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1
Moode, Michelle C. „Fielding questions“. Thesis, University of Iowa, 2018. https://ir.uiowa.edu/etd/6220.
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2
Auffret-Pignot, Sylvie. „Sarah Fielding (1710-1768)“. Paris 3, 1992. http://www.theses.fr/1993PA030037.
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Sarah fielding etait la soeur de henry fielding et l'amie de samuel richardson. Elle fut a la fois journaliste, romanciere, critique litteraire et traductrice. Tres cultivee, elle possedait parfaitement grec et latin, et traduisit du grec les memorables de xenophon. Peu de femmes a l'epoque avaient ce talent. Son oeuvre comprend huit romans, et le premier ouvrage critique sur clarissa de richardson. David simple (1744) est un roman peripatetique et heuristique, a l'image de joseph andrews. The governess (1749) est le premier roman ecrit pour des enfants, dans la litterature anglaises. Sa philosophie de l'education est d'inspiration lockienne. Le dessein moraliste est omnipresent dans l'oeuvre de sarah feilding , il guide ecriture et lecture. Les autres romans de celle-ci sont une reflexion sur la condition feminine au 18e siecle, sur les relations entre les deux sexes, et sur les rapports de la femme au langage. Son oeuvre est un plaidoyer pour l'instruction des femmes, et pour leur independance morale. Elle annonce mary wollstonecraft et sa vindication of the rights of woman dont le ton est plus agressif et qui defend l'independance economique de la femme (ce concept n'apparait, en revanche, pas chez sarah fielding). Sarah fielding, si elle defend la cause des femmes, n'est pourtant pas un ecrivain revolutionnaire. Le message feministe est tempere par le moralisme de l'auteurSarah fielding was henry fielding's sister and samuel richardson's friend. She was a journalist, a novelist, a critique, and a translator. She was a very learned lady, she mastered greek and latin, and translated xenophon's memorabilia from the greek. Very few women in the 18 th century could make so good translation of a greek classic. Her works include 8 novels, and the first piece of criticism on richardson's clarissa. David simple (1744), her first novel, is a peripatetic and heuristic novel : like joseph andrews. The governess (1749) is the first piece of children's literature. Its philosophy of education is inspired by locke. The moralistic design, related to sarah fielding's latitudinarianism, is prevailing in all her novels. Both writing and reading should be guided by this christian, moralistic aim. Sarah fielding's other novels ponder over women's conditions in 18th century england, male female relationships, and women's relation to language. Her whole work is a plea for woman7s education and moral independence. It announces mary wollstonecraft vindication of the rights of woman, whose tone is nevertheless more aggressive, and defends woman's economic independence ( in sarah fielding's novels this concept doesn't appear)
3
Robertson, Scott. „Henry Fielding literary and theological misplacement /“. Thesis, Thesis restricted. Connect to e-thesis to view abstract, 2008. http://theses.gla.ac.uk/497/.
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Thesis (Ph.D.) - University of Glasgow, 2008.Ph.D. thesis submitted to the Department of Theology and Religious Studies, Faculty of Arts, University of Glasgow, 2008. Includes bibliographical references. Print version also available.
4
Happe, Marguerite 1991, Henry 1707-1754 Fielding und T. Edward Hanley. „Henry Fielding: Early editions in the University of Arizona Libraries with an appendix: Early Editions of Sarah Fielding“. Tucson, Arizona : Department of Special Collections University of Arizona Libraries, 2017. http://hdl.handle.net/10150/625480.
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5
Paquentin, Éric. „L'oeuvre gravé des Fielding : essai de catalogue /“. Paris (2 rue Croix des Petits-Champs, 75001) : É. Paquentin, 1997. http://catalogue.bnf.fr/ark:/12148/cb370674142.
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6
Wong, She-luk Caroline. „Keeping an 'I' out a discourse analysis of Bridget Jones's Diary /“. Click to view the E-thesis via HKUTO, 2006. http://sunzi.lib.hku.hk/hkuto/record/B36723046.
