Relevant bibliographies by topics / Little Women (1868)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Little Women (1868)'

Author: Grafiati
Published: 17 September 2021
Last updated: 18 July 2025

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Journal articles on the topic "Little Women (1868)"

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Ninčetović, Nataša. "Unconventional religion of Louisa May Alcott's Little women." Zbornik radova Filozofskog fakulteta u Pristini 54, no. 3 (2024): 173–86. http://dx.doi.org/10.5937/zrffp54-51590.

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Starting from the observation that faith is an important aspect of Louisa May Alcott's Little Women (1868-1869), we offer evidence that this novel is a vivid illustration of the author's version of American Protestantism, which takes the middle course between Puritanism and more progressive views of Christianity such as Unitarianism. The Alcottian version of religion as reflected in Little Women is closest to Horace Bushnell's view of Christian nurture presented in the book of the same name (1847), specifically, its emphasis on the parental role in instilling Christian virtues in children. The paper particularly focuses on the gradual conversion of the March sisters into better Christians, which occurs under the tutelage of their mother.
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Kocznur, Agnieszka. "About a Girl: Louisa May Alcott’s Little Women at 150th Anniversary – Analysing Its Cultural and Literary Impact." Dzieciństwo. Literatura i Kultura 6, no. 2 (2024): 187–95. https://doi.org/10.32798/dlk.1582.

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The review article outlines the key issues and themes of the anthology Little Women at 150, edited by Daniel Shealy (2022), and describes its structure and contributions. It highlights the extensive introduction, which provides historical context and insights into Louisa May Alcott’s approach to Little Women (1868–1869). The paper also discusses the novel’s relevance in modern times, its cultural impact over the past 150 years, and the various scholarly perspectives presented in this monograph.
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Egeland, Marianne. "Little Women travelling to Scandinavia." European Journal of Scandinavian Studies 50, no. 2 (2020): 314–34. http://dx.doi.org/10.1515/ejss-2020-2007.

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AbstractThe publishing history of an American classic in Sweden, Denmark and Norway illustrates how literature travels between countries and how translated books become integrated in the new national cultures. Louisa May Alcott’s Little Women (1868) still figures on lists of the most cherished, translated and influential children’s books. Sweden can probably boast of the longest translation history of all, starting in 1871, the latest translation appearing in 2016. The Danish material more or less replicates the Swedish, whereas data mining of the stacks of Norway’s National Library demonstrates to what extent a national culture is affected by translated foreign literary impulses and the wealth of sources in which canonized authors may leave a mark. “Little Women travelling to Scandinavia” addresses why Alcott’s book did so well there, why it appealed to readers, and in what circumstances it was read.
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Larkin, Ilana. "Intimations of Infanticide in Little Women." J19: The Journal of Nineteenth-Century Americanists 11, no. 1 (2023): 37–66. http://dx.doi.org/10.1353/jnc.2023.a909295.

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Abstract: This article reads Louisa May Alcott's Little Women (1868) against nineteenth-century mothering manuals and the psychoanalytic object-relations theory to argue that the novel links maternal rage with infanticide. Feminist scholars have noted how Little Women , though ostensibly a story of family harmony, conceals a deep vein of anger. Jo March's trajectory, like that of other nineteenth-century sentimental heroines, stages a transformation from rebellious tomboy to self-controlled angel-in-the-house. Attending to the ways in which the text persistently links anger to infanticide, this article shows how the idealized angel-in-the-house functioned as an idealized solution to guard against the imagined dangers of female rage. Moreover, the binary between angel mothers and infanticidal ones was inflected with racial meaning that served to distinguish who was and wasn't included under the umbrella of national belonging. In recovering the spectre of infanticide subtending Little Women , this article asks us to re-evaluate the ways that cultural texts transmitted messages about love and rage and the political implications of how such relationships to affect determined the lives and developmental trajectories of children.
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Salsabila, Virgiena, Lili Awaludin, and Hasbi Assiddiqi. "REFUTATION OF LAURA MULVEY'S 'MALE GAZE' THEORY IN FILM LITTLE WOMEN (2019)." Saksama 1, no. 2 (2022): 100–118. http://dx.doi.org/10.15575/sksm.v1i2.23899.

