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Journal articles on the topic 'Jane Austen's novels'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

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1

Vohra, Rakesh V. "Mathematical and Quantitative Methods: Jane Austen, Game Theorist." Journal of Economic Literature 51, no. 4 (December 1, 2013): 1187–90. http://dx.doi.org/10.1257/jel.51.4.1183.r3.

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Rakesh V. Vohra of University of Pennsylvania reviews, “Jane Austen, Game Theorist” by Michael Suk-Young Chwe. The Econlit abstract of this book begins: “Explores the ways in which the core ideas of game theory appear in Jane Austen's novels. Discusses the argument; game theory in context; folk tales and human rights; game theory in Flossie and the Fox; Austen's six novels; Austen's foundations of game theory; Austen's competing models; Austen on what strategic thinking is not; Austen's innovations; Austen on strategic thinking's disadvantages; Austen's intentions; Austen on cluelessness; and real-world cluelessness. Chwe is Associate Professor of Political Science at the University of California, Los Angeles.”

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2

Tave, Stuart M. "Jane Austen's Novels: The Art of Clarity. Roger Gard , Jane Austen." Modern Philology 93, no. 1 (August 1995): 101–3. http://dx.doi.org/10.1086/392291.

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3

Odeh, Adli. "Father Figures in the Novels of Jane Austen." English Language Teaching 4, no. 2 (May 31, 2011): 35. http://dx.doi.org/10.5539/elt.v4n2p35.

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Miniaturist as Jane Austen is, she has depicted the life of a few families. In her letter to her niece, Anna Austen, she writes: "three or four families in a country village is the very thing to work on"(Chapman's Edition, 1970, P.10). Jane’s knowledge about these families is, in no way shallow. It is rich in variation and contrasts. Jane Austen is a great novelist due to the universal significance of her novels. This universal significance is achieved in two ways. First, she creates living characters; she penetrates beneath the surface to the underlying principles of personality. She has a full understanding of human psychology and this enables her to draw intricate and complex natures. She lays bare not only the processes of their minds but also those of the heart. Second, she considers them impartially and shows them compounded both of faults and virtues like human beings. They have a universal significance; they are not national types, but representatives of essential human nature. They reveal the weaknesses and virtues of human nature in every age and country. There has been insufficient attention focused on Jane Austen’s father figures: how she created characters and what character types and father figures emerge in the full range of her stories. Characters are centre front in her stories, many of which are chiefly fine vignettes, and in Austen's theoretical statements she has consistently stressed the importance of character creation. The objective of this research is to shed light on those father figures who are the heads of the central families in Jane’s six novels.

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4

Wilkie, Brian. "Structural Layering in Jane Austen's Problem Novels." Nineteenth-Century Literature 46, no. 4 (March 1, 1992): 517–44. http://dx.doi.org/10.2307/2933805.

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5

Thompson, James, and Roger Gard. "Jane Austen's Novels: The Art of Clarity." Yearbook of English Studies 24 (1994): 287. http://dx.doi.org/10.2307/3507901.

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Wilkie, Brian. "Structural Layering in Jane Austen's Problem Novels." Nineteenth-Century Literature 46, no. 4 (March 1992): 517–44. http://dx.doi.org/10.1525/ncl.1992.46.4.99p04126.

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7

Hawley, John C. "Review: The Religious Dimension of Jane Austen's Novels." Christianity & Literature 38, no. 3 (June 1989): 72–73. http://dx.doi.org/10.1177/014833318903800317.

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8

Ożarska, Magdalena. "Male and Female Characters’ Crying in Jane Austen’s “Sense and Sensibility” (1811) and Maria Wirtemberska’s “Malvina, or the Heart's Intuition” (1816)." Respectus Philologicus 28, no. 33 (October 25, 2015): 22–30. http://dx.doi.org/10.15388/respectus.2015.28.33.2.

