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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.
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Grunert, Elisabeth M. "Enterprising Women in Novels of Manners: The Social Economies of Austen, Thackeray and Wharton." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/73540.
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Novels of manners exhibit social economies that bear some metaphorical resemblance to literal economies. In England and America, before the women's movement and the introduction of large numbers of women into the workforce, this was the woman's economy: the economy of manners. This thesis examines three novels of manners and argues that there is a sustaining economic metaphor to characterize each author's attitude toward the manners economy they portray. In Jane Austen's Mansfield Park, social economies are controlled by an invisible hand that can be trusted to reward deserving economic agents, and punish the undeserving. William Thackeray's Vanity Fair shows how social economies can be impacted by speculative bubbles, when some commodities are temporarily given more value than they really hold. Edith Wharton's The House of Mirth portrays a society which has gone off the gold standard of virtue, that values its social currencies without that organizing principle of virtue to give them stability. Each novel has some relationship with the codes of etiquette of its day, and contains many of the same currencies, though valued at dramatically different rates in each context. Female protagonists must take stock of the prevailing economic conditions, but their success or failure will have as much to do with the function or dysfunction of those conditions as with their own social choices.<br>Master of Arts
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Decaux, Sylvie. "Journalisme et journalistes à l'aube de l'ère victorienne : Thackeray, modèle ou miroir de son temps ?" Paris 3, 1994. http://www.theses.fr/1995PA030034.
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Dans une perspective plus large d'interrogation sur le journalisme litteraire tel qu'il se pratiquait au debut de l'epoque victorienne, cette etude s'attache au "cas" thackeray qui fut journaliste professionnel entre 1837 et 1847. Apres une evocation de la presse vers 1840, sont analyses les differents aspects de la carriere de thackeray, ainsi que le contenu de ses recits journalistiques (critique litteraire, critique d'art, critique gastronomique, recits de voyage, papiers d'observation social, parodies, etc. ) il apparait que thackeray, tout en restant tout a fait typique de son temps, a fortement contribue a rehausser le statut de journaliste litteraire. En annexe, ou trouvera une bibliographie complete de l'oeuvre journalistique de tackeray de 1828 (date de ses tout premiers ecrits) a 1848 (parution de vanity fair)<br>Within the larger framework of journalism in early victorian england , this study focuses on the case of thackeray who worked as a professional journalist from 1837 to 1847. After an analysis of the english press circa 1840, the various aspects of thackeray's career, as well as the content of his journalism (book and art reviews, gastronomic articles, travel writing, social criticism, parody, etc) are examined. It emerges that thackeray, although very typical of his time, contributed significantly to the professionalisation of journalists. A complete bibliography of thackeray's writings from 1828 (date of his first appearance in print) to 1848 (publication of vanity fair) completes the study
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Berggren, Elin. "Characterization in Social Satire : A comparative analysis of the heroines Elizabeth Bennet in Jane Austenʼs Pride and Prejudice, and Becky Sharp in William Makepeace Thackerayʼs Vanity Fair". Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-40753.
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This essay presents a comparative analysis of the characterizations of the female protagonists Elizabeth Bennet in Jane Austen̕ s Pride and Prejudice (1813), and Becky Sharp in William Makepeace Thackeray̕ s Vanity Fair (1847-1848). The analysis is conducted from a gender perspective, and with the use of feminist criticism. The two novels complement each other since they are both satirical images of society, concerning aspects such as class and gender. Also, both novels portray women climbing the class ladder, during the period of the Napoleonic wars. In the comparison, the main focus lies on the social satire constructed around the heroines of these novels. I come to the conclusion that Austen̕ s and Thackeray̕ s characterizations are very different from each other, mainly due to their different satirical approaches. This conclusion is put in relation to a patriarchal context and to feminist values.<br>I denna uppsats presenteras en komparativ analys av karaktäriseringarna av de kvinnliga huvudkaraktärerna Elizabeth Bennet i Jane Austens Stolthet och Fördom (1813), och Becky Sharp i William Makepeace Thackerays Vanity Fair (1847-1848). Analysen är utförd från ett genusperspektiv, och med användning av feministisk samhällskritik. De två romanerna kompletterar varandra då de båda är satiriska illustreringar av samhället, och både rör aspekter såsom klass och genus. Dessutom porträtterar båda novellerna klassklättrande kvinnor under tiden för Napoleonkrigen. I jämförelsen ligger största fokuset på samhällssatiren konstruerad kring hjältinnorna i de båda romanerna. Jag når slutsatsen att Austens och Thackerays karaktäriseringar skiljer sig mycket från varandra, främst på grund av författarnas skilda förhållningssätt till sin satir. Denna slutsats relateras till en patriarkal kontext, samt till feministiska värderingar.
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Lasak, Jessica Lee. ""So much for the dixonary" the rejection of Johnsonian linguistic authority in "Vanity Fair" and "The Mill on the Floss" /." Click here for download, 2007. http://proquest.umi.com/pqdweb?did=1342744831&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Massey, Ellen. "Boggley wollah and "sulphur-steams" colonialism in "Vanity fair" and "Jane Eyre" /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1698507681&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Heitzman, Matthew William. "Revolutionary Narratives, Imperial Rivalries: Britain and the French Empire in the Nineteenth Century." Thesis, Boston College, 2013. http://hdl.handle.net/2345/bc-ir:104076.
