Статті в журналах: "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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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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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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Mykhed, T. "WILLIAM MAKEPEACE THACKERAY: IRONIC CONTEXT OF HIS “KYIV TEXT”." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 33 (2018): 72–81. http://dx.doi.org/10.17721/2663-6530.2018.33.05.

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The article is devoted to the analysis of the parody ballad by W. M. Thackeray "The Legend of St. Sophia of Kioff" (1839). An attempt was made to indicate the source of information about Kyiv, which could be found in Jane Porter’s historical novel "Thaddeus of Warsaw", written according to the testimonies of Polish emigrants. The ballad is interpreted as a traditional for English oral and written literature genre, which has acquired formal signs of printed text. All these signs are present in Thackeray's ballad, including the division into chapters, a functionally significant paratext, topical historical and cultural allusiveness, satirical-defamatory pathos, polemics. "Kyiv text" in Thackeray’s poem is modeled according to the genre conventions of the ballads about St. George, stating an informative narrative with a programmed and incessant general message. Thackeray creates the image of Kyiv in the traditions of utopian literature, calling it a real paradise. Kyiv happy residents became victims of envious neighbors, whose ethnographic and religious affiliation is absurdly mottled. Thackeray does not hold on to the historical truth, forming a fictional space, markers of which are stereotypes of romantic literature topos, comparisons, the allusion to the works and the style of Byron, Hoffman and other romantics. Irony becomes the defining ideological and aesthetic dominant of Thackeray’s ballad about the confrontation between the Kyivans and Cossack invaders, which, marked by intertext, forms the distance of the narrator from the text, inducing the reader to form his own ironic perception of both the artistic world of the work and of the reality.

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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.

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Brevda, William. "Thackeray’s Vanity Fair of Hats." Victorians: A Journal of Culture and Literature 145, no. 1 (June 2024): 1–23. http://dx.doi.org/10.1353/vct.2024.a931639.

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ABSTRACT: In Vanity Fair: A Novel without a Hero , William Makepeace Thackeray uses hats to illustrate his mock-heroic characters and to reinforce the novel’s theme of “ Vanitas Vanitatum! ” Of these hats—including cocked hats, top hats, shovel-hats, shakos, and bonnets—the narrator’s fool’s cap is the most symbolically important. Adopting a dual perspective of “Satire and Sentiment,” the narrator shows that “All is vanity.” If the vanity of life is inescapable, he implies, then the only consolation is laughter.

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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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Bullock, April. "Thackeray’s Young Men: Bohemia and Manliness in the Novels of William Makepeace Thackeray." Victorians Institute Journal 37 (December 1, 2009): 165–94. http://dx.doi.org/10.5325/victinstj.37.1.0165.

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Bayley, Susan. "Thackeray's German Governesses, Real and Imagined." Victorians: A Journal of Culture and Literature 143, no. 1 (June 2023): 64–80. http://dx.doi.org/10.1353/vct.2023.a903693.

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ABSTRACT: As a father of two daughters educated at home, William Makepeace Thackeray knew something about German governesses: he interviewed many, employed several, and counted one among his acquaintances. In his fiction, he satirized the type in two burlesques: Miss Wirt ( The Book of Snobs , 1848) and Mlle Wallfisch ( The Adventures of Philip , 1862)—ludicrous characters intended to amuse English middle-class readers, whose bigotry he also targets. But these imaginary renderings contradicted Thackeray's real opinion of German people and culture, which was complimentary and admiring, albeit tempered by disquiet about their perceived tendency toward violence. This analysis considers the ambiguity of Thackeray's attitudes toward German culture, both real and imagined, in the context of mid-century, English middle-class values.

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10

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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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

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12

Karam Ahmadova, Latifa. "REALISM IN NINETEENTH-CENTURY ENGLISH LITERATURE." SCIENTIFIC WORK 61, no. 12 (December 25, 2020): 117–20. http://dx.doi.org/10.36719/2663-4619/61/117-120.