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Published in 1816, Malvina, or the Heart's Intuition by Maria Wirtemberska appeared but five years after the publication of Jane Austen's Sense and Sensibility (1811). My paper stipulates that Wirtemberska's Malvina was to a large extent inspired by Austen's novel although no straightforward evidence exists to suggest that the Polish writer was familiar with the works of the English author. Austen's novels were not rendered into Polish in the nineteenth century: the first translation was published as late as 1934. But novels by Western European authors were read by educated Poles in their original language versions, or in French translations and adaptations. It is crucial to view Wirtemberska's romance as a specimen of the same genre as Austen's works because several parallels emerge in terms of the novel's structure, motifs and characters. My paper looks at the ways in which the motif and images of crying are used in Austen's and Wirtemberska's novels. The two works seem a good choice for this kind of comparative analysis as they tackle various aspects of sensibility, a phenomenon which invoked mixed feelings among the novelists' contemporaries, excitement and a sense of moral jeopardy included.

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9

Dussinger, John A. "Jane Austen's Novels: The Art of Clarity. Roger Gard." Nineteenth-Century Literature 48, no. 2 (September 1993): 240–42. http://dx.doi.org/10.2307/2933892.

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10

Hawley, John C. "Book Review: Jane Austen's Novels: The Art of Clarity." Christianity & Literature 42, no. 1 (December 1992): 179–80. http://dx.doi.org/10.1177/014833319204200122.

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11

Dussinger, John A. ": Jane Austen's Novels: The Art of Clarity. . Roger Gard." Nineteenth-Century Literature 48, no. 2 (September 1993): 240–42. http://dx.doi.org/10.1525/ncl.1993.48.2.99p0006y.

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12

Heydt-Stevenson, Jill. ""Slipping into the Ha-Ha": Bawdy Humor and Body Politics in Jane Austen's Novels." Nineteenth-Century Literature 55, no. 3 (December 1, 2000): 309–39. http://dx.doi.org/10.2307/2903126.

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The novels of Jane Austen are filled with instances of sexually risqué humor, but this aspect of her comedy has rarely been recognized or subjected to extended critical comment and analysis. This essay examines the way in which Austen integrates bawdy humor into three of her novels-Emma, Mansfield Park, and Persuasion-in order to demonstrate the surprising prevalence of this material and to show how Austen marshals bawdy humor both in the service of a critique of patriarchal culture, including the system of marriage and courtship, and as a way to affirm the vigorous reality of female sexuality. In Emma Austen uses the riddle "Kitty, a fair, but frozen maid" as the basis of a subversive portrait of the profound linkages between courtship and venereal disease; in Mansfield Park (the novel perhaps most replete with sexual material) she wittily but also poignantly dissects the fine line between the marriage market and prostitution; and in Persuasion Austen's bawdy joking becomes a way to affirm the strength and pleasure of the female sexual gaze. This essay offers a more comprehensive view of the uses to which Austen puts her bawdy humor; it not only helps to clarify her fictional art but also breaks down the image of her propriety that has so long limited our full understanding of Austen and has rendered her less-chaste comedy especially unintelligible and inaccessible.

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13

Girling, Harry Knowles. "The Religious Dimension of Jane Austen's Novels (review)." Eighteenth-Century Fiction 1, no. 4 (1989): 350–52. http://dx.doi.org/10.1353/ecf.1989.0057.

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14

Greenfield, Susan C. "Jane Austen's Novels: The Art of Clarity (review)." Eighteenth-Century Fiction 6, no. 1 (1993): 95–97. http://dx.doi.org/10.1353/ecf.1993.0034.

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15

Barchas, Janine. "Very Austen: Accounting for the Language of Emma." Nineteenth-Century Literature 62, no. 3 (December 1, 2007): 303–38. http://dx.doi.org/10.1525/ncl.2007.62.3.303.

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Jane Austen uses the word ““very”” in Emma (1815) at a surprisingly high frequency, one that significantly outpaces its appearance in her other novels as well as in the works of her contemporaries. This essay resists dismissing this smallish word as a nugatory accidental and explores its possible interpretive functions, especially in light of the novel's dominant concerns with confinement and isolation. The essay argues that the ““very””-studded language of Emma indicts truth-telling in the novel, bears the linguistic fingerprint of Austen's own idiolect, and bespeaks her interest in early linguistics. The essay finds in the novel's incessant ““very””s the shaping of a subtle imagined linguistic quirk that marks small-town life. Isolation asserts itself as a dominant subtext of Emma——isolation through mechanisms as various as illness, weather, physical space, social circumstances, and, this essay argues, language. If the application of ““very”” mimics the dulling repetition of life in Highbury and the slow linguistic isolation of country-living, it also reflects Austen's extraordinary control over her own idiolect.

