Commodification of Women and Female Struggle for Power in Thackeray’s „Vanity Fair“

Узданица XIX 1 (2022), (стр. 245-256)

АУТОР(И): Nataša V. Ninčetović

Е-АДРЕСА: natasa.nincetovic@pr.ac.rs

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DOI: 10.46793/Uzdanica19.1.245N

САЖЕТАК: 

Indoctrination of women in Great Britain reached its peak during the Victorian age. The embodiment of this peak is the phenomenon of separate spheres. The Victorian culture categorized women as either Angels in the House or fallen women. These moulds were reflected in the Victorian novel. In contrast to common categorization of women, Thackeray makes an effort in Vanity Fair to represent real women, women who do not fit into prescribed types and definitions. This research attempts to prove that both Becky and Amelia are aware of their inferior position. Both of them do what they consider socially acceptable. Their identities are performed, but Amelia’s performance passes as natural, whereas Becky’s acting is recognized. They succeed to dominate men they get in touch with. While Amelia marries Dobbin, morally the most prominent character of the novel, Becky’s triumph is short-lived. One of the main causes of the moral crises of the Victorian era is society’s attitude toward women. Thackeray suggests that only a radical change in beliefs will lead to their better position.

КЉУЧНЕ РЕЧИ:

Becky Sharp, Amelia Sedley (Osborne), rebellion, object, marriage, the femme fatale, the “Angel in the House”, the “fallen” woman.

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