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Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 3 березня 2023

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1

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.

2

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).

3

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.

4

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.

5

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:

6

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.

7

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.

8

Chesterton, G. K. "Thackeray." Chesterton Review 32, no. 1 (2006): 17–19. http://dx.doi.org/10.5840/chesterton2006321/256.

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9

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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10

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’.

11

Redling, Ellen. "32. Allegorical Thackeray: Secularised Allegory in Thackeray’s Major Novels." English and American Studies in German 2015, no. 1 (November 1, 2015): 48–49. http://dx.doi.org/10.1515/east-2016-0033.

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12

Tyson, Nancy Jane, and Michael Lund. "Reading Thackeray." South Atlantic Review 54, no. 4 (November 1989): 131. http://dx.doi.org/10.2307/3199813.

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13

Beaumont, J. "Thackeray in 'Pattledom'." Notes and Queries 52, no. 4 (December 1, 2005): 474–76. http://dx.doi.org/10.1093/notesj/gji423.

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14

PATI, S. K., and T. THACKERAY. "The freshwater crab genera Ghatiana Pati & Sharma, Gubernatoriana Bott, and Inglethelphusa Bott (Crustacea: Decapoda: Brachyura: Gecarcinucidae) revisited, with descriptions of a new genus and eleven new species." Zootaxa 4440, no. 1 (June 25, 2018): 1. http://dx.doi.org/10.11646/zootaxa.4440.1.1.

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The taxonomy of three morphologically related and endemic genera of the northern Western Ghats (Ghatiana Pati & Sharma, 2014, Gubernatoriana Bott, 1970, and Inglethelphusa Bott, 1970) is re-assessed to accommodate several new taxa. We describe a new genus, Sahyadriana gen. nov. and its five new species [S. billyarjani sp. nov., S. pachyphallus sp. nov., S. sahyadriensis sp. nov. (type species), S. tenuiphallus sp. nov., and S. woodmasoni sp. nov.]. Additionally, three new species each of Ghatiana (Gh. botti sp. nov., Gh. pulchra sp. nov., and Gh. rathbunae sp. nov.) and Gubernatoriana (Gu. longipes sp. nov., Gu. marleshwarensis sp. nov., and Gu. wallacei sp. nov.) are described. Five species previously in Gubernatoriana are now transferred to Sahyadriana gen. nov., viz. S. alcocki (Pati in Pati, Thackeray & Khaire, 2016) comb. nov., S. pilosipes (Alcock, 1909) comb. nov., S. thackerayi (Pati in Pati, Thackeray & Khaire, 2016) comb. nov., S. triangulus (Pati & Sharma, 2014) comb. nov., and S. waghi (Pati in Pati, Thackeray & Khaire, 2016) comb. nov. Gubernatoriana basalticola Klaus, Fernandez & Yeo, 2014, is transferred to Ghatiana. Inglethelphusa is still proved to be monotypic. Consequently, Ghatiana now contains eight species, three of which are new; Gubernatoriana, four species, including three new species; Inglethelphusa, one species; and Sahyadriana gen. nov., ten species, including five new species. Sahyadriana pilosipes is rediscovered more than a century after its description. All these genera can be separated from other Indian gecarcinucid crabs by the absence of a flagellum on the exopod of the third maxilliped and a very short G2. The relevant identification keys are revised. Currently, 120 species of freshwater crabs under 35 genera and two families are found in India. Kerala is the most species-rich (35 species) state in India followed by Maharashtra (29 species) and Assam (21 species). The Western Ghats of India now includes 17 genera and 58 species of gecarcinucid crabs. A checklist and distribution of Indian freshwater crabs is provided.

15

Gómez Ruiz, María del Rocío. "Thackeray in 19th Century Mexico: The First Spanish Translation of Vanity Fair, and beyond." Bibliographica 3, no. 2 (September 4, 2020): 75. http://dx.doi.org/10.22201/iib.2594178xe.2020.2.77.

