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Journal articles on the topic 'Austen, Jane, Education in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Alice Drum. "Pride and Prestige: Jane Austen and the Professions." College Literature 36, no. 3 (2009): 92–115. http://dx.doi.org/10.1353/lit.0.0066.

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2

Faggioli, Sarah. "“Florentino Ariza Sat Bedazzled”: Initiating an Exploration of Literary Texts with Dante in the Undergraduate Seminar." Religions 10, no. 9 (August 22, 2019): 496. http://dx.doi.org/10.3390/rel10090496.

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Dante’s Commedia provides a useful context or “frame” for a discussion of love in literature from the Middle Ages to the present day in the undergraduate seminar. Selected cantos of the Commedia can initiate an examination of love—lust, romantic love, caritas—and provide ways to analyze depictions of love by important authors. For example, Inferno Cantos I and III introduce the concept of the “journey”—Dante’s through the three realms of the afterlife, and our “journey” through a series of texts to be read over one semester. Dante’s education in Inferno constitutes an understanding of sin and of hell as the farthest place from God and His love. Moreover, in Canto I of Paradiso, Dante reiterates that God and His love can be found throughout creation “in some places more and in others less” (I: 3), and he concludes his poem with a vision of God and of the entire universe as moved by His love. Six great authors—Francis of Assisi, Vittoria Colonna, William Shakespeare, Jane Austen, Flannery O’Connor, and Gabriel García Márquez—articulate in their own words this very human experience of love, of loving something or loving someone. In the process, they illuminate both Dante’s experience in the afterlife and ours in the modern world.

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3

Hudson, Glenda. "Review of Cano, Marina. 2017. Jane Austen and Performance. Houndmills: Palgrave. 212 pages. ISBN: 978–3–319–43988–4." International Journal of English Studies 17, no. 2 (December 1, 2017): 101. http://dx.doi.org/10.6018//ijes/2017/2/302261.

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4

Simons, Judy. "Persuasion [Jane Austen]." Women's Writing 7, no. 2 (July 1, 2000): 00. http://dx.doi.org/10.1080/09699080000200137.

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5

Simons, Judy. "Persuasion [Jane Austen]." Women's Writing 7, no. 2 (July 1, 2000): 327–46. http://dx.doi.org/10.1080/09699080000200384.

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6

Benis, Toby R. "Jane Austen: The Secret Radical / The Making of Jane Austen." European Romantic Review 29, no. 4 (July 4, 2018): 509–13. http://dx.doi.org/10.1080/10509585.2018.1487515.

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7

Carroll, Joseph, John A. Johnson, Jonathan Gottschall, and Daniel Kruger. "Graphing Jane Austen." Scientific Study of Literature 2, no. 1 (August 13, 2012): 1–24. http://dx.doi.org/10.1075/ssol.2.1.01car.

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Building on findings in evolutionary psychology, we constructed a model of human nature and used it to illuminate the evolved psychology that shapes the organization of characters in nineteenth-century British novels. Characters were rated on the web by 519 scholars and students of Victorian literature. Rated categories include motives, criteria for selecting marital partners, personality traits, and the emotional responses of readers. Respondents assigned characters to roles as protagonists, antagonists, or associates of protagonists or antagonists. We conclude that protagonists and their associates form communities of cooperative endeavor. Antagonists exemplify dominance behavior that threatens community cohesion. We summarize results from the whole body of novels and use them to identify distinctive features in the novels of Jane Austen.

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8

Wells, Juliette. "Satire, Celebrity, and Politics in Jane Austen / Jane Austen and Masculinity / Jane Austen and Sciences of the Mind." European Romantic Review 30, no. 4 (July 4, 2019): 441–49. http://dx.doi.org/10.1080/10509585.2019.1638092.

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9

Markovits, Stefanie. "Jane Austen, by Half." Eighteenth-Century Fiction 32, no. 2 (December 1, 2019): 297–315. http://dx.doi.org/10.3138/ecf.32.2.297.

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10

Ritter, Kelly, Linda Troost, and Sayre Greenfield. "Jane Austen in Hollywood." Journal of the Midwest Modern Language Association 33, no. 2 (2000): 97. http://dx.doi.org/10.2307/1315205.

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11

Gaull, M. "Jane Austen: Afterlives." Eighteenth-Century Life 28, no. 2 (April 1, 2004): 113–19. http://dx.doi.org/10.1215/00982601-28-2-113.

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12

Stetz, Margaret D., and Deborah Kaplan. "Jane Austen among Women." Tulsa Studies in Women's Literature 13, no. 1 (1994): 182. http://dx.doi.org/10.2307/463870.

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13

Hopkins, Lisa. "Jane Austen and Money." Wordsworth Circle 25, no. 2 (March 1994): 76–78. http://dx.doi.org/10.1086/twc24043082.

