Entry 16
A. Julia Rodriguez
Beyond Prejudice and Pride: The human sciences
in nineteenth-and twentieth-century Latin America
B. Grappling with problematics of status and
hierarchy, recent literature on the history of the human sciences in Latin
America has gone through three overlapping phases. First, the scholarship has
reflected a dialogue between Latin American scientists and their European
colleagues, characterized by the "center/periphery" model of
scientific diffusion. Next, scholars drew on postcolonial theory to undermine
the power of the "center" and to recover the role of local agents,
including both elites and subalterns. In the wake of numerous studies embracing
both models, the way has been cleared to look at multiple dimensions
simultaneously. Histories of the human sciences in the complex multicultural
societies of Latin America provide an unusually direct path to integration.
Moreover, this dynamic and multilayered approach has the potential to address
ambivalences about authority and power that have characterized previous
analyses of the production and application of knowledge about the human
condition. [ABSTRACT FROM AUTHOR]
C. http://library.kean.edu:4442/ehost/detail?vid=6&sid=843aada3-473b-4462-83a3-656e0010e7d7%40sessionmgr4002&hid=4214&bdata=JkF1dGhUeXBlPWNvb2tpZSxpcCx1cmwsY3BpZCZjdXN0aWQ9a2VhbmluZiZzaXRlPWVob3N0LWxpdmUmc2NvcGU9c2l0ZQ%3d%3d#db=aph&AN=94937687
D. pp. 807-817
E. Pride and Prejudice reflects the status quo of
Latin America in nineteenth-and-twentieth century.
Entry 17
A. Katie Gemmill
Ventriloquized
Opinions of “Pride and Prejudice,” “Mansfield Park,” and “Emma”: Jane Austen’s
Critical Voice
B. This article explores the relationships
between Jane Austen's critical views
on the novel, her experience of having her novels criticized, and her own
creative practice as a novelist. Comments in her letters about what family and
friends thought of "Pride and Prejudice" shed
light on how she reacted to having her novels reviewed. She later formalized
her project of amassing readers' opinions by recording them in
"Opinions of 'Mansfield Park'" and
"Opinions of 'Emma.'" In both collections, Austen displays critical and
editorial judgment. Her decisions about what to include, what to omit, what to
quote verbatim, and what to ventriloquize reflect her critical voice. Austen's editorial
role in collecting these opinions illuminates how her
perceptions of readers' criticisms inflected her own novelistic technique.
[ABSTRACT FROM AUTHOR]
D. pp. 1116-1122
E. Jane Austen’s novels reflect her critical views
about novels and her practice experiences as a novelist.
Entry 18
A. Sarah Wootton
THE
BYRONIC IN JANE AUSTEN’S PERSUASION AND PRIDE AND PREJUDICE
B. Although Austen and Byron are
often considered to be irreconcilable opposites, in this article I argue that Austen engaged
closely with Byron's poetry and drew inspiration from some of his
most popular poems. The first part of the article focuses on Romantic, and
specifically Byronic, undercurrents in Persuasion. I
subsequently concentrate on the Byronic characteristics of the
hero in both Persuasion and Pride and Prejudice.
The article examines the extent to which Austen interacted
with, and was influenced by, Byron's poetry, with particular emphasis on
the figure of the Byronic hero. [ABSTRACT FROM AUTHOR]
D. pp. 26-39
E. Jane Austen borrows some ideas from Byron’s
poems.
Entry 19
A. Bettina Fischer-Starcke
Keywords
and frequent phrases of Jane Austen’s Pride and Prejudice: A corpus-stylistic
analysis
B. Corpus linguistic
analyses reveal meanings and structural features of data that cannot be
detected intuitively. This has been amply demonstrated with regard to
non-fiction data, but fiction texts have only rarely been analyzed by corpus linguistic
techniques. This is the case even though it has been shown by previous analyses
that corpus stylistic analyses reveal literary meanings of the
data that are left undetected by the intuitive analyses of literary criticism.
The analysis of the keywords and most frequent phrases of Jane Austen’s novel Pride and Prejudice presented
in this article confirms this claim by uncovering meanings that are not
discussed in literary critical secondary sources. This constitutes evidence for
the large potential of corpus stylistics for the analysis of
literature and its meanings. [ABSTRACT FROM AUTHOR]
D. pp. 493-523
E. The analysis of the keywords in Pride and
Prejudice supports the corpus stylists for the analysis of literature and
meaning.
Entry 20
A. JOAN LKINFEL RAY
Pride
and Prejudice: The Tale Told by Lady Catherine’s House
B. The author reflects upon the portrayal of Lady Catherine's house in
Jane Austen's novel "Pride and Prejudice."