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Thesis advisor: Rosemarie Bodenheimer<br>This dissertation considers England's imperial rivalry with France and its influence on literary production in the long nineteenth century. It offers a new context for the study of British imperialism by examining the ways in which mid-Victorian novels responded to and were shaped by the threat of French imperialism. It studies three canonical Victorian novels: William Thackeray's Vanity Fair (1846-1848), Charlotte Brontë's Villette (1853) and Charles Dickens's A Tale of Two Cities (1859), and argues that even though these texts deal very lightly with the British colonies and feature very few colonial figures, they are still very much "about empire" because they are informed by British anxieties regarding French imperialism. Revolutionary Narratives links each novel to a contemporary political crisis between England and France, and it argues that each novelist turns back to the Revolutionary period in response to and as a means to process a modern threat from France. This project also explains why Thackeray, Brontë and Dickens would return specifically to Revolutionary history in response to a French imperial threat. Its first chapter traces the ways in which "Revolutionary narratives," stories about how the 1789 French Revolution had changed the world, came to inform and to lend urgency to England and France's global, imperial rivalry through their deployment in abolitionist writings in both countries. Abolitionist tracts helped to fuse an association between "empire" and "Revolution" in the Romantic period, and recognizing this helps us to understand why Victorian writers would use Revolutionary narratives in response to imperial crisis. However, this dissertation ultimately asserts that Vanity Fair, Villette and A Tale of Two Cities revive Revolutionary history in order to write against it and to lament its primacy in popular discourse. In the mid nineteenth century, public discussion in England and France tended to return quickly to the history of the Revolutionary period in order to contextualize new political drama between the two countries. This meant that history often seemed to be repeating itself when it came to England and France's rivalry. Thackeray, Brontë and Dickens use Revolutionary history in their novels as a way to react against this popular use of history and in an effort to imagine a new path forward for England and France, one not burdened by the weight of the past<br>Thesis (PhD) — Boston College, 2013<br>Submitted to: Boston College. Graduate School of Arts and Sciences<br>Discipline: English
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Vega-Ritter, Max. "Dickens et Thackeray, essai d'analyse psychocritique : des "Pickwick papers" à "David Copperfield" et de "Barry Lyndon" à "Henry Esmond"." Montpellier 3, 1986. http://www.theses.fr/1986MON30003.
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Ahola, Ulrika. "Thackeray's Vanity Fair and Commodities in Circulation." Thesis, Stockholms universitet, Engelska institutionen, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-72369.
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While William Thackeray’s Vanity Fair is a satire, a humoristic account of the vanities of the different characters in the fictitious society of Vanity Fair, it is also a social criticism of early nineteenth century British society. The essay examines Thackeray’s social critique, which is sometimes explicitly expressed and sometimes more implicit. His criticism is aimed both at the new commodity culture where everything is reducible to money—even people and human relations—and at the class system of the up-and-coming middle classes and the established gentry and aristocracy. When Thackeray sends Becky Sharpe off in a vain pursuit of wealth and social status, he also uses her to expose the vanities of the other characters in Vanity Fair. Their vanities derive from the prevailing commodity culture and are mainly connected to wealth and social status. The essay discusses Becky’s progress from a sociological perspective through the theories of Pierre Bourdieu. His concepts of field, habitus, capital and distinction deal with the power structure in society and what distinguishes different social classes. Here his theories are used to demonstrate how the different characters in Vanity Fair engage in competition for social status, by using their different forms of capital, and the essay emphasizes the convertibility of these kinds of capital. Bourdieu’s theories contribute to the understanding of how Becky who comes from nowhere, manages to climb to very top rung of the social ladder, but they also demonstrate that her chameleon-like ability to fit in everywhere is an exception to Bourdieu’s general model.
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Rontree, Mary Elizabeth. "Satire and parody in the fiction of Thomas Love Peacock and the early writings of William Makepeace Thackeray, 1815-1850." Thesis, University of Gloucestershire, 2004. http://eprints.glos.ac.uk/3130/.
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This thesis examines the works of Peacock and the early periodical contributions of Thackeray in the light of recent twentieth-century critical interpretations of satire. In particular, attention to Peacock's use of elements of the Menippean sub-genre in his satirical fiction offers a reassessment of his place in the literary tradition. While Thackeray's early writings demonstrate some characteristics of Menippean satire, a review of his work from the broader perspective of Bakhtin's exposition of carnival influences in serio-comic literature provides a new understanding of the origins and uses of his narratorial devices. A comparison of the work of the two authors, within the time constraint of the first half of the nineteenth century, illustrates how nineteenth-century publishing innovations shaped literary perception of satire. Although the high status of the genre in the predominant culture of the previous century was challenged by the growth of the reading public, satire found new energy and modes of expression in the popular magazines of the period. In addition, writers facing the increasing heterogeneity of new reading audiences, were forced to reconsider their personal ideals of authorship and literature, while renegotiating their position in the literary marketplace. Organized in six chapters, the discussion opens with an account of traditional interpretations of satire, and goes on to examine recent analyses of the genre. The second chapter focuses on the relevance of these new interpretations to the work of Peacock and Thackeray and the extent to which the use of Menippean forms of satire enabled each to challenge the established opinions of their period. Changes in concepts of reading and writing and innovations in modes of publication form the substance of the third chapter and this is followed by an analysis of the work of both writers, using Bakhtin's interpretation of the Menippean sub-genre in the broader context of serio-comic discourse and the carnival tradition, Chapter five is a comparative study of the attitudes of both writers towards contemporary literature and the final section places their work in the political context of the period. Both Peacock and Thackeray made extensive use of elements of Menippean satire in their fiction. The content of their work, however, and their modes of writing were highly individual, to some extent shaped by the different markets they supplied. Collectively, their writings illustrate two aspects of the cultural watershed of the early nineteenth century, Peacock reflecting traditional notions of authorship and Thackeray representing a new industry, regulated by the commercial considerations of supply and demand. As satirists,each succeeded in adapting the genre to satisfy both his own authorial integrity and the expectations of his readers.
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Douglass, Clare Taylor Beverly. "A new "look" at the canon de-familiarizing the works of Thackeray, Dickens, Collins, and Gaskell through a recovery of their illustrations /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,823.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.<br>Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Dell, Marion. "Born into a large connection : Virginia Woolf's legacies from three nineteenth-century forebears : Julia Margaret Cameron, Anny Thackeray Ritchie and Julia Prinsep Stephen." Thesis, Open University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.578656.
