Entry 1
A.
Kathryn
Sutherland
Jane Austen’s Dealing with
John Murray and His Film
B.
Jane Austen had dealings with
several publishers, eventually issuing her novels through two: Thomas Egerton
and John Murray. For both, Austen may have been their first
female novelist. This essay examines Austen-related materials in
the John Murray Archive in the National Library of Scotland. It works in two
directions: it considers references to Austen in the papers of
John Murray II, finding some previously overlooked details; and it uses the
example of Austen to draw out some implications of searching
amongst the diverse papers of a publishing house for evidence of a relatively
unknown (at the time) author. Together, the two approaches argue for the value
of archival work in providing a fuller context of analysis. After an overview
of Austen's relations with Egerton and Murray, the essay takes the
form of two case studies. The first traces a chance connection in the Murray
papers between Austen's fortunes and those of her Swiss
contemporary, Germaine de Staël. The second re-examines Austen's move
from Egerton to Murray, and the part played in this by William Gifford, editor
of Murray's Quarterly Review and his regular reader for the press. Although
Murray made his offer for Emma in autumn 1815, letters in the archive show
Gifford advising him on one, possibly two, of Austen's novels a
year earlier, in 1814. Together, these studies track early testimony to
authorial esteem. The essay also attempts to draw out some methodological
implications of archival work, among which are the broad informational
parameters we need to set for the recovery of evidence. [ABSTRACT FROM
PUBLISHER]
D.
pp.
106-126
E.
Jane
Austen’s novels are published by two different publishers, which have two
different styles.
Entry 2
A. A. Sandra L. Alagona
Revolution
and Improvement in the Writing of Jane Austin and Margaret Fuller
B. This
dissertation explores and identifies the ways in which Jane Austen and Margaret
Fuller internalized and engaged with the revolutionary ideas of their time, and
entered the ideological transatlantic conversation women were having in the
long eighteenth century to consider their place and role in society. It is my
contention that each woman challenged her readers to evaluate how women could
more rewardingly contribute to their own happiness. They did this by building
on the transatlantic rhetorical tradition of the Enlightenment which challenged
people to reconsider the individual's place in society, and that evolved into
Romantic concerns about an individual's participation in society. Austen and
Fuller are uniquely placed among the women writers of their respective nations,
each influencing the thinking and work of contemporaries and later writers
alike. Austen's established position in the canon as the best-remembered
English female novelist of her generation, and Fuller's recently reclaimed
position as the most influential American female thinker of her generation,
make both women important touchstones in the nineteenth century. Studying them
in concert, then, allows us an unique opportunity to explore not only how these
two prominent women engaged rhetorically with the changing ideas circulating
between their nations, but also allows us to examine and better understand how
such rhetoric transcended genres and oceanic borders, pushing women's thinking
forward.
I argue,
then, that a faith in improvement became crucial to Austen and Fuller, and
explore how both women saw individual reform as the way to transform society.
Consequently, this project investigates each author's ideas on female
education, challenging the notion that women could not learn deeply. It further
questions why they believed improved education was the foundation to three key
facets of women's lives: better social standing and financial independence;
choosing (or not) a marriage partner; and women's impact on their community. My
study historically contextualizes their published works examining the evolution
of thought evident between Austen's novels and Fuller's analytical prose to
demonstrate how ideological concerns transcended genres by promoting personal
improvement to empower women to become the kind of educated and engaged
individuals necessary for their families and communities.
C. http://library.kean.edu:2194/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3470497
D. pp.
1-302
E. Jane
Austen takes a big resolution in her writing.
Entry 3
A. A. Mary Hong
Visualizing
Interiors: The Language of Movement in the 2005 Film Pride &Prejudice
B.
One of
the distinguishing features of the 2005 cinematic adaptation of Pride and
Prejudice is its dynamic quality of character and camera movement. The dynamism
of movements within doors challenges the dialectic of immobility/mobility and
indoor/outdoor that characterizes analysis of movement and space in previous
adaptations of Jane Austen. In the 2005 film Pride & Prejudice, activities
as simple as walking through the house or circling on the dance floor
constitute a kinesthetic language for making interior spaces visible in
temporal and spatial terms. Instead of inferring Elizabeth Bennet's desires, we
see them actualized in the same way that domestic life is constructed in the
Bennet home—through repetitive and circular movements that straddle the divide
between the concrete and the abstract. Mining the creative tension between
physical movement and narrative movement, the film shows how interiority is a
product of the material and relational conditions of everyday life. Hence my
examination of movement does not simply bring attention to an everyday reality
foregrounded in the film but makes visible the sense of process or becoming
that is essential to the notion of the everyday.