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Film, along with other literary works such as books, poetry and theater, is one of the mediums used in the contemporary day to communicate messages to society. Greta Gerwig adapted the film Little Women (2019) from the novel Little Women (1868) by Louisa May Alcott. This film shows a breakthrough over the prejudice and discrimination towards women in 19th-century cinema. The subject of female gaze has received attention since, up to this point, women have frequently only been shown as passive narrative objects, or even as the principal sexual objects in movies. Analyzing by comparing Laura Mulvey's theory regarding female gaze and male gaze through the phenomena contained in the film Little Women, which narrates the lives of five young women during their adolescent years. The image of women in the film Little Women does not appear as an object but a subject, the characters in the film Little appears strong, ambitious and optimistic. Little Women proves that Mulvey's theory of the patriarchal world is neither permanent nor obligatory.
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Rafa Saabira Pribadi and Askurifa'i Baksin. "Analisis Ekranisasi dari Novel ke Film “Little Women”." Bandung Conference Series: Communication Management 3, no. 2 (2023): 704–10. http://dx.doi.org/10.29313/bcscm.v3i2.8073.

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Abstract. Film stories based on novels are nothing new nowadays. This adaptation process is a transfer of media, or specifically ecranisation, which can become works that can captivate audiences, both readers and viewer. This research examines the ecranisation analysis of the story “Little Women”, a novel by Louisa May Alcott (1868), which was later adapted into a film by director Greta Gerwig (2019). This study has a focus on examining the Little Women story through the theory of ecranisation in the form of shrinking plots, adding plots, or changing plot variations in the story. Data were analyzed qualitatively using the case study method through observation results with the results of interviews with related experts as additional data. The result of this study are the ecranisation aspects of the transition from the novel to the film “Little Women” dominated by changes in variation, then shrinking of the plot. There are several chapters that were adapted without any changes and some were not adapted. In reducing the plot, the director does not remove important elements from the adapted chapter. In addition, there is no element of adding grooves to the results of Little Women's ecranisation. In this film, the director uses a faithful interpretation approach, in which the director consistently maintains most of the narrative elements in following the story in the written work. The researcher also compared the narrative elements of the novel and film “Little Women” because both media have the same narrative elements.
 Abstrak. Film-film yang mengangkat cerita dari novel bukanlah hal yang baru pada masa kini. Proses adaptasi tersebut merupakan alih wahana, atau secara spesifik ekranisasi, yang dapat menjadi karya yang dapat memikat khalayak, baik oleh pembaca maupun penontonnya. Penelitian ini mengkaji tentang analisis ekranisasi dari cerita Little Women, sebuah novel karya Louisa May Alcott (1868), yang kemudian diadaptasi menjadi sebuah film oleh sutradara Greta Gerwig (2019). Penelitian ini memiliki fokus untuk meneliti cerita Little Women melalui teori ekranisasi berupa bentuk penciutan alur, penambahan alur, atau perubahan variasi alur pada cerita. Data dianalisis secara kualitatif dengan metode studi kasus melalui hasil observasi dengan hasil wawancara kepada ahli terkait sebagai data tambahan. Hasil temuan penelitian ini adalah aspek-aspek ekranisasi pada alih wahana dari novel ke film Little Women didominasi oleh perubahan variasi, kemudian penciutan alur. Ada beberapa bab yang diadaptasi tanpa adanya perubahan dan ada pula yang tidak diadaptasi. Selain itu, tidak ada unsur penambahan alur pada hasil ekranisasi Little Women. Pada film ini, sutradara menggunakan pendekatan interpretasi faithful, dimana sutradara konsisten menjaga sebagian besar unsur naratif dalam mengikuti cerita pada karya tulis. Peneliti juga membandingkan unsur naratif dari novel dan film Little Women karena kedua media tersebut memiliki unsur naratif yang sama.
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Fjelkestam, Kristina. "Alcott, Little Women, and the Popular Sublime." American Studies in Scandinavia 45, no. 1-2 (2013): 135–48. http://dx.doi.org/10.22439/asca.v45i1-2.4904.

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In my reading of Alcott’s Little Women tetralogy (1868-1886) I argue that the aesthetics it proclaim —mainly in the representation of the development of Jo’s literary endeavours—can be conceived in terms of what I here define as a ”popular sublime.” In short, it consists of a depiction of everyday existence that transcends into political dimensions and in the case of Jo runs from a sharply cut and exaggerated melodramatic style over sensationalist thrills before it finally lands in sentimentalism with a political aim. I thus claim the popular sublime to be a conceptual move away from the eighteenth-century elitism in which the sublime experience caused magnificent existential angst in male solitude instead of the empathic tears and communal smiles as effected in for instance Alcott’s and Beecher Stowe’s sentimental realism of the nineteenth century. In the end, the popular sublime is all about recognizing the nobleness of others and the sublimity in all mankind which is the democratic message it can be said to convey.
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DOYLE, JENNIFER. "Jo March's Love Poems." Nineteenth-Century Literature 60, no. 3 (2005): 375–402. http://dx.doi.org/10.1525/ncl.2005.60.3.375.

