Dissertations / Theses: 'Austen'

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Dunn, Catherine. "Adapting Austen /." Title page, contents and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09ard9231.pdf.

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Smith, Grace B. "Austen Girls." Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/925.

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Based on the novels of Jane Austen, when naïve Catherine Morland is accepted into the prestigious Austen Academy for Girls, she finds herself completely unprepared for the high class world of loyalty, backstabbing, and goose-related theft. In this condensed pilot, Catherine is kidnapped by the girls of her dorm, Emma Woodhouse, Lizzy Bennet, Marianne and Ellie Dashwood, Anne Elliot and Frankie Price, to join them in reclaiming the pride of their school, their mascot, Cassandra. Cassandra is a taxidermized goose who has been kidnapped by the boys of the neighboring school, Steventon School for Boys. Steventon and Austen have been feuding over the goose for 50 years, and Catherine must decide if she wants to get sucked in to the fight.

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Müller, Luciane Oliveira. "Revisiting Jane Austin : a reading of Karen Joy Fowler's The Jane Austen Book Club." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/102206.

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Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo.
Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.

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Trunel, Lucile Cachin Marie-Françoise Ogée Frédéric. "Les éditions françaises de l'oeuvre de Jane Austen (1815-2007) : l'apport de l'histoire éditoriale à la compréhension de la réception de l'auteur en France /." [S. l.] : [s. n.], 2008. http://catalogue.bnf.fr/ark:/12148/cb41260867p.

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Thèse de doctorat--Sociétés anglophones--Paris 7, 2008.
Contient un résumé en anglais. Bibliogr. et webliogr. p. 508-538. Chronologie de la vie de Jane Austen p. 539-540. Table des éditions française de Jane Austen p. 541-547. Notes bibliogr. Index.

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Lindsmyr, Christina. "Jane Austen - Pride and Prejudice." Thesis, Halmstad University, School of Humanities (HUM), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-827.

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Evoy, Karen. "Jane Austen : women and power." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66161.

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Halsey, K. E. "Jane Austen and reading women." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603600.

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Part One of my dissertation explores Jane Austen’s attitudes towards female readers, as manifested both in the fictionalised scenes of reading in her novels and in her complex and allusive use of her own reading in both the novels and her letters. I contextualise Austen’s novels within eighteenth-century anxieties about reading women and women’s reading, specifically discussing Austen’s interactions with the conservative conduct literature of the mid- to late-eighteenth century. Through a discussion of Austen’s relationship with her literary predecessors, I suggest that her style presupposes a reader familiar with both the allusions she makes and the constraints of propriety within which a female writer must express herself indirectly or allusively. I argue that such a style, itself enacting the dictates of propriety, actually encourages readings that question the conservation ideologies that the novels’ marriage plots appear to support. Part Two examines the responses of female readers to Austen’s novels, to some extent testing the hypothesis set out in the first half, and, in the process, reassessing Jane Austen’s place in female literary history. In these chapters, I consider extra-textual factors, such as the changing cultural status of the novel, the varying significance of Austen’s literary reputation and social pressures on female readers, which play an important role in determining women readers’ responses to Austen. I argue that Austen’s influence on her literary successors and on female literary history needs to be reconceptualised in ways that focus not only on literary influence, but on the culturally-contingent motivations that push female readers towards complicit, oppositional or appropriate readings of a female author. This kind of reassessment elucidates Austen’s relationship to her literary successors as well as challenging the assumptions that underpin existing versions of Austen’s reception history.

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Byrne, Paula Jayne. "Jane Austen and the theatre." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343860.

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Asker, Rebecca. "Money and Love in Jane Austen’s Pride and Prejudice." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13040.

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In the late 18th century, it was not uncommon that a middle class woman had to choose if her marriage should be based on love or money. Since women often depended on either a husband or male relatives to support them, marriage was a way to avoid economic hardship. Pride and Prejudice gives many examples of women in this situation, and it is evident that both men and women are affected by economy and social class in their choice of a partner. The purpose of this essay is therefore to look closer on how the courtships in the novel are influenced by economy and class. Some characters are greedy and believe that wealth and an upper class life equals happiness. The wealthy man Mr. Darcy becomes suspicious of women and believes that they are only after his money. Women are also seen as commodities; wealthy men expect to be able to marry whomever they like regardless of the woman’s feelings. I will show that there are three main types of marriages in the novel: marriages based on financial considerations, marriages based on infatuation, and marriages combining love and money. Marriages based on financial considerations are not ideal since emotional needs are not often fulfilled. However, in some cases it might be a solution for women who do not have the time to wait for a romantically and economically fulfilling marriage. Marriages that include no financial considerations at all are not ideal since a stable economy is important to live happily. In the essay, I will show that the most ideal marriages are those who combine both love and money, as they ignore neither emotional needs nor economy.