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Este artículo presenta un estudio de la recepción del novelista victoriano William Thackeray en el México decimonónico. Se considera la traducción mexicana de La feria de las vanidades (1848) publicada por la Imprenta de Andrade y Escalante en 1860, y posteriormente la recepción crítica de la obra de Thackeray durante el Porfiriato. Los detalles de publicación de la edición mexicana de La feria de las vanidades (la primera traducción de la novela al español) ponen en evidencia la mediación cultural francesa en el país durante la primera mitad del siglo. Por otro lado, la conversación crítica y literaria en torno a Thackeray a la vuelta del siglo XX señala el surgimiento de una República de las Letras genuinamente mexicana.

16

Hawes, D. "Fanny Burney and Thackeray." Notes and Queries 49, no. 1 (March 1, 2002): 63–65. http://dx.doi.org/10.1093/nq/49.1.63.

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17

Wells, J. "A Thackeray Jeu D'esprit." Notes and Queries 49, no. 4 (December 1, 2002): 476–78. http://dx.doi.org/10.1093/nq/49.4.476.

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18

Hawes, Donald. "Fanny Burney and Thackeray." Notes and Queries 49, no. 1 (March 1, 2002): 63–65. http://dx.doi.org/10.1093/nq/490063.

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19

Wells, John. "A Thackeray Jeu D'esprit." Notes and Queries 49, no. 4 (December 1, 2002): 476–78. http://dx.doi.org/10.1093/nq/490476.

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20

Brennan, Timothy. "Thackeray at the Movies." Race & Class 45, no. 1 (July 2003): 111–17. http://dx.doi.org/10.1177/0306396803045001007.

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21

Horn, Anne Layman. "Farcical Process, Fictional Product: Thackeray's Theatrics in Lovel the Widower." Victorian Literature and Culture 26, no. 1 (1998): 135–54. http://dx.doi.org/10.1017/s106015030000231x.

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Although long slighted by critics, Lovel the Widower should be recognized as the most overtly theatrical work we have from one of the nineteenth century's most theatrical writers. Adapted for the Cornhill Magazine from Thackeray's failed drama, The Wolves and the Lamb, Lovel is narrated by a character who calls himself the “Chorus of the Play” and tells the story of a governess who must hide the fact that she was once an actress. Thackeray published the story to keep the Cornhill's readers entertained while he began work on his last completed novel, The Adventures of Philip. As a piece of occasional journalism, Lovel therefore shares a closer kinship with Thackeray's other periodical writings and Christmas books than it does with his mature novels. Not destined to be the newly-launched Cornhill's chief fictional attraction (that honor went to Trollope's Framley Parsonage), Lovel actually functioned in the magazine as the literary equivalent of a theatrical comic afterpiece.

22

Segar, Ali Mohammed. "William Thackeray's Vanity Fair The Complete Absence of the Traditional Hero." مجلة الآداب للدراسات اللغوية والأدبية 1, no. 8 (May 30, 2021): 7–29. http://dx.doi.org/10.53286/arts.v1i8.304.

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This paper aims to study William Thackeray’s Vanity Fair by using an analytical method of the central theme of the novel, its main characters as well as some of the minor, important characters. It begins with a general introduction about the novelist and his age and literary career followed by the first section which is a brief review of the characters and events of the novel. The second section analyses the very details of the novel depending on its plot and the conversations between characters. The third section asserts the hypothesis of the study and the conclusion shows that William Thackeray had managed in achieving a narrative form, unprecedented by any of his contemporaries, in which there is no role for the traditional hero.

23

HAWES, DONALD. "THACKERAY, TENNYSON, AND BULWER LYTT0N." Notes and Queries 36, no. 2 (June 1, 1989): 182b—183. http://dx.doi.org/10.1093/nq/36-2-182b.

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24

Bown, Alfie. "Caricature in Dickens and Thackeray." Comedy Studies 3, no. 1 (January 2012): 75–82. http://dx.doi.org/10.1386/cost.3.1.75_1.

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25

Mullen, Richard. "Charlotte Brontë and William Thackeray." Brontë Studies 36, no. 1 (March 2011): 85–94. http://dx.doi.org/10.1179/147489310x12868722453627.

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26

Decap, Roger. "Barry Lyndon : Thackeray et « l'ailleurs »." Caliban 28, no. 1 (1991): 37–48. http://dx.doi.org/10.3406/calib.1991.1252.

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27

Sen, Sambudha. "Bleak House, Vanity Fair, and the Making of an Urban Aesthetic." Nineteenth-Century Literature 54, no. 4 (March 1, 2000): 480–502. http://dx.doi.org/10.2307/2903014.