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At key moments in Louisa May Alcott's novel Little Women (1868-69) we encounter poetry written by the tomboy heroine, Jo March. This essay considers the place of those poems in a lesbian reading of the novel.
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Jones, Amanda. "Madness, Monks and Mutiny: Neo-Victorianism in the Work of Victoria Holt." Neo-Victorian Studies 12, no. 1 (2019): 1–27. https://doi.org/10.5281/zenodo.3470919.

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Despite authoring almost thirty Victorian-set novels between 1960 and 1993, Victoria Holt (a pseudonym of Eleanor Hibbert) has received little critical attention. This article examines four of Holt&rsquo;s novels and reveals key ways in which she &lsquo;talks back&rsquo; to Victorian literature, specifically to <em>Jane Eyre</em> (1847), <em>The Moonstone</em> (1868), <em>The Woman in White</em> (1860) and &lsquo;The Children&rsquo;s Hour&rsquo; (1860). In particular, it investigates Holt&rsquo;s neo-Victorian use of the asylum in her second novel, <em>Kirkland Revels </em>(1962), which highlights neo-Victorian anxieties about the use of the asylum to control women. In doing so, the article draws attention to the contemporary scandal of consigning unmarried, pregnant, yet sane women to Victorian-built asylums, exploring these socio-political anxieties in the context of the Victorian Lunacy Acts, the 1957 Percy Report and the 1959 Mental Health Act. Holt wrote for the mass market and, in examining her work, this article intervenes in the debate about what should, and should not, be included in the neo-Victorian &lsquo;canon&rsquo;.
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Le Brun, Claire. "De Little Women de Louisa May Alcott aux Quatre filles du docteur March." Meta 48, no. 1-2 (2003): 47–67. http://dx.doi.org/10.7202/006957ar.

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Résumé L’article examine sept traductions et adaptations françaises de Little Women de Louisa May Alcott (1868), actuellement accessibles aux jeunes lectrices en librairie ou en bibliothèque. Afin d’observer les représentations de la féminité qui y sont données à lire au lectorat francophone, l’analyse se centre sur le personnage de Jo, l’héroïne anti-conformiste qui n’hésite pas à exprimer ouvertement son refus des limitations imposées à la condition féminine. Il apparaît que la description physique et psychologique, les prises de parole et les actes du personnage ont subi, dans la plupart des versions françaises, des distorsions qui font de la Jo March française un personnage bien édulcoré.
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Dissertations / Theses on the topic "Little Women (1868)"

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Escobar, Contreras Andrea. "El lenguaje como imagen / la imagen como lenguaje: narrativa y cine: little women de Louisa May Alcott." Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/137634.

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Lanzi, Elisabet Adriana. "The afterlife of "Little Women" as a feminist text." Master's thesis, 2020. http://hdl.handle.net/11086/19932.

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Maestría en Inglés con orientación en Literatura angloamericana<br>This thesis closely examines the classic novel Little Women (1868) by Louisa May Alcott and three contemporary reworkings: Hasta siempre, Mujercitas (2004) by Marcela Serrano, The Little Women Letters (2012) by Gabrielle Donnelly and the manhwa Dear my girls (2005 to 2012) by Kim Hee-Eun. In relation to Little Women’s hypertexts: pastiche, sequel and adaptation, respectively, part of the analysis contemplates to what extent the texts both pay homage to their nineteenth-century predecessor and refurbish it for a more contemporary perspective from a postfeminist stance. Despite the fact that these texts were created in different settings and times, they reveal how the patriarchal authority prevailing in the past persists in this century. The main characters in each of them are strong and resilient women trying to survive in a hostile world. These stories come together as a political appeal for recognition to women who must be acknowledged and empowered.<br>Fil: Lanzi, Elisabet Adriana. Universidad Nacional de Córdoba. Facultad de Lenguas; Argentina.
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To, Philippe Shane. "Performing femininity within masculine circles : a study of negation in the works of Mina Loy." Thèse, 2017. http://hdl.handle.net/1866/20671.

