITHIUM RESOURCE IN THE UNITED STATES." In GSA Connects 2021 in Portland, Oregon. Geological Society of America, 2021. http://dx.doi.org/10.1130/abs/2021am-366596.
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VanDerHorn, E., B. Corbett, and A. Costa. "Establishing Credibility: Verification and Validation of Digital Twins." In Offshore Technology Conference. OTC, 2025. https://doi.org/10.4043/35756-ms.
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Digital twins are increasingly being developed and employed to support decision-makers across many industries, including in the offshore industry. The developers of digital twins, the decision makers considering the results of these digital twins, as well other individuals affected by the outcomes of these digital twins are focused on understanding whether a digital twin and its results can be trusted for their specific use case. Verification and validation (V&V) is a well-established methodology to ensure the accuracy and performance of models, simulations and complex systems (model-based system engineering solutions) (ASME, 2019; Coleman, 2009; NASA, 2016; NASA, 2019; NATO, 2015; Thacker et al., 2004). However, despite the extensive formulation of standards for the V&V of models and simulations, the literature focusing on extending this established V&V framework to digital twins is very limited. To ensure the output(s) of digital twins is trustworthy for supporting decisions, there is a need for a verification and validation framework, rooted in the V&V procedures for models and simulations. Verification here refers to a process to ensure the digital twin system is built in accordance with the applicable technical specifications, and validation refers to a process which ensures the digital twin system which has been built fulfills its purpose and goal. The objective of this paper is to present a robust framework for verification and validation activities for digital twins. The scope and fidelity of a digital twin are determined by the intended use cases, so it is important to start with a definition that includes the essential components common to all digital twins without confounding it with use-case-specific attributes. We also propose a digital twin ontology that can be used industry-wide to support the communication and execution of the V&V framework.