The author comments on Austen's use of class and setting in her
works and states that the house of Lady Catherine in
"Pride and Prejudice" is presented as a
fictional country house. The author opines that by giving Lady Catherine the
modern built house rather than a distinguished older house,
Austen has undercut Lady Catherine's pride.
D. pp. 66-70
E. The author talks about the house of Lady
Catherine.
Entry 21
A. Bob Palmer
Pride
and prejudice
B. Comments on research in Great Britain. Reasons
people do research, including pride; Effect of the research
assessment exercise, a ranking and funding mechanism, on research; Influence
of prejudice on research; Views on peer reviewers.
D. pp. 1
E. The author explores the influence of pride and
prejudice in researches.
Entry 22
A.
JENNIFER
SCHUESSLER
Game
Theory: Jane Austen Had It First
B. The article reviews the book "Jane Austen, Game Theorist,"
by Michael Chwe
D. pp.1
E. The author comments the book “Jane Austen, Game Theorist” and expresses
her own opinions about game theory in Pride
and Prejudice.
Entry 23
A. M. Zolfagharkhani
H.
Ramezani
‘Gaze’
and ‘Visuality’ in Jane Austen’s Pride and Prejudice
B. For many readers, there is no connection
between Jane Austen's novels and the sexualized body.
Sexuality in Austen's novels is never explicit; nonetheless, it
permeates every look, gesture, and letter that passes between her lovers. This
article aims to reveal the concept of 'gaze', especially
female gaze, in Jane Austen's Pride and Prejudice. According to
feminist critics it is psychologically inevitable that women are the sexual
objects of men; therefore, they have effectively refused to acknowledge the
possibility that a female gaze could exist. Arguably, as it is
indicated throughout this article, women are not necessarily rendered mute and
inert by the male gaze; in fact, they actively shape and respond to
male desire and their gaze encompasses as much authority and power as
the male gaze. [PUBLICATION ABSTRACT]
D. pp. 1-5
E. In Pride
and Prejudice, Jane Austen focuses on the female gaze rather than the man
gaze.
Entry 24
A. Massimiliano Morini
Who
Evaluates Whom and What in Jane Austen’s Novels?
B. MP - the litmus test of Austen
studies in this department - has been read as an evangelical plea for
old gentrified England and as a coven manifesto against the moral and social
strictness of Austen's time.2 How can these positions be reconciled
with Reginald Farrer's (1917) image of the author as a Joyce an divinity,
indifferently paring her fingernails elsewhere? ... Impersonality comes as the
first ingredient in the specific for immortality. [...] In Jane
Austen's novels, whenever readers' expectations are frustrated, one reading is
not simply substituted for another: interpretations are heaped upon
interpretations, and if certain evaluative comments are presented as more
authoritative than others, in other cases readers do not know whether
they are allowed an insight into the heart of the matter, or whether they are
only following this or that character (or the narrator-as-a-character) in
their misreading.
D. pp. 409-479
E. The author questions the evaluation of Jane
Austen’s novels.
Entry 25
A. Sylvia N. Hamilton
Constructing
Mr. Darcy: Tradition, gender, and silent spaces in Jane Austen’s “Pride and
Prejudice”
B. The
reality of Jane Austen's characters in Pride and Prejudice is socially
constructed; their goals and actions become a typification of society's
institutions and conventions. Examining Austen's pivotal characters, with a
particular focus on Fitzwilliam Darcy, reveals that each is a product of a
socio-cultural determinism as they reflect social institutions and represent
cultural conventions.
Gender categorizes social interactions in
everyday life. As individuals act out gendered prescripts and expectations,
they create gendered systems of dominance and power. These learned patterns of
gender norms and roles are carried out in everyday life with
"masculine" and "feminine" perpetuated as divergent and
oppositional. Austen's Mr. Darcy is the product of the social construction of
gender. Darcy's actions and self-representation reflect a historicity and
ideology that is founded on gendered power relations. His is the ideology of patriarchy
that guarantees the hegemonic position of men and the oppression of women.
Language establishes and maintains the connection between personal
identity and gender identity that produces the problem of masculine/feminine
duality. In an effort to recast the prevailing masculine rhetorical structures
that have defined language and society, Austen creates, in Pride and Prejudice,
a model of feminine writing that deconstructs the repressive structures of thinking
that invent gender inequality. Jane Austen offers us a new manner of
masculinity in the "transformation" of Fitzwilliam Darcy and a
feminist's recasting of relations between genders.
E. Sylvia N. Hamilton analyzes the tradition,
gender and silent spaces in Pride and
Prejudice and expresses his opinions.
