Vanity Fair, Pendennis, Esmond, and The Newcomes: A Study in the Element of Dramatic Form in the Central Novels of W. M. Thackeray

Please use this identifier to cite or link to this item: http://hdl.handle.net/11375/9854

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DC Field	Value	Language
dc.contributor.advisor	Petrie, G.	en_US
dc.contributor.author	McDermott, Derek	en_US
dc.date.accessioned	2014-06-18T16:48:31Z	-
dc.date.available	2014-06-18T16:48:31Z	-
dc.date.created	2011-06-23	en_US
dc.date.issued	1967-10	en_US
dc.identifier.other	opendissertations/4938	en_US
dc.identifier.other	5957	en_US
dc.identifier.other	2072588	en_US
dc.identifier.uri	http://hdl.handle.net/11375/9854	-
dc.description.abstract	<p>The paper which follows develops from the premise that by examining what has been termed Thackeray's moral uncertainty in Vanity Fair in the context of his narrative technique we discover a marked concern by Thackeray with the problem of freeing himself from his story while at the same time knowing and telling it; and that in fact this concern is a concern with a rudimentary dramatic form and is common to Pendennis, Esmond, and The Newcomes, as well as Vanity Fair, and that these four novels can be read as different solutions to this problem which achieve varying degrees of success.</p>	en_US
dc.subject	English Language and Literature	en_US
dc.subject	English Language and Literature	en_US
dc.title	Vanity Fair, Pendennis, Esmond, and The Newcomes: A Study in the Element of Dramatic Form in the Central Novels of W. M. Thackeray	en_US
dc.type	thesis	en_US
dc.contributor.department	English	en_US
dc.description.degree	Master of Arts (MA)	en_US
Appears in Collections:	Open Access Dissertations and Theses

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