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In England, realism was formed very quickly, because it appeared immediately after the Enlightenment, and its formation occurred almost simultaneously with the development of Romanticism, which did not hinder the success of the new literary movement. The peculiarity of English literature is that in it romanticism and realism coexisted and enriched each other. Examples include the works of two writers, Elizabeth Gaskell and Charlotte Bronte. However, the discovery and confirmation of realism in English literature is primarily associated with the legacy of Charles Dickens (1812-1870) and William Makepeace Thackeray (1811-1863). The works of Charles Dickens differ not only in the strengthening of the real social moment, but also in the previous realist literature. Dickens has a profoundly negative effect on bourgeois reality. Key words: England, realism, literary trend, bourgeois society, utopia, unjust life, artistic description

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Caron, James E. "Gendered Comic Traditions: How Fanny Fern's Satire Subverts Nineteenth-Century Colonial Continuity and Enables Twenty-First Century Neocolonial Hybridity." Studies in American Humor 7, no. 2 (October 1, 2021): 277–303. http://dx.doi.org/10.5325/studamerhumor.7.2.277.

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Abstract This article offers examples from the antebellum period that bear out Judith Lee's matters of empire framework; it exposes the ways in which American humor both continues and breaks away from its English antecedents, showing in particular how Sara Willis Parton as Fanny Fern does and does not fit into aesthetic and philosophical parameters about satire and satirists that can be traced back to English periodicals. After outlining a colonial continuity through a discussion of Parton and two contemporaries, Lewis Gaylord Clark and William Makepeace Thackeray, I go on to suggest that Parton's Fanny Fern persona also functions as a symbolic origin for a genealogy of women satirists who evoke Hélène Cixous's image of a laughing Medusa, a genealogy I describe as a neocolonial hybrid because it details American women writing satire to mock and resist the domestic imperium of US patriarchy.

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14

Zoli, Corri. "“BLACK HOLES” OF CALCUTTA AND LONDON: INTERNAL COLONIES INVANITY FAIR." Victorian Literature and Culture 35, no. 2 (June 29, 2007): 417–49. http://dx.doi.org/10.1017/s106015030705156x.

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WILLIAM MAKEPEACE THACKERAY'SVanity Fair(1847–48) makes a passing reference to a seemingly insignificant trope, the “Black Hole of Calcutta.” Part of an eighteenth-century legacy of unofficial rule in India by the East India Trading Company, this reference to a prison incident in June 1756 rehashes the event that occurred there – nearly one hundred years before the novel was published. The name, the “Black Hole,” evokes the prison itself: an enormous pit dug deep into the ground “eighteenth feet long by fourteen feet, ten inches wide,” according to social historian Brijen K. Gupta. It was “British” in the sense that East India Company agents stationed on-the-ground in Calcutta controlled this makeshift dungeon, using it to enforce local trade agreements with native authorities. Those who intervened were deemed traitors, the worst offenders of state.

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15

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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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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17

Fromonot, Jacqueline. "Du respect au décept : manipulations de l’horizon d’attente dans la fiction de William Makepeace Thackeray." Etudes de stylistique anglaise, no. 1 (December 31, 2010): 127–38. http://dx.doi.org/10.4000/esa.2579.

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18

Levinson, Marc. "Political Capitalism." Business History Review 97, no. 1 (2023): 137–43. http://dx.doi.org/10.1017/s0007680523000090.

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“Capitalism,” etymologists say, is rooted neither in Adam Smith nor in Karl Marx but in The Newcomes, a long-forgotten novel by William Makepeace Thackeray, in which a fallen French nobleman regains his dignity when the rising price of railway shares restores his “sense of capitalism” (Project Gutenberg ebook edition, p. 1016). It's one of those you-know-it-when-you-see-it kinds of words, meaningful mainly when set against “socialism,” a word first used in the 1820s to describe collective ownership of property. Capitalism has taken on all sorts of meanings since Thackeray coined the term in 1854, describing everything from the repression of miners by late-nineteenth-century robber barons to the venture-capital-fertilized blossoming of Silicon Valley. The three histories discussed in this essay all address its meaning in the modern world economy. None believes that future capitalism will be like capitalisms past.

