English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

Inspired by Edward Said’s Culture and Imperialism (1993), the director of Vanity Fair, Indian-born Mira Nair, has set out to ‘Indianise’ Thackeray’s prototypically English narrative - and thus to make us see the Victorian world from a critical Indian and anti-colonial perspective. Thackeray’s novel is a merciless satire on a capitalist age characterised by conspicuous consumption, by an obsession with money and status, by cruelty and gender discrimination. The detached narrator shows us in great detail the surface of this superficial society - its luxurious commodities, including many items of Indian origin. Nair multiplies these elements, introduces new scenes set in India and systematically develops a contrast between a colourful and spontaneous India against a grey and petrified England. But by introducing the stylistic strategies of Bollywood, she undermines her own critical ambition: Thackeray’s disillusioned and cold picture of Victorian society becomes sentimentalised; the heroine is transformed from a young woman without scruples into a likeable woman; even a happy ending Indian (or Bollywood) style is conceded

Currying the Victorian Novel: Mira Nair’s ‘Indianised’ Version of Vanity Fair