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Relevant bibliographies by topics / Pride and Prejudice literary criticism

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Academic literature on the topic 'Pride and Prejudice literary criticism'

Author: Grafiati

Published: 24 April 2022

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Journal articles on the topic "Pride and Prejudice literary criticism"

1

Fischer-Starcke, Bettina. "Keywords and frequent phrases of Jane Austen’s Pride and Prejudice." International Journal of Corpus Linguistics 14, no. 4 (2009): 492–523. http://dx.doi.org/10.1075/ijcl.14.4.03fis.

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Corpus linguistic analyses reveal meanings and structural features of data, that cannot be detected intuitively. This has been amply demonstrated with regard to non-fiction data, but fiction texts have only rarely been analysed by corpus linguistic techniques. This is the case even though it has been shown by previous analyses that corpus stylistic analyses reveal literary meanings of the data that are left undetected by the intuitive analyses of literary criticism. The analysis of the keywords and most frequent phrases of Jane Austen’s novel Pride and Prejudice presented in this article confi

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2

Terentowicz-Fotyga, Urszula. "Zagubione w Austen: Duma i uprzedzenie w postmodernistycznej odsłonie – między parodią a nostalgią." Przegląd Humanistyczny 63, no. 2 (465) (2019): 151–60. http://dx.doi.org/10.5604/01.3001.0013.5520.

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The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement w

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3

Ma, Xiaoyu. "A Case Study on Characters in Pride and Prejudice: From Perspectives of Speech Act Theory and Conversational Implicature." International Journal of English Linguistics 6, no. 4 (2016): 136. http://dx.doi.org/10.5539/ijel.v6n4p136.

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<p>Speech act theory and conversational implicature, as research approaches in discourse analysis (DA), have been applied successfully to investigations in such fields as philosophy, linguistics, psychology and literature criticism. This paper aims to employ a synthesized model of these two theories to make a tentative study of the “literature language” and the characters in the literary work—<em>Pride and Prejudice</em>—to testify whether these research methods contribute to the readers’ understanding and appreciation of this masterpiece. The results of the study show that,

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4

Steenhuyse, Veerle Van. "Jane Austen fan fiction and the situated fantext." English Text Construction 4, no. 2 (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’

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Marzana, Sara. "One and Many Truths Artistically Acknowledged." Exchanges: The Interdisciplinary Research Journal 5, no. 2 (2018): 90–105. http://dx.doi.org/10.31273/eirj.v5i2.234.

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Jane Austen’s Pride and Prejudice and William Blake’s The Marriage of Heaven and Hell both question, criticise and reinterpret the concept of ‘truth universally acknowledged’. From the intrinsic relation between the particular and the universal, to the scission between impressions and ideas, Pride and Prejudice concerns some elements of the entire dispute of knowledge. Moreover, The Marriage of Heaven and Hell urges us to reconsider any truth that we recognise as legitimately established, in the attempt to convey that it is our right and duty to determine what we believe – according to our sen

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6

Brown, Langdon, and David Pownall. "Pride and Prejudice." Theatre Journal 38, no. 3 (1986): 362. http://dx.doi.org/10.2307/3208054.

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7

Ward, David Allen. "Austen's Pride and Prejudice." Explicator 51, no. 1 (1992): 18–19. http://dx.doi.org/10.1080/00144940.1992.9937960.

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8

Christie, William. "Pride, politics, and prejudice." Nineteenth-Century Contexts 20, no. 3 (1997): 313–34. http://dx.doi.org/10.1080/08905499708583453.

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9

Favret, Mary A. "Frederick Douglass and Pride and Prejudice." Wordsworth Circle 51, no. 3 (2020): 396–415. http://dx.doi.org/10.1086/710216.

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10

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 (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, exa

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