6. “Vanity Fair”: The Frivolity of Worldliness

2019 ◽  
pp. 57-68
Keyword(s):  
Vanity Fair

Vanity Fair

2009 ◽  
Author(s):  
William Makepeace Thackeray
Keyword(s):  
Vanity Fair

At Vanity Fair

2015 ◽  
Author(s):  
Kirsty Milne ◽  
Sharon Achinstein
Keyword(s):  
Vanity Fair

The Puppet Narrator of Vanity Fair

2015 ◽  
Vol 5 (1) ◽  
pp. 36-53
Author(s):  
Ryan Francis Murphy
Keyword(s):  
Vanity Fair

My essay sheds new light on the perceived shortcomings of Thackeray's narrator in Vanity Fair. There exists, I maintain, a level of narratological sophistication for which Thackeray is not adequately praised, and his dramatised narrator – a character long misunderstood and often maligned – is the key to our renewed understanding. In addition to thoroughly canvassing the ‘puppet’ narrator's dramatic evolution, I examine the ways in which previous scholars have both rejected and misrepresented ‘Before the Curtain’, Thackeray's introduction to the complete novel – what I call the novel's ‘surprise beginning’.

More on the German Sections of Vanity Fair

1965 ◽  
Vol 19 (4) ◽  
pp. 402-404
Author(s):  
George J. Worth
Keyword(s):  
Vanity Fair

"Vanity Fair" and The Celestial City

1955 ◽  
Vol 10 (2) ◽  
pp. 89-98
Author(s):  
Joseph E. Baker
Keyword(s):  
Vanity Fair

"Vanity Fair" After One Hundred Years

Trollopian ◽  
1948 ◽  
Vol 3 (3) ◽  
pp. 159-161
Author(s):  
Clara Lederer
Keyword(s):  
Vanity Fair

La morale du sentiment dans "The Newcomes" et "Vanity Fair"

Caliban ◽  
1964 ◽  
Vol 1 (1) ◽  
pp. 139-147
Author(s):  
Christian Lapart
Keyword(s):  
Vanity Fair

scholarly journals Belt v Lawes and the Meaning of Authorship

2021 ◽  
pp. 174387212110268
Author(s):  
Amitpal C. Singh
Keyword(s):  
Royal Academy ◽  
Artistic Process ◽  
Vanity Fair ◽  
The Status ◽  
Historical Episode ◽  
The Law

The 1882 Belt v. Lawes libel trial centered around aesthetic questions, of precisely the kind that judges usually seek to avoid. The occasion for the dispute was an article in Vanity Fair by Charles Lawes, asserting that Richard Belt, a sculptor and member of the Royal Academy of Arts, relied on his assistants to do his work. At trial, Lawes proposed an artistic skills test of sorts, suggesting that Belt verify his abilities by executing a sculpture in the courtroom. This evidentiary drama, and the aesthetically freighted-arguments mustered by the parties at trial, make it a fruitful historical episode to study conceptions of authorship and the artistic process, the development of modern copyright doctrine, and the status of expert artistic testimony in the law.

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