Приёмы создания авторской маски в романе У.М. Теккерея «История Пенденниса, его удач и злоключений, его друзей и его злейшего врага»

SOME WAYS OF AUTHORIAL MASK DEVELOPING IN THE NOVEL BY W.M. THACKERAY «THE HISTORY OF PENDENNIS: HIS FORTUNES AND MISFORTUNES, HIS FRIENDS AND HIS GREATEST ENEMY» N. SHYSHKOVAРассматриваются способы создания авторской маски в романе У. Теккерея «История Пенденниса, его удач и злоключений, его друзей и его злейшего врага». Упоминаются такие маркеры авторской маски, как отступления и комментарии, акцент на процессе письма и роли писателя, упоминание о возможных проблемах с повествованием, ирония, особенности выбора способа повествования и нереализованные намерения, упоминание о точности/правдивости в передаче событий, ситуация, когда история рассказывается как вымышленная, но есть некоторые признаки того, что все события происходили в реальности. Анализируются причины, по которым У. Теккерей меняет стилистику и характер повествования в сравнении с предыдущими произведениями. Также рассматриваются приёмы психологического изображения персонажей.= The article discusses some ways of authorial mask developing in the second big novel by W.M. Thackeray «The History of Pendennis: His Fortunes and Misfortunes, His Friends, and His Greatest Enemy». Such authorial mask markers as turns and digressions, references to the process of writing and to the writer, references to the problems of narrative story-telling, irony, the idiosyncrasies of narrative choice and unfulfilled narrative intentions, claims of correspondential truth, situation when the tale is narrated as fiction but there are some moments when we see that all the events described are real are studied. The reasons, by which W.M. Thackeray changes the style and manner of narration in comparison with his previous works, are analyzed. Some techniques of psychological representation are mentioned

Peculiarities of authorial masks used by W.M. Thackeray in his works

In this article authorial masks used by W.M. Thackeray in some of his works are considered. The main functions of authorial mask are mentioned. Some peculiarities of authorial masks worn by W.M. Thackeray are analyzed and examples are provided

Peculiarities of authorial masks used by W.M. Thackeray in his works

In this article authorial masks used by W.M. Thackeray in some of his works are considered. The main functions of authorial mask are mentioned. Some peculiarities of authorial masks worn by W.M. Thackeray are analyzed and examples are provided

«Водночас і близькі й далекі»: українська і англійська проза крізь призму компаративної жанрології (Рецензія на монографію Дениса Чика «Longo sed proximus intervallo: жанрові системи української та англійської прози кінця ХVІІІ – середини ХІХ ст.»)

«At the Same Time, Close and Distant»: Ukrainian and English Prose through the Prism of Comparative GenrologyРецензія на монографію Дениса Чика «Longo sed proximus intervallo: жанрові системи української та англійської прози кінця ХVІІІ – середини ХІХ ст.» (наук. ред. В. А. Зарва). Хмельницький: ФОП Цюпак, 2017. 356 с.   &nbsp

Du respect au décept : manipulations de l’horizon d’attente dans la fiction de William Makepeace Thackeray

On étudiera l’écriture fictionnelle de W.M. Thackeray à partir de la théorie de la réception. Malgré l’élaboration apparente d’un mode de coopération irénique vis-à-vis du narrataire, le narrateur thackerayen adopte souvent un régime d’écriture agoniste et éristique. En raison des thématiques, du ton et du style retenus, l’horizon d’attente se révèle changeant, instable, dispositif propre à décevoir et à heurter le lecteur tout en visant à dénoncer l’approche stéréotypée de ce dernier. La démarche n’est pas sans évoquer la notion de décept, opérationnelle dans le domaine de l’art contemporain, et permet de souligner la modernité des textes de Thackeray.This paper relies on the reception theory to shed light on W.M. Thackeray’s fiction. While apparently adopting an irenic, cooperative mode of exchange with the narratee, the Thackerayan narrator often departs from it to choose an agonistic, eristic type of discourse. With the novels’ specific themes, tone and style, the horizon of expectations proves changing and unstable. This is likely to prove bewildering and disappointing for the readers and expose their stereotypical response. These strategies conjure up the notion of decept, which is at work in contemporary art, and point out to the modernity of Thackeray’s texts

Victorian Writers, Remembered & Forgotten

Based on a library exhibition at the University of South Carolina, summarizes the career and writings of many well-known British Victorian novelists, poets and non-fiction writers (including Dickens, Thackeray, Carlyle, Darwin, Tennyson, E.B. and Robert Browning, the Brontes, George Eliot, R.L.Stevenson), in contrast with the achievements of lesser-known writers also represented in the library\u27s special collections (including G. W. M. Reynolds, Elizabeth Sewell, William North, Rhoda Broughton, and George Douglas Brown). Originally developed as an exhibition for the 2008 meeting of the Victorians Institute

The history of Pendennis: his fortunes and misfortunes, his friends and his greatest enemy

IX, 392, 391 p., [8] h. de lám

The Performance of Privacy: Dandyism in W. M. Thackeray's Pendennis

This article draws on Thackeray's appropriation of the apparatus of theatrical culture in order to examine the complex negotiation of public performance and private life engendered by the practices of dandyism in the period. In Pendennis, the figure of the dandy appears inherently artificial in its reliance upon spectacle and display, yet it also enables self creation and the maintenance of privacy. Different types of the dandy are isolated in the novel as forms of masculine performance to be variously emulated or rejected in the formation of individual identity. While Thackeray is often considered to be sceptical of dandyism, his sustained employment of dandiacal personas in this novel suggests that his view of such performative practices was more ambivalent. Costume here offers the allure of display to both fictional characters and actual readers, while retaining a potentially impenetrable barrier between self and society. In a society that seems at once to foster a culture of surveillance and spectacle, and to retreat from such theatrical practice as inauthentic and artificial, such close attention to dress may be considered as simultaneously suspiciously vulgar or effeminate, and cautious or protective. In the novel examined here, Thackeray charts the development of his hero with an emphasis on the role of costume in the experience of masculine identity. In doing so, this article suggests, the text engages in an exploration of performance as privacy

The history of Pendennis. : His fortunes and misfortunes, his friends and his greatest enemy /

Mode of access: Internet

The history of Pendennis: his fortunes and misfortunes, his friends and his greatest enemy

IX, 392, 391 p., [8] h. de lám