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In this thesis I explore the nineteenth-century legacies which inform Woolfs work, with specific reference to those of three of her forebears: Julia Margaret Cameron, Anny Thackeray Ritchie and Julia Prinsep Stephen. I analyse lines of descent to show that the work of these women are textually, artistically, biographically and genealogically embedded in Woolfs own; thus shaping Woo If as a writing woman. Woolfs complex, paradoxical, relationship with Cameron, Ritchie and Stephen in particular, reveals her conflicted relationship with her past in general. Each relationship is characterised by inconsistency and ambivalence. Woo If s lack of overt acknowledgement of the achievements of these forebears, and of her debt to them, does them a disservice. It contradicts her avowed intention to value and retrieve the work of earlier women writers. However, ambivalence is also part of their legacy to her. It is a creative aesthetic in the artistic work of all four women. Ambivalence allows Woo If to recycle and renegotiate narratives of her past; to explore different angles of vision; and to create boundaries as porous. Woolfs writing reveals her life-long engagement with her past and with Cameron, Ritchie and Stephen. Their lives and art are integrated into Woolf s own through her transmission of their photographs, her fictional portraits of them, resonances of their work, and their symbolic association with her iterated tropes. Cameron, Ritchie and Stephen are significant intertexts in the novels which frame this thesis: Night and Day and The Years. Woo If structures each novel through polarities but ultimately she disrupts all fissures; privileging wholeness, and cycles. Cameron, Ritchie and Stephen become part of this continuity from past to present and into the future, which Woolf proposes.
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Mackenzie, Hazel. ""Allow me to introduce myself - first, negatively" : Charles Dickens, Anthony Trollope, William Makepeace Thackeray and first-person journalism in the 1860s family magazine." Thesis, University of York, 2010. http://etheses.whiterose.ac.uk/1490/.
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This thesis examines the editorial contributions of W.M. Thackeray, Charles Dickens and Anthony Trollope to the Cornhill Magazine, All the Year Round and Saint Pauls Magazine, analyzing their cultivation of a familiar or personal style of journalism in the context of the 1860s family magazine and its rhetoric of intimacy. Focusing on their first-person journalistic series, it argues that these writers/editors used these contributions as a means of establishing a seemingly intimate and personal relationship with their readers, and considers the various techniques that they used to develop that relationship, including their use of first-person narration, autobiography, the anecdote, dream sequences and memory. It contends that those same contributions questioned and critiqued the depiction of reader-writer relations which they simultaneously propagated, highlighting the distinction between this portrayal and the realities of the industrialized and commercialized world of periodical journalism. It places this within the context of the discourse of family that was integral to the identity of these magazines, demonstrating how these series both held up and complicated the idealized image of Victorian domesticity that was promoted by the mainstream periodical culture of the day, maintaining that this was a standard feature of family magazine journalism and theorizing that this was in fact a large part of its popular appeal to the family market. The introductory chapter examines the discourse of family that dominated the mid-range magazines of the 1860s and how this ties in with the series’ rhetoric of intimacy. Chapter One looks at Thackeray’s ‘Roundabout Papers’, examining the manner in which Thackeray establishes a sense of familiarity between his editorial persona and the reader, only to consistently undermine his own efforts, viewing this within the context of Thackeray’s realist aesthetic. Chapter Two turns to Dickens’s ‘The Uncommercial Traveller’, and traces the relationship between Dickens’s use of the personal, his concept of the ‘Uncommercial’ in the series and his preoccupation with the forces of commercialism and Utilitarianism, which it reads as ultimately concerned with his own sense of complicity in the commercialization of literature. Chapter Three studies ‘An Editor’s Tales’ within the context of its publication during the last months of Trollope’s editorship of Saint Pauls and reads the ambivalent relationship of the series to the personal and its unconventional treatment of the family in relation to this, viewing the series as a part of Trollope’s reaction to the failure of the experiment he undertook with Saint Pauls.
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Åhman, Billing Tina. "The Female Protagonists in Thackeray’s Vanity Fair : A Corpus Linguistic Study of Keywords, Collocations, and Characterisation." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-24363.
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This essay uses corpus linguistic methods to study aspects of the novel Vanity Fair by W M Thackeray. The aim is to study the way Thackeray chose to describe his two female protagonists, Rebecca Sharp and Amelia Sedley. This is accomplished by a closer study of keywords in Vanity Fair, created by using a reference corpus consisting of thirteen novels by Victorian authors. These keywords are used to define semantic fields related to the novel. Keywords from the semantic field closest to the protagonists are studied in context. In addition, adjectives that collocate with the names of the protagonists are analyzed to compare the characterization of each woman. The study indicates that Thackeray has used fewer adjectives to describe Amelia than Rebecca, but that he has used these more frequently, which may cause readers to form a stronger mental picture of Amelia’s character sooner than they do for Rebecca’s.
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Santos, Josy Kelly Cassimiro Rodrigues dos Santos. "O livro dos snobs: o romance inglês nos jornais e periódicos paraibanos do XIX." Universidade Federal da Paraíba, 2016. http://tede.biblioteca.ufpb.br:8080/handle/tede/8527.
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Previous issue date: 2016-05-10<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The serialized English novel The Book of Snobs (1846) by W. M. Thackeray was published in 1891 in the newspaper O Estado da Paraíba. It was first published in the British magazine Punch (1846) and translated later. The author's main purpose was to show–through satire– a different perspective of the aristocratic society in Victorian England. This paper aims to investigate the English works of fiction and non-fiction in the newspapers in the province of Paraiba, map out the serialized English novels and analyze more thoroughly the novel The Book of Snobs, which is the corpus of this research. Our aim is to understand the circulation and publication practices of the serialized English novel in Paraiba newspapers in the 19th century. We analyzed source materials such as articles, ads, announcements, as well as the English novel itself, which served as a basis to map the presence of English fiction in Paraíba's newspapers. We reflect with authors such as Chartier (1990; 2002; 2011), Barbosa (2007; 2011), Freyre (2000), Ramicelli (2009), Hansen (2004), among others, who helped us to understand the English cultural importance in the development of Paraíba, as well as to understand the space of English novels in serialized in Paraíba‘s newspaper.<br>O romance em folhetim inglês O livro dos snobs (1846), de W. M. Thackeray, foi publicado em 1891 no jornal O Estado da Paraíba. Teve sua publicação primeira na revista inglesa Punch (1846), sendo traduzido posteriormente. O principal objetivo do escritor era mostra por meio da sátira uma visão diferenciada da sociedade da Inglaterra vitoriana. Este trabalho consiste em investigar os textos ficcionais e não-ficcionais ingleses presentes nos jornais da província paraibana, mapear os romances ingleses em folhetim e analisar mais detidamente o romance O Livros dos Snobs, corpus desta pesquisa, com a finalidade de compreender as práticas de circulação e publicação do romance inglês em folhetim nos jornais paraibanos no século XIX. Buscamos analisar fontes como artigos, anúncios, reclames, bem como o próprio romance inglês, que serviram de base para mapear a presença de ficção inglesa em periódicos paraibanos. Refletimos com autores como Chartier (1990; 2002; 2011), Barbosa (2007; 2011), Freyre (2000), Ramicelli (2009), Hansen (2004), entre outros, que nos ajudaram a compreender a importância cultural inglesa no desenvolvimento da Paraíba, bem como a entender o espaço dos romances ingleses em folhetim nos jornais paraibanos.