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7
Ogée, Frédéric. „Fielding et l'esthétique : contribution à l'analyse des romans de Henry Fielding à la lumière de l'Analyse de la Beauté de William Hogarth“. Paris 10, 1985. http://www.theses.fr/1985PA100036.
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8
Sneddon, Brian Scott. „A reassessment of the early fiction of Henry Fielding“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0004/NQ35325.pdf.
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9
Iftody, Tammy. „Fielding fandom : reading childhood through popular and participatory culture“. Thesis, University of British Columbia, 2009. http://hdl.handle.net/2429/13701.
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The phrase "fielding fandom" intends to take advantage of the many entailments of
the word field. Designating at once a space or sphere of interest characterized by
joint activity and the processes of picking up, putting into action, and responding
skillfully, this research includes a consideration of the data gathering techniques,
re-presentational strategies, and interpretive skills the contemporary researcher
of popular culture can bring to both playing the field and interpreting a particular
field of play.
In general, this research is an interpretive account of my own close reading
strategies and experiences in relation to those popular cultural texts and
discourses around childhood that have compelled me to “read wrongly” (Weber &
Mitchell, 1995). More specifically, it considers various close encounters that
shaped the interactions between other readers in a participatory context (the
online fan community Television Without Pity) and, as shaped by a particular text
(the Reality TV program Kid Nation). I argue that during these contemporary
literary engagements, the subjects of and for reading were discursively formed as
individuals employed various strategies to negotiate the inherent paradoxes of
the Reality TV text.
Emphasizing the ‘real’ in reading popular cultural texts suggests that it is not an a
priori form, but rather, must be bracketed from the everyday ways in which we
come to know the world. I suggest that reading these texts as a fan-tellectual
evokes game-like epistemologies and situated discursive strategies that may also
be used to inform the ways in which popular and school-based ways of knowing
and forms of knowledge are addressed in the context of teacher education. The
image of the researcher as fan-tellectual suggests that educators, too, should
strive to recognize and take advantage of the many ways of knowing
“(other)wise” (Vinz, 2000) and tolerance for ambiguity and paradox being a fan
entails.
10
Bock, Mary Stewart. „Aspects of style in the novels of Henry Fielding“. Doctoral thesis, University of Cape Town, 1990. http://hdl.handle.net/11427/22437.
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The prefatory essays in Fielding's two major novels Joseph Andrews and Tom Jones foreground his interest in the problems and challenges of the writing of fiction. In the narrative, he experiments with answers to the questions raised in these discursive sections. Analysis of style in these novels also shows a gradual development from the pervasive and self-reflexive irony and the interplay of stylistic modes that characterise the earlier novel to the more confident and increasingly serious authorial voice of the latter. Both Fielding's theoretical concerns and the development in his narrative style help to situate him in relation to eighteenth-century debates about language and the nature of fiction. This thesis attempts to show that appropriate stylistic analysis can reveal connections between the syntactic patterns in the text and the underlying assumptions and broader concerns of the writer. As the first chapter will indicate, the term 'stylistic analysis' covers widely divergent practices proceeding from equally divergent assumptions about the proper scope of stylistics. My a priori assumption is that the literary text is an instance of discourse, of language in use in a communicative situation. Since no single model of discourse analysis is adequate to describe all aspects of literary style, I have drawn from different analytical approaches to illuminate different aspects of Fielding's prose. For the analysis of the rhetorical and expressive values of his syntax, the most productive approach has been the 'functionalist' stylistics of by M.A.K. Halliday, complemented by Roman Jakobson's theory of the poetic function of language. But neither of these approaches is adequate to deal with the specific challenge to the analyst of language in the novel: the diversity of styles and registers that are available to the novelist. Mikhail Bakhtin's theory of novelistic style as 'dialogical' or multi-voiced accommodates the diversity in Fielding's prose and affords insights into both the social-ideological resonances and the artistic function of the language of the texts.
11
Catto, Susan J. „Modest ambition : the influence of Henry Fielding, Samuel Richardson and the ideal of female diffidence on Sarah Fielding, Charlotte Lennox and Frances Brooke“. Thesis, University of Oxford, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.297328.