C.
http://library.kean.edu:4095/content/46/3/189.full.pdf+html
D. pp.
190-211
E. 2005 cinematic adaption of
Pride and Prejudice perfectly
combines physical movement and narrative movement together, which make
audiences have a feeling of being there and experiencing everything mentioned
in the film.
Entry 4
A. Olivia Murphy
Jane
Austin’s ‘Excellent Walker’: Pride, Prejudice, and Pedestrianism
B.
When Mrs
Hurst calls Elizabeth Bennet 'an excellent walker,' in Jane Austen's Pride and
Prejudice (1813), the remark is meant to ridicule. For a modern reader,
understanding this connotation requires a small exercise in historical
imagination. Recent critical studies explore the rise of rambling and the
Romantic poets' penchant for lengthy pedestrian excursions, but Pride and Prejudice
does not feature the sort of lonely wanderings that lead to conversations with
leech gatherers and mystical mariners. To appreciate the centrality of walking
to the novel, we must appropriate Miss Bingley's question, 'What could she mean
by it?' Before we can understand the attitudes towards walking and the
responses to walking exhibited by characters in the novel - and the function of
walking in the plot - it is first necessary to explore the changing place of
walking in late eighteenth- and early nineteenth-century society, and the uses
of walking in Romantic-era literature. This article examines eighteenth-century
accounts of athletic, touristic, sentimental, and performative pedestrianism,
including Austen's attitudes towards her own walks, in order to read walking in
the novel.
C.
http://library.kean.edu:4442/ehost/pdfviewer/pdfviewer?sid=18668915-5b86-4434-a5ec-6c3ab3a85734%40sessionmgr4003&vid=12&hid=4207
D.
pp.
122-142
E. This
article talks about the meaning of walking in the film of Pride and Prejudice and explores what Jane Austen thinks of
walking.
Entry 5
A. Daniel R. Mangiavellano
First
Encounters with Pride and Prejudice in the Composition Classroom
B.
This
article makes a case for using Jane Austen's Pride and Prejudice as
a tool for skill-based writing instruction in the composition classroom.
The novel employs prose strategies such as commonplaces and amplification that
become springboards for class conversation about prose style and student
writing. Additionally, the novel's characters admit to difficulties with composition,
such as language usage and organization in letter writing, that seem eerily
familiar to those voiced by novice writers in a freshman writing course.
Mangiavellano contends that students eagerly seek out ways the novel reminds
them of their own lives, and he argues that Pride and Prejudice in
the composition classroom can reflect back to
students versions of their academic selves just as much as it does their
personal selves.
D.
pp.
550-555
E.
Pride and Prejudice is a good and attractive resource for students
to use as an example to practice different kinds of writing in composition
classroom.
Entry 6
A. Linda A. Robinson
Crinolines
and Pantalettes: What MGM’s Switch in Time Did to Pride and Prejudice
B.
Metro-Goldwyn-Mayer’s
(MGM’s) 1940 version of Pride and Prejudice moves the film’s action forward in
time from the 1790s (the decade in which Austen wrote the novel) or the 1810s
(the decade in which the novel was published) to the 1830s/-40s. This time
switch reflects the multiauthorship in place during Hollywood’s Studio
Era—considering that this switch in time was instigated by Adrian, the film’s
costume designer—and makes the film an excellent case study of MGM house
authorship. Specifically, this time shift placed Pride and Prejudice
comfortably within the MGM literary prestige tradition, most examples of which
were set in Dickensian mid-nineteenth century, as well as making the romantic
trope of the waltz available to establish and ground the two major love stories
(Charles/Jane and Darcy/Elizabeth). It served as well to give the female
characters—including Elizabeth—a favoured MGM silhouette of cinched waist and
hoop skirt, overly decorated with flounces and ruffles. The result is a text
that was always primarily an MGM product and only secondarily a rendition of
Austen’s work.
D.
pp.
238-304
E.
1940
version of Pride and Prejudice was
influenced by MGM literary prestige tradition and focused on the two main love
stories.
Entry 7
A. Vivasvan Soni
Committing
Freedom: The Cultivation of Judgment in Rousseau’s Emile and Austin’s Pride and
Prejudice
B.
This
essay examines two texts that not only diagnose a constitutive crisis of judgment in
modernity but also seek to describe alternative practices that might restore a
relative autonomy to judgment: Rousseau's Emile
and Austen's Pride and Prejudice. One
of the crucial challenges that Rousseau's Emile confronts
is how to cultivate in children a capacity for autonomous judgment.