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Cano, López Marina. "Finishing off Jane Austen : the evolution of responses to Austen through continuations of The Watsons." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3972.

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This doctoral thesis analyses the evolution of responses to Jane Austen's fiction through continuations of her unfinished novel The Watsons (c.1803-5). Although the first full “appropriation” of an Austen novel ever published was a continuation of The Watsons and a total of eight completions appeared between 1850 and 2008, little research has been done to link the afterlife of The Watsons and changing perceptions of Austen. This thesis argues that the completions of The Watsons significantly illuminate Austen's reception: they expose conflicting readings of Austen's novels through textual negotiations between the completer's and Austen's voice. My study begins by examining how the first continuation, Catherine Hubback's The Younger Sister (1850), implies an alternative image of the Victorian Austen to that propounded by James Edward Austen-Leigh, Austen's first official biographer (Chapter 1). The next two chapters focus on the effects of World War I and II on modes of reading Austen. Through L. Oulton's (1923), Edith Brown's (1928) and John Coates's (1958) completions of The Watsons, this study examines the connection between Austen's fiction and different notions of Englishness, politics and the nation. Chapter Four addresses the contribution of the 1990s completions to the debate over Austen's feminism. Finally, Chapter Five analyses recent trends in Austenalia, which thwart the production of successful completions of The Watsons. My thesis presents the first substantial analysis of this body of work.

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Smith, Matthew Morel Michel. "Représentation et instrumentalisation du sujet narratif "character" chez Jane Austen /." Nancy : Université Nancy 2, 2002. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc127/2002NAN21004.pdf.

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Kollmann, Elizabeth. "Jane Austen re-visited a feminist evaluation of the longevity and relevance of the Austen Oeuvre." Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/299.

