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Готові списки джерел за темами / William Makepeace

Добірка наукової літератури з теми "William Makepeace"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 3 березня 2023

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Статті в журналах з теми "William Makepeace":

1

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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2

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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3

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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4

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.

5

Gao, Timothy. "These Newcomes: William Makepeace Thackeray and Novelistic Particularity." Victorian Literature and Culture 49, no. 3 (2021): 457–80. http://dx.doi.org/10.1017/s106015031900041x.

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Through a sustained close reading of William Makepeace Thackeray's 1855 novel The Newcomes, this essay examines three analogous types of particularity in the novel: the particularity of loved ones in the social network, of fictional persons in the literary work, and of the individual text. Drawing on recent sociological and network readings of Victorian narrative, I argue that Thackeray's plot about relationships in the marriage market is reflected (on the level of form) by the structural relation between characters and text, and (on the level of the reading experience) by the affective engagement of the reader to the novel. As characters encounter problems in replacing old relations (former lovers, deceased spouses, estranged relatives) with new ones, the novel raises analogous questions about the replaceability of characters as textual constructs or fictional persons, and of the novel itself as one experience among multitudes on offer in the nineteenth-century market. A tension between the continual or particular experience of an individual novel and the felt historical pressure of novels en masse registers in the text itself as a formal and narrative problem, one that leads us suggestively toward recent methodological debates about intimate and distant reading.

6

Flynn, M. J. "The Transatlantic Grudges of William Makepeace Thackeray and G. P. R. James." Notes and Queries 52, no. 4 (December 1, 2005): 476–78. http://dx.doi.org/10.1093/notesj/gji424.

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7

Simons, Gary. "“Show me the money!”: A Pecuniary Investigation of William Makepeace Thackeray’s Early Victorian Journalism." Victorian Periodicals Review 45, no. 1 (2012): 64–96. http://dx.doi.org/10.1353/vpr.2012.0008.

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8

Shires, Linda. "ELIZABETH BARRETT BROWNING: CROSS-DWELLING AND THE REWORKING OF FEMALE POETIC AUTHORITY." Victorian Literature and Culture 30, no. 1 (March 2002): 327–43. http://dx.doi.org/10.1017/s1060150302301165.

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IN A WELL-KNOWN LETTER EXCHANGE of 1861, Elizabeth Barrett Browning, then aged fifty-five, responded to William Makepeace Thackeray’s rejection of one of her poems. In his capacity as Editor of the Cornhill magazine, the famous novelist and man of letters had seen fit to exercise his censorship prerogatives on material he considered highly inappropriate for his audience. This letter exchange, which may serve as a metonymy for the ideological crises in which Barrett Browning’s career was positioned from beginning to end, forcefully exposes not just literary values in crisis, but also authorship in crisis. In particular, the exchange exposes an enforced split between roles of the analytical poet and the domestic lady, a separation of roles which Barrett Browning’s career both publicly exposed and dramatically reworked, but could not entirely evade.1

9

Dawson, Gowan. "Stranger than Fiction: Spiritualism, Intertextuality, and William Makepeace Thackeray's Editorship of theCornhill Magazine,1860–62." Journal of Victorian Culture 7, no. 2 (January 2002): 220–38. http://dx.doi.org/10.3366/jvc.2002.7.2.220.

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10

Guthke, Karl S. "Schillers Trauerspiel Karl der Erste, König von England : Ein jeu d’esprit von William Makepeace Thackeray." German Life and Letters 57, no. 2 (April 2004): 170–74. http://dx.doi.org/10.1111/j.0016-8777.2004.0277.x.

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Більше джерел

Дисертації з теми "William Makepeace":

1

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.

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.

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.

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".

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.

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.
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.

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.

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.

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.

2

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.

3

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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4

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
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

5

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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6

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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7

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.

8

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.

9

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)
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

10

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.
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.

Більше джерел

Книги з теми "William Makepeace":

1

Harold, Bloom, ed. William Makepeace Thackeray. New York: Chelsea House Publishers, 1987.

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2

Harden, Edgar F. A William Makepeace Thackeray Chronology. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230598577.

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3

Harold, Bloom, ed. William Makepeace Thackeray's Vanity fair. New York: Chelsea House Publishers, 1987.

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4

Harden, Edgar F. A William Makepeace Thackeray chronology. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2003.

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5

Harden, Edgar F., ed. Selected Letters of William Makepeace Thackeray. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-14073-2.

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6

Thackeray, William Makepeace. Selected letters of William Makepeace Thackeray. Washington Square, N.Y: New York University Press, 1996.

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7

Shillingsburg, Peter L. William Makepeace Thackeray: A literary life. Basingstoke, Hampshire, England: Palgrave, 2001.

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8

Melville, Lewis. The Life of William Makepeace Thackeray. London: Routledge/Thoemmes Press, 1996.

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9

Johnson, Charles Plumptre. The early writings of William Makepeace Thackeray. London: Routledge/Thoemmes Press, 1996.

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10

Goldfarb, Sheldon. William Makepeace Thackeray: An annotated bibliography, 1976-1987. New York: Garland, 1989.

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Частини книг з теми "William Makepeace":

1

Brosch, Renate. "Thackeray, William Makepeace." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17225-1.

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2

Klotz, Volker. "William Makepeace Thackeray." In Das europäische Kunstmärchen, 271–83. Stuttgart: J.B. Metzler, 1985. http://dx.doi.org/10.1007/978-3-476-03204-1_21.

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3

Brosch, Renate. "William Makepeace Thackeray." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 84–89. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_14.

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4

Kingsmill, Hugh. "William Makepeace Thackeray." In The Progress of a Biographer, 15–26. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003272632-2.

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5

Kohl, Stephan. "Thackeray, William Makepeace." In Englischsprachige Autoren, 272–75. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_100.

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6

Martin, Brian. "William Makepeace Thackeray." In The Nineteenth Century (1798–1900), 337–44. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20159-4_32.

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7

Brosch, Renate. "Thackeray, William Makepeace: Vanity Fair." In Kindlers Literatur Lexikon (KLL), 1–3. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17227-1.

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8

Brosch, Renate. "Thackeray, William Makepeace: The Newcomes." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17230-1.

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9

Harden, Edgar F. "Ancestry and Family." In A William Makepeace Thackeray Chronology, 1–3. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230598577_1.

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10

Harden, Edgar F. "Chronology." In A William Makepeace Thackeray Chronology, 5–355. London: Palgrave Macmillan UK, 2003. http://dx.doi.org/10.1057/9780230598577_2.

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