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COLE, SARAH ROSE. "The Aristocrat in the Mirror: Male Vanity and Bourgeois Desire in William Makepeace Thackeray's Vanity Fair." Nineteenth-Century Literature 61, no. 2 (September 1, 2006): 137–70. http://dx.doi.org/10.1525/ncl.2006.61.2.137.

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39 Alexis de Tocqueville, The Old R´´gime and the French Revolution, trans. Stuart Gilbert (Garden City, N.Y.: Doubleday and Doubleday, 1955), pp. 88-89.Taking their cue from Thomas Carlyle's Sartor Resartus (1833-34), scholars of Regency and early-Victorian dandyism have focused on a supposed opposition between the dandyism of a declining aristocracy and the moral earnestness of a rising bourgeoisie. This historical model obscures the full complexity of relations between the nineteenthcentury British bourgeoisie and aristocracy, a complexity that can be illuminated by a closer examination of William Makepeace Thackeray's works. Thackeray's novels and sketches, which are surprisingly filled with middle-class dandies (such as Vanity Fair's George Osborne and Jos Sedley) and vigorous, hypermasculine aristocrats (such as Vanity Fair's Rawdon Crawley), reverse the Victorian literary stereotypes of effete aristocrats and manly bourgeoisie. Focusing particularly on Vanity Fair (1847- 48) and on Thackeray's sketch journalism, I seek to understand why Thackeray repeatedly depicts bourgeois men who are feminized both by their vanity and by their homosocial-even homoerotic-desire for more powerful aristocratic men. My essay places Thackeray's works within recent historiographical models that emphasize the fusion of, rather than the opposition between, the nineteenth-century British bourgeoisie and aristocracy. Protesting against this fusion in the name of bourgeois independence, Thackeray indicts the British middle classes for their obsession with aristocratic concepts of gentility,a phenomenon that he was the first to label "snobbism." For Thackeray, I argue, the comic trope of bourgeois male vanity becomes an especially powerful device for critiquing"snobbism." By calling upon the scandalous figure of the mirror-gazing man,Thackeray attempts to shock his middle-class readers into acknowledging the artificial and performative nature of their own class personae.

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Simons, Gary. "THE SQUAB AND THE IDLER: A COSMOPOLITAN – COLONIAL DIALOGUE IN THE CALCUTTA STAR BETWEEN WILLIAM THACKERAY AND JAMES HUME." Victorian Literature and Culture 42, no. 3 (June 6, 2014): 387–406. http://dx.doi.org/10.1017/s1060150314000059.

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The first English language newspaper in India began publication in 1780; by 1857, almost two hundred papers and periodicals had appeared – and many had quickly disappeared. An 1839 article in the Calcutta Literary Gazette partially attributed this high mortality rate to a lack of talented writers and to a desire among colonists for news from England: There is not here as there is in London, a class of professional literati, always ready to prepare a certain supply of matter. . . . [T]he London paying system has been introduced, but the writer whose contributions are worth paying for, are a very small body. . . . To all the drawbacks already mentioned we must mention another of no trifling influence; we allude to the disposition in our countrymen to look homewards for their literature. (Chanda xviii-xxi) Indeed, English newspapers of the time featured the contributions of literati such as Charles Dickens, Benjamin Disraeli, George Eliot, Leigh Hunt, Douglas Jerrold, Henry Mayhew, and William Makepeace Thackeray, but of these figures only Thackeray wrote purposely for an Indian periodical.

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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.

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ШЕПЕЛЬ, Юрій. "ЩОДО ПЕРЕКЛАДУ МЕТАФОРИЧНИХ МОДЕЛЕЙ ЦІЛЬОВОЇ НАЗВИ «ЛЮДИНА» УКРАЇНСЬКОЮ МОВОЮ". Проблеми гуманітарних наук Серія Філологія, № 45 (23 вересня 2021): 419–33. http://dx.doi.org/10.24919/2522-4565.2021.45.38.