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14

Burgess, Miranda. "Jane Austen on Paper." European Romantic Review 29, no. 3 (May 4, 2018): 365–75. http://dx.doi.org/10.1080/10509585.2018.1465696.

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15

Stephens, John. "A jane austen encyclopedia." Women's Writing 7, no. 1 (March 1, 2000): 119–44. http://dx.doi.org/10.1080/09699080000200377.

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16

Southam, Brian. "“Manoeuvring” in jane austen." Women's Writing 11, no. 3 (October 1, 2004): 463–76. http://dx.doi.org/10.1080/09699080400200322.

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17

Ballinger, Gill. "The Hidden Jane Austen." Women's Writing 23, no. 4 (March 15, 2016): 549–50. http://dx.doi.org/10.1080/09699082.2016.1157296.

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18

Wiltshire, J. "Review: Jane Austen and the Theatre * Paula Byrne: Jane Austen and the Theatre." Cambridge Quarterly 32, no. 4 (December 1, 2003): 367–72. http://dx.doi.org/10.1093/camqtly/32.4.367.

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19

Wiltshire, J. "Review: Jane Austen and the Theatre * Penny Gay: Jane Austen and the Theatre." Cambridge Quarterly 32, no. 4 (December 1, 2003): 367–72. http://dx.doi.org/10.1093/camqtly/32.4.367-a.

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20

Weinsheimer, Joel. ": Jane Austen. . Tony Tanner. ; Jane Austen: Six Novels and Their Methods. . Michael Williams." Nineteenth-Century Literature 42, no. 3 (December 1987): 368–71. http://dx.doi.org/10.1525/ncl.1987.42.3.99p0115t.

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21

Banerjee, Jacqueline. "Jane Austen in Context." English Studies 88, no. 2 (April 2007): 235–36. http://dx.doi.org/10.1080/00138380601154843.

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22

Wu, D. "JANE AUSTEN, The Cambridge Edition of the Works of Jane Austen." Notes and Queries 57, no. 4 (September 22, 2010): 600–601. http://dx.doi.org/10.1093/notesj/gjq131.

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23

Starr, G. Gabrielle. "Jane Austen and the Theatre. Paula Byrne.Jane Austen and the Theatre. Penny Gay.Recreating Jane Austen. John Wiltshire." Wordsworth Circle 33, no. 4 (September 2002): 161–62. http://dx.doi.org/10.1086/twc24044214.

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24

Dussinger, John A., Janet Todd, and Barry Roth. "Jane Austen: New Perspectives." Modern Language Review 82, no. 4 (October 1987): 923. http://dx.doi.org/10.2307/3729070.

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25

Frazer, June M., and John Halperin. "The Life of Jane Austen." Journal of the Midwest Modern Language Association 18, no. 2 (1985): 34. http://dx.doi.org/10.2307/1315185.

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26

Larson, Edith S., and Margaret Kirkham. "Jane Austen, Feminism and Fiction." Studies in Romanticism 26, no. 3 (1987): 465. http://dx.doi.org/10.2307/25600670.

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27

Stabler, J. "Jane Austen and the Theatre." Essays in Criticism 53, no. 4 (October 1, 2003): 400–408. http://dx.doi.org/10.1093/eic/53.4.400.

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28

Pittock, M. "Jane Austen and her Critics." Cambridge Quarterly 32, no. 3 (September 1, 2003): 251–75. http://dx.doi.org/10.1093/camqtly/32.3.251.

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29

Wiltshire, John. "Jane Austen: Computation or Criticism?" Cambridge Quarterly XVII, no. 4 (1988): 369–81. http://dx.doi.org/10.1093/camqtly/xvii.4.369.

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30

Stampone, Christopher. "Devoney Looser's The Making of Jane Austen and Marina Cano's Jane Austen and Performance." Romanticism 26, no. 3 (October 2020): 308–11. http://dx.doi.org/10.3366/rom.2020.0483.

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31

Jones, Chris. "Jane Austen and Old Corruption." Literature & History 9, no. 2 (November 2000): 1–16. http://dx.doi.org/10.7227/lh.9.2.1.

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32

Hendriks, Jean Harris. "Mental health, by Jane Austen." Psychiatric Bulletin 19, no. 2 (February 1995): 101–2. http://dx.doi.org/10.1192/pb.19.2.101.

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In the year of the College's 150th anniversary, the President invited essays with the title The Therapeutic Effects on Psychiatric Patients of a Pleasant and Congenial Environment’. Writers were asked to consider “current literature”.

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33

Malone, Meaghan. "Jane Austen’s Balls." Nineteenth-Century Literature 70, no. 4 (March 1, 2016): 427–47. http://dx.doi.org/10.1525/ncl.2016.70.4.427.