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This essay focuses on the relationship between certain popular visual forms, such as the city sketch and the panorama, and the making of an urban novelistic aesthetic, of which Charles Dickens's Bleak House (1852-53) is the most developed embodiment. In order to delineate the specific features of this urban aesthetic I turn to the very different ways in which William Makepeace Thackeray in Pendennis (1848-50) and, especially, Vanity Fair (1847-48) articulates the city and those who inhabit it-despite Thackeray's familiarity with the representational modes that developed in the relatively "lower" forms of visual culture. Through this process of differentiation I show how this urban aesthetic involves distinct ways of negotiating such problems as the tension between the dispersive and the centralizing impulses of the city, as well as the threat that the teeming, socially unpredictable life of the city posed to the traditional domain of the novel, the middle- or upper-class home. Finally, by setting off Dickens's mode of figuring character against Thackeray's more self-consciously literary methods, I highlight the ways in which the urban aesthetic that underlies Bleak House affected Dickens's methods.

28

Houghton, Eleanor. "Unravelling the Mystery: Charlotte Brontë’s 1850 ‘Thackeray Dress’." Costume 50, no. 2 (July 1, 2016): 194–219. http://dx.doi.org/10.1080/05908876.2016.1165956.

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In the summer of 1850, there was a frisson of excitement in London society. Charlotte Brontë, the recently revealed writer of the best-selling novel Jane Eyre, was in the capital, staying with her publisher, George Smith. The highlight of Charlotte’s trip was a large, formal dinner hosted by her literary hero, William Makepeace Thackeray. To this august event it has long been assumed that she wore a floral print, white and blue delaine skirt and bodice. This article begins by examining the colloquially named ‘Thackeray Dress’ in detail, before considering the evidence given in support of it having been worn to the dinner on 12 June 1850. The style and fabric of the dress are then compared to others of the period and this is followed by an examination of contemporary sartorial conventions, and the extent of Charlotte Brontë’s adherence to them. Questions raised by these findings are then considered alongside reports that suggest the dress may not have been worn on this occasion. Published in the bicentenary year of Brontë’s birth, this study questions the validity of the garment’s association with the legendary Thackeray dinner and, in so doing, attempts to separate fact from fiction.

29

Freeman, Meghan. "CORDONS OF PROTECTION: THE STAGE OF SPECTATORSHIP IN CHARLOTTE BRONTË'SVILLETTE." Victorian Literature and Culture 41, no. 4 (October 25, 2013): 643–75. http://dx.doi.org/10.1017/s1060150313000156.

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In the years following the publicationofJane Eyre, Charlotte Brontë's social circle expanded rapidly, extending far beyond the narrow circumference of Haworth Parsonage. The later letters attest to personal acquaintance with many prominent literary contemporaries, including Elizabeth Gaskell, Harriet Martineau, George Henry Lewes, and William Thackeray. Yet, second perhaps only to Thackeray, the writer that Brontë credits as most influential to her thinking about art and narrative is one that she never did meet: John Ruskin. Brontë's initial exposure to Ruskin's work came through the channel of their shared publisher, George Smith, who in 1848 sent her a copy of the first two volumes ofModern Painters.

30

Colby, Robert A. "Thackeray and Slavery. Deborah A. Thomas." Nineteenth-Century Literature 49, no. 2 (September 1994): 259–62. http://dx.doi.org/10.2307/2933987.

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31

Weedon, Alexis. "Thomas, D. A., Thackeray and Slavery." Notes and Queries 42, no. 2 (June 1, 1995): 244–45. http://dx.doi.org/10.1093/nq/42.2.244-b.

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32

LAW, JOE K. "THACKERAY AND THE USES OF OPERA." Review of English Studies XXXIX, no. 156 (1988): 502–12. http://dx.doi.org/10.1093/res/xxxix.156.502.

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33

Colby, Robert A. "Thackeray: Interviews and Recollections. Philip Collins." Modern Philology 82, no. 4 (May 1985): 434–36. http://dx.doi.org/10.1086/391417.