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16

BARRY, Herbert III. "Family Members as Sources of First Names in Jane Austen's Novels." Onoma 40 (December 31, 2005): 181–200. http://dx.doi.org/10.2143/ono.40.0.2033078.

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17

Davis, Jim. "Jane Austen and the Theatre. By Penny Gay. Cambridge: Cambridge University Press, 2002; pp. xi + 201. £37.50 cloth." Theatre Survey 45, no. 1 (May 2004): 141–42. http://dx.doi.org/10.1017/s0040557404330085.

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Penny Gay's study moves between the influence of theatre and drama on Austen's novels and theatricality itself as a mode of representation. While theatrical performance is considered, Gay's analysis generally emphasizes the impact of dramatic literature rather than theatrical representation, genre rather than performance. Through reference to the work of eighteenth-century women playwrights, Gay also places Austen's work and contemporary theatre in pervasively “masculine” and “feminine” discourses.

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18

Sulloway, Alison G. "Jane Austen's Novels: The Art of Clarity. Robert Gard.Jane Austen: Real and Imaginary Worlds. Oliver MacDonagh.Jane Austen's Sense and Sensibility. Gene Ruoff." Wordsworth Circle 25, no. 4 (September 1994): 229–33. http://dx.doi.org/10.1086/twc24043121.

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19

George, Jacqueline. "Liberty in Jane Austen's Persuasion / Didactic Novels and British Women’s Writing, 1790–1820." European Romantic Review 30, no. 1 (January 2, 2019): 107–12. http://dx.doi.org/10.1080/10509585.2018.1560052.

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20

Sherman, Malcolm J., and J. F. Burrows. "Computation into Criticism: A Study of Jane Austen's Novels and an Experiment in Method." Journal of the American Statistical Association 84, no. 405 (March 1989): 348. http://dx.doi.org/10.2307/2289908.

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21

Bonheim, Helmut, and J. F. Burrows. "Computation into Criticism: A Study of Jane Austen's Novels and an Experiment in Method." Yearbook of English Studies 19 (1989): 332. http://dx.doi.org/10.2307/3508082.

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22

Heydt-Stevenson, Jill. ""Slipping into the Ha-Ha": Bawdy Humor and Body Politics in Jane Austen's Novels." Nineteenth-Century Literature 55, no. 3 (December 2000): 309–39. http://dx.doi.org/10.1525/ncl.2000.55.3.01p01464.

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23

Perry, Ruth. "Domestic Realities and Imperial Fictions: Jane Austen's Novels in Eighteenth-Century Contexts (review)." Eighteenth-Century Fiction 7, no. 1 (1994): 99–101. http://dx.doi.org/10.1353/ecf.1994.0030.

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24

Duckworth, Alistair M. ": Domestic Realities and Imperial Fictions: Jane Austen's Novels in Eighteenth-Century Contexts. . Maaja A. Stewart." Nineteenth-Century Literature 50, no. 1 (June 1995): 104–7. http://dx.doi.org/10.1525/ncl.1995.50.1.99p01372.

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25

Hinnant, Charles H. "Jane Austen's "Wild Imagination": Romance and the Courtship Plot in the Six Canonical Novels." Narrative 14, no. 3 (2006): 294–310. http://dx.doi.org/10.1353/nar.2006.0014.

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26

Downie, J. A. (James Alan). "Who Says She's a Bourgeois Writer? Reconsidering the Social and Political Contexts of Jane Austen's Novels." Eighteenth-Century Studies 40, no. 1 (2006): 69–84. http://dx.doi.org/10.1353/ecs.2006.0040.

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27

Scribner, Abby. "Liberalism and Inner Life: The Curious Cases of Mansfield Park and Villette." Novel 53, no. 3 (November 1, 2020): 317–40. http://dx.doi.org/10.1215/00295132-8624516.