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Although many might consider Jane Austen to be outdated and clichéd, her work retains an undying appeal. During the last decade the English-speaking world has experienced an Austen renaissance as it has been treated to a number of film and television adaptations of her work, including Pride and Prejudice, Emma, Mansfield Park and Sense and Sensibility. Film critics such as Bill De Lapp (1996) and Sherry Dean (1996) have commented on the phenomenal response these productions received and have been amazed by Austen’s ability to compete with current movie scripts. The reasons for viewers and readers enjoying and identifying with Austen’s fiction are numerous. Readers of varying persuasions have different agendas and hence different views and interpretations of Austen. This thesis follows a gynocritical approach and applies a feminist point of view when reading and discussing Austen. Austen’s novels - Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, Sense and Sensibility, and Persuasion – are re-read and reevaluated from a feminist perspective in order to call attention to Austen’s awareness of women’s second-class position in her society. Women’s experiences in Austen’s time are compared to women’s experiences in society today in order to illustrate, in some way, the tremendous progress the feminist movement has made. In addition, by examining what Austen reveals about the material reality of women in her time, it is possible to explore the legacy that modern women have inherited. Literary critics such as André Brink (1998), Claudia Johnson (1988), and Gilbert and Gubar (1979) believe Austen to create feminist awareness in her novels. There are critics, however, who do not view Austen as necessarily feminist in her writing. Nancy Armstrong writes in Desire and Domestic Fiction (1987) that Austen’s objective is not a critique of the Abstract iv old order but rather a redefinition of wealth and status. In Culture and Imperialism (1993) Edward Said implicates Austen in the rationale for imperial expansion, while Barbara Seeber argues in “The Schooling of Marianne Dashwood” (1999) that Austen’s texts should be understood as dialogic. Others, such as Patricia Beer (1974), believe Austen’s fiction primarily to be about marriage since all her novels end with matrimony. My own reading of Austen takes into consideration her social milieu and patriarchal inheritance. It argues that Austen writes within the framework of patriarchy (for example by marrying off her heroines) possibly because she is aware that in order to survive as a woman (writer) in a male-favouring world and in a publishing world dominated by men, her critique needs to be covert. If read from a feminist perspective, Austen’s fiction draws our attention to issues such as women’s (lack of) education, the effects of not being given access to knowledge, marriage as a patriarchal institution of entrapment, and women’s identity. Her fiction reveals the effects of educating women for a life of domesticity, and illustrates that such an education is biased, leaving women powerless and without any means of self-protection in a male-dominated world. Although contemporary women in the Western world mostly enjoy equal education opportunities to men, they suffer the consequences of a legacy which denied them access to a proper education. Feminist writers such as Flis Henwood (2000) show that contemporary women believe certain areas of expertise belong to men exclusively. Others such as Linda Nochlin (1994) reveal that because women did not have access to higher education for so many years, they failed to produce great women artists like Chaucer or Cézanne. Austen’s fiction also exposes the economic and social system (of which education constitutes a major part) for enforcing marriage and for enfeebling women. In addition, it illustrates some of the realities and pitfalls of marriage. While Austen only subtly refers to Abstract v women’s disempowerment within marriage, contemporary feminist scholars such as Germaine Greer (1999) and Arnot, Araújo, Deliyanni, and Ivinson (2000) explicitly warn women that marriage is a patriarchal institution of entrapment and that it often leaves women feeling unfulfilled. The issue of marriage as a patriarchal institution has been thought important and has been addressed by feminists because it contributes to women’s powerlessness. Feminist scholars today find it imperative to expose all forms of power in order to eradicate women’s subordination. bell hooks comments in Feminist Theory: From Margin to Center (2000) on the importance of revealing unfair power relations in order to eliminate oppression of any kind. Austen does not necessarily express the wish to eradicate forms of power or oppression in her novels. Yet, if we read her work from a feminist point of view, we are made aware of the social construction of power. From her fiction we can infer that male power is enshrined in the very structure of society, and this makes us aware of women’s lack of power in her time. Austen’s novels, however, are not merely novels of powerlessness but of empowerment. By creating rounded women characters and by giving them the power to judge, to refuse and to write, Austen challenges the stereotyped view of woman as either overpowering monster or weak and fragile angel. In addition, her novels seem to question women’s inherited identity and to suggest that qualities such as emotionality and mothering are not natural aspects of being a woman. Because she suggests ways in which women might empower themselves, albeit within patriarchal parameters, one could argue that she contributes, in a small way, to the transformation of existing power relations and to the eradication of women’s servile position in society.

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Bath, Randeep Kaur. "Jane Austen as a feminist moralist /." Title page and contents only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arb331.pdf.

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Collins, Eleanor. "Reading gender, choice and Austen narrative." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416530.

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Pereira, Bárbara Albuquerque. "Mulheres nas obras de Jane Austen." Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8509.

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Fundação de Amparo à Pesquisa do Estado do Rio de Janeiro
Considerando-se o papel representado pela literatura diante da formação de novas subjetividades, esta pesquisa investigou os discursos acerca do feminino presentes em três romances de autoria feminina do século XIX Razão e sensibilidade, Orgulho e Preconceito e Mansfield Park da romancista Jane Austen, uma das escritoras mais aclamadas da Inglaterra. Utilizando-se os personagens femininos desses romances e como eles se posicionam diante das relações afetivas e sociais, buscou-se estabelecer um paralelo entre a literatura e a história das mulheres. Sendo considerada uma das responsáveis pela consolidação do gênero romanesco inglês, Jane Austen insere em seus romances a questão da feminilidade como histórica e socialmente construída, além de ser ela própria também um exemplo da desconstrução dos papéis femininos, já que escreveu num tempo no qual a vida literária não era um espaço que as mulheres deveriam ocupar. No entanto, muitas vezes, tanto a discussão sobre as representações das mulheres nas suas obras, como a própria representatividade da autora para o campo de atuação das mulheres inglesas são negligenciados devido a uma leitura superficial de seus romances. Assim, este trabalho buscou dialogar com a história das mulheres, enriquecendo este campo de estudo, trazendo novos dados e formas de pensar as relações das mulheres na sociedade, através da literatura, além de objetivar dar mais destaque à romancista dentro deste campo de estudo. Não foi intenção fazer uma análise literária das obras, mas uma análise dos discursos existentes por trás dos papéis femininos nos romances escritos por Jane Austen, enquanto possível espelho da visão social da feminilidade, levando-se em consideração o contexto sócio histórico em que foram escritas

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Wynne, Julian. "Modeles de l'inconscient chez jane austen." Montpellier 3, 1988. http://www.theses.fr/1988MON30005.