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Статтю присвячено лінгвокогнітивним особливостям лекси- ко-семантичних трансформацій у перекладі антропоцентричних продуктивних метафоричних моделей. Матеріальною базою послугували літературні та енци- клопедичні джерела, а також тлумачні словники. У статті досліджено та опи- сано особливості лексико-семантичних трансформацій. Автор ставить за мету провести й описати лінгвокогнітивний аналіз антропоцентричних метафорич- них моделей у мові оригіналу та перекладу з метою визначення адекватності перекладу. Об’єктом аналізу вибрано 50 концептуальних антропоцентричних метафоричних моделей із твору «Vanity Fair» by William Makepeace Thackeray. Предмет дослідження становлять лінгвокогнітивні особливості використання перекладацьких трансформацій у перекладі антропоцентричних метафоричних моделей з урахуванням їхнього конотативного потенціалу. Аналіз відбувається з використанням загальнонаукових методів дослідження: описово-аналітич- ного – для визначення закономірностей концептуального моделювання; концеп- туального та контекстуального – для формулювання рівнів еквівалентності перекладу згідно з антропоцентричними концептуальними моделями. У статті визначено, що тексти художньої літератури уособлюють процес вербалізації концептів. Концепти є здебільшого універсальними, осо- бливості концептуалізації та категоризації залежать від етнокультурних чинників. Автор доводить, що концептуальна проєкція в перекладі метафоричних моделей залежить від того, наскільки концептуальні картини світів мови оригіналу та мови перекладу близькі одна до одної. Показано, що вибір кон- цептуального співвідношення зумовлений творчою індивідуальністю перекладача, його знанням когнітивної бази культури, урахуванням особливостей реципієнта.

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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.

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Hollington, Michael. "Charles Dickens: The Woolf Afterlife." Victoriographies 10, no. 3 (November 2020): 292–310. http://dx.doi.org/10.3366/vic.2020.0396.

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This essay begins with a survey of attitudes towards Charles Dickens in the extended Stephen family, as these were inherited by the modernist writer Virginia Woolf. On the one hand, there is the strongly negative view of her Uncle Fitzy (Sir James Fitzjames Stephen), and the lukewarm, rather condescending opinion of her father Leslie Stephen. On the other, there is the legacy of enthusiastic attention and appropriation from William Makepeace Thackeray's two daughters – her aunt Anne Thackeray Ritchie and (posthumously) Min, Leslie Stephen's first wife. In the second section I survey Woolf's critical writings on Dickens, adding a glance at the opinions of her husband Leonard. In both, there is an evolution towards greater attention and enthusiasm. Besides Woolf's familiar essay on David Copperfield (1849–50), I give prominence to lesser-known writings, in particular to her laudatory assessment and analysis of Bleak House (1852–3). The third and final part concerns signs of the influence of Dickens in Woolf's first novel, The Voyage Out (1915). The earlier, satiric part of the novel shows the impact both of Jane Austen and Dickens as ironists and humourists. During the tragic conclusion, influenced by a reading of Fyodor Dostoevsky, Jane Austen drops out, but Dickens is retained.

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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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METİNOĞLU, Niğmet. "REBECCA AS A SOCIAL CRIMINAL IN THACKERAY’S VANITY FAIR." PARAFRASE : Jurnal Kajian Kebahasaan & Kesastraan 22, no. 2 (December 31, 2022): 277–85. http://dx.doi.org/10.30996/parafrase.v22i2.7899.