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Books on the topic "Little Women (1868)"

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Meghan, Lydon, and Von Kohorn Emily, eds. Little women, Louisa May Alcott. Spark Pub., 2002.

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Wyss, Eriksson Christina, ed. The Little women treasury. Viking, 1996.

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Warrick, Karen Clemens. Louisa May Alcott: Author of Little Women. Enslow Publishers, 2000.

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Alcott, Louisa May. Little women ; little men ; Jo's boys. Library of America, 2005.

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Aller, Susan Bivin. Beyond little women: A story about Louisa May Alcott. Carolrhoda Books, 2004.

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Keyser, Elizabeth Lennox. Little women: A family romance. University of Georgia Press, 2000.

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Alcott, Louisa May. Little women abroad: The Alcott sisters' letters from Europe, 1870-1871. University of Georgia Press, 2008.

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Meigs, Cornelia. Invincible Louisa: The Story of the Aurhor of Little Women. Peter Smith Publishing, Inc., 2005, 2006.

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Meigs, Cornelia. Invincible Louisa: The Story of the author of Little Women. Scholastic, Inc., 1991.

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Meigs, Cornelia. Invincible Louisa: The Story of the Author of Little Women. Scholastic, Inc., 1988.

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Book chapters on the topic "Little Women (1868)"

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Montgomery, Heather, and Nicola J. Watson. "Louisa May Alcott, Little Women (1868–9)." In Children’s Literature: Classic Texts and Contemporary Trends. Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-349-92347-2_2.

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Howsam, Leslie. "5. Public Figure." In Eliza Orme’s Ambitions. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0392.05.

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Continuing to trace Eliza Orme’s public life from the date of her 1888 LL.B. degree when she was forty years of age, this chapter shows how her public persona was shaped by a commitment to the Liberal Party of William Ewart Gladstone. Crucially, Gladstone and other Liberals opposed women’s suffrage, a circumstance that created difficulties not only for Orme personally, but also for the Women’s Liberal Federation of which she was a founding member. The chapter begins with a newspaper profile of Orme from 1892 that reveals how differently she was seen by allies and antagonists. For allies she was a ‘quick-witted champion, with a convenient appetite for combat’ in debate, while the antagonists saw her as an ‘arch-villain’ and ‘malignant schemer’ prepared to undermine the Federation’s objectives. The latter group, led by Rosalind Howard, Countess of Carlisle, held views of feminist political strategy that came into conflict with Orme’s legally-inflected approaches. Leslie Howsam’s recent discovery of this and other important new evidence is woven into Orme’s story. Sections include: ‘Public Engagement and the Campaign for Irish Home Rule’ (this included editing the a political newspaper, the Women’s Gazette &amp; Weekly News); ‘The Women’s Liberal Federation Splits over the Question of Suffrage’ (a little-known story involving duelling strategies and dirty tricks); ‘Factory Inspection and the Royal Commission’ (Orme’s role as Senior Lady Assistant Commissioner of the Royal Commission on Labour of 1892-3, including her reports on the work of women as barmaids and in the iron industry); and ‘Prison Committee’ (an 1894 political appointment to a government committee investigating the conditions of prisons for women). The chapter concludes by characterizing Orme as ‘An Independent Single Professional Woman in Public Life’ and speculates on the reasons for her relative historical obscurity in the light of what was clearly a period of well-publicized activity. One of these was the dispute with Lady Carlisle, which put her, apparently, on the wrong side of history. Another was the accident of Orme’s longevity. By the time she died in 1937, there was no one to write her obituary, and a new generation of independent, single, and professional women was taking advantage of opportunities that she had missed.
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"21. Louisa May Alcott, Little Women (1868)." In Handbook of the American Novel of the Nineteenth Century. De Gruyter, 2018. http://dx.doi.org/10.1515/9783110481327-022.

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ALCOTT, LOUISA MAY. "LITTLE WOMEN, OR, MEG, JO, BETH, AND AMY (1868)." In Bestsellers in Nineteenth-Century America. Anthem Press, 2016. http://dx.doi.org/10.2307/j.ctt1hj9z88.20.

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Edelstein, Sari. "Little Women, Overgrown Children, and the Problem of Female Maturity." In Adulthood and Other Fictions. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198831884.003.0004.

