WILLIAM Makepeace Thackeray Vanity FAIR

Total Page:16

File Type:pdf, Size:1020Kb

WILLIAM Makepeace Thackeray Vanity FAIR YOUNG ADULT READERS STAGE 5 WILLIAM MAKEPEACE Eli Readers is a beautifully illustrated series of timeless classics and specially-written stories for learners of English. THACKERAY William Makepeace Thackeray WILLIAM M VANITY FAIR Vanity Fair A NOVEL WITHOUT A HERO A STAGE 5 STAGE A Novel without a Hero KEPE A CE TH Vanity Fair was written 200 years ago, but it is a thoroughly modern story A that provides us with universal truths about what it means to be human, in all CKER its splendour – and with all its imperfections. It is a story full of memorable A characters who accompany you on a fascinating journey through the first part Y of the nineteenth century. A journey full of comedy, tragedy, romance and V A adventure. NI T Y F A IR: A NO In this reader you will find: - Information about William Makepeace Thackeray’s life VE - Sections focusing on background and context L WI - Glossary of difficult words T HOU - Comprehension activities T - CAE-style activities A HE - Exit test RO Tags Love Society STAGE 1 Elementary 600 headwords A1 STAGE 2 Pre-Intermediate 800 headwords A2 Key (KET) STAGE 3 Intermediate 1000 headwords B1 Preliminary (PET) YOUN STAGE 4 Upper Intermediate 1800 headwords B2 First (FCE) STAGE 5 Advanced 2500 headwords C1 Advanced (CAE) G AD STAGE 6 Proficiency Unabridged Texts C2 Proficiency (CPE) UL Classic T E LI R EADE YOUNG ADULT ELI READERS Download full text as MP3 R ISBN 978-88-536-2034-7 from www.elireaders.com ELI s.r.l. S Vanity Fair E www.elireaders.com LT ELT YOUNG ADULT READERS C1 C1 MAIN CHARACTERS 6 7 Chapter One Amelia and Becky 2 Welcome to Vanity Fair! The manager of the theatre is waiting impatiently. It’s nearly time to begin our show. From behind the curtain, he can see the audience. It’s very noisy out there. There is a great deal of eating and drinking, laughing and smoking and fighting, and dancing. The performance is about to begin. I promise you scenes of battle, of romance and comedy. Our puppets are ready to come on the stage, and we will start our story with Amelia and Becky. And now the manager bows to his audience, and the curtain rises. Let the performance begin! === Our story begins just outside Miss Pinkerton’s Academy for Young Ladies at Chiswick Mall in London. A large family carriage is waiting for two young ladies. They are about to leave the school to begin their life in the adult world. But the two ladies are leaving under very different circumstances. Miss Pinkerton herself looked at the carriage from the window of her office. She was with her sister, Jemima. ‘Have you completed all the preparations for their departure Jemima?’ asked Miss Pinkerton. ‘Everything is ready,’ replied Jemima. ‘Well, send in Amelia Sedley,’ said Miss Pinkerton. 10 AFTER-READING ACTIVITIES Speaking 1 Look again at the predictions you made in exercise 10 on page 121. Were you right? Did anything about the ending of the story surprise you? Note Taking 2 Make some notes about how the story ended for the following characters. 1 Amelia ……………………………………………………………………....................………………….....… 2 Dobbin ……………………………………………………………………....................………………….....… 3 Rawdon ……………………………………………………………………....................………………….....… 4 Becky ……………………………………………………………………....................………………….....… 5 Sir Pitt ……………………………………………………………………....................………………….....… 6 Lady Jane ……………………………………………………………………....................………………….....… 7 Rawdon Jr. ……………………………………………………………………....................………………….....… 8 Georgy ……………………………………………………………………....................………………….....… 9 Joseph ……………………………………………………………………....................………………….....… 132 Writing 3a At the beginning of the book, Thackeray promises us tales of battle, romance and comedy. Write down some examples of stories in the book that fit these descriptions. 1 battle ................................................................................................................ 2 romance ................................................................................................................ 3 comedy ................................................................................................................ 3b What is your favourite moment in the story? Note Taking & Speaking 4a In this chapter Becky asks Dobbin, ‘What is your accusation?’ What had Becky done wrong in the eyes of society? Make a list of the things that she is guilty of. 4b Would Becky be accused of the same things in society today? Discussion Points 5 Becky, like most women in those times, had to wear a mask at the gambling house. Why was this so? Can you think of any activities or professions that were considered unsuitable for women in the past but are acceptable now? 6 ‘Amelia didn’t want to give Dobbin anything, but she wanted him to give her everything. It is a deal that is quite common in love.’ Do you agree with the author’s comments about love and relationships? 7 How important was it that Amelia wrote the letter to Dobbin before reading George’s note? Why did Becky scream with laughter when she found out about this? 8 Look back at the exercise that you did in chapter five on page 78. Are the contents of your note similar to George’s note? 133 FOCUS ON... William Makepeace Thackeray Following his own Path Thackeray was born in Calcutta in India in 1811. His father and grandfather had earned their living working as civil servants in the government of India. But such a steady form of employment was not for Thackeray. He was always independent, and in spite of going to various schools with an excellent reputation, and studying at Cambridge, he left university without getting a degree. He did, however, study Art in Paris in about 1834. was a great success. He completed this What Thackeray loved to do was write. While masterpiece when he was 37 years old. at Cambridge, he wrote for a paper called The Snob. His writing was always full of humour Other major works of Thackeray include and satire. He wrote for Fraser’s Magazine in The Memoirs of Barry Lyndon Esq. (1844), 1837, and he was on the staff of the famous Pendennis (1848-1850), The History of Henry satirical magazine Punch from 1842 to 1851. Esmond Esq. (1852), The Newcomers (1853- During this time, he wrote Vanity Fair which 1855), and The Virginians (1857-1859). A Compassionate Man Thackeray was well known for his good nature, as one can see from his time as editor of another journal of the period, The Cornhill Magazine. He began his work there in 1859, but in 1862 he resigned because he couldn’t bear having to turn down contributors who wanted to be published. 134 Other Interests Although Thackeray spent a great deal parliament, unsuccessfully, in Oxford in of time following his main passion, that 1859. His interest in world affairs may of writing, he also had another interest, have begun when he met Napoleon which was gambling. He was extremely Bonaparte on his way back to England interested in politics and stood for from India when he was a child. Thackeray, the Husband and Father Thackeray’s married life was far from simple. His wife was an Irish woman, named Isabella. She was the daughter of a colonel and she had a beautiful singing voice. He modelled the character of Amelia on her. They had three daughters, but sadly one of them died very young. Isabella suffered greatly with mental health problems, although she survived her husband by thirty years. Thackeray himself died on December 24th in 1863. He was buried in Kensal Green in London, but there is a monument to him that can be seen at Westminster Abbey. Portrait of Anne Becher Thackery and William Makepeace Thackeray at about age 2 in Madras As you have just read, Thackeray modelled the character of Amelia on his wife. Reading through some of the details of his life can you identify other facts or events that may have had an influence onVanity Fair? 135.
Recommended publications
  • Vanity Fair. a New Kind of Hero in the Victorian Novel
    Corso di Laurea Magistrale in Lingue e Letterature Europee, Americane e Postcoloniali ex. D.M. 270/2004 Tesi di Laurea Vanity Fair: a New Kind of Hero in the Victorian Novel Relatore Ch.ma Prof.ssa Enrica Villari Correlatore Ch.mo Prof.re Flavio Gregori Laureando Enrico Sterbizzi Matricola 865901 Anno Accademico 2017 / 2018 Contents Introduction p. 1 Chapter I: The Book, the Author and the Period p. 5 1.1 The Victorian Novel. p. 5 1.2 Hard Times and the Quest for “Realism”. p. 12 1.3 A Novel of Many Lives. p. 15 1.4 Style and Characters. p. 18 1.5 A Novel without a Hero. p. 24 Chapter II: Vanity Fair, its Critics and the Debate about its Protagonists p. 27 2.1 Thackeray’s Philosophy in Vanity Fair . p. 27 2.2 Anthony Trollope: Real Heroes and Heroines. p. 29 2.3 A. E. Dyson: Deflated Heroes and Heroines. p. 34 2.4 Geoffrey Tillotson, Donald Hawes: Collection of Essays. p. 40 2.5 Arthur Pollard: Thackeray’s Moral as an Author. p. 45 2.6 Catherine Peters and Thackeray’s Notion of a Hero. p. 50 Chapter III: Different Types of Heroes and Heroines p. 56 3.1 Rebecca: Real Heroine? p. 56 3.2 Amelia: Weak Heroine? p. 62 3.3 Dobbin: Ancient Hero in the 19 th Century. p. 66 3.4 Rawdon: Modern Hero. p. 68 3.5 George: True Citizen of Vanity Fair . p. 69 3.6 Thackeray’s Notion of a Hero. p. 70 Conclusions p. 81 Bibliography p.