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La these commence par une "note liminaire" sur le mot "classique"; cette note definit, implicitement, le but de l'enquete. Car l'argument de la these est le suivant: le statut de "classique" dont jouit jane austen, a ete mal compris jusqu'ici (pour les raisons analysees); repond mieux a l'invite de l'oeuvre austenienne une approche d'inspiration psychanalytique. Tout en presentant le cadre theorique selon lequel cette approche sera appliquee comme etant, en gros, freudien, l'introduction tient a rappeler les reserves, meme de la part des "freudiens", quant a l'apport de l'oeuvre de sigmund freud a la comprehension de l'art et de la feminite - lieu de jonction ou austen, artiste et femme, vient visiblement s'inserer. Les six romans "majeurs" sont abordes individuellement, l'un apres l'autre, dans six chapitres; une division de l'enquete en deux reflete la distinction (que l'auteur de la these considere capitale) entre les quatre romans publies du vivant de la romanciere - donc, intentionnellement - et les deux publies apres sa mort; il est a noter que la chronologie "recue" est modifiee en ce qui concerne "northanger abbey" seulement. Partout dans les six pre- miers chapitres les analyses cherchent a faire ressortir le caractere fonci- erement metaphorique qui sous-tend, selon une interpretation du "contenu latent", la vision austenienne - vision qui, de ce fait, anticipe sur la metapsychologie freudienne. Parmi les resultats importants de cette approche, notre lecture de l'ironie austenienne jette une nouvelle lumiere sur "mans- field park". Un septieme chapitre, consacre a l'ensemble des "juvenilia" et aux ecrits inacheves, laisse entrevoir la direction generale de l'enquete - de la forme a l'informe. C'est ainsi que la conclusion aborde les elements les plus informes - les donnees biographiques - afin d'analyser les termes memes de la notion de l'intention artistique, et d'explorer le dispositif createur a l'arriere-plan de l'oeuvre analysee sans a priori psychobiogra- phique dans le corps de la these
The thesis begins with a prefatory note on the word 'classic(al)'; this note implicitly defines the aim of the inquiry. For the thesis presents the following argument: up to now, the 'classic(al)' status enjoyed by jane austen has been misunderstood; the invitation of austen's work responds better to an approach drawing on psychanalytical methods. Whilst the introduction presents the theoretical framework according to which this approach is to be applied as being, in general, freudian in character, it underlines the reservations - even of 'freudians' themselves - as to the contribution freud's work makes to the understanding of art and femininity - two co-ordinates, obviously, of 'jane austen', an artist and a woman. The six 'major' novels are treated individually, one after the other, in six chapters; a division of the inquiry into two parts reflects the distinction (which the author consi- ders of capital importance) between the four novels published during the novelist's lifetime - 'intentionally', therefore - and the two published after her death; n. B. That the 'received' chronology is modified only for the situ- ation of 'northanger abbey'. Throughout the first six chapters, the analyses are concerned to bring out the basically metaphorical character which, accor- ding to an interpretation of the latent content, underlies austen's vision - which is seen to adumbrate freud's metapsychology. Amongst the important results of this approach, light is thrown on 'mansfield park' by a new reading of austen's irony. A seventh chapter, devoted to the 'juvenilia' and unfin- ished writings, affords a glimpse of the general direction of the inquiry - from form to the unformed. And the conclusion examines the least formed ele- ments - biographical data - with a view to analysing the terms of artistic intention itself, and to exploring the creative apparatus behind the oeuvre which has been analysed in the main body of the thesis without psychobio- graphical a prioris

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Wynne, Julian. "Modèles de l'inconscient chez Jane Austen." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37619265w.

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Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.

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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.