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Olasz, Ildiko Csilla. "Moving eyes, shifting minds the horizon of expectations in the verbal and visual reception of mid- and late-Victorian illustrated novels /." Diss., Connect to online resource - MSU authorized users, 2008.
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Malone, Katherine. "The Lady Critic: Women of Letters and Critical Authority in British Periodicals, 1854-1908." Diss., Temple University Libraries, 2009. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/57913.
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English<br>Ph.D.<br>This study considers how and why the established histories of criticism fail to recognize the Victorian woman critic. Although many women wrote critical essays for Victorian periodicals, the practice of anonymous publication and the gendered coding of certain genres ensured that the image of the critic was masculine for Victorian readers. And despite the ongoing work of The Wellesley Index to Victorian Periodicals, the growing field of periodicals research, and forty years of feminist scholarship, the Victorian critic remains, by and large, a male figure for us as well. In order to understand how women critics justified their authority and negotiated the gendered assumptions of critical discourse over the second half of the nineteenth century, this project explores the rhetorical strategies used by four prolific women journalists: Margaret Oliphant, Anne Mozley, Julia Wedgwood, and Anne Thackeray Ritchie. These case studies demonstrate how women critics defined their role in response to an expanding reading public, conservative gender ideology, the professionalization of criticism, changing aesthetics, and the establishment of English as a university discipline. They also reveal that both anonymous and signed women critics addressed these contentious issues to subtly undermine prejudices about gender and genre. In addition to demonstrating the feminist agenda of these (sometimes conservative) critics, this study also seeks to complicate the image of the moralizing woman critic symbolized by Mrs. Grundy. Moral rhetoric was common among both male and female critics in the nineteenth century, and this project argues that moral considerations are not necessarily antithetical to artistic ones in nineteenth-century discourse. We must begin to view women's critical arguments in their full context of political, aesthetic, and professional concerns if we truly wish to understand what was at stake for Victorian critics and readers. Thus, by presenting a fuller portrait of these individual women authors, this study not only critiques the gendered definitions of genre that continue to shape literary history, but also revises our understanding of Victorian critical theories.<br>Temple University--Theses
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Glasenapp, Aylina [Verfasser], Marion Akademischer Betreuer] Bankstahl, Frank M. [Akademischer Betreuer] [Bengel, Katja [Akademischer Betreuer] Derlin, and James Thomas [Akademischer Betreuer] Thackeray. "Multimodality Molecular Imaging of Inflammation and Fibrosis in Pressure Overload-Induced Heart Failure and After Mechanical Ventricular Unloading / Aylina Glasenapp ; Prof. Marion Bankstahl; Frank Michael Bengel; Katja Derlin, Thomas Thackeray." Hannover : Stiftung Tierärztliche Hochschule Hannover, 2020. http://d-nb.info/1217249745/34.
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Glasenapp, Aylina [Verfasser], Marion [Akademischer Betreuer] Bankstahl, Frank Michael [Akademischer Betreuer] Bengel, Katja [Akademischer Betreuer] Derlin, and James Thomas [Akademischer Betreuer] Thackeray. "Multimodality Molecular Imaging of Inflammation and Fibrosis in Pressure Overload-Induced Heart Failure and After Mechanical Ventricular Unloading / Aylina Glasenapp ; Prof. Marion Bankstahl; Frank Michael Bengel; Katja Derlin, Thomas Thackeray." Hannover : Stiftung Tierärztliche Hochschule Hannover, 2020. http://d-nb.info/1217249745/34.
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Simons, Gary. ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3347.
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Scholars have heretofore under-examined William Makepeace Thackeray's early critical essays despite their potential for illuminating Victorian manners and life. Further, these essays' treatments of aesthetics, class, society, history, and politics are all influenced by the pecuniary aspects of periodical journalism and frequently expose socio-economic attitudes and realities. This study explicates the circumstances, contents, and cultural implications of Thackeray's critical essays. Compensatory payments Thackeray received are reconciled with his bibliographic record, questions regarding Thackeray's interactions with periodicals such as Punch and Fraser's Magazine answered, and a database of the payment practices of early Victorian periodicals established.
Thackeray's contributions to leading London newspapers, the Times and the Morning Chronicle, address history, travel, art, literature, religion, and international affairs. Based upon biblio-economic payment records, cross-references, and other information, Thackeray's previously skeletal newspaper bibliographic record is fleshed out with twenty-eight new attributions. With this new information in hand, Thackeray's views on colonial emigration and imperialism, international affairs, religion, medievalism, Ireland, the East, and English middle-class identity are clarified. Further, Thackeray wrote a series of social and political "London" letters for an Indian newspaper, the Calcutta Star. This dissertation establishes that Thackeray's letters were answered in print by "colonial" letters written by James Hume, editor of the Calcutta Star; their mutual correspondence thus constitutes a revealing cosmopolitan - colonial discourse. The particulars of Thackeray's Calcutta Star writings are established, insights into the personalities and viewpoints of both men provided, and societal aspects of their correspondence analyzed.