    [Show full text]
  • Thackeray, George Eliot & Dickens
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. U·M·I Un1versity Microfilms International A Beil & Howell Information Company 300 North Zeeb Road. Ann Arbor. M148106-1346 USA 313/761-4700 800.'521-0600 Order Number 9218651 The gentle hero in the Victorian novel: Thackeray, George Eliot and Dickens Postma, Pamela Loveless, Ph.D. The University of North Carolina at Greensboro, 1991 U·M·I 300 N.
    [Show full text]
  • Thackeray's Satire on British Society of the Early Victorian Era Through
    PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI i MATERIALISM AND SOCIAL STATUS: THACKERAY’S SATIRE ON BRITISH SOCIETY OF THE EARLY VICTORIAN ERA THROUGH REBECCA SHARP CHARACTER IN VANITY FAIR AThesis Presented as Partial Fulfillment of the Requirements to Obtain the Sarjana Pendidikan Degree in English Language Education By Nadia Octaviani Student Number: 021214111 ENGLISH LANGUAGE EDUCATION STUDY PROGRAM DEPARTMENT OF LANGUAGE AND ARTS EDUCATION FACULTY OF TEACHERS TRAINING AND EDUCATION SANATA DHARMA UNIVERSITY YOGYAKARTA 2008 i i PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI vi We are what we imagine Our very existence consist in our imagination of ourselves Our best destiny is to imagine who and what we are The greatest tragedy to befall us is to go unimagined N. Scott Nomaday This thesis is dedicated to my family, to my friends, and to my self. vi vi PLAGIAT MERUPAKAN TINDAKAN TIDAK TERPUJI vii ACKNOWLEDGEMENTS I would like to thank those who have given me their affection, support, guidance and criticism in finishing every part of my thesis. First of all, I would like to bestow my gratitude to Allah s.w.t. for guiding and keeping me not to stray from His path and finally finish my thesis. My deepest gratitude is given to my beloved dad and mom, Pak Kun and Mama Ning, who have given me their never-ending affection and prayer to support me through the life. I also thank them for keeping asking patiently on the progress of my thesis.
    [Show full text]
  • Vanity Fair by William Makepeace Thackeray
    Vanity Fair by William Makepeace Thackeray "Before The Curtain" As the manager of the Performance sits before the curtain on the boards and looks into the Fair, a feeling of profound melancholy comes over him in his survey of the bustling place. There is a great quantity of eating and drinking, making love and jilting, laughing and the contrary, smoking, cheating, fighting, dancing and fiddling; there are bullies pushing about, bucks ogling the women, knaves picking pockets, policemen on the look-out, quacks (other quacks, plague take them!) bawling in front of their booths, and yokels looking up at the tinselled dancers and poor old rouged tumblers, while the light-fingered folk are operating upon their pockets behind. Yes, this is Vanity Fair; not a moral place certainly; nor a merry one, though very noisy. Look at the faces of the actors and buffoons when they come off from their business; and Tom Fool washing the paint off his cheeks before he sits down to dinner with his wife and the little Jack Puddings behind the canvas. The curtain will be up presently, and he will be turning over head and heels, and crying, "How are you?" A man with a reflective turn of mind, walking through an exhibition of this sort, will not be oppressed, I take it, by his own or other people's hilarity. An episode of humour or kindness touches and amuses him here and there—a pretty child looking at a gingerbread stall; a pretty girl blushing whilst her lover talks to her and chooses her fairing; poor Tom Fool, yonder behind the waggon, mumbling his bone with the honest family which lives by his tumbling; but the general impression is one more melancholy than mirthful.