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Nelson, Heather. ""Till this moment, I never knew myself" : developing self, love, and art in Jane Austen's Sense and sensibility, Pride and prejudice, and Emma /." Electronic thesis, 2005. http://etd.wfu.edu/theses/available/etd-06022005-194043/.

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Karlsson, Caroline. "Jane Austen : Hennes dialoger och hennes samtid." Thesis, Jönköping University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7830.

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Jane Austen

Her dialogues and the time in which she lived

This essay is about the dialogues in Jane Austen’s novels and what they say about the time she lived in. The interest for Austen comes from the “Austen movies” I’ve seen the latest year.

AIM AND FRAMING OF QUESTIONS My aim has been to compare the contents in the dialogues with the fact in the biographies. The questions are:

What do the dialogues say about the convention, the behaviour, manners and the form of address? What does it say about young men and women and about the marriage? Are the dialogues supported by the content in the biographies? Did Jane Austen really write realistic?

METHOD AND MATERIAL The method was to read the novels and then the biographies. I divided the empiric material in different categories and based it on the fact in the biographies. I have read Sense and sensibility, Pride and prejudice, Mansfield Park and Persuasion. The biographies I have used are for example Valerie Grosvenor Myer’s Obstinate Heart Jane Austen A Biography, Carol Shield’s Jane Austen.

RESULTS I found that the text and the dialogues and contents in Austen’s novels are realistic. She has not made up own rules for convention and behaviour but lets her characters act in a normal way.

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Erdogan, Gokcen. "Control Of The Readers In Jane Austen." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1218098/index.pdf.

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This thesis analyses techniques employed by Jane Austen in Emma and Sense &
Sensibility to control the readers when they make judgements about characters and events.The thesis will argue that the point of view used in these two novels to present events and characters has great influence upon readers. In addition, the role of skilful use of irony by Austen, and witholding of information by characters and author in keeping readers alert will be analysed.

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Tandon, Bharat. "Jane Austen and the morality of conversation." Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337094.

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Wu, Yih Dau. "Jane Austen and the poetics of waiting." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610602.

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Massei, Marie-Laure. "L'argent dans les romans de Jane Austen." Paris 4, 2005. http://www.theses.fr/2005PA040156.

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Qu'il soit lié à la consommation, au mariage ou à l'héritage, l'argent se trouve au cœur des romans et de la correspondance de Jane Austen (1775-1817). A une époque où les lois de la gentry anglaise entravaient l'accès des femmes au pouvoir financier, l'argent ne pouvait que susciter des sentiments ambivalents, d'angoisse ou de fascination. En marge de la gentry et du marriage market par son impécuniosité, Austen utilise l'argent comme une clef d'exploration multiple dans ses romans, où il génère une circulation complexe. Ce motif littéraire permet ainsi de représenter la mobilité sociale caractéristique d'une époque de mutations, qui voyait l'affrontement de fortunes d'origines différentes. Face aux dangers induits par les déviances pécuniaires, le conservatisme et les valeurs morales de la romancière transparaissent dans son évocation de la gestion de l'estate. Austen dénonce cependant la violence des pratiques patriarcales comme l'entail et leurs effets sur la psyché féminine. Au cœur d'une stratégie de dévoilement subversive, l'argent participe en fait du double registre métaphorique et symbolique pour évoquer la sexualité féminine et masculine et, partant, révéler la face cachée de la société de l'époque
Money is a central theme in Jane Austen's novels and letters, through its links to the recurring questions of consumption, marriage and inheritance. At a time when women were denied financial power in the gentry, money was both a subject of anxiety and fascination. Handicapped on the marriage market by her position as a relatively poor member of the urban gentry, Austen uses the money motif as a means of exploration in her novels, in which it generates a complex circulation. Money enables her to represent the social mobility characteristic of a period of transformations, as fortunes of different origins competed for power. The novelist's conservatism stands out in her depiction of the management of the estate, since the assertion of moral values helps her confront the increasing pecuniary deviances at the beginning of the 19th century. However, Jane Austen also denounces the sheer violence of patriarchal practices, such as the entailing of estates, and their effects on the female psyche. A deeper level of analysis reveals that money is at the core of a subversive strategy of unveiling, since its metaphorical and symbolical potential leads to a daring exploration of the taboo of sexuality

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Sun, Shuo. "The reception of Jane Austen in China." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38499/.