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The scheming and calculating anti-heroine, Rebecca Crawley, Rebecca Sharp with her former name, is one of the female protagonists portrayed by William Makepeace Thackeray in his novel, Vanity Fair (1848). As an amoral woman of disadvantageous origins, she has the desire to become a respectful and influential person. However, on the way to achieving her ambition, her love of money and desire for a higher social status lead her to commit several crimes such as disregarding her son, cheating on her husband, and manipulating people. The views about Becky differ. It is still disputed if she is a person of guilt or an innocent and sympathetic individual who does what she must to gain higher status and affluence in a society in which a woman does not have many choices or possibilities to have what she desires. If she does not act the way she does, she will not be able to get by, or worse, she will have to do jobs degrading for women under the social conditions of the first half of the nineteenth century during the Regency period. This study aims to briefly dwell on the titles and the subtitles of Vanity Fair and treat Becky as a person who comes from humble origins and struggles to climb the social ladder by resorting to any kind of misdeed to help her way up, which would normally make her a social criminal, yet it is disputed because she is found relatable due to the conditions of the time.

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27

Jenkin-Smith, Daniel. "A Tale of Two Bureaucracies." Nineteenth-Century Literature 77, no. 2-3 (September 2022): 93–123. http://dx.doi.org/10.1525/ncl.2022.77.2-3.93.

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Daniel Jenkin-Smith, “A Tale of Two Bureaucracies: The Formal Development of Mid-Nineteenth-Century French and British Office Novels” (pp. 93–123) The history of British and French society over the long nineteenth century can be framed as two contrasting histories of bureaucratization. In France, a “rational” body of organizational rules and procedures coalesced quickly around the state, taking their paradigmatic form during the First Republic and Empire (1792–1814) but stagnating thereafter. In Britain, these structures developed piecemeal, and over a longer time, gaining relative coherence by the midcentury. In both cases, however, office work became a major social, ideological, and cultural phenomenon, one that warranted literary portrayal despite its apparent unconduciveness to conventional narrative forms. In this article I illustrate the shifting character of “office novels” within these contexts, and I accordingly operate from both a comparative and a longitudinal perspective: comparing novels from France and Britain produced during the midcentury period (pivotal in the history of bureaucracy and of the novel) that focus on office life. I argue that the changing role of the office career between William Makepeace Thackeray’s abortive office Bildungsroman The History of Samuel Titmarsh (1841) and Anthony Trollope’s The Three Clerks (1858) reflects the reform, saturation, and ideological legitimation of bureaucratic forms in Britain over this period. Meanwhile, the transition from Honoré de Balzac’s highly reflexive satirical novel Les Employés (1844) to Émile Gaboriau’s office-hopping Picaresque Les Gens de Bureau (1862) reflects an increasing jadedness in France about the ability of these structures to change.

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Dawson, Gowan. "DICKENS, DINOSAURS, AND DESIGN." Victorian Literature and Culture 44, no. 4 (November 4, 2016): 761–78. http://dx.doi.org/10.1017/s1060150316000358.

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Charles Dickens's novels only occasionally feature images of prehistoric creatures. There is, of course, the famous “elephantine lizard. . .waddling. . .up Holborn Hill” in the opening scenes of Bleak House (1852–53), which, as is brilliantly captured in Tom Gauld's recent cartoon “Fragments of Dickens's Lost Novel ‘A Megalosaur's Progress’” (2011), has become a kind of icon of Dickens's entire fictional oeuvre (Figure 1). But beyond Bleak House’s iconic megalosaurus “forty feet long or so,” Dickens's panoramic representations of urban landscapes, which Adelene Buckland has shown to abound with quasi-geological ruins, are usually populated only by their more diminutive modern inhabitants (1; ch. 1). Even when the changing cityscape of “carcases. . .and fragments” of “giant forms” seems, as in Dombey and Son (1847–48), to suggest the presence of colossal fossilized skeletons thrown up by a “great earthquake,” they remain lifeless and merely augment the pervading atmosphere of urban upheaval (46; ch. 6). Animate extinct animals instead appear more commonly in novels by contemporaries such as William Makepeace Thackeray or, later in the century, Henry James. In their fiction, creatures such as the megatherium, a large edentate from the Pliocene epoch, not only afford apposite metaphors for gargantuan manifestations of industrial modernity, as in the former's Mrs. Perkins's Ball (1846) and the latter's The Bostonians (1885–86). More significantly, they also provide a model for the complex structures of serialized novels, whether commendatory, as in Thackeray's The Newcomes (1853–55), or otherwise, as in the famous epithet “large loose baggy monsters” that James coined in the preface to the New York edition of The Tragic Muse (1908) (1:x).