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The third chapter exposes the exclusionary status of adulthood and the disciplinary work of age from a gendered perspective. Women were, in the words of one historian, “perpetual minors,” and this uneven distribution of rights perverted female development and preoccupied one of the most celebrated novelists of the century. Louisa May Alcott’s Little Women (1868) reveals the rhetoric of age as a core disciplinary idiom in the lives of girls and women, who must constantly calibrate their behavior and appearance to their chronological age. In Work: A Story of Experience (1873), she ventures that numerical age might serve as a viable measure of maturity for women, but she denaturalizes the seeming inevitability of gendered norms and the developmental teleology that underwrites them. For Alcott, it was essential to envision alternative versions of female maturity, departing from linear models of aging as decline.
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Clark, Beverly Lyon. "Little Women; or, Meg, Jo, Beth and Amy (Part 1, 1868; Part 2, 1869)." In Louisa May Alcott. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511485589.009.

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Pulham, Patricia. "Nineteenth-Century Pygmalions: The Sexual Politics of Tactility." In The Sculptural Body in Victorian Literature. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748693429.003.0001.

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This chapter addresses the prevalence of the Pygmalion myth in Victorian fiction, considering works that have received comparatively little critical attention: George MacDonald’s Phantastes (1858), William Morris’s ‘Pygmalion and the Image’ from The Earthly Paradise (1868-1870), and Thomas Woolner’s Pygmalion (1881). Opening with a discussion of Ovid’s Pygmalion and its influence on Romantic and late-Romantic writing, this chapter focuses on the ways in which the aesthetic and sexual concerns it raises inform and complicate negotiations of heterosexual desire and the ‘purity’ of the artist in the Victorian texts discussed. Demonstrating the slippage between living and sculpted women in such expressions of eroticism, this chapter explores the tensions between touch, animation and stasis that are at the heart of the book.
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"Introduction." In Women, Periodicals and Print Culture in Britain, 1830s-1900s, edited by Alexis Easley, Clare Gill, and Beth Rodgers. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474433907.003.0040.

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IN A CONTROVERSIAL ARTICLE first published in the Saturday Review in 1868, Eliza Lynn Linton (1822–98) describes, in inflammatory terms, the ostensible moral degeneration of the character of the ‘Girl of the Period.’ Linton draws a sharp distinction between the ‘simple and genuine girl of the past, with her tender little ways and pretty bashful modesties’ and the new form of modern girl, ‘this loud and rampant modernization, with her false red hair and painted skin, talking slang as glibly as a man, and by preference leading the conversations to doubtful subjects’ (p. 340). The modern girl’s participation in the vulgar spectacle of cosmetics and dress was, for Linton, bound up with broader anxieties about the sexualisation of young women, not least because of their aesthetic proximity to the visual codes associated with the prostitute....
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Mcnally, Michael D. "Music As Negotiation: Uses of Hymn Singing, 1868-1934." In Ojibwe Singers. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780195134643.003.0004.

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Abstract “No music so blinds my eyes with tears as the songs of these Christian Indians,” wrote Episcopal Bishop Henry B. Whipple in 1880 as he made his rounds among the northern Minnesota missions: “Indian voices are very sweet and you could not believe that they were the same voices you have heard in the wild heathen grand medicine or the horrid scalp dances. I am sure that in the charms of song which goes up to heaven from this world they sound as sweet to Jesus as any Christian song.” But the soul of the music that Whipple heard in morning worship was clearly developing elsewhere, out of earshot of the mission station and beyond the ken of missionary reportage. A message dictated in broken English the next year indicated that, amid an outbreak of smallpox among the Lake Winnibigoshish Ojibwes, a group of Ojibwe men had journeyed sixty miles from their home at the White Earth Reservation to sing hymns all night long over a dying child. Although the documentary record contains only sparse details of such performances, Ojibwe people placed the missionary songs in familiar social contexts of music making in ways that made them their own. By 1880, the tradition of singing hymns had become largely the province of certain groups of young men and women, respectively, who gathered around the spiritual leadership of elders and carried the music to the sick, the dying, and the grieving. In this case, the singers formed around the eldership of Shay-day-ence, or Little Pelican, a man who had been highly regarded, not coincidentally, as a spiritual leader in the Midewiwin tradition at Gull Lake before his community had been removed to the White Earth Reservation. Singing provided an occasion for the gathering of these groups of men and women, and set the tone for an improvised way of life amid the difficult circumstances on the reservation.
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"Marriage in the Nineteenth Century." In Little Women at 150, edited by Christine Doyle and Daniel Shealy. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496837981.003.0007.