Entry 26
A. Stefanie Markovits
Jane
Austen and the Happy Fall
B. Louisa Musgrove's
celebrated fall from the Cobb at Lyme Regis in Persuasion
(1817) is but the culmination of a string of such accidents: think of
Marianne Dashwood's fall in the rain that inaugurates her
romance with Willoughby in Sense and Sensibility (1811), or of Tom
Bertram's fall from a horse in Mansfield Park (1814) that brings on
his illness, or of Jane Fairfax's
near fall into the water while boating in Emma (1816), from
which she is rescued by Mr. Dixon in one of the episodes that
stimulate Emma's imaginings. "4 Potkay shows that the ranks
of the happiness obsessed also include Austen's self-declared
favorite moralist, Samuel Johnson.5 He, in turn, was influenced by John Locke's
discussion of the "pursuit of happiness" in his Essay
concerning Human Understanding (1689).6 Suggestively, the Essay links
happiness to desire (happiness "moves" desire) and specifically
to the desire to put to rest inherent feelings of uneasiness.7 Locke
actually describes a kind of "happy fall" into desire that lies
behind all human industry: "When a Man is perfectly content
with the State he is in, which is when he is perfectly without any
uneasiness, what industry, what action, what Will is there left, but to
continue in it? Of this every Man's observation will satisfy him.
D. pp. 779-797
E. The author talks about the happy fall in Pride and Prejudice and also compares it
with other falls in other novels.
Entry 27
A. Mark Canuel
Jane
Austen and the Importance of Being Wrong
B.
Austen's Mansfield Park renders errors in
knowledge and conduct as objectives generally to be cherished rather than
avoided, since they serve as the very means through which any person
might attain narrative distinction through a pattern of distinguishing
corrections. Canuel suggest that the contrast he will describe--a
coincidence between pains or "cares" that actually turns out to be a
contrast between them--helps readers to
understand the organization of the entire novel.
D.
pp. 123-289
E. Acknowledge in the wrong in the novels and
readers can may understand them well.
Entry 28
A. Sarah Louise Baxter Emsley
Jane
Austen and the virtues
B. Recent feminist and post-structuralize
criticism of Jane Austen has questioned her reputation as an ideological
conservative, and has attempted to demonstrate ways in which Austen's
novels subvert authority and represent a secular world of ethical
relativism. The present study challenges such criticism, and seeks to
establish that Austen's novels, while critical and often satirical about
society, nevertheless accept and promote the importance of tradition,
specifically of the classical and Christian traditions of the
virtues. Through a survey in Chapter One of the tradition of the
virtues of prudence, fortitude, justice, temperance, charity, hope, and
faith, this thesis argues that Jane Austen's heroines
ask the philosophical question "How should I live my life?"
and that the answers they find are consistent with an Aristotelian and
Thomist, rather than a utilitarian or Kantian, approach to ethics; that
is, Austen's fiction stresses the moral education of character
as preparation for ethical action. In the last several years literary
theory has begun to focus on ethics, and moral philosophy has begun to turn to
literature in order to illuminate what has been called
"virtue ethics"; literary criticism, I believe, needs now to
turn once more to ancient theories about the virtues in order to
understand literature, ethics, and life, and the present study
of Austen's novels is an attempt to do just that.
I argue that Austen writes from a
firm foundation of Christian faith, and thus for her virtuous characters there
is a point to moral education. The eponymous heroine of Lady
Susan is her only vicious heroine, and in Chapter Two I
contrast the worldly, calculating, distorted version of prudence practiced
in that novel, with the virtuous prudence, or practical wisdom,
that Austen explores through the development of Catherine
Morland in Northanger Abbey. In Chapters Three and Four, on Sense
and Sensibility and Pride and Prejudice respectively,
I explore what happens when tensions arise between competing virtues, and
suggest that the practice of balancing such tensions is an indication
of how flexible Austen's conservatism is. Sense and Sensibility demonstrates
how fortitude can help characters to "know their own happiness,"
while Pride and Prejudice focuses on the role of
love in thepursuit of justice. In Chapter Four I suggest
that the "regulated hatred" D. W. Harding saw in Austen's
novels might be better understood as "righteous anger." Chapter Five
looks at the value of habit in Mansfield Park, and the importance
of balancing habits temperately; here I argue that Fanny Price's active habits
of mind make her Austen's contemplative heroine. In Chapter Six I argue
that the misery of thinking leads Emma Woodhouse to learn how to be
in charity with her neighbors, and in Chapter Seven I look at strength and hope
in Persuasion, concluding that Austen's argument for
flexibility within a firm tradition of the virtues is most explicit
in this novel. Persuasion thus offers an account
of the unity and harmony of the classical and
theological virtues achieved by Jane Austen. The Conclusion
points to writers after Austen who takes up the question
of virtue, including George Eliot, Henry James, and Edith Wharton.