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Francois, Pieter. "Ostend through the Eyes of British Writers (1830-50)." Hungarian Journal of English and American Studies 27, no. 1 (June 1, 2021). http://dx.doi.org/10.30608/hjeas/2021/27/1/3.

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This article analyzes how the British writers Frances Trollope (1779–1863) and William Makepeace Thackeray (1811–1863) described the Belgian coastal resort Ostend in the 1830s and 1840s. A special focus is placed on both the British travelers passing through Ostend and the British resident communities at Ostend. The article will highlight how the assessments of Frances Trollope and William Makepeace Thackeray of Ostend as a coastal resort frequented by the British can be unpacked fruitfully within two overarching themes: the theme of “genteel poverty” and “respectability” on the one hand, and the theme of “national identity” and “religious identity” on the other. These assessments by Frances Trollope and William Makepeace Thackeray are contextualized against the background of contemporary British guidebooks and travel accounts on Ostend, and against some statistics on the British traveller and resident communities in mid-nineteenth century Belgium. (PF)

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30

"A William Makepeace Thackeray chronology." Choice Reviews Online 41, no. 08 (April 1, 2004): 41–4358. http://dx.doi.org/10.5860/choice.41-4358.

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31

"Selected letters of William Makepeace Thackeray." Choice Reviews Online 35, no. 01 (September 1, 1997): 35–0149. http://dx.doi.org/10.5860/choice.35-0149.

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32

"William Makepeace Thackeray: a literary life." Choice Reviews Online 39, no. 01 (September 1, 2001): 39–0178. http://dx.doi.org/10.5860/choice.39-0178.

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33

Duckett, Bob. "“The Last Sketch” by William Makepeace Thackeray." Brontë Studies, June 14, 2022, 1–4. http://dx.doi.org/10.1080/14748932.2022.2076790.

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34

"William Makepeace Thackeray: an annotated bibliography, 1976-1987." Choice Reviews Online 27, no. 05 (January 1, 1990): 27–2463. http://dx.doi.org/10.5860/choice.27-2463.

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35

Garza, Ana Alicia, Lois Burke, Sally Blackburn-Daniels, and William Baker. "The Victorian Period." Year's Work in English Studies, August 30, 2021. http://dx.doi.org/10.1093/ywes/maab013.

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Abstract This chapter has five sections: 1. General and Prose, including Dickens; 2. The Novel; 3. Poetry; 4. Periodicals, Publishing History, and Drama; 5. Miscellaneous. Section 1 is by Ana Alicia Garza; section 2 is by Lois Burke; section 3 is by Sally Blackburn-Daniels; sections 4 and 5 are by William Baker. In somewhat of a departure from previous accounts, this chapter concludes with a mixed-genre section that covers Samuel Butler Thomas and Jane Welsh Carlyle, Wilkie Collins, George Eliot and George Henry Lewes, George Gissing, Richard Jefferies, William Makepeace Thackeray, and Anthony Trollope. This is followed by a section containing additional materials that came too late to be included elsewhere. These sections have been contributed by William Baker, who thanks for their assistance Dominic Edwards, Olaf Berwald, Beth Palmer, Sophie Ratcliffe, and Caroline Radcliffe.

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36

Véga-Ritter, Max. "Jacqueline Fromonot, Figures de l’instabilité dans l’œuvre de William Makepeace Thackeray (1811-1863). Étude stylistique." Revue LISA / LISA e-journal, no. 19-n°52 (November 19, 2021). http://dx.doi.org/10.4000/lisa.13750.

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37

Vanfasse, Nathalie. "Jacqueline Fromonot, Figures de l’instabilité dans l’œuvre de William Makepeace Thackeray (1811-1863), étude stylistique." Cahiers victoriens et édouardiens, no. 97 Printemps (March 21, 2023). http://dx.doi.org/10.4000/cve.12650.