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Christine Doyle explores how Margaret Fuller’s “The Great Lawsuit” may have influenced Alcott’s writing of Little Women, especially 1869’s Part Second. She notes that Little Women “concerns itself with the development of American girls into women in practical ways as Fuller’s essay does in theoretical ones.” Detailing Fuller’s various types of marriage equality, Doyle demonstrates how these are depicted in Alcott’s novel, beginning with the marriage of Mr. and Mrs. March and then with each of the March sisters’ marriages. Fuller’s essay “provides a rather specific primer” not only for Jo’s marriage, Doyle argues, but also for her “progress toward and preparation for it.” And it is Jo and Friedrich’s marriage that fulfills Fuller’s depiction of “the highest level of equality.”
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Conference papers on the topic "Little Women (1868)"

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Pollard, Carole. "From Gray to Grafton. The metamorphosis of Irish women architects in the twentieth century." In ICAG 2023 - VI INTERNATIONAL CONFERENCE ON ARCHITECTURE AND GENDER. Universitat Politècnica de València, 2023. http://dx.doi.org/10.4995/icag2023.2023.16824.

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Eileen Gray, was born in Ireland in 1878. One hundred years later, Yvonne Farrell and Shelley McNamara, established Grafton Architects, now Ireland’s most celebrated practice. This paper pulls a thread from Grafton’s great mantle and unravels the seam of Irish women architects all the way back to Gray. Who were those women and where is their architecture? Mostly unknown and generally ignored, their work, often not attributed, has remained hidden or has simply vanished.The progression of Irish women architects during this period cannot be dismissed as just another consequence of international feminism or national progress. In this paper, the first indications of the real story are exposed through investigation of archives and the collection of oral histories, revealing heretofore untold stories and uncelebrated achievements.The narrative is infused with stumbles and false-starts, thwarted promise and moments of startling possiblity. It reveals tales of ambition and daring, deep-rooted social conscience and defiance of perceived gender limitations. Little by little, the women who forged careers through the early and middle years of the twentieth century paved the way for their sisters of the new millenium. The journey is far from over, but made possibile by the threads that stitched the seam from Gray to Grafton.
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Reports on the topic "Little Women (1868)"

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Лозовська, Катерина Олександрівна. Мовленнєвий портрет жінки XIX ст. (на матеріалі роману Л. М. Олкотт «Маленькі жінки»). Видавничий дім «Гельветика», 2021. http://dx.doi.org/10.31812/123456789/4312.

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Стаття присвячена характерним рисам жіночого мовлення (XIX ст.), дослідженим на матеріалі роману Л. М. Олкотт “Little Women”. Роман, написаний у 1868 році, є найбільш популярним та відомим твором авторки, у якому розповідається про життя чотирьох сестер Марч, а саме Маргарет, Джо, Бет та Еммі. Метою роботи є визначення рис, притаманних мовленню жінок за класифікацією Р. Лакофф. До цих рис відносимо використання розділових питань і підвищеної інтонації, вживання семантично «порожньої» лексики, частотне використання лексики, характерної для «жіночих» тем, часте вживання емфази, інтенсифікаторів і модальних часток, використання точних назв кольорів, а також порівняно менше використання засобів створення гумористичного ефекту. Також у роботі досліджено мовлення персонажів відповідно до чотирьох моделей гендерної ідентичності, таких як «Берегиня», «Барбі», «Ділова жінка» та «Феміністка». Згідно з отриманими результатами, найбільш популярною моделлю мовлення жінок у досліджуваному романі є «Барбі», адже головною метою жінок того сторіччя був гарний вигляд як гарантія майбутнього вдалого заміжжя. Друге місце посідає гендерна модель «Берегиня», оскільки жінка мала вести господарство та піклуватися про дітей. Найменш популярними виявились моделі «Ділова жінка» та «Феміністка», втіленням яких у романі є Джо. Наявність такого персонажа пов’язана з тим, що у кінці XVIII ст. – початку XIX ст. виник жіночий феміністичний рух, загальні риси якого отримали своє відображення у мовленні та поведінці Джо. Гендерні моделі «Барбі» та «Берегиня» повністю відповідають характерним рисам жіночого мовлення, наведеним у класифікації Р. Лакофф. Для моделей «Ділова жінка» та «Феміністка» характерною рисою також є використання розділових питань, семантично «порожньої лексики» та інтенсифікаторів. Однак саме у цих гендерних моделях знаходимо риси, що, за стереотипами, не є притаманними жіночому мовленню, а саме часте вживання жартів, менша зосередженість на точних назвах кольорів, розмови на теми, що не належать до суто «жіночих».
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