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Abstract This article takes up two famously disliked nineteenth-century novels—Jane Austen's Mansfield Park and Charlotte Brontë's Villette—and argues that they are dissatisfying to readers because their protagonists fail to cohere as liberal subjects around a legible interior realm. Mansfield Park initially offers its east room as a spatial analogue for Fanny Price's interior, but it gradually revokes narrative access to the space in order to defer wholly to external status markers. Likewise, Villette's Lucy Snowe creates architectural constructions as a means of representing her inner realm to an outside world. However, each instance results in an impossible space that fails to establish the contours of Lucy's interior. The article reads the failures of subjectivation in the two novels in light of critical accounts that link the nineteenth-century novel to liberalism, a link that is often established through a shared emphasis on the interior. It thus examines what could come next once such a link is broken: a reevaluation of the default political perspective of the nineteenth-century novel but also a renewed understanding of the variety of subjective forms that liberalism is able to capture.

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28

Galperin, William. "The Improvement of the Estate: A Study of Jane Austen's Novels. Alistair M. Duckworth.Jane Austen Among Women. Deborah Kaplan.Jane Austen and Representations of Regency England. Roger Sales." Wordsworth Circle 26, no. 4 (September 1995): 235–38. http://dx.doi.org/10.1086/twc24042736.

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29

Bowlby, Rachel. "‘Speech Creatures’: New Men in Pamela and Pride and Prejudice." Paragraph 32, no. 2 (July 2009): 240–51. http://dx.doi.org/10.3366/e026483340900056x.

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This piece takes its cue from Malcolm Bowie's ‘speech creatures’, at once Aristotelian and psychoanalytic, to compare two forceful male characters in English novels who each make speeches proclaiming their own emotional reformation. Different as they are in other respects — an ex-libertine and a man of morals — Samuel Richardson's ‘Mr B.’ (in Pamela) and Jane Austen's Mr Darcy (in Pride and Prejudice) both denounce their early parental education in relation to the humbler selfhood their wives-to-be have taught them. Such a development is both like and unlike the later model of psychoanalytic re-education. It takes early emotional malformation as given, and it postulates the possibility of a beneficial re-education in later life; but it does not differentiate between the sexes (either as parental ‘teachers’ or as child-pupils), and it makes overall for a much more complete transformation and ‘cure by love’ than Freud's theories imagined.

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30

Brodey, Inger Sigrun. "Laughter, War, and Feminism: Elements of Carnival in Three of Jane Austen's Novels. Gabriela Castellanos.Jane Austen's Business: Her World and her Profession. Juliet McMaster and Bruce Stovel.Jane Austen the Novelist. Juliet McMaster.Jane Austen the Woman: Some Biographical Insights. George Holbert Tucker." Wordsworth Circle 28, no. 4 (September 1997): 267–69. http://dx.doi.org/10.1086/twc24044745.

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31

Steenhuyse, Veerle Van. "Jane Austen fan fiction and the situated fantext." English Text Construction 4, no. 2 (November 17, 2011): 165–85. http://dx.doi.org/10.1075/etc.4.2.01van.

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Building on recent findings in the field of fan fiction studies, I claim that Pamela Aidan’s Fitzwilliam Darcy, Gentleman is indirectly influenced by three cultural phenomena which centre around Jane Austen and her work. Aidan’s fan fiction text stays close to the spirit of Austen’s Pride and Prejudice because she “reimagines” the novel according to the interpretive conventions of the Republic of Pemberley, a fan community. These conventions demand respect for Austen and her novels because they are shaped by the broader, cultural conventions of Janeitism and Austen criticism. Similarly, Aidan’s text is more individualistic and “Harlequinesque” than Austen’s novel, because the Republic allows writers to reproduce the cultural reading which underlies BBC / A&E’s adaptation of Austen’s novel.

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32

Jelínková, Ema. "Jane Austen Americanized: The democratic principle in recent adaptations of Emma." Ars Aeterna 9, no. 1 (June 27, 2017): 29–34. http://dx.doi.org/10.1515/aa-2017-0004.