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38

"The two Thackerays: Anne Thackeray Ritchie's centenary biographical introductions to the works of William Makepeace Thackeray." Choice Reviews Online 26, no. 03 (November 1, 1988): 26–1420. http://dx.doi.org/10.5860/choice.26-1420.

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"Becky Sharp’s Commodified Interpersonal Relationships in Vanity Fair." International Journal of Social Science and Human Research 05, no. 06 (June 23, 2022). http://dx.doi.org/10.47191/ijsshr/v5-i6-47.

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Vanity Fair is a masterpiece by William Makepeace Thackeray (1811-1863), which is centered on the lives of two young women, Becky Sharp and Amelia Sedley, presenting the life of extravagance and rivalry of the aristocratic bourgeoisie in nineteenth-century England. In the novel, Thackeray ruthlessly exposes the shameless and degenerate nature of the feudal aristocracy and the hypocrisy of the bourgeoisie in their pursuit of fame and fortune. During the Victorian period, consumerism prevailed. The circulation of commodities was well developed, and people at that time indulged in the revelry of the material world. As long as capital exists, commodities are bound to be an eternal element in the development of human society. This paper focuses on the female protagonist Becky in Vanity Fair by adopting the methods of literature research and textual analysis, revealing Thackeray’s portrayal of commodified interpersonal relationships in the novelas well as the karmic consequences of such aberrant relationships in order to warn contemporary people on the Fair.

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Finch, Jason. "The Origin of Slum as a Trans-Class Concept." Journal of Urban History, November 28, 2022, 009614422211270. http://dx.doi.org/10.1177/00961442221127054.

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The slum concept originated as a descriptor for trans-class, or urban majority, environments in and around which people of different social levels lived in close proximity to each other. This article reappraises the concept’s emergence in physically aging neighborhoods of London between the City of London and Westminster from the 1820s to the 1850s, within which a stage of rediscovery and reapplication of the word after the late 1830s has so far been overlooked. It focuses on a discursive shift in which a word borrowed from low-life slang became part of the accepted vocabulary for urban areas judged undesirable. Early identifications of sites labeled as slums in the St Giles district of London were by writers and visual artists who themselves lived and worked nearby. Several alternative words including rookery, court, and Alsatia were used in the effort to label a place zone previously unrecognized. The article traces these lexical changes with their consequences for how urban semantics became fixed through case studies from journalistic and political rhetoric, and from the imaginative fiction of Charles Dickens and William Makepeace Thackeray which in the 1840s and 1850s viewed the area of the word’s coinage with a degree of nostalgia.

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41

"Annotations for the selected works of William Makepeace Thackeray: the complete novels, the major non-fictional prose, and selected shorter pieces." Choice Reviews Online 28, no. 01 (September 1, 1990): 28–0004. http://dx.doi.org/10.5860/choice.28-0004.

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Tett, Sam. "‘Going home when it was not home’: Jamais Vu in Nineteenth-Century British Fiction." Journal of Victorian Culture, March 5, 2022. http://dx.doi.org/10.1093/jvcult/vcac006.

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Abstract ‘Jamais vu’ is a strange mnemonic disturbance that we continue to experience today, though few of us know what to call it. French for ‘never seen,’ jamais vu is the opposite of déjà vu (‘already seen’), and is defined as the temporary inability to recognize familiar things, people, and/or contexts. This essay comprises, to my knowledge, the first literary history of jamais vu. I begin by describing the complex features of this mnemonic disturbance, and uncovering its lost Victorian scientific archive. Though jamais vu went without a name until the 1920s, I also find it hiding in plain sight in nineteenth-century novels as early as Jane Austen’s Mansfield Park, as well as in the work of Charles Dickens, William Makepeace Thackeray, George Eliot, and Elizabeth Gaskell. From here, I follow jamais vu’s trajectory from realist accounts of everyday life into mid-century representations of the haunted house, where it becomes something more than a mnemonic disturbance. By attending to literary representations of jamais vu avant la lettre, I demonstrate its importance not just as a lost Victorian scientific concept, but also as a rich interdisciplinary category that is of great interest to scholars of the nineteenth century and beyond. Specifically, I show that jamais vu was integral to the development and popularity of the Victorian gothic, through which movement it exceeded its status as a mnemonic disturbance, re-emerging as a pervasive modern affect that we have inherited from the Victorians.