    [Show full text]
  • The Death of Christian Culture
    Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church.
    [Show full text]
  • Characterization in Social Satire
    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 Karaktärisering i samhällssatir: En komparativ analys av hjältinnorna Elizabeth Bennet i Jane Austens Stolthet och Fördom, och Becky Sharp i William Makepeace Thackerays Vanity Fair Elin Berggren Faculty of Arts and Social Sciences English 15HP Supervisor: Åke Bergvall Examiner: Elisabeth Wennö 1 Mars 2016 Elin Berggren Supervisor: Åke Bergvall Abstract This essay presents a comparative analysis of the characterizations of the female protagonists s Pride and Prejudice (1813), and Becky Sharp 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 s 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. Sammanfattning 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.
    [Show full text]
  • A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism
    University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 2011 "Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism Gary Simons University of South Florida, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/etd Part of the American Studies Commons, English Language and Literature Commons, History of Art, Architecture, and Archaeology Commons, and the Journalism Studies Commons Scholar Commons Citation Simons, Gary, ""Show Me the Money!": A Pecuniary Explication of William Makepeace Thackeray's Critical Journalism" (2011). Graduate Theses and Dissertations. https://scholarcommons.usf.edu/etd/3347 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. “Show Me the Money!”: A Pecuniary Explication of William Makepeace Thackeray’s Critical Journalism by Gary Simons A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English College of Arts and Sciences University of South Florida Major Professor: Pat Rogers, Ph.D., Litt. D. Marty Gould, Ph.D. Regina Hewitt, Ph.D. Laura Runge, Ph.D. Date of Approval March 24, 2011 Keywords: W. M. Thackeray, British Literature, Literary Criticism, Periodicals, Art Criticism Copyright © 2011, Gary Simons Dedication To my wife Jeannie, my love, my companion and partner in life and in learning, who encouraged me to take early retirement and enter graduate school, shared with me the pleasures of the study of English literature and thereby intensified them, patiently listened to my enthusiasms, and urged me onward at every stage of this work, Acknowledgments I would like to thank Dr.
    [Show full text]
  • How Allegories Mean in the Novel: from Personification to Impersonation in Eighteenth-Century British Fiction
    How Allegories Mean in the Novel: From Personification to Impersonation in Eighteenth-Century British Fiction Janet Min Lee Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 © 2015 Janet Min Lee All rights reserved ABSTRACT How Allegories Mean in the Novel: From Personification to Impersonation in Eighteenth-Century British Fiction Janet Min Lee This dissertation analyzes the legacy of Protestant allegory in eighteenth-century fictions. In doing so, the dissertation shows that personifications and allegorically inflected characters became increasingly opaque and vulnerable to charges of impersonation as the novel developed in the early and middle eighteenth century. I attribute the distortion of allegorical representation to the conflicting yet intermeshed interpretive frameworks that allegory and the novel demand of their readers. For evidence, I primarily analyze John Bunyan’s The Pilgrim Progress, Jonathan Swift’s A Tale of a Tub, Samuel Richardson’s Pamela, and Henry Fielding’s Jonathan Wild. TABLE OF CONTENTS ACKNOWLEDGMENTS .................................................................................................... ii DEDICATION ................................................................................................................. iii INTRODUCTION ............................................................................................................... 1 “ALL THINGS IN PARABLES DESPISE NOT WE”: JOHN
    [Show full text]
  • VANITY FAIR AS ALLEGORY by DONALD EDWARD EDWARDS
    VANITY FAIR AS ALLEGORY By DONALD EDWARD EDWARDS ~- Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1972 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF ARTS July, 1979 ~·lA) J9 ·zg (:.'li.JJbV Q..c_y. 2. VANITY FAIR AS ALLEGORY Thesis Approved: r -- esiSAavi ser ~· s De~ of the Graduate College 1031827 ; i PREFACE \<Jilliam Makepeace Thackeray•s novel Vanity Fair has been called many things: a social satire, a ••realistic 11 novel whose realism is flawed by the author•s 11 intrusions,•• and much else. It has not, however, been seen as an allegory. This study attempts to show how Vanity Fair can be seen as an allegory and how Thackeray•s illustrations in the novel support an allegorical reading of Vanity Fair. I wish to express my appreciation to my major adviser, Dr. Mary Rohrberger, who contributed greatly to my abiliti~s as a teacher and scholar and introduced me to Vanity Fair. I also wish to thank Dr. Samuel H. Woods, Jr., who encouraged me throughout my graduate course of study, and Dr. David Shelley Berkeley, who provided countless helpful comments. i; i TABLE OF CONTENTS Chapter Page I . I NTRODU CTI ON 1 II. THE TITLE VANITY FAIR 10 III. THE EARLY CHAPTERS .. 15 IV. THACKERAY 1 S ILLUSTRATIONS 27 V. CONCLUSION . .. 63 A SELECTED BIBLIOGRAPHY 72 iv LIST OF FIGURES Figure Page 1. Chapter I Pictorial Capital 30 2. Chapter I Tailpiece 30 3. 11 Rebecca•s Farewell'' 31 4.