However, the solution the text offers–eradicating the fictive grounds of judgment or
redeploying them surreptitiously–replicates the very crisis of judgment it
identifies. By contrast, Austen's Pride and Prejudice insists
on the necessity of a certain fictioning or imaginative capacity for the
practice of good judgment. The phenomenology of judgment Pride and
Prejudice offers, when it describes the process by which Lizzie
changes her mind after reading Darcy's letter, points the way out
of the impasse in Rousseau's text between a judgment so
tethered to empirical details that it has no freedom to
reflect and a wildly fictive judgment based on inflexible
norms that have no relation to the world they presume to judge. The injunction
to 'second reading' (a distinctively novelistic mode of reading) in Pride and Prejudice is
neither a demand for a more vigilant empiricism nor for a normalizing pedagogy;
the need for 'second reading' acknowledges the co-constitutive nature of
fiction and empiricism for good judgment. Austen articulates the
possibility of a judgment that can be autonomous and still
embrace determinacy and commitment.
D.
pp.
363-387
E.
In Jane
Austen’s opinion, judgment is autonomous, and can be changed by some events.
Entry 8
A.
Katie
Gemmill
Jane Austen as Editor:
Letters on Fiction and the Cancelled Chapters of Persuasion
B.
A
literary criticism of the book "Persuasion" by Jane Austen is
presented. It examines the manuscript material of the work, focusing on the
cancelled and rewritten final two chapters of the work. The author emphasizes
the significance of the manuscript material for understanding the editing
practices of Austen. The reasons for Austen's reworking
of the chapters are examined in light of letters on fiction written by Austen to
her friend Anna Lefroy.
D.
pp.
106-122
E.
The
author talks about the manuscript of Jane Austen’s novels. In her opinion, the
manuscript is more obvious to reflect Jane’s thoughts.
Entry 9
A. Dianne F. Sadoff
Marketing
Jane Austen at the Megaplex
B. The article discusses the film adaptations of
Jane Austen's novels in the twenty-first century. Joe Wright's "Pride and Prejudice"
in 2005 repurposed Austen's stories of estate envy, status anxiety and girlish
voyeuristic gaze to target global teenagers. In "Bride
and Prejudice" and "Kandukondain, Kandukondain,"
directors Gurinder Chadha and Rajiv Menon indigenized Austen for national and
diasporic South Asian spectators. Julian Jarrold's "Becoming Jane" in
2007 caps the three-decade long cinematic popularization of Austen's works.
D. pp. 84-92
E. Pride
and Prejudice is remade in 2005.
Entry 10
A. Kevin Goddard
“Looks
Maketh the Man”: The Female Gaze and the Construction of Masculinity
B. This encounter, replayed daily in most
lives, may have been one between two "masks," but it is nevertheless
one that is no less "real" for it. Both of us accepted the role the
other and we were playing. In that moment it gave a certain identity to each of
us, which, while based on certain stereotypes, was nevertheless accepted as
affirming. Not all stereotypes or masks are necessarily inhibitive or
"dishonest." One of the dangers of cultural construction theory is
that it assumes a radical distinction between the real and the symbolic, so
that a symbolic construction can be seen as having little or no currency in
"reality" since it is not "natural." Eschewing notions of "naturalness"
it also eschews the "reality" of the cultural/symbolic mask. Greek
playwrights creating personae, and poets long before Shakespeare, Milton,
Dante, Yeats, and thousands of others, have never had difficulty equating the
symbolic with the real.
The language that he chooses to describe
himself is instructive in its depiction of self-hatred and autism. He is
"over head and ears" -- having lost reason and the ability to
"hear" the outside world. She is the cause only partially. He has
allowed this to happen, wants it to happen. It is a side of him he purposefully
keeps hidden from the world in his masculine bravado. He knows he does not
really want to keep it up. Her "sweetest of all imaginable looks" (he
does not see her as Medusa or as powerful or evil) leaves him feeling
castrated, not only because he feels weak (and consequently resentful), but
also more because his image of himself when he compares himself to her is so
self-deprecatory. He is full of "shame," he has "shrunk,"
he is a "snail." "Shrunk like a snail," of course, carries
both a phallic suggestion and one of the womb (snails are hermaphroditic). Is
[Lockwood] wishing to return to the protection of the womb? Is mother meant to
protect him from the "innocent" female, or from himself, the icy older
man? Is he ashamed of his penis -- his male power -- and would he like to be
born again to start the whole process of gender differentiation and
self-identity again? He is "retired" (shy and old?). He is
"cold" and "icy" (something more commonly associated with
women). He is "farther" (father/far away?). Everything he thinks
about himself suggests self-loathing -- not least because of what he may
perceive (or not perceive) as his own incestuous desires. He wants to be like
her, fears that he cannot, wants her to help him be like her then?
The last twenty years have seen a movement
through various stages of redefinition, outlined by Elizabeth Badinter (1992).
