Vanity Fair
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内容提要：
The incomparable Miriam Margolyes applies her story-telling and histrionic gifts to this classic satire of two young English women, one bad but clever and the other good but stupid, who come to no good during the Napoleonic Wars. The abridgers have cut a bit too much at the expense of the characterizations. Although sounding somewhat forced, Margolyes, as always, gives an excellent performance. Y.R. © AudioFile 2001, Portland, Maine-- Copyright © AudioFile, Portland, Maine --This text refers to an out of print or unavailable edition of this title.
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作者简介：
About the Contributor:
Joanna Trollope is the author of THE BEST OF FRIENDS, OTHER PEOPLE'S CHILDREN, and most recently, MARRYING THE MISTRESS, among other books. She lives in England. William Makepeace Thackeray, whose satiric novels are often regarded as the great upper-class counterpart to Dickens's panoramic depiction of lower-class Victorian society, was born on July 18, 1811, in Calcutta, India. His father, a prosperous official of the British East India Company, died four years later, and at the age of six Thackeray was sent to England to be educated. After graduating from the Charterhouse School in London, he entered Trinity College, Cambridge, in 1829 but left the following year without taking a degree. After reading law for a short time at the Middle Temple he moved to Paris in 1832 to study art. Although he eventually abandoned the idea of painting as a career, Thackeray continued to draw throughout his life, illustrating many of his own works. When financial reversals wiped out his inheritance, he resettled in London and turned to journalism for a livelihood. By then he had married Isabella Shawe, a young Irishwoman with whom he had three daughters. Thackeray's earliest literary success, The Yellowplush Correspondence, a group of satiric sketches written in the guise of a cockney footman's memoirs, was serialized in Fraser's Magazine beginning in 1837. Catherine (serialized 1839-40; published 1869), his first novel, parodied the crime stories popular in Victorian England. Under the name Michael Angelo Titmarsh, the most famous of his many pseudonyms, Thackeray turned out The Paris Sketch Book (1840) and The Irish Sketch-Book (1843), two popular volumes of travel writing. The Luck of Barry Lyndon (1844), which chronicles the adventures of an Irish knave in eighteenth-century England, marked his first serious attack on social pretension. In The Book of Snobs (1848), a collection of satiric portraits originally published in Punch magazine (1846-47), he lampooned the avarice and snobbery occasioned by the Industrial Revolution. Vanity Fair, Thackeray's resplendent social satire exposing the greed and corruption raging in England during the turmoil of the Napoleonic wars, brought him immediate acclaim when it appeared in Punch beginning in 1847. "The more I read Thackeray's works," wrote Charlotte Bronte, "the more certain I am that he stands alone—alone in his sagacity, alone in his truth, alone in his feeling (his feeling, though he makes no noise about it, is about the most genuine that ever lived on a printed page), alone in his power, alone in his simplicity, alone in his self-control. Thackeray is a Titan. . . . I regard him as the first of modern masters." From the eBook edition. --This text refers to the Paperback edition. 编辑推荐：
Book Description
The text used in this Norton Critical Edition is the edition published by Garland Press (1989). The text is accompanied by: excerpts from Thackeray's letters and reviews; contemporary reviews; contextual documentation and historical accounts; and 10 critical essays from the last 90 years. A classic, set during the Napoleonic wars, giving a satiricl picture of a worldly society and revolving around the exploits of two women from very different backgrounds. From AudioFile The incomparable Miriam Margolyes applies her story-telling and histrionic gifts to this classic satire of two young English women, one bad but clever and the other good but stupid, who come to no good during the Napoleonic Wars. The abridgers have cut a bit too much at the expense of the characterizations. Although sounding somewhat forced, Margolyes, as always, gives an excellent performance. Y.R. Book Dimension: length: (cm)23.5 width:(cm)14 目录：
Preface
The Text of Vanity Fair Engraved vignette title page Appendix: Composition and Revision of Chapter VI Backgrounds and Contexts COMPOSITION AND PRODUCTION William Makepeace Thackeray·Selected Letters To Mrs. Carmichael-Smyth, July 2, 1847 To the Duke of Devonshire, May 1, 1848 To Miss Smith, June 6, 1848 Anne Thackeray Ritchie·[Introduction to Vanity Vair] Gordon Ray·[Originals] Edgar F. Harden·The Discipline and Significance of Form in Vanity Fair Geoffrey Tillotson·[Philosophy and Narrative Technique] Peter L. Shillingsburg·The "Trade" of Literature RECEPTION Robert A. Colby·[Reception Summary] [Abraham Hayward]·Thackeray's Writings Charlotte Bront6·Selected Letters To W. S. Williams, March 29, 1848 To W. S. Williams, August 14, 1848 William Makepeace Thackeray·Letter to George Henry Lewes, March 6, 1848 [George Henry Lewes]·Review [Robert Bell]·Review William Makepeace Thackeray·Letter to Robert Bell, September 3, 1848 Charlotte Bronte·Preface to the Second Edition of Jane Eyre [Elizabeth Rigby]·Review CONTEXTS A Pretty Fellow·Wanted a Governess, on Handsome Terms Maria Edgeworth·Female Accomplishments, Etc. Kathleen Tillotson·[Propriety and the Novel] Joan Stevens·Vanity Fair and the London Skyline Robert A. Colby·[Victor Cousin and the Foundation for an "Edifice of Humanity"] Criticism William C. Brownell·William Makepeace Thackeray David Cecil·[A Criticism of Life] G. Armour Craig·On the Style of Vanity Fair John Loofbourow·Neo-Classical Conventions Peter K. Garrett·[Dialogic Form] Richard Barickman, Susan MacDonald, and Myra Stark·[Politics of Sexuality] Ina Ferris·The Narrator of Vanity Fair Catherine Peters·[Didacticism] James Phelan·Vanity Fair: Listening as a Rhetorician－and a Feminist CHRONOLOGY SELECTED BIBLIOGRAPHY |