    [Show full text]
  • Anne Thackeray Ritchie Biographical Introductions to the Complete Works of William Makepeace Thackeray
    Special Collections Department Anne Thackeray Ritchie Biographical Introductions to The Complete Works of William Makepeace Thackeray 1897 - 1899 Manuscript Collection Number: 371 Accessioned: Transferred from printed collection, March 1997 Extent: .3 linear feet (29 items) Content: Proofs, galleys, and letters. Access: The collection is open for research. Processed: July 1998, by Meghan J. Fuller for reference assistance email Special Collections or contact: Special Collections, University of Delaware Library Newark, Delaware 19717-5267 (302) 831-2229 Table of Contents Biographical Notes Scope and Contents Note Series Outline Contents List Biographical Notes William Makepeace Thackeray One of the most prolific and beloved novelists of the Victorian Era, William Makepeace Thackeray was born in Alipur, India, on July 18, 1811, the only child of Richmond Thackeray, a successful administrator for the East India Company, and his wife, Anne Becher. Thackeray's father passed away four years later, and young William was sent to boarding school in London. Many of his early experiences in India and later in boarding school found their way into several of his popular works, including Vanity Fair and The Newcomes. After his premature departure from Cambridge University and a half-hearted attempt at law school in 1834, Thackeray moved to Paris to concentrate on his art. While studying there, he met and married Isabella Getkin Creach Shawe (1818-1893). The couple had three daughters, Anne Isabella, Harriet Marrian, and Jane who died at age eighteen months. Soon after her daughter's death, Isabella Thackeray suffered a nervous breakdown from which she never recovered. Thackeray was then left with the responsibility of raising two young daughters and supporting his wife who would remain in various sanitoriums for the rest of her life.
    [Show full text]
  • The Virginians にみる Englishness
    日本英文学会 第 80 回全国大会 2008 年 5 月 25 日 (於:広島大学) The Virginians にみる Englishness ―― “““Germanism“GermanismGermanism””””との対照において 大阪大学大学院 市橋 孝道 [[[発表手順]]] I:序論-The Virginians (1857-59) について ①低い評価 ②Henry Esmond とのつながり ③題材の目新しさ ④研究経緯 ⑤問題点 II :濃厚な英国描写 Part1 (story と text より) ①双子の主人公の関係性 ②出発点と帰着点の対照性 ③英国で“クロス”する story と text ④英国の暗部と明部 III :濃厚な英国描写 Part2 (作品構成と語りより) ①二人の語り手の立ち位置と視野の違い ②頻出する“home ”という単語 IV :Germanism について ①概略 ②サッカレーと Germanism ③作品刊行当時のサッカレーの対 Germanism 態度 V :The Virginians にみる German Background のある人物/ドイツ人の表象 ①Lady Maria ②Baroness Bernstein ③George II VI :結論-“Englishness ”という言葉(ドイツ的なものとの関連から) [[[資料]]] ①The Virginians 【主な登場人物相関図】 → ②“CHIASMUS ” ~【カイアズマス】について~ 交差対句法は、ギリシャ 文字のカイ(χ=chi )にちな んで名付けられた。交差対句 法とは、修辞的な交差のことであり、対になった句において最初の句の統語法や意味が第二の句で 逆になることを指す。(『コロンビア大学 現代文学・文化批評用語辞典』より) Love’s fire heats water 例)Love’s fire heats water, water cools not love. (Shakes., Sonnets ) water cools not love [[[引用]]] 1. This note if I go on I feel will be very glum. The Virginians is no doubt not a success. It sadly lacks story, and people wont care about old times, or all the trouble I take in describing them. (Thackeray “To W. F. Synge”) 2. a) To say that his novel[ The Virginians ] will not rank with Mr. Thackeray’s best works is very slight blame; to say that it will rank with those of his works which are less good is no slight praise. (Smith Rev. of The Virginians ) 1 b) The Virginians , though it hardly deserves [Douglas] Jerrold’s apocryphal joke about its superlative badness, is Thackeray’s worst major novel. (Sutherland 89) 3. Thackeray began The Virginians in May, 1857, but the idea of the novel had been much in his mind since he wrote the preface to Esmond nearly six years before.
