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The Novelist as Critic: Thackeray's Concept of the NovelWorden, Larry L. 08 1900 (has links)
This study is primarily concerned with the formulation of Thackeray's theory of the novel through a thorough investigation of his various reviews and critiques of Victorian fiction which appeared in periodicals and by a careful examination of his letters, By evaluating the numerous comments on particular works of fiction and on the art of "novel-spinning" in general which came from Thackeray's pen, this study investigates the various Thackerayan ideas as to how novels should be written with regard to the function of the novel, the formulation of plot and character, realism and morality, the presentation of description, and the style in which novels were to be written. This investigation concludes that Thackeray's theory of the novel was that novels were to be written in a simple, straightforward style and were to present "living" characters who performed realistic, believable actions within tightly unified, logical plots in such a manner as to provide entertainment and to reaffirm the Victorian moral code.
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The impulse to tell and to know the rhetoric and ethics of sympathy in the Nineteenth-century British novel /Pond, Kristen Anne. January 1900 (has links)
Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2010. / Directed by Mary Ellis Gibson; submitted to the Dept. of English. Title from PDF t.p. (viewed Jul. 14, 2010). Includes bibliographical references (p. 235-253).
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Depressive Realism: Readings in the Victorian NovelSmallwood, Christine January 2014 (has links)
This dissertation makes two arguments: First, it elaborates a depressive genealogy of the Victorian novel that asserts a category of realism rooted in affect rather than period or place. Second, it argues for a critical strategy called "depressive reading" that has unique purchase on this literary history. Drawing on Melanie Klein's "depressive position," the project asserts an alternative to novel theories that are rooted in sympathy and desire. By being attentive to mood and critical disposition, depressive reading homes in on the barely-contained negativities of realism. Through readings of novels by William Makepeace Thackeray, Anthony Trollope, Thomas Hardy, and Charlotte Brontë, it explores feelings of ambivalence, soreness, and dislike as aesthetic responses and interpretations, as well as prompts to varieties of non-instrumentalist ethics. In the final chapter, the psychological and literary strategy of play emerges as a creative and scholarly possibility.
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Moral patterns in the novels of Fielding and ThackerayBinks, Jennifer Anne. January 1965 (has links) (PDF)
[Typescript] Includes bibliography.
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The birthright and the blessing narrative as exegesis in three of Thackeray's later novels /Wajngot, Marion Helfer. January 1900 (has links)
Thesis (doctoral)--Stockholm University, 2000. / Includes bibliographical references (p. 197-205) and index.
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The birthright and the blessing narrative as exegesis in three of Thackeray's later novels /Wajngot, Marion Helfer. January 1900 (has links)
Thesis (doctoral)--Stockholm University, 2000. / Includes bibliographical references (p. 197-205) and index.
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Unfeeling Empire: The Realist Novel in Imperial BritainGlovinsky, Will January 2021 (has links)
This dissertation considers the role of affective management in realist aesthetics and British imperial culture. Drawing on formalist analyses of English novels, nineteenth-century theories of emotion, and postcolonial accounts that identify the colonizer’s affective desensitization as the ground from which ongoing violence can be perpetrated, this study explores how domestic English novels developed new techniques for deflating the heightened feelings surrounding empire and distant intimacy. Through satires of sensibility, the replacement of epistolary style with impersonal omniscience, and newly dispassionate presentations of villains and protagonists alike, realist novelists explored affective restraint as at once a generic characteristic and an increasingly central element of British imperial and racial identities. This dissertation therefore argues, through readings of works by Jane Austen, William Makepeace Thackeray, George Eliot, and Joseph Conrad, for the deep influence of imperial culture on the realist novel’s distinguishing formal features. At the same time, it prompts critics to revisit longstanding accounts of the relationship between the novel and sympathy. Since the Victorian era, critics have readily understood the realist novel as concerned with the expansion of readers’ sympathies: this study reframes this important account by examining how the insistence on sympathy in novels often rerouted more turbulent reactions to empire’s dislocations—such as longing, desire for vengeance, and guilt—into cooler, more tractable feelings.
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From the pens of the contrivers : perspectives on fiction in the nineteenth-century novelBromling, Laura Cappello, University of Lethbridge. Faculty of Arts and Science January 2003 (has links)
This thesis investigates the way that moral and aesthetic concerns about the relationship between fiction and reality are manifested in the work of particular novelists writing at different periods in the nineteenth century, Chapter One examines an early-century subgenre of the novel that features deluded female readers who fail to differentiate between fantasy and reality, and who consequently attempt to live their lives according to foolish precepts learned from novels. The second chapter deals with the realist aesthetic of W. M. Thackeray; focusing on the techniques by which his fiction marks its own relationship both to less realistic fiction and to reality itself. The final chapter discusses Oscar Wilde's critical stance that art is meaningful and intellectually satisfying, while reality and realism are aesthetically worthless: it then goes on the explore how these ideas play out in his novel, The Picture of Dorian Gray. / iv, 120 leaves ; 28 cm.
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Little terrors:the child???s threat to social order in the Victorian bildungsromanRoberts, Timothy Paul, English, UNSW January 2005 (has links)
This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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Little terrors:the child???s threat to social order in the Victorian bildungsromanRoberts, Timothy Paul, English, UNSW January 2005 (has links)
This thesis is a study of rebellious child protagonists in Victorian bildungsroman. It discusses five novels ??? Jane Eyre, The Mill on the Floss, What Maisie Knew, Vanity Fair and Kim ??? that feature ???radical child??? protagonists who use indirect methods of narrative control to resist conservative models of character development. It argues that these novels form a subset of subversive English bildungsromane, which threaten the genre???s traditionally liberal values. Theories of narrative desire, reader seduction and discursive manipulation are used to reveal how the radical child in the Victorian bildungsroman takes command of the reader???s sympathy and gains power over the realist text, despite its physical and social powerlessness. Especially important is the presence of a fantasy counterplot, which coexists with, and ultimately undermines, the bildungsroman???s realistic surface narrative of successful socialisation. The counterplot allows radical child protagonists to develop in a non-linear manner that contradicts bourgeois ideals of stable progress. Focusing instead on sites of rupture between the individual and society, subversive bildungsromane resist both the dialectical model of character, which aims to harmoniously unite the protagonist with the realist world, and the dialogic model of interaction, which requires the restriction of personal liberty for the common good. This rebellious child in the Victorian bildungsroman thus represents an assault on the genre???s democratic ideals. Rejecting compromise, the radical child replaces the bildungsroman???s central ethic of interpersonal responsibility with an individualistic ethic of domination. Indeed, the thesis argues that the appeal of such child protagonistslies in their rejection of the obligatory, but anticlimactic, exchange of freedom for security that underpins the realist bildungsroman???s social contract, a rejection attractive to the reader precisely because it is unrealisable in reality. Finally, the thesis compares this radical child with the Gothic monster. While the monster is punished for its subversion, the radical child???s counterplot enables it to enact most of its subversive desires unpunished. The conservative English bildungsroman thus becomes a more effective way of representing asocial energies than the more obviously radical Gothic genre, which openly displays its anti-democratic sentiments.
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