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34

Colby, Robert A. ": Thackeray and Slavery. . Deborah A. Thomas." Nineteenth-Century Literature 49, no. 2 (September 1994): 259–62. http://dx.doi.org/10.1525/ncl.1994.49.2.99p0083p.

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35

Stone, Donald D. "The Newcomes: Memoirs of a Most Respectable Family William Makepeace Thackeray Peter L. Shillingsburg The Newcomes William Makepeace Thackeray Andrew Sanders The Newcomes William Makepeace Thackeray David Pascoe." Nineteenth-Century Literature 53, no. 2 (September 1998): 259–64. http://dx.doi.org/10.2307/2902990.

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36

Stone, Donald D. ": The Newcomes: Memoirs of a Most Respectable Family . William Makepeace Thackeray, Peter L. Shillingsburg. ; The Newcomes . William Makepeace Thackeray, Andrew Sanders. ; The Newcomes . William Makepeace Thackeray, David Pascoe." Nineteenth-Century Literature 53, no. 2 (September 1998): 259–64. http://dx.doi.org/10.1525/ncl.1998.53.2.01p00257.

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37

Gilbert, Nora. "Thackeray, Sturges, and the Scandal of Censorship." PMLA/Publications of the Modern Language Association of America 127, no. 3 (May 2012): 542–57. http://dx.doi.org/10.1632/pmla.2012.127.3.542.

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Анотація:

In the wake of Foucault's influential retelling of the history of sexuality, a new school of censorship theory emerged that was devoted to exposing and unpacking the paradoxically productive effects of censorious practices. This essay traces a particular strand of that paradox, labeled here the logic of scandal: the logic wherein discourse is authorized and amplified by feelings like shock and moral condemnation rather than stymied by them. To explore the ramifications of this logic for and within narrative art, I take as my subjects a novel written during the famously prudish Victorian era and a film produced under the famously stringent Production Code—W. M. Thackeray's Vanity Fair and Preston Sturges's The Lady Eve. In each the “scandalous” discursive acrobatics performed by the text's morally ambiguous heroine reflect the strategies of censorship evasion employed by the morally ambiguous artist who created her.

38

Cassidy, Camilla. "A Hitherto Unpublished Poetic Draft by Thackeray." Notes and Queries 63, no. 2 (April 13, 2016): 244–48. http://dx.doi.org/10.1093/notesj/gjw056.

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39

Edgecombe, R. S. "Alfred de Musset, Thackeray, and Louis Gallet." English Language Notes 42, no. 3 (March 1, 2005): 28–33. http://dx.doi.org/10.1215/00138282-42.3.28.

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40

Chappell, Lindsey N. "The Satirist Abroad: Thackeray, Temporality, and Genre." SEL Studies in English Literature 1500-1900 56, no. 3 (2016): 583–604. http://dx.doi.org/10.1353/sel.2016.0023.

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41

Pearson, Richard. "William Makepeace Thackeray: A Literary Life (review)." Victorian Studies 45, no. 1 (2002): 167–69. http://dx.doi.org/10.1353/vic.2003.0058.

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42

Glass, I. S. "Andrew David Thackeray at the Radcliffe Observatory." Transactions of the Royal Society of South Africa 64, no. 1 (January 2009): 76–78. http://dx.doi.org/10.1080/00359190909519240.

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43

Horrocks, Clare. "Re-examining Thackeray through a ‘Family Lens’." Journal of Victorian Culture 17, no. 2 (June 2012): 262–64. http://dx.doi.org/10.1080/13555502.2012.685604.

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44

Gilmore, Dehn. "The Difficulty of Historical Work in the Nineteenth-Century Museum and the Thackeray Novel." Nineteenth-Century Literature 67, no. 1 (June 1, 2012): 29–57. http://dx.doi.org/10.1525/ncl.2012.67.1.29.