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In China, Jane Austen is today widely acknowledged as one of the greatest English writers. Yet her literary reputation has altered greatly since her works were first introduced to Chinese readers in the early decades of the twentieth century. This thesis will examine and explain the major changes in the Chinese reception of Austen in light of the political, social, and cultural upheavals experienced by the country over the last century. The introduction will provide a historical overview of Chinese translation and criticism of Austen’s novels. During the first half of the twentieth century, Austen was generally disapproved of by Chinese critics for restricting her writing to a limited social sphere and her fame therefore grew slowly. I will discuss the influence of Chinese political history on critical assessments regarding Austen’s conservatism and realism. Following the establishment of the People’s Republic of China in 1949, Marxism came to dominate the literary and cultural scenes. As a consequence, some Chinese translators attempted to incorporate Austen’s works into a Marxist canon, but failed. I will investigate the profound impact of the Communist Party’s political campaigns on the translation and reception of Western literature in China from the 1950s to the 1970s. However, since the 1980s Austen has enjoyed a rapid rise in critical reputation and popularity in China, with her six major novels all appearing in Chinese. However, there are presently significant differences in the reception of each of these novels. The six main chapters of this thesis will examine the reasons behind the popularity of Pride and Prejudice, Sense and Sensibility, and Emma and the relative obscurity of Mansfield Park, Northanger Abbey, and Persuasion. In doing so, I will explore Chinese critics’ views of Austen’s connection to feminism, conservatism, and romanticism as well as areas of literary debate in her time. I will demonstrate the radical changes in Chinese approaches to Austen’s works in recent decades. This thesis also aims to compare the reception of Austen in China to that in Britain, and contains questionnaire and interview surveys that were conducted among undergraduate students at the University of Nottingham’s China and UK campuses.

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Scharff, Kathleen Clark. "Evil in the Works of Jane Austen." W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625357.

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Chowdhury, Pradip Kumar Roy. "Jane Austen : the novelist as an ironist." Thesis, University of North Bengal, 2007. http://hdl.handle.net/123456789/1169.

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Urrejola, Dobiasch Anouschka. ""Jane only smiles, I laugh" zur Poetik des Lachens in den Romanen Jane Austens." Trier Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/ID602.html.

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Upfal, Annette. "Jane Austen's hidden portrait gallery : a study of the images and text of the juvenilia's History of England /." [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19059.pdf.

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Werker, Anke. "By a lady : Jane Austen's female archetypes in fiction and film /." Le Tilburg (the Netherlands) : Tilburg university press, 1998. http://catalogue.bnf.fr/ark:/12148/cb37560646d.

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Geng, Li-ping. "Dialectical elements in the novels of Jane Austen." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45698.pdf.

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Grayson, Richard S. "Austen Chamberlain and British foreign policy, 1924-9." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260642.

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Smith, Erin Jamie. "Bodies in motion : social dance in Jane Austen." Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406703.

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Austen, Viola [Verfasser], and Uta [Akademischer Betreuer] Herbst-Voeth. "Industrielle Kundenzufriedenheit / Viola Austen ; Betreuer: Uta Herbst-Voeth." Tübingen : Universitätsbibliothek Tübingen, 2012. http://d-nb.info/1162278935/34.

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Ross, Elizabeth Ann. "Mary Wollstonecraft and Jane Austen - opponents or allies?" Thesis, University of Reading, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.315361.

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Demir, Sophie. "Discours et expérience dans l'oeuvre de Jane Austen." Thesis, Paris 10, 2012. http://www.theses.fr/2012PA100093/document.