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Gregory, Melissa Valiska. "Melodrama and the Penitent Woman Tableau in Victorian Culture: From Tennyson to Conrad." Articles, no. 62 (July 29, 2014). http://dx.doi.org/10.7202/1025999ar.

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This essay investigates an important stock scene of female peril and suffering from Victorian melodrama that I am calling the penitent woman tableau. I argue that this highly iconographic staged moment, where a sexually fallen daughter, fiancée, or wife sinks to her knees in remorse at the sight of the father, lover, or husband she has betrayed, derives its emotional energy and cultural force less from its representation of feminine terror and more from its equivocal portrayal of masculine authority. The penitent woman tableau spotlights a tense moment where violence against a woman could occur but doesn’t; it is a performance of masculine power where the man’s physical force is implicitly available but never literalized. Both visual artists and writers of the Victorian period were drawn to this scene, which I believe fascinated audiences because it spotlights the difficulty of representing masculine mastery in a society increasingly skeptical of physical force as a desirable means of domestic discipline. By examining the penitent woman tableau across several Victorian media and literary genres, including painting, poetry by Alfred Tennyson, and fiction by Charles Dickens, William Makepeace Thackeray, and Joseph Conrad, I not only attempt to enrich our understanding of the unstable nature of masculine authority within the middle-class mid-Victorian family but also to illuminate the ways in which melodramatic conventions were crucial to the exploration of this urgent social question. Melodrama, often thought of as both feminine and conservative, offers a surprisingly complex depiction of masculinity within the penitent woman tableau.

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Cole, Sarah Rose. "National Histories, International Genre: Thackeray, Balzac, and the Franco-British Bildungsroman." Articles, no. 48 (January 17, 2008). http://dx.doi.org/10.7202/017436ar.

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AbstractTheBildungsromangenre poses a productive challenge for the study of Victorian internationalisms. On the one hand, scholars of German literature often contend that the genre is inextricably tied to German concepts of culture and nationhood; on the other hand, half a century of scholarly practice has linked the term “Bildungsroman” to novels of personal education across Europe and beyond. Seeking to interrogate, rather than simply assume, the internationalism of theBildungsromangenre, I focus on the Franco-British literary exchanges inscribed in a major VictorianBildungsroman, William Makepeace Thackeray’sPendennis. Drawing on a variety of theoretical and historical models, including Margaret Cohen and Carolyn Dever’s concept of the “Channel zone,” I suggest thatPendennisforms a point of intersection between the British and French national traditions of theBildungsroman, thus allowing us to see how a genre with a German name was modified in its passage between France and Britain. Although Thackeray is often thought of as an apolitical writer—a satirist concerned only with the manners and morals of the middle and upper classes—I argue thatPendenniswas crucially shaped by his engagement with the French Revolution of 1848. In order to face and exorcise the threat of revolution, I further suggest, Thackeray turned to the FrenchBildungsromantradition; my hypothesis is that Thackeray reworked Balzac’sLost Illusions, transforming Balzac’s narrative of revolutionary dislocation into a self-consciously British narrative of peaceful change. By working both with and against French literary models, Thackeray reveals the formation of British identity as a complex process of cross-Channel negotiation, rather than a simple negation of the French “other.”

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"A Checklist of Contributions by William Makepeace Thackeray to Newspapers, Periodicals, Books, and Serial Part Issues, 1828-1864. ELS Monograph Series, no. 68. Edgar F. Harden." Papers of the Bibliographical Society of America 91, no. 3 (September 1997): 438–39. http://dx.doi.org/10.1086/pbsa.91.3.24304834.

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