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Abstract When they first reached an American readership, Jane Austen’s novels enjoyed mixed reactions among intellectuals. The main charge levelled against Jane Austen’s fiction was that it conflicted with the democratic principles American society was based on. The next century brought about an explosion in the attention paid to Jane Austen, whether via adaptations, spinoffs, biopics, musicals, detective fiction, scholarly texts, societies or even websites. Most of these creative extensions of Jane Austen’s ideas (and her personality) seem to embrace contemporary American values and sensibilities and therefore, logically, make attempts at revising some of the less palatable aspects of the English society of the Regency era. This paper focuses on two prime examples of such a revisionist approach to Jane Austen’s most classconscious novel, Emma, in Douglas McGrath’s eponymous 1996 film adaptation and in Clueless, Amy Heckerling’s 1995 satirical film based on the same novel.

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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

Przybysz, Iwona. "Jak znaleźć męża między żywymi trupami a krwiożerczymi ośmiornicami? Mash-up, czyli „klasyczne romanse z okresu regencji” z domieszką elementów nadnaturalnych (na przykładzie Pride and Prejudice and Zombies oraz Sense and Sensibility and Sea Monsters)." Przegląd Humanistyczny 63, no. 2 (465) (October 25, 2019): 137–50. http://dx.doi.org/10.5604/01.3001.0013.5519.

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In this article, the author confronts two mash-up novels (novels, in which new motives and elements are added to the masterpieces of world’s literature) – Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith and Sense and Sensibility and Sea Monsters by Jane Austen and Ben H. Winters. The author shows how the new elements (zombies and sea monsters) are added to Jane Austen’s novels and underlines which elements have to be left in their original form, and which can be changed. The author also describes how the development of the new motives affects the ways of describing the world of the novel and its characters.

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Priydarshi, Ashok Kumar. "Feminism in the Novels of Jane Austen." International Journal of Advanced Research in Peace, Harmony and Education 04, no. 01 (December 4, 2019): 7–9. http://dx.doi.org/10.24321/2455.9326.201902.

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Jane Austen’s genius was not recognized either by her contemperaries or even by her successors. But about 1890 the tide of appreciation and popularity markedly turned in favour and correspondingly, against her contemporary, Sir Walter Scott. She always strives in her art to remain full conscious of her responsibility to life as an artist. She is known as the last blossom of the 18th century. She has six novels to her credit-‘Sense and Sensibility’, ‘Pride and Prejudice’, ‘Mansfield Park, ‘Emma’, ‘Northanger Abbey’ and ‘Persuasion’. Though she created her stories in her above-mentioned novels more than 200 years ago, her novels were forerunners of feminism. According to a critic, “Jane Austen was a published female novelist, who wrote under her own name, which can be seen as an important feminist quality”.

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36

Priydarshi, Ashok Kumar. "Satire and Humour in Jane Austen’s ‘Northanger Abbey’." Journal of Advanced Research in English and Education 04, no. 04 (January 14, 2020): 9–11. http://dx.doi.org/10.24321/2456.4370.201909.

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Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.

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Praminatih, Gusti Ayu, and Homsatun Nafiah. "[Woman]’s World Portrayed in Literary Works of Jane Austen." Lingua Cultura 12, no. 1 (February 28, 2018): 77. http://dx.doi.org/10.21512/lc.v12i1.4040.

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The researchers conducted research on Jane Austen literary works since she was a prominent female novelist with mostly discussed novels. The aim of this research was investigating how Jane Austen portrayed [woman] in the18th century through literary works. Six major novels were used as data. Hence qualitative method was employed. The novels were converted using AntConc. Then, the researchers identified the 50 highest collocations of [woman] based on three main categories in part of speech namely adjective, noun, and verb. The results reveal that Jane Austen portrays [woman] in the 18th century with positive and negative aspects; internal and external qualities that reflected through adjectives. Jane Austen often uses concrete and abstract nouns related to domestic property collocated with the word [woman]. Furthermore, the verbs that collocate with [woman] in Jane Austen’s literary works are productive verbs. The researchers find that the adjectives, nouns, and verbs that attach to [woman] in Jane Austen novels are related to the domestic sphere and their quality of being strong, logical, and intellectual.

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38

Suganthi, B., and K. Swarnamuki. "Division of Jane Austen Novels." International Journal of Trend in Scientific Research and Development Volume-2, Issue-3 (April 30, 2018): 373–75. http://dx.doi.org/10.31142/ijtsrd11010.