In his many newspaper art exhibition reviews Thackeray popularized serious painting and shaped middle-class taste. The nature and timing of Thackeray's art essays are assessed, espoused values characterized and earlier analyses critiqued, and Thackeray's role introducing middle-class readers to contemporary Victorian art explored. Other Thackeray newspaper reviews addressed literature; indeed, Thackeray's grounding of literature in economic realities demonstrably carried over from his critical thesiss to his subsequent work as a novelist, creating a unity of theme, style, and subject between his early and late writings. Literary pathways originating in Thackeray's critical reviews are shown to offer new insights into Thackeray novels Catherine, Vanity Fair, Henry Esmond, and Pendennis.
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Stern, Kimberly Jo. "The Victorian sibyl women reviewers and the reinvention of critical tradition /." Full text available, 2005. http://images.lib.monash.edu.au/ts/theses/stern.pdf.
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Borchert, Tobias [Verfasser], Frank M. [Akademischer Betreuer] Bengel, James [Akademischer Betreuer] Thackeray, Karin [Akademischer Betreuer] Weißenborn, and Tibor [Akademischer Betreuer] Kempf. "Molecular imaging of inflammation in the heart-brain axis following myocardial infarction and its modulation by therapeutic interventions / Tobias Borchert ; Akademische Betreuer: Frank M. Bengel, James Thackeray, Karin Weißenborn, Tibor Kempf ; Klinik für Nuklearmedizin." Hannover : Bibliothek der Medizinischen Hochschule Hannover, 2021. http://d-nb.info/1229197508/34.
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Klein, Sherry. "Reading Thackeray's actresses." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ59612.pdf.
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Bromling, Laura Cappello, and University of Lethbridge Faculty of Arts and Science. "From the pens of the contrivers : perspectives on fiction in the nineteenth-century novel." Thesis, Lethbridge, Alta. : University of Lethbridge, Faculty of Arts and Science, 2003, 2003. http://hdl.handle.net/10133/154.
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This thesis investigates the way that moral and aesthetic concerns about the relationship between fiction and reality are manifested in the work of particular novelists writing at different periods in the nineteenth century, Chapter One examines an early-century subgenre of the novel that features deluded female readers who fail to differentiate between fantasy and reality, and who consequently attempt to live their lives according to foolish precepts learned from novels. The second chapter deals with the realist aesthetic of W. M. Thackeray; focusing on the techniques by which his fiction marks its own relationship both to less realistic fiction and to reality itself. The final chapter discusses Oscar Wilde's critical stance that art is meaningful and intellectually satisfying, while reality and realism are aesthetically worthless: it then goes on the explore how these ideas play out in his novel, The Picture of Dorian Gray.<br>iv, 120 leaves ; 28 cm.
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Thorsteinsson, Vidar. "Diachronic Binding: The Novel Form and the Gendered Temporalities of Debt and Credit." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460469341.
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Wilhelm, Franz. "Construction of the Higgs Mechanism and the Lee-Quigg-Thacker-bound." Thesis, Uppsala universitet, Högenergifysik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-388550.
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In this paper the higgs mechanism for the standard model is constructed in steps. First by considering spontaneous breaking of discrete and continuous global gauge invariance. Then spontaneous breaking of local gauge invariance. These results are then used to construct the electroweak part of the standard model through application of the higgs mechanism. Finally, the LQT-upper bound of 1 TeV for the higgs mass is calculated through unitarity constraints.<br>I denna artikel konstrueras higgsmekanismen i standardmodellen stegvis. Först genom att beakta spontant symmetribrott av diskreta samt kontinuerliga globala gaugeinvarianser. Därefter spontant symmetribrott av lokala gaugeinvarianser. Dessa resultat används sedan för att konstruera den elektrosvaga delen av standardmodellen genom tillämpning av higgsmekanismen. Slutligen beräknas en övre gräns för higgsmassan, den så kallade LQT-gränsen, via unitaritetsbegränsingar.
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Helfer, Wajngot Marion. "The birthright and the blessing : narrative as exegesis in three of Thackeray's later novels." Doctoral thesis, Stockholms universitet, Engelska institutionen, 2000. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-7675.
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This dissertation argues that the many narrative repetitions and allusions in Thackeray's fiction can be read as comments on and interpretations of each other and of biblical texts. Especially Henry Esmond, The Virginians, and Philip make use of reiterative strategies that have a close affinity with both midrash, classical Jewish narrative exegesis, and Christian typology. These two hermeneutical systems are used as models for a reading that takes the religious education in Victorian England into consideration. The study of significant similarities and differences between the fictional narratives and the Bible stories they rewrite shows that these novels are polysemous in that, like midrashic exegesis, they allow authority to multiple interpretations. However, in these novels the concept of caritas functions as a hermeneutical constraint, in the sense that, like typological interpretations of the Bible, the fictional narratives point towards the overarching value of neighbourly love. The novels are seen as presupposing an ethical response from readers in a time and context where literature was naturally considered as a guide to moral conduct. The Genesis narrative of Jacob's appropriation of the birthright and the blessing of the firstborn, in Christian tradition a type for the appropriation of the Jewish spiritual heritage by the Church, generates two opposed paradigms within the novels. Codified moral injunctions and literal applications of the biblical text are set against an attitude marked by the spirit of caritas, in what is interpreted as an application of the dictum "the letter killeth but the spirit giveth life." In addition, biblical narratives like that of the sacrifice of Isaac, and parables such as that of the Prodigal Son and the Good Samaritan, generate commentary on as diverse topics as the rights to political power, parent-child relations, incompatible obligations, forgiveness and moral indignation. Furthermore, inserted non-narrative genres are combined with narratorial intrusion to form a meta-fictional commentary on the paradoxical relations between narrative and truth.
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Roberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman." Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
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This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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Pisano, Vittoria <1990>. "Thackeray’s Barry Lyndon: Genesis, Structure, Sources, and the Concept of Anti-Hero in Barry Lyndon." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10182.