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Le discours de la doxa est le ciment du lien social. Il favorise la logique de l’identification à un groupe. Un groupe social se reconnaît à son idiome et à ses signifiants-maîtres. Ces signifiants fonctionnent comme signes de reconnaissance. Ces signes sont classifiés selon une échelle de valeurs qui permet de juger les discours en fonction de leur emploi de ces signes. Tous ces signes se résument en réalité à un seul signe, celui de l’argent. Le seul discours susceptible de pouvoir s’opposer à cette logique du capital est le discours amoureux. L’expérience amoureuse est une aspiration à un nouveau discours. Les amants doivent inventer un nouvel idiome leur permettant de fonder un nous qui ne soit plus le nous du discours social. L’ironie de l’écriture austenienne attaque cet idéalisme. Discours du capital et discours amoureux ont un même aboutissement, le mariage. Le mariage appartient à une logique économique. Il assure la survie des partenaires d’un contrat. Dans un tel contexte, l’idéal amoureux est incapable de se libérer de la logique du capital. Capital et amour ne forment qu’un seul et même idéal. Dans les romans de Jane Austen, la rencontre amoureuse, entre idéal et désenchantement, est paradoxale et ambivalente. Le rite social du mariage représente un effort pour traduire l’idiome du capital dans celui de l’amour et vice versa. Or ces deux idiomes ne sont pas traduisibles l’un dans l’autre. L’écriture austenienne témoigne d’un différend. Le Neutre est le fondement de ce témoignage. Si l’écriture des romans de Jane Austen emprunte le langage de la morale, le discours n’est pas moralisateur. L’usage de l’ironie neutralise tout jugement définitif. Le jugement est renvoyé à la responsabilité du lecteur. La lecture des romans de Jane Austen devient une expérience du témoignage d’un différend
The discourse of the doxa is what holds society together. This discourse orientates the logic presiding at the identification to a group. A social group can be recognized by its idiom and by its master-signifiers. These signifiers work as signs of recognition. They are classified according to a scale of values, which allows to judge discourses depending on the way those signs are used. There is in fact only one sign that governs their use: money. The only discourse which could stand against the power of the capital is the discourse of love. The experience of love leads to a search for a new type of discourse. Lovers have to invent a new idiom to be able to form a new we which will no longer be the we of the social discourse. But this idealism is discredited by the irony of Jane Austen’s novels. The discourse of the capital and the discourse of love lead to the same purpose, marriage. Getting married is an economic urge. The survival of the two partners is guaranteed by marriage. In such a context, love as an ideal cannot free itself from the logic of the capital. Capital and love become one identical ideal. In Jane Austen’s novels, between idealism and disenchantment, love is represented in a paradoxical and ambivalent way. Marriage, as a social rite, represents an effort to translate the idiom of the capital into the idiom of love and vice versa. However these idioms cannot be translated into one another. Jane Austen’s way of writing bears witness to this differend. The choice of the Neuter is the basis of this possibility. If in Jane Austen’s novels, the language of morality is omnipresent, their discourse is not a moralizing one. Irony neutralizes any final judgment. The responsibility to judge is imparted to the reader. Reading Jane Austen’s novels becomes the experience of what it means to bear witness to the differend

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Digby, Smith Peter. "Culture et idéologie dans l'oeuvre de Jane Austen." Toulouse 2, 1986. http://www.theses.fr/1986TOU20011.

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Digby, Smith Peter. "Culture et idéologie dans l'oeuvre de Jane Austen." Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb37597156n.

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Powers, Jordan S. "Femininity, Pinterest, and the Appropriation of Jane Austen." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etd/2373.

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This analysis is an examination of the use of Jane Austen quotes on the social networking site Pinterest in order to explore the messages disseminated by the dismantling of Austen’s works. Austen’s novels contain subtle feminist ideals that empower women to find their own unique paths. Pinterest has a large female following and the messages created and shared by women hold importance because they highlight salient values and ideas. The quotes collected were analyzed using a feminist rhetorical method. Questions of whether women were empowered outside the private sphere and encouraged to engage in independent thought guided the analysis. Findings indicated that Austen’s words are removed from context in order to reinforce hegemonic ideas of beauty, love, and intelligence. Women can engage in independent thought and exist outside the home as long as they follow socially prescribed rules that create unattainable standards and contradictory dichotomies.

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Wartanian, Maria. "Moral Education in Jane Austen's Northanger Abbey and Mansfield Park." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-5854.