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Heaverly, Aralia, and Elisabeth Ngestirosa EWK. "Jane Austen's View on the Industrial Revolution in Pride and Prejudice." Linguistics and Literature Journal 1, no. 1 (June 29, 2020): 1–6. http://dx.doi.org/10.33365/llj.v1i1.216.

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This study dismantles Jane Austen’s view in Pride and Prejudice novel triggered by the social systems in British society. The society influenced by the phenomena of the industrial revolution in England in the late eighteenth century revealed the social system. This study aims to find out how Jane Austen views the revolution of the industry in British society. By having the focus on the sociology of literature, this study applies Lucien Goldman’s genetic structuralism. By the dialectical method, the study found that in Austen’s view the landed gentry system and inheritance system was adopted to measure the social class among the societies. Jane Austen thought the inheritance system as the fallacious practice in the society as the economic condition motivated British parents to apply matchmaking for their children to get a better life. Jane Austen views that the industrial revolution plays an important role in forming social occupation at that time. The working-class condition leads them to work in the town, while the upper-class society tends to open some businesses by doing trade at the town. The rest group of middle class tends to work and dedicate themselves to the rich people. Finally, Jane Austen puts her view toward the society in Pride and Prejudice.Keywords: author, class, genetic structuralism, the industrial revolution, view

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40

Barry, Herbert. "Inference of Personality Projected onto Fictional Characters Having an Author's First Name." Psychological Reports 89, no. 3 (December 2001): 705–6. http://dx.doi.org/10.2466/pr0.2001.89.3.705.

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Jane Austen projected some of her personality characteristics onto her fictional namesakes Jane Bennet in the novel Pride and Prejudice and Jane Fairfax in the novel Emma. Wishful fantasy seems satisfied by two attributes of both Janes. They are very beautiful, and they marry rich men they love. A feeling of inferiority was expressed by two attributes of both Janes, depicted as deficient in social communication and subordinate to the heroine of the novel.

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41

González-Díaz, Victorina. "‘I quite detest the man’: Degree adverbs, female language and Jane Austen." Language and Literature: International Journal of Stylistics 23, no. 4 (November 2014): 310–30. http://dx.doi.org/10.1177/0963947014534123.

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Burrows’ (1987) stylometric analysis of Austen’s novels associates quite with ‘the speech of the vulgarians, especially the women who predominate among them’. Through a corpus-based analysis, this article takes further Burrows’ (1987) claims by scrutinizing the socio-stylistic mappings between characters and functions of quite in Austen. The results indicate that gender (rather than vulgarity) is the main factor determining the socio-stylistic variation of quite in Austen’s novels. More generally, the study contributes to a better understanding of Jane Austen’s practices of linguistic gendering. Recent literary criticism has commented on Austen’s stylistic manipulations aimed at challenging 18th-century stereotypes of women’s language (Michaelson, 2002: 62–63). The corpus-based study provided in this article can be taken as a concrete example of how such manipulations work at the linguistic level. It suggests that Austen may have drawn on 18th-century stereotypes of ‘female’ language for the stylistic stratification of quite in her novels, although introducing functional and grammatical variations that allow for subtle differentiations across ‘female’ idiolects.

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42

Giles, Paul. "“By Degrees”." Nineteenth-Century Literature 75, no. 3 (December 2020): 265–93. http://dx.doi.org/10.1525/ncl.2020.75.3.265.

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Paul Giles, “‘By Degrees’: Jane Austen’s Chronometric Style of World Literature” (pp. 265–293) This essay considers how Jane Austen’s work relates to “World Literature” by internalizing a chronometric style. Examining the emergence of the chronometer in the eighteenth century, it suggests how Austen drew on nautical frames of reference to combine disparate trajectories of local realism, geographical distance, and historical time. The essay thus argues that Austen’s fiction is interwoven with a reflexive mode of cartographic mapping, one that draws aesthetically on nautical instruments to remap time and space. This style involves charting various fluctuations of perspective that reorder history, memory, and genealogy, while also recalibrating Britain’s position in relation to the wider world. Moving on from an initial analysis of Austen’s juvenilia and early novels, the essay proceeds in its second part to discuss Mansfield Park (1814) in relation to Pacific exploration and trade. In its third part, it considers Emma (1815) in the context of comic distortions and the misreadings that arise from temporal and spatial compressions in the narrative, a form heightened by the novel’s reflexive wordplay. Hence the essay argues that Austen’s particular style of World Literature integrates chronometric cartography with domestic circumstances, an elusive idiom that also manifests itself in relation to the gender dynamics of Persuasion (1817) and the unfinished “Sanditon,” as discussed in the essay’s concluding pages. This is correlated finally with the way Austen’s novels are calibrated, either directly or indirectly, in relation to a global orbit.