She points out that if pro-feminist masculinity has rejected the
"macho," it has also come to reject (as have many women) what
initially replaced the macho -- the "soft" man, who was little more
than a male version of the female. Having never lost his strong attachment to
his mother -- his father being for the most part absent -- he is
"destructured" and "lacks backbone" (pp. 149-153). He is a
"nice boy," irresponsible, avoiding the commitments of an adult, who
wants to "remain his mother's little husband." He is a "flying
boy," a Peter Pan, who runs from responsibility. He sometimes reverts to
the defensive macho, or he sinks into docility, reviled and self-reviling.
D. pp. 1
E. The stereotype and marks may misleading people,
which is shown in Pride and Prejudice.
Entry 11
A. Nick Bujak
Form and
Generic Interrelation in the Romantic Period: Walter Scott’s Poetic Influence
on Jane Austen
B. The article analyzes the novels
"Northanger Abbey" and "Mansfield Park" by Jane Austen,
focusing on how the narrative poetry of Walter Scott
influenced Austen's development of the book's narrator. The
author analyzes genre theory, drawing conclusions on the relationship between
poetry and the novel. Particular attention is also given to how Austen created
a literary style based on her social views and social conditions of 19th
century Great Britain.
D. pp. 46-67
E. The article explores the relationship between
poetries and novels, and how Jane Austen creates her own literary style based
on her own opinions about the society.
Entry 12
A. Daniel J. Kruger
Maryanne
Fisher
Sarah L.
Strout
Michelle
Wehbe
Shelby
Lewis
Shana’e
Clark
VARIATION
WOMEN’S MATING STARTEDIES DEPICTED IN THE WORKS AND WORDS OF JANE AUSTEN
B. We hypothesize that distinct mating strategies
are identifiable in the female characters created by popular British author
Jane Austen. Although Austen wrote her novels in the early 19th Century, and
consequently the novels reflect social constraints not applicable to similarly
aged women in modern Western societies, we contend that research participants
can accurately identify the mating strategies of characters and express
relationship preferences consistent with their own fitness interests. Austen's
characterizations of women's mating strategies are remarkably similar to
depictions in the modern literature of evolutionary psychology. We use
personality descriptions of four primary characters assembled from passages in
Austen's novels, Pride and Prejudice and Mansfield Park. When selecting
characters with whom to form a hypothetical long-term romantic relationship,
participants preferentially chose those who successfully established long-term
relationships in the novels. Participants generally favored characters who
exemplified short-term mating strategies, such as those who generally valued
partners more so for the direct benefits they provided rather than emotional
connection, for non-committed sexual relationships. These results provide
stronger empirical support of our hypotheses than earlier efforts. [ABSTRACT
FROM AUTHOR]
D. pp. 197-210
E. This book talks about the mating strategies
used by female characters in Jane Austen’s novels Pride and prejudice, and Mansfield
Park,
Entry 13
A. KATERINA KITSI-MITAKOU
Narratives
of Absolutism in Jane Austen’s Mansfield Park
B. A critique is presented of the book "Mansfield Park"
by Jane Austen, focusing on an interpretation of Austen's political
attitudes of absolutism based on the philosophies of Thomas
Hobbes. Interpretations of the novel's morality based on the
philosophers John Locke and Jean-Jacques Rousseau are mentioned, as well as
17th and 18th century political science, authoritarianism, and philosopher
David Hume.
D. pp. 117-140
E. This article focuses on Jane Austen’s political
of absolutism which is based on philosophy.
Entry 14
A. Kamilla Elliott
Jane
Austen and the Politics of Picture Identification
B. A literary criticism is presented of several
novels by writer Jane Austen including "Pride and Prejudice,"
"Sense and Sensibility," and "Emma." It is said that Austen
writes about the practice of picture identification in a way that illuminates
the political aspects of her writing. Issues of class and gender in Austen's
work are discussed.
D. pp. 305-322
E. Elliott criticizes Jane Austen about over using
of picture identifications.
Entry 15
A. DANIEL POLLACK-PELZNER
Jane
Austen, the Prose Shakespeare
B. This essay explores the connection between
Shakespearean drama and the novel's representation of interiority. Jane Austen's
celebrated use of free indirect discourse, I argue, is linked to Charles Lamb
and Mary Lamb's Tales from Shakespeare, which turned dramatic
soliloquies into prose narration, rendering a character's
thought and idiom in a third-person voice. Heralded as a "prose Shakespeare"
by nineteenth-century critics, Austen also developed an
inverse free indirect discourse, the infusion of the narrative voice into
characters' dialogue. Scenes from Mansfield Park, Emma, and Persuasion offer
mini-Shakespearean plays of attention, for Shakespearean technique and
quotation script Austen's dramas of reading. [ABSTRACT FROM AUTHOR]
C. http://library.kean.edu:2136/journals/studies_in_english_literature/v053/53.4.pollack-pelzner.html
D. pp. 763-792
E. Jane Austen uses direct and indirect discourses
which are invented by her in her novel.
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