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Meaghan Malone, “Jane Austen’s Balls: Emma’s Dance of Masculinity” (pp. 427–447) Jane Austen’s scenes of dance are at the narrative heart of each of her novels, places where heroine and hero meet and flirt according to rigid prescriptions for chaste courtship. In this essay, I argue that Austen develops her characters’ sexuality within these very conventions, and uses dance as her primary means for sexualized social interaction. Austen’s ballrooms are spaces of intense erotic intimacy, sites that foreground her characters’ bodies and allow women to gaze upon men. This inversion of the male gaze is especially pronounced in Emma (1816), a novel in which the male body is systemically filtered through the eyes of women. Men become objects of female scrutiny in the ballroom as Austen highlights the social and sexual power of the female gaze. The masculine ideal that Austen subsequently creates validates female desire and facilitates reciprocity between Mr. Knightley and Emma: ultimately, each adapts to the other’s expectations of what they “ought to be.”

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34

Frawley, Maria H., and Penny Gay. "Jane Austen and the Theatre." Tulsa Studies in Women's Literature 22, no. 1 (April 1, 2003): 214. http://dx.doi.org/10.2307/20059143.

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35

Waldron, Mary. "Jane Austen: the parson's daughter." Women's Writing 7, no. 2 (July 1, 2000): 327–46. http://dx.doi.org/10.1080/09699080000200387.

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36

Elspeth, Knights. "Jane Austen and the Theatre." Women's Writing 11, no. 3 (October 1, 2004): 507–16. http://dx.doi.org/10.1080/09699080400200441.

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37

Winter, Caroline. "The Making of Jane Austen." Women's Writing 25, no. 1 (November 28, 2017): 116–18. http://dx.doi.org/10.1080/09699082.2017.1407217.

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38

Jacobus, Mary. "Jane Austen in the Ghetto." Women: A Cultural Review 14, no. 1 (January 2003): 63–84. http://dx.doi.org/10.1080/0957404032000081700.

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39

Keener, Frederick M. "Barbara Pym Herself and Jane Austen." Twentieth Century Literature 31, no. 1 (1985): 89. http://dx.doi.org/10.2307/441223.

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40

Wyett, Jodi L. "Reading Jane Austen by Jenny Davidson." Eighteenth-Century Fiction 32, no. 1 (October 1, 2019): 223–25. http://dx.doi.org/10.3138/ecf.32.1.223.

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41

Dudgeon, Patrick. "What Jane Austen Might Have Said." Brontë Studies 30, no. 1 (February 2005): 66–68. http://dx.doi.org/10.1179/147489304x18894.

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42

Sadoff, D. F. "Marketing Jane Austen at the Megaplex." Novel: A Forum on Fiction 43, no. 1 (March 1, 2010): 83–92. http://dx.doi.org/10.1215/00295132-2009-067.

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43

Markovits, Stefanie. "Jane Austen and the Happy Fall." SEL Studies in English Literature 1500-1900 47, no. 4 (2007): 779–97. http://dx.doi.org/10.1353/sel.2007.0040.

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44

Halperin, John. ": Jane Austen Among Women. . Deborah Kaplan." Nineteenth-Century Literature 48, no. 1 (June 1993): 96–99. http://dx.doi.org/10.1525/ncl.1993.48.1.99p05024.

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45

Wagner, Tamara S. "The Lost Books of Jane Austen." Modern Language Quarterly 82, no. 2 (June 1, 2021): 253–56. http://dx.doi.org/10.1215/00267929-8899152.

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46

Ludwig, Ken. "JANE AUSTEN AND THE COMIC TRADITION." Yale Review 105, no. 2 (2017): 18–30. http://dx.doi.org/10.1353/tyr.2017.0058.

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47

Hall, Lynda A. "Flipping the Jane Austen Classroom." Texas Studies in Literature and Language 61, no. 4 (December 2019): 416–33. http://dx.doi.org/10.7560/tsll61406.

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48

Sutherland, K. "Mansfield Park. By JANE AUSTEN." Review of English Studies 57, no. 232 (July 11, 2005): 833–38. http://dx.doi.org/10.1093/res/hgl099.

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49

González-Díaz, Victorina. "Round brackets in Jane Austen." English Text Construction 5, no. 2 (November 23, 2012): 174–207. http://dx.doi.org/10.1075/etc.5.2.02gon.

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Round brackets undergo a process of stylistic re-evaluation that coincides with the development of Austen’s literary career (from pernicious elements that break the perspicuity of the Enlightened sentence to positively appraised markers of spoken spontaneity and emotion). Through a corpus-based study of her Juvenilia, letters and mature novels, this paper examines Austen’s use of round brackets with a view to exploring whether the contemporaneous salience of the punctuation mark may have had an impact on Austen’s style.

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50

Cox, C. B., and Tony Tanner. "Jane Austen as Free Spirit." Hudson Review 40, no. 2 (1987): 331. http://dx.doi.org/10.2307/3851114.

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