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Con questa tesi, ‘Thackeray’s Barry Lyndon: Genesis, Structure, Sources, and the Concept of Anti-Hero in Barry Lyndon’, si vuole analizzare l’opera di un grande autore del 1800, William Makepeace Thackeray. Il titolo originario dell’opera in questione era ‘The Luck of Barry Lyndon: A Romance of the Last Century’, che fu pubblicata nell’anno 1844, nella rivista inglese ‘Fraser’s Magazine’ a puntate, a partire dal mese di gennaio per terminare nel mese di dicembre, sotto lo pseudonimo Fitz-Boodle. Non avendo riscosso molto successo, per i successivi dodici anni, l’opera passò nel dimenticatoio, e solo nel 1856, Thackeray la ripubblicò nelle ‘Miscellanies’, revisionandola e cambiandone il titolo in: ‘The Memoirs of Barry Lyndon, Esquire of the Kingdom of Ireland’.
La tesi è suddivisa in tre macro capitoli principali.
Nel primo capitolo si analizzano la biografia dell’autore, la storia della pubblicazione del romanzo e la sua trama. Nell’analisi della struttura generale del romanzo, vi è un breve excursus sullo stile narrativo dell’opera e sulle ambientazioni storico-geografiche del novel in questione.
Nel secondo capitolo vengono analizzate le fonti principali di ‘Barry Lyndon’, con focus sull’importanza della letteratura dei rogues (vedere ad esempio le opere di Defoe, Fielding, Smollet), dalla quale Thackeray prese la sua principale fonte di ispirazione. Nel capitolo si mette in luce quanto l’utilizzo della letteratura dei rogues sia un mezzo fondamentale per la mediazione della satira sociale e morale che Thackeray fa della società Vittoriana.
Sono analizzate in particolar modo le storie di Andrew Robinson Stoney e di Jonathan Wild, due importanti figure nella storia britannica del 18° secolo. Per quanto riguarda la storia di Stoney non vi sono certezze di come Thackeray ne fosse venuto a conoscenza, mentre di Jonathan Wild si sa che Thackeray ha mediato la sua storia attraverso la lettura dell’opera del suo più grande maestro letterario Henry Fielding: ‘The Life and Death of Jonathan Wild, the Great’.
Nel terzo capitolo, viene analizzato il concetto di eroe-gentiluomo dell’epoca Vittoriana, comparandolo, nello specifico, con le opere iniziali dello stesso Thackeray: ‘Fatal Books’ e ‘The Book of Snobs’. Successivamente, si passa ad un’analisi dettagliata del personaggio di Barry Lyndon, con particolare attenzione alla sua caratterizzazione di gentiluomo irlandese, abile nel gioco d’azzardo, nella ricerca e sfruttamento di ricche ereditiere, e soldato scapestrato che viveva una vita di dissolutezza. Si analizza la sua figura di anti-eroe, poiché, per quanto Thackeray sembri, ad una lettura superficiale, dipingerlo come un eroe non canonico, l’idea che sottende è il suo ‘anti-eroismo’, che si evince dalle sue azioni meschine che lo porteranno, alla fine del romanzo, al miserabile epilogo della sua morte triste e solitaria nella Fleet Prison.
Il capitolo termina con un confronto tra Barry Lyndon, e la protagonista femminile dell’opera più famosa di Thackeray, ‘Vanity Fair’: Becky Sharp. Anche nel caso di Becky, vi è una breve analisi del personaggio con particolare attenzione all’anti-eroismo. Barry e Becky sono al contempo la nemesi dell’anti-eroe, uno maschile e l’altra femminile, le due facce della stessa medaglia, con una lieve differenza: Barry, al contrario di Becky, non è immorale, bensì amorale.
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Mallow, Dawn. "Attitude toward women in Thackeray's "Catherine", Collins's "Man and Wife", and Dickens's "Dombey and Son" (William Makepeace Thackeray, William Wilkie Collins, Charles Dickens)." Thesis, 1993. http://hdl.handle.net/1911/13760.
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Catherine, Man and Wife, and Dombey and Son will be compared with respect to their treatment of women characters. Each novel is either sympathetic to feminism and the treatment of women as equals, or constraining in its attitudes toward women. This assessment will be based on the fate of the rebellious woman character, the degree of conventionality found in its women characters and whether the attitudes toward women expressed generally in the novel are enlightened, or conventional. Also discussed will be how novels by nineteenth-century British novelists such as Thackeray and Collins and nineteenth-century British marriage laws were interrelated. In each of the three novels, there is one unconventional independent woman character whose presence encourages the reader to be sympathetic to women's concerns. However, if the novel views the rebellious woman character negatively and punishes her, then the novel did not accept this new woman.
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Goldfarb, Sheldon. "The road to Vanity Fair : cynicism, sentimentality, and despair in the early Thackeray." 1985. http://hdl.handle.net/1993/30015.
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Eure, Heather Latiolais. "Illegible women : feminine fakes, façades, and counterfeits in nineteenth-century literature and culture." 2013. http://hdl.handle.net/2152/21939.
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Examining periodicals and novels from 1847 to 1886, I analyze the feminine fake to argue that individuals were beginning during this period to grapple with the discomforting idea that identity, especially gender, might be a social construct. Previously, scholars have contended that this ideological shift did not occur until the 1890s. I apply the term "feminine fake" to the tools that women use to falsify their identities and to the women who counterfeit their identities. Equally, I consider the fake as a theatrical moment of falsifying one's identity. In my first chapter, I set up my theoretical framework, which draws from Laqueur's writings on the cultural history of sex and gender, Poovey's work on the "uneven development" of gender ideology, and Baudrillard and Eco's respective concepts of the simulacra and the hyperreal. Chapter II examines issues of The Englishwoman's Domestic Magazine and La Mode illustrée to analyze the feminine fake during the period surrounding the Franco-Prussian War. Using Fraser, Green, and Johnston's writing on the periodical alongside Hiner's theories of the ideological work of the accessory, I argue that the women's magazine, particularly via the "rhetoric of the fake" therein, fashion, and the accessory were crucial sites for the construction of gender at the time. Chapter III looks at performance and the feminine fake in Vanity Fair and La Curée. I re-evaluate Voskuil's theories of "acting naturally" to analyze the charades and tableaux vivants within the novels and illustrate how these performances metaphorically function as society's failed efforts to render feminine identities legible. In Chapter IV, I analyze Lady Audley's Secret and L'Eve future, situating Lady Audley and the android as hyperfeminine, or marked by an identificatory excess rendering them more feminine than any real woman. The threat they pose to legible feminine and human identity drives the need to control their unmanageable identities: at the ends of the novels, the women, along with what I characterize as their inhuman fakery, are irreversibly contained.<br>text
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Smallwood, Christine. "Depressive Realism: Readings in the Victorian Novel." Thesis, 2014. https://doi.org/10.7916/D88W3BXV.