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Giles, Paul. "“By Degrees”." Nineteenth-Century Literature 75, no. 3 (December 2020): 265–93. http://dx.doi.org/10.1525/ncl.2020.75.3.265.

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Paul Giles, “‘By Degrees’: Jane Austen’s Chronometric Style of World Literature” (pp. 265–293) This essay considers how Jane Austen’s work relates to “World Literature” by internalizing a chronometric style. Examining the emergence of the chronometer in the eighteenth century, it suggests how Austen drew on nautical frames of reference to combine disparate trajectories of local realism, geographical distance, and historical time. The essay thus argues that Austen’s fiction is interwoven with a reflexive mode of cartographic mapping, one that draws aesthetically on nautical instruments to remap time and space. This style involves charting various fluctuations of perspective that reorder history, memory, and genealogy, while also recalibrating Britain’s position in relation to the wider world. Moving on from an initial analysis of Austen’s juvenilia and early novels, the essay proceeds in its second part to discuss Mansfield Park (1814) in relation to Pacific exploration and trade. In its third part, it considers Emma (1815) in the context of comic distortions and the misreadings that arise from temporal and spatial compressions in the narrative, a form heightened by the novel’s reflexive wordplay. Hence the essay argues that Austen’s particular style of World Literature integrates chronometric cartography with domestic circumstances, an elusive idiom that also manifests itself in relation to the gender dynamics of Persuasion (1817) and the unfinished “Sanditon,” as discussed in the essay’s concluding pages. This is correlated finally with the way Austen’s novels are calibrated, either directly or indirectly, in relation to a global orbit.

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Sha’bäni, Maryam, Hossein Aliakbari Harehdasht, and Fahimeh Naseri. "A Comparative Study of Plato’s and Jane Austen’s Concept of Love in Pride and Prejudice." International Journal of Applied Linguistics and English Literature 8, no. 3 (May 31, 2019): 37. http://dx.doi.org/10.7575/aiac.ijalel.v.8n.3p.37.

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Jane Austen’s Pride and Prejudice demonstrates the encounter of the two ruling faculties of human beings: reason and passion. The characters of this novel who are mostly young people are involved in the matters of heart and mind, seeking love and affection from their beloved ones while simultaneously burdened by the codes of manners and mannerisms of their society. Although many studies have been conducted on the subject of marriage and love on Austen’s novels, the nature of this love has not been given its proper attention. A comparative study of Plato’s concept of love and that envisaged in Jane Austen’s novel clarifies a lot of things among which we can refer to their difference in the extent of realism as the former depicts love in its ideal form and the latter in its practical sense. Serving as a means to deepen the readers’ understanding, this essay introduces a new perspective to Austen studies by examining Platonic concepts of love in Pride and Prejudice in the light of the information gleaned from Plato’s two famous works that directly deal with the concept of love: Phaedrus and Symposium. The study shows that despite being Platonic in her approach to love, Austen differs from Plato in that she tries to confine love to decorum under the veil of social relationships which bespeaks of the fact that Austen’s time in early Victorian period gives priority to the practice of love in a real context over intellectual concern for what it might mean or might not.

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Ying, Gou, Xie Xiao, and Cheng Hang. "The Art of Language—Re-read of Pride and Prejudice." Journal of Education and Culture Studies 5, no. 1 (February 9, 2021): p50. http://dx.doi.org/10.22158/jecs.v5n1p50.

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Pride and Prejudice, a masterpiece by the famous British female writer Jane Austen in the 19th century, is also Jane Austen’s earliest novel, which took a year to complete. In Pride and Prejudice, Jane Austen successfully created a new era of women-Elizabeth, starting with the arrogance and prejudice of the hero Darcy and the heroine Elizabeth. After several twists and turns, the hero and heroine finally became a beautiful couple. The Jane Austen was different from the British popular literary language creation model at the time. She was bold and innovative, using female delicate thinking, exaggerated irony, simple, lively and vivid yet charming literary language, and created a book about A masterpiece of life and marriage thinking. Therefore, this article will discuss Pride and Prejudice from the perspective of literary language, and at the same time help readers better understand the connotation and internal meaning.