    [Show full text]
  • Andrzej Wajda Koprodukcje NIE TA SAMA PRZYJEMNOŚĆ Spis Treści
    NR 27 / WRZESIEŃ–PAŹDZIERNIK 2013 ISSN 1898–2530 WWW.SFP.ORG.PL WYWiad TEMAT NUMERU Andrzej Wajda Koprodukcje NIE TA SAMA PRZYJEMNOŚĆ Spis treści SFP/ZAPA Dom Pracy Twórczej 3 Polska Komisja Filmowa 4 ZAPA 5 ROZMOWA NUMERU Andrzej Wajda 6 TEMAT NUMERU Koprodukcje 16 WYDARZENIA Przegląd filmów japońskich 24 Pokazy filmowe dla dyplomatów 26 Jubileusz Andrzeja Trzosa-Rastawieckiego 28 FESTIWALE KRAJOWE Młodzi i Film 30 T-Mobile Nowe Horyzonty 34 Kameralne Lato 36 FP Lubuskie Lato Filmowe 37 Animator 38 Dwa Brzegi 39 Rozmowa numeru Gdynia – Festiwal Filmowy 40 Andrzej Wajda 6 NAGRODY ot. Kuźnia Zdjęć/S F Medal św. Jerzego 42 Orzeł Jana Karskiego 43 WYSTAWY Agnieszka Holland 44 POLSKIE PREMIERY Kalendarz premier 45 Rozmowa z Bartkiem Konopką i Piotrem Rosołowskim 48 Rozmowa z Leszkiem Wosiewiczem 50 Rozmowa z Filipem Dzierżawskim 52 Rozmowa z Małgośką Szumowską 54 Rozmowa z Maciejem Pieprzycą 56 Rozmowa z Juliuszem Machulskim 58 Rozmowa z Andrzejem B. Czuldą 60 FESTIWALE ZAGRANICZNE Karlowe Wary 62 Annecy 63 HISTORIA FESTIWALI Stambuł 64 Temat numeru , reż. Urszula Antoniak POLSCY FILMOWCY NA ŚWIECIE 66 Koprodukcje 16 PRODUKCJE/FIRMY/TECHNOLOGIE ot. Stowarzyszenie Nowe Horyzonty Code blue Code F Kino dla dzieci 68 Wyjątek kulturalny 74 Dźwięk w filmie 76 Rozmowa z Joanną Wendorff 77 OPINIE Festiwale a dystrybucja 78 Claude Lanzmann 80 Polskie filmy w Rosji 81 Audiowizualna historia kina 82 SWOICH NIE ZNACIE Anna Iżykowska-Mironowicz 84 MIEJSCA Europejska 86 enner, R PISF 88 STUDIO MUNKA 90 KSIĄŻKI 92 POŻEGNANIA Waldemar Chołodowski 94 atar, Stephane Aubier Stephane atar, P Wojciech Juszczak 96 Festiwale krajowe VARIA 98 ot. Animator Ernest i Celestyna, reż.
    [Show full text]