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This essay suggests that conservation debates occasioned by the democratization of the nineteenth-century museum had an important impact on William Makepeace Thackeray’s reimagination of the historical novel. Both the museum and the historical novel had traditionally made it their mission to present the past to an ever-widening public, and thus necessarily to preserve it. But in the middle of the nineteenth century, the museum and the novel also shared the experience of seeming to endanger precisely what they sought to protect, and as they tried to choose how aggressive to be in their conserving measures, they had to deliberate about the costs and benefits of going after the full reconstruction (the novel) or restoration (the museum) of what once had been. The first part of this essay shows how people fretted about the relation of conservation, destruction, and national identity at the museum, in The Times and in special Parliamentary sessions alike; the second part of the essay traces how Thackeray drew on the resulting debates in novels including The Newcomes (1853–55) and The History of Henry Esmond (1852), as he looked for a way to revivify the historical novel after it had gone out of fashion. He invoked broken statues and badly restored pictures as he navigated his own worries that he might be doing history all wrong, and damaging its shape in the process.

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Proskurnin, Boris M. "READING ‘THE NEWCOMES’ IN DIFFERENT WAYS: LITERARY AND CRITICAL ‘DUEL’ OF CHERNYSHEVSKY AND DRUZHININ." Вестник Пермского университета. Российская и зарубежная филология 13, no. 3 (2021): 101–11. http://dx.doi.org/10.17072/2073-6681-2021-3-101-111.

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The essay deals with the issues of reception of English literature by Russian literary criticism; it analyzes polemically pointed evaluations of The Newcomes (1853–1855) by two leading Russian critics of the 1850s – 1860s – Nikolay Chernyshevsky and Alexander Druzhinin. To look at their reviews of the novel is worthwhile as it leads to a better understanding of both Russian literary process of the period and Russian reception of English literature in the middle of the 19th century. While examining these reviews, it is necessary to remember that this novel occupies quite an important place in the creative work of Thackeray and has many peculiarities at such levels of its structure as genre, plot, narrative, character-making, irony. The novel belongs to the after Vanity Fair period of Thackeray’s oeuvre with its own aesthetics which just in The Newcomes gets its final look. The novel pictures the life of the English upper classes with the help of chronicle and panoramic methods of plot-making; direct satire, keenest irony and invective do not work here as they work in Vanity Fair. It is precisely this ‘otherness’ of The Newcomes, in comparison with the most famous novel by Thackeray, that becomes the matter of the opposite estimates of this novel by two Russian critics: at one extreme, Chernyshevsky who, though noting some strong plot-making and narrative positions in the novel, criticizes the writer for poor conceptuality of the novel, the petty themes raised, the hero’s unimpressiveness, procrastination and slowness of the narrative; at the other extreme, the benevolent view of Druzhinin who reveals some important facets of the novel’s artistic originality. He does not assess the novel from the ideological positions which are, in many respects, the products of the first Russian ‘thaw’ after the period of political reaction of the regime of Nicholas I and which determine the position of Chernyshevsky. Since Druzhinin had been taken by Chernyshevsky as his ideological rival and the founder of ‘art for art’s sake’ conception, his review was a severe polemical answer to Druzhinin’s review published earlier. That is one of the main reasons why such a profound literary critic as Chernyshevsky did not notice or did not want to notice many merits of The Newcomes which are stressed in the essay. It is shown in the essay that, while writing his review of The Newcomes, Chernyshevsky was thinking more about Russian literary situation than Thackeray’s novel itself and the literary process in England in the middle of the 19th century.

46

Fisher, Judith L. "The Inheritance of Genius. A Thackeray Family Biography, 1798–1875; Memory and Legacy. A Thackeray Family Biography, 1876–1919." English Studies 94, no. 5 (August 2013): 620–22. http://dx.doi.org/10.1080/0013838x.2013.797226.

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47

Mourao, Manuela. "Negotiating Victorian Feminism: Anne Thackeray Ritchie's Short Fiction." Tulsa Studies in Women's Literature 20, no. 1 (2001): 57. http://dx.doi.org/10.2307/464467.

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48

Hampson, Robert. "From Cornhill to Cairo: Thackeray as Travel-Writer." Yearbook of English Studies 34, no. 1 (2004): 214–29. http://dx.doi.org/10.1353/yes.2004.0068.

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49

Hampson, Robert. "From Cornhill to Cairo: Thackeray as Travel-Writer." Yearbook of English Studies 34 (2004): 214. http://dx.doi.org/10.2307/3509495.

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50

Peck, J. "Thackeray and Religion: The Evidence of Henry Esmond." English 40, no. 168 (September 1, 1991): 217–35. http://dx.doi.org/10.1093/english/40.168.217.

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