Full textAbstract:
This dissertation makes two arguments: First, it elaborates a depressive genealogy of the Victorian novel that asserts a category of realism rooted in affect rather than period or place. Second, it argues for a critical strategy called "depressive reading" that has unique purchase on this literary history. Drawing on Melanie Klein's "depressive position," the project asserts an alternative to novel theories that are rooted in sympathy and desire. By being attentive to mood and critical disposition, depressive reading homes in on the barely-contained negativities of realism. Through readings of novels by William Makepeace Thackeray, Anthony Trollope, Thomas Hardy, and Charlotte Brontë, it explores feelings of ambivalence, soreness, and dislike as aesthetic responses and interpretations, as well as prompts to varieties of non-instrumentalist ethics. In the final chapter, the psychological and literary strategy of play emerges as a creative and scholarly possibility.
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Glovinsky, Will. "Unfeeling Empire: The Realist Novel in Imperial Britain." Thesis, 2021. https://doi.org/10.7916/d8-4cyr-hb47.
Full textAbstract:
This dissertation considers the role of affective management in realist aesthetics and British imperial culture. Drawing on formalist analyses of English novels, nineteenth-century theories of emotion, and postcolonial accounts that identify the colonizer’s affective desensitization as the ground from which ongoing violence can be perpetrated, this study explores how domestic English novels developed new techniques for deflating the heightened feelings surrounding empire and distant intimacy. Through satires of sensibility, the replacement of epistolary style with impersonal omniscience, and newly dispassionate presentations of villains and protagonists alike, realist novelists explored affective restraint as at once a generic characteristic and an increasingly central element of British imperial and racial identities. This dissertation therefore argues, through readings of works by Jane Austen, William Makepeace Thackeray, George Eliot, and Joseph Conrad, for the deep influence of imperial culture on the realist novel’s distinguishing formal features. At the same time, it prompts critics to revisit longstanding accounts of the relationship between the novel and sympathy. Since the Victorian era, critics have readily understood the realist novel as concerned with the expansion of readers’ sympathies: this study reframes this important account by examining how the insistence on sympathy in novels often rerouted more turbulent reactions to empire’s dislocations—such as longing, desire for vengeance, and guilt—into cooler, more tractable feelings.
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Hsu, Pi-fen, and 許碧芬. "The Position of Women in William Makepeace Thackeray's Vanity Fair." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/37466965342242877558.
Full textAbstract:
碩士<br>中國文化大學<br>英國語文學研究所<br>97<br>The aim of this thesis is to examine the two controversial heroines in William Makepeace Thackeray’s Vanity Fair, Becky Sharp and Amelia Sedley. Amelia is a naïve, faithful, self-effacing woman who always tries to meet patriarchal expectations for women. From a Victorian point of view, she is regarded as an ideal woman. In comparison, Becky is selfish, self-confident and cunning. In order to achieve her goals, she departs from the model of traditional femininity. A female rebel against tradition was the standard image for bad women in the Victorian period. Therefore, Becky seemingly represents the image of the disastrous siren. Although Amelia and Becky are both attractive and charming, they represent two different kinds of women, considered respectively as the monster and the angel. Thackeray is a patriarchal writer and whether the heroine of Vanity Fair is a traditional Victorian woman or not, his attitude toward women is crucial. In addition, Thackeray's irony and mockery also take a wide range in Vanity Fair, and his true attitude and ideas are more complicated than the text. This thesis also analyzes Thackeray’s interpretation of the two heroines and discusses the women’s position at different levels in this novel.
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Tang, Chih-Chun, and 湯智群. "Becky Sharp’s Sartrean Choices: Self-Creation in Thackeray’s Vanity Fair." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/41704346984886418287.
Full textAbstract:
碩士<br>中國文化大學<br>英國語文學研究所<br>97<br>Abstract
William Thackeray’s Vanity Fair (1847) deals not only with 19th-century British lifestyles, culture, and the social class hierarchy, but also with human existence, freedom, choice and responsibility. While Darwin emphasizes the biology-based struggle for survival, and Marx looks at the economic basis of society and culture in his critique of the inequality that is built into capitalism, Sartre describes the nature of the human self as both pure consciousness and “thing” or “object.” In seeing ourselves as the social roles we play, and also under the gaze of others, we become objects; as consciousnesses we are radically free to choose, and we define ourselves (as things) through our choices or actions, for which we must thus be responsible.
In my thesis I will present a reading of Vanity Fair primarily in the light of Sartre’s existentialist theory of human freedom in an immanent world (a world without God or transcendent values), his theory of constitution of self and of values through independent choice, and his theory of relation-to-the-other. I will place the main emphasis on the protagonist Becky Sharp’s own freedom and resultant responsibility, that is, on her own self-defining choices. In the first chapter I will explore “Becky’s Self as Desire or Life-Force” in the light of Darwin’s “survival of the fittest” and Sartre’s theory of self-creation. In the second chapter I will investigate “Sartre and Becky on Desire, Substance and Substantiality.” In the third chapter I will examine “Sartre’s and Becky’s Need for Self-Definition or Self-Creation.” In the conclusion I will suggest two Sartrean readings of Becky’s sense of “vanity” after she has achieved success: she may be feeling the weight of responsibility for the freedom she has enjoyed in climbing the social ladder, or realizing that she has herself never really escaped from being objectified by her own socially-defined role.
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Wang, Ying-fen, and 王櫻芬. "Excess and Transgression:The Dark Moral(ity) in William Thackeray's Vanity Fair." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/32219806812323091826.
