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Thackeray's The Newcomes has been described as one of the richest of Victorian fictions. In Thackeray's Cultural Frame of Reference, R.D. McMaster unveils the magnitude of this richness.
Figures of Finance Capitalism brings into focus Victorian narratives by major middle-class writers in which the workings of finance capitalism are prominently featured, and reads this interest in finance capitalism in the context of middle-class misgivings about a class system still dominated by a patrician elite. This book illustrates the centrality of finance capitalism to the mid-Victorian middle-class social imagination by discussing a selection of major Victorian texts by Dickens, Gaskell, Thackeray and Macaulay. In so doing, it draws on several new perspectives on British history, as offered in the work of historians such as Tom Nairn, David Cannadine, and P.J. Cain and A.G. Hopkins. Articulating the basic coordinates for a new sociology of mid-Victorian literature, Borislav Knezevic views texts through the prism of the mid-Victorian literary field and its negotiations of the contemporary field of power.
Thomas assumes that the image of slavery is recurrent throughout Thackeray's fiction. She examines relationships in Thackeray's fiction in which people have been reduced to objects and power is an end.
The perilous trade of authorship to which Thackeray refers in his famously succinct observation is the subject of Judith Fisher's study into skepticism and its literary connotations.
This copiously illustrated study focuses, for the first time in any language, on the whole range of Thackeray's verbal and graphic portraits and caricatures of European men, women and children of his own and earlier periods. It takes its readers on what he called a 'Roundabout Journey' in which they look, through the eyes of a variety of narrators and personae, at natives of France, Greece, Italy, Switzerland, the Habsburg Empire, Poland, Russia, Scandinavia, the Low Countries, Spain, Portugal, and Turkey. There are a few German examples too: but these are peripheral here, because the author has considered them in depth in a previous book: Breeches and Metaphysics. Thackeray's German Discourse. The contexts in which these portraits and caricatures are set include more or less ironized stereotypes and conventions; impressions of landscapes and townscapes; trade and diplomatic relations; European literature, drama, showmanship, journalism, music and many varieties of the pictorial arts. Some of the most memorable portrayals characterize past and present writers and artists through descriptive analyses of their work. Contemporary prejudices and received opinions relating to class, gender and nationality flow freely into such characterizations; but they are constantly relativized by the interposition of quirky narrators and a keen sense of the failings and snobberies of Britons observed at home and abroad. While reflecting his time in many ways, Thackeray's discourse also helped to shape it - and a close scrutiny of the European portraits here disengaged from his work should serve to enhance his stature as a shrewd and witty observer, a gifted portraitist and caricaturist with pen and pencil, and a powerful voice in Britain's ongoing conversation with her European neighbours.