D. pp. 1-301
E. In Pride and Prejudice, Jane Austen mentions
different kinds of virtues and people’s responses to them.
Entry 29
A. Stephen Whitley
Marriage
marketplace: Marx’s theory of use and exchange value and the sphere of
consumption in Jane Austen’s “Emma” and “Mansfield Park”
B. It could be said that Jane Austen's novels
are formulaic. Three or four country families and their quiet lives. A young
woman of marriageable age and her sisters go from picnic to ball to dinner all
the while on a hunt for a husband. A difficult young man of fortune enters the
picture and after initially rebuffing him, the young woman realizes she has
loved the difficult man all along and that he's not as difficult as she once
thought. All ancillary characters are paired appropriately or if they remain
unmarried it is because of bad behavior on their part. Yet within these
seemingly formulaic novels provide us a psychological insight into human nature
as it surrounds the marriage ritual in the eighteenth-century. In describing
the marriage ritual of the minor gentry and middle classes, Austen exposes the
realities of the marriage economy and how, to varying degrees of effectiveness,
women manipulate this economy.
If one looks at marriage as a form of commodity
and the act of courtship and marriage as a type of economy, the theories of
Karl Marx regarding use value and exchange value are useful ways of examining
this economy.
This thesis examines Emma and Mansfield Park
and the marriage economies in each of these novels using use value and exchange
value, as well as the idea of a sphere of consumption, which young women enter
when they become "out" in society and depart upon their marriage. The
thesis discusses how women and men manipulate their own and others' use and
exchange value in these transactions, to varying degrees of success.
C. http://library.kean.edu:2066/literature/docview/304975893/fulltextPDF/C1BEA5A657F74FCBPQ/1?accountid=11809
D. pp. 1-57
E. Jane Austen’s novels are in old style, but
she is successful to use novels to reflect the status quo at that time.
Entry 30
A. Jeremey Cagle
Elegant
complexity: The presence of Cold War game theory in postmodern American fiction
B. This study
reconsiders the legacy of the Cold War in postmodern American
fiction by combining readings of postwar literature
and the cultural and historical narrative of game theory.
Recently described by Steven Belletto as an under-examined cultural narrative that
promised "scientific redemption" during the Cold War, game
theory is a branch of applied mathematics that
originated in 1944, with John von Neumann and Oskar Morgenstern's
publication of Theory of Games and Economic Behavior. While
failing to convince economists, game theory nevertheless appealed to
social scientists and military strategists for its
decoupling of behavior prediction from questions of moral
culpability. As a result, Cold War military researchers came to rely
on its binary logic to anticipate the decision
making of prospective enemies. But in fact this
theoretical game-space--defined by perfect rationality--atomizes human
relations, abrogates ethical decision-making, and renders choice illusory.
The game theory narrative is
reframed in postmodern American fiction, which
critiques the Manichean ideology and rational strategic logic that
defined Cold War "containment" policy.
Subverting the rhetoric and ideology of Cold War national
narratives, writers such as Donald Barthelme, Don DeLillo, Kathy Acker, Richard
Powers, David Foster Wallace, and Cormac McCarthy protest against not
only the nuclear threat, intensified and perpetuated by game theory,
but also the deterministic model of behavior that evacuates
human agency. In this dissertation, I illustrate a
variety of rhetorical strategies that resist the profoundly
dehumanizing effects of Cold War game theory--a theoretical apparatus
rigidly applied to military and diplomatic policy
throughout the postwar era. Complementing recent scholars, my project
establishes the manner in which American
postmodern authors, engaging in textual
subversion of hegemonic discourses, reaffirm a
vision of human agency. Read against a history of popular
representations of game theory in
the U.S., the writers of this study demonstrate
how game-theoretic logic and language prioritize conflict and competition,
thereby crippling prospects for collective social
action. In "Game" (1965), End Zone (1972), Don
Quixote (1986), Prisoner's Dilemma (1988), Infinite
Jest (1996), and No Country for Old Men (2005) these
authors interrogate the ethics and
efficacy of deterministic models of behavior, and ultimately
renounce the perfect rationality that underwrites Cold
War Manichean ideology.
C. http://library.kean.edu:2066/literature/docview/305233170/fulltextPDF/1D4831DC38594989PQ/1?accountid=11809
D. pp. 1- 260
E. The history of game theory. Game theory is
used in the Cold War.
Some good sources here. I really like the idea you're working with. You are definitely on the right track.
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