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Oada, Safwat A. "Villains in Janes Austen's Novels." مجلة الآداب والعلوم الإنسانیة 8, no. 1 (January 1, 1990): 1–23. http://dx.doi.org/10.21608/fjhj.1990.134330.

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Bentley, G. E. "Genteel Finances in Jane Austen’s Novels." Notes and Queries 63, no. 2 (April 11, 2016): 230–33. http://dx.doi.org/10.1093/notesj/gjw076.

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Hilola Shavkatovna, Akhmedova. "Depicting a national calorie and a female image in the translation of Jane Austen's “Pride and Prejudice”." International Journal on Integrated Education 2, no. 6 (December 9, 2019): 42–46. http://dx.doi.org/10.31149/ijie.v2i6.196.

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Jane Austen was not yet twenty-one years old when she began writing the novel, “Pride and Prejudice”. At the center of the work are two people from various walks of life - Elizabeth Bennett and Mr. Darcy. The plot of the novel is based on a dual “Pride and Prejudice”, whose reasons are hidden in the veil of heredity and property. Female portray and women depiction was the main theme of Jane Austen’s works. All her characters have their own traits, different from each other with colorful description of the author.

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Alhasan, Assia, and Noritah Omar. "Empowerment of Love for Jane Austen’s Females: A Case of Creativity in Familiarity." Arab World English Journal For Translation and Literary Studies 4, no. 4 (October 15, 2020): 131–50. http://dx.doi.org/10.24093/awejtls/vol4no4.10.

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The goal of this qualitative study is to explore unfamiliar concepts presented in familiar contexts in Austen’s Pride and Prejudice (1813) and Mansfield Park (1814). Also, it intends to examine Austen’s creativity in unfamiliar concepts such as women’s freedom of choice and education from a feminist perspective. This study is significant for shedding light on the empowerment of love decision, females’ self-awareness and women’s voice presented in conventional systems. In addition, it will help feminists to figure out the feminism issues reflected in Austen’s work. Further, this study addresses the question of unfamiliar concepts in Austen’s familiar contexts and identify the impact of decision making on women’s equality. The researcher uses textual analysis to discuss main themes and address research questions. The findings of the study show that Austen best novels preached out women’s emancipation of so-called marriage-market. Also, the result indicates that women of her time postulated love in marriage for achieving self- recognition and self-esteem through creative technique of familiarizing unfamiliar concepts. Therefore, it introduces new thread to Austen studies by examining how Austen familiarized her readers unconsciously with modern concepts at the late 18th century in societal and cultural respects. This study recommends that further investigations be conducted in this regard.

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Knudsen, Karin Esmann. "“It was a sweet view – sweet to the eye and the mind.” Jane Austen og det pittoreske landskab." K&K - Kultur og Klasse 45, no. 123 (August 29, 2017): 291–308. http://dx.doi.org/10.7146/kok.v45i123.96911.

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It is obvious in Jane Austen’s novels that she was interested in the ongoing debate of ’the picturesque garden’, and in all her novels the characters are discussing how to look at the landscape, how to ‘improve’ the estates according to certain rules, and how taste and moral are connected to each other. The picturesque garden is inspired by paintings from the 17th century by Claude Lorraine and Nicolas Poussin, and in that way a clear line can be drawn back to Theocritus and Virgil, who introduced topoi as ‘locus amoenus’ and the ‘pastoral’. This article is examining how the relation is between these topoi, which are ideal landscapes that only exist in literature and painting, and the discussions of the design of real physical landscapes of contemporary England. It is difficult to decide on which side Austen was in the discussions of the picturesque. The article concludes that Austen’s voice is to be heard in the narrative, the development of the characters, and that she ends up with an attempt to reach an authentic relationship with landscape and nature that foreshadows a romantic feeling of nature. An appendix shows the later reception of Austen’s relationship to landscape, by analyzing a scene from modern films based on Jane Austen’s novels.

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