Full textAbstract:
碩士<br>國立成功大學<br>外國語文學系專班<br>97<br>This thesis attempts to reveal how William Thackeray in Vanity Fair presents to its readers an alternative morality, which is different from the Victorian mainstream moral codes. I suggest that what Thackeray wants to criticize in this “Novel without a Hero” is the over-strict Victorian morality standard, which was difficult for the people to follow; this difficulty ironically caused their hypocrisy and led to misfortune. For Thackeray, only through adequate allowance of “excess” and “transgression” can people obtain their happiness. Of course, the excess and transgression could also lead the protagonists to catastrophes in life journey, if they do not properly manage the related practices－this vision is what Thackeray calls the “dark moral” in his novel. Many critics’ arguments, like those of Gordon Ray, Eric Trudgill, Walter E. Houghton, Suzanne Keen, and Anne Thackeray, are relied on as the interpretive framework of my thesis to respectively examine the Victorian moral attitudes, the novel’s strategy of “narrative annexes,” the inconsistency and ambiguity in interpolated narration, as well as Thackeray’s personal history. With these analyses, I can explore the characters’ or narrator’s/author’s excess and transgression and illustrate the “dark moral” in Vanity Fair. In general, the excess and/or transgression serves as the means of subversion that brings forth the possibility of self-transformation, so as to open up a new space for pursuing happiness.
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Goldfarb, Sheldon F. "William Makepeace Thackeray’s Catherine : a story : a critical edition with commentaries." Thesis, 1992. http://hdl.handle.net/2429/3280.
Full textAbstract:
This dissertation consists of a critically edited text of William Makepeace
Thackeray's first novel, Catherine, along with a complete set of annotations, an
extensive textual apparatus, appendices reprinting the sources for the real-life
murder story on which Thackeray based his novel, and commentaries discussing
the politics of the novel, the textual history and textual difficulties of the novel,
and the novel's literary and historical context.
In the absence of the manuscript, the copy-text for this edition is the
first edition from Eraser's Magazine in 1839-40, the only edition from Thackeray's
lifetime. Following this copy-text, the present edition includes all the passages
expurgated in posthumous editions, expurgations recorded in one section of the
Textual Apparatus. Another section of the apparatus consists of a glossary of
Thackeray's characteristic spellings and capitalizations, based on a study of his
surviving manuscripts. This study suggests that the style of accidentals in the
first edition is not Thackerayan. However, because of the difficulty of restoring
Thackerayan accidentals, the first edition accidentals have in general been left
untouched, with the only emendations in this edition (all of which are recorded
in the apparatus) being those made to correct errors in the copy-text.
The annotations to the edition, besides explaining obscurities in the text,
indicate the command Thackeray had over his historical materials, reveal his
borrowings from earlier authors, and point out motifs that recur in other works
by him. The political commentary to the edition discusses Thackeray's adoption of
the Tory politics of Eraser's in his novel even though his views at the time
were Radical. The critical commentary discusses the alterations Thackeray made
to his sources for the murder story and points out that although the novel
originated as an attack on the Newgate school of fiction and the glorification of
criminals, it in fact, for the most part, celebrates the rogues it depicts. The
general introduction notes that despite the resulting inconsistency in the novel,
Catherine contains many qualities - including narrative virtuosity, satirical
cleverness, and a skilful presentation of picaresque adventures - which suggest that
it should no longer be neglected
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LIN, JUI-FEN, and 林惠芬. "The dual functions of the narrator and the reader in Thackeray's vanity fair." Thesis, 1989. http://ndltd.ncl.edu.tw/handle/72763172873253795373.
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CHUNG, SHU-MEI, and 鍾淑玫. "The Discursive Practice of the Victorian Code of Conduct in Thackeray's Henry Esmond and The Virginians:A “Newer” Historicist Reading." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/18414292719912199007.
Full textAbstract:
博士<br>國立高雄師範大學<br>英語學系<br>104<br>THESIS ABSTRACT
CANDIDATE:SHU-MEI CHUNG
TITLE:THE DISCURSIVE PRACTICE OF THE VICTORIAN CODE OF CONDUCT IN THACKERAY’S HENRY ESMOND AND THE VIRGINIANS: A “NEWER” HISTORICIST READING
DEGREE: Ph. D.
SUBMITTED: JULY 2016
Focusing on close reading of William M. Thackeray’s novel, The History of Henry Esmond, and its sequel, The Virginians: The Tale of the Last Century, I explore Thackeray’s reflections on and criticism of the Victorian code of conduct under the framework of the discursive practice of the gentleman (and gentlewoman), based on Michel Foucault’s theory of discourse, potentially and ideally leading to a “Newer” Historicist approach proposed by Chung-Hsiung Lai in his “Limits and Beyond: Greenblatt, New Historicism and a Feminist Genealogy” and Fernand Braudel’s perspective of the moyenne durée (middle duration), a period of time spanning hundreds of years. Another work of Thackeray’s, Vanity Fair, and two other Victorian writers’ works, including Alfred Tennyson’s The Princess and Oscar Wilde’s An Ideal Husband, are examined in detail to prove that this discursive practice can be seen not only in these two works of Thackeray’s but others as well. The term Victorianism has been frequently used in a derogatory manner. Yet, my aim is to illustrate that, perhaps overly driven by their conscience, the Victorian people were quite valorous and straightforward in self-scrutinizing so-called Victorian attitudes. Accordingly, it can be said that modern commentary on Victorian attitudes simply follows the acute faultfinding and overwhelming scorn raised by many thinkers and writers of literary texts in the Victorian age (Abrams, A Glossary, 329), and Thackeray was definitely a very notable one of these. The study of Thackeray’s novels Henry Esmond and The Virginians thus interacts with the development of “Newer” Historicism—Foucault’s discursive practice. I examine under what circumstances these two historical novels go in providing a fundamental critique of the sexual and political ideologies of the Victorian age; to what extent this discursive practice of literary texts actually contains critical energies; and in doing so prove that what makes Thackeray so ‘Thackerayish’ is exactly his peculiar “individuality and value” (18), a point suggested by René Wellek and Austin Warren in Theory of Literature, which makes him stand out from his contemporary counterparts.
Key words: Victorian code of conduct, New Historicism, Fernand Braudel, discursive practice