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Jane Austen wrote her novels over two hundred years ago. Today many people, especially women, are still affected by them and her characters. She has become famous through her romantic novels where she writes about young women during the late 18th century who spend their days drinking tea and socializing in order to find a man, marry him and live happily ever after. Even though Austen writes romance and her novels remind the reader of fairy tales, she also focuses on presenting important passages and events that occur in these young women’s lives. Many of the novels Austen has written have features of a so-called Bildungsroman; a novel about education which refers to a character’s growth and self-development. The structure of a Bildungsroman often includes the main character, the protagonist, going on a long journey or quest in search of the meaning of life. In this essay I will analyse the heroine’s education in Austen’s two novels Northanger Abbey and Mansfield Park and how Austen educates the reader with these novels. The purpose of this essay is to show that the heroines in Northanger Abbey and Mansfield Park under a long period of time receive moral education through different people and events during their lives. However, it is not only the characters that are educated, my opinion is that the reader is educated as well. Both the reader and the heroines are taught that happiness can only be achieved by good education and high moral standards. I will use some of the features of a Bildungsroman, such as journey, self-development, obstacles and maturity and by examining these features in the novels, I will support my thesis.

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Whitcomb, R. C. "The morality of Jane Austen in its literary and historical context." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.

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Caddy, Scott. "(Mis)appropriating (con)text Jane Austen's Mansfield Park in contemporary literary criticism and film /." Bowling Green, Ohio : Bowling Green State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1245361134.

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Grisham, Price W. "The minister and the spinster Jane Austen and the gentle revenge of the Reverend George Whitefield /." Theological Research Exchange Network (TREN), 1998. http://www.tren.com.

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Khosla, Rashmi. "Emma : an imaginist /." View abstract, 1999. http://library.ctstateu.edu/ccsu%5Ftheses/1568.html.

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Thesis (M.A.)--Central Connecticut State University, 1999.
Thesis advisor: Loftus T. Jestin. " ... in partial fulfillment of the requirements for the degree of Master of Arts [in English]. Includes bibliographical references (leaves 62-68).

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Martin, Lydia. "Les adaptations à l'écran des romans de Jane Austen : esthétique et idéologie /." Paris : l'Harmattan, 2007. http://catalogue.bnf.fr/ark:/12148/cb41099985b.

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Counts, Diane M. "Jane Austen's powers of consciousness." Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=228.

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Erdoğan, Gökçen. "Control of the readers in Jane Austen's novels Emma and sense and sensibility." Ankara : METU, 2003. http://etd.lib.metu.edu.tr/upload/1218098/index.pdf.

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Rey, Lauren N. "The Landscape Parks of Jane Austen: Gender and Voice." FIU Digital Commons, 2015. http://digitalcommons.fiu.edu/etd/2237.

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This thesis examines the function of specific garden features in Jane Austen’s novels, particularly in the seminal texts Pride and Prejudice and Mansfield Park. Male power, politics and land ownership dominated eighteenth-century society. Despite this, Austen’s woman protagonists utilize the tree avenues feature of landscape parks, voicing a need to redefine moral responsibility associated with land ownership. This thesis draws on the literary theories of gender studies and ecocriticism to examine garden spaces in Austen’s texts, though the primary focus of the investigation relies on exploring the primary texts themselves with a historical approach. In addition to this secondary critical scholarship, this thesis utilizes resources such as eighteenth century garden histories and guides, background information on specific gardeners of the period, and typical landscape garden features as evidence.

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Moussa, Hiba. "Contemporary (re)readings and (re)visions of Jane Austen." Thesis, Lancaster University, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428658.

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Hill, Christine A. "Authoring resistance to power| Jane Austen and Michel Foucault." Thesis, California State University, Long Beach, 2014. http://pqdtopen.proquest.com/#viewpdf?dispub=1566290.

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Using Michel Foucault's knowledge/power dynamic I demonstrate the ways in which Jane Austen examines the socially constructed nature of truth in her last three novels. In Persuasion competing ideas of power are represented by Captain Wentworth and Sir Walter Elliot, positing the idea that a society based on hierarchy is antiquated as economic, political and social configurations within England change. The detrimental effects of the marriage myth are revealed in Mansfield Park, as the social and sexual limitations of women are seen through the parallel stories of the Ward sisters and Fanny, Julia and Maria. Emma highlights the way in which Mrs. Elton uses Jane Fairfax to build her social identity, while it also promotes writing as a method for counteracting prescribed identity formation. Refocusing the analysis of Austen's work based on Foucault's work illuminates contentious characters and passages while revealing the ways in which people respond to social pressure.

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Dissertations / Theses on the topic 'Austen'

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