While critics are in agreement when it comes to England’s and especially Thackeray’s influence on Fontane, no study has shown how much Frau Jenny Treibel (1892) is inspired by Vanity Fair (1848), particularly when it comes to the discourses of money and marriage. Several decades lie between the novels, as do different socio-cultural and political circumstances. However, the Gründerjahre bore resemblance to the Victorian mid-century as both middle classes had acquired the necessary wealth, education and political power to transcend established boundaries of class and gender. Fontane had studied Vanity Fair and its vision of a new Europe and a changing society which Thackeray saw well advanced during his lifetime, as did Fontane in late nineteenth-century Prussia. Fontane had also studied the poetics of realism — in Britain and Germany — and had thought about modern heroism, the novel’s social critique and the ‘bad’ heroine. In front of the backdrop of history and poetics, this article focuses on Becky Sharp, Amelia Sedley, Jenny Treibel and Corinna Schmitz to not only suggest that Fontane’s women inherit character traits and attitudes from Thackeray but that nineteenth-century realism must once again be read beyond national traditions and in the wider context of transnational cross-fertilization and debate.

中文翻译：

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珍妮·特雷贝尔夫人的名利场：方丹和萨克雷现实主义小说的比较分析

虽然评论家们一致认为英格兰，尤其是萨克雷对方丹的影响，但没有研究表明珍妮·特雷贝尔夫人（1892 年）受到《名利场》（1848 年）的启发，尤其是在谈到金钱和婚姻时。小说之间有几十年的时间，不同的社会文化和政治环境也是如此。然而，Gründerjahre 与维多利亚时代的中世纪很相似，因为两个中产阶级都获得了必要的财富、教育和政治权力，以超越既定的阶级和性别界限。Fontane 曾研究过《名利场》及其对新欧洲和不断变化的社会的愿景，萨克雷在他有生之年看到了这一点，就像 19 世纪末普鲁士的 Fontane 一样。Fontane 还研究了英国和德国的现实主义诗学，并思考了现代英雄主义、小说的社会批判和“坏”女主人公。在历史和诗学的背景下，本文重点关注贝基·夏普、阿米莉亚·塞德利、珍妮·特雷贝尔和科琳娜·施密茨，不仅暗示方丹的女性继承了萨克雷的性格特征和态度，而且必须再次阅读 19 世纪的现实主义超越民族传统，在更广泛的跨国交流和辩论背景下。