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12
Vandeveire, Stephanie G. „Mobile Subscriber Equipment: the materiel fielding of a nondevelopmental system“. Thesis, Monterey, California. Naval Postgraduate School, 1994. http://hdl.handle.net/10945/28363.
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Approved for public release; distribution is unlimitedMobile Subscriber Equipment (MSE) is a tactical communications system which provides mobile field radio, telephone, and record traffic for the U.S. Army at corps and division levels. This system went from contract award to materiel fielding in a period of less than two and a half years through the utilization of nondevelopmental item (NDI) acquisition. The accelerated acquisition cycle presented many challenges to the successful deployment of this tactical communications system. This thesis examines the nontraditional methods of materiel fielding which were employed to address the challenges posed by the NDI acquisition of MSE. These nontraditional methods include contractor total package fielding, contractor developed and implemented training, and contractor logistic support. This thesis identifies the implications of these methods as a source of information for those elements of the acquisition community involved in materiel fielding planning. A significant lesson learned is that contractor total package fielding, training, and logistic support are viable alternatives for accomplishing materiel fielding for NDI systems
13
Beden, Nadja. „Femininity and Masculinity in Bridget Jones's Diary by Helen Fielding“. Thesis, Mittuniversitetet, Institutionen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-13976.
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14
Jameson, June. „Sarah Fielding : satire and subversion in the eighteenth-century novel“. Thesis, University of Sunderland, 2008. http://sure.sunderland.ac.uk/3682/.
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This study of Sarah Fielding (1710―68) is an original contribution to Fielding scholarship that has a dual purpose: to support those who are striving to re-introduce her to the modern literary landscape in an effort to restore her eighteenth-century literary standing, and to firmly establish Fielding as an early feminist writer. It is argued here that throughout her oeuvre Fielding challenged prevailing traditions that denied women a choice, particularly in education, employment and marriage. These themes are also considered in the political treatises of Mary Astell (1666―1731) and Mary Wollstonecraft (1759―97), who are now widely recognised as feminist writers. It is further argued that Fielding’s subversion in fiction of the English patriarchal system is underscored by her unorthodox performance in the literary arena. This is fully explored alongside her use of sentimentalism as a literary tool with which she challenges her seemingly inhumane society. Fielding’s interest in ‘the Labyrinths of the Mind’ (in modern terms, human psychology) will also be addressed as will her placement in the history of feminism and her placement in the sentimental novel tradition. Fielding’s performance as a literary critic will be compared with the few female authors who, like her, dared to publish literary criticism during her writing career. Accordingly, extracts from Fielding’s novels and her two critical pamphlets will be thoroughly examined. An updated biography of Fielding that is also included here will provide evidence for a further claim, that her fiction is autobiographical in part. A comprehensive account of Fielding’s performance as a literary critic forms the final chapter of this work. It is the first full-length examination of her contribution to the genre and includes an appraisal of her recently unearthed critical pamphlet entitled A Comparison Between the Horace of Corneille and The Roman Father of Mr. Whitehead (1750) that is yet to be formerly attributed to her. Ultimately this study of Fielding will go far beyond what has previously been written about this remarkable eighteenth-century author, particularly regarding her feminist activity.
15
Kaneko, Y. „All you need is law? : Henry Fielding and his legal novels“. Thesis, Swansea University, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.637756.
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The aim of this thesis is to demonstrate the centrality to Fielding’s novels of matters and questions pertaining to the law. Being a barrister and justice, Fielding regarded himself as in the conservative tradition of the common law, and spoke in defence of his motherland’s legal heritage and wisdom. His admiring attitude towards English law did not, however, lead him to ignore its imperfections. The English Revolution seemed to have established civil liberty and rule of law, but in the age of Fielding the honourable reputation of the rule of law as an abstract principle found itself opposed to problematic practices of the English legal system, for which a corrupt part of the legal profession was partly to blame. Fielding was too keen an observer of the legal crisis not to represent it in his novels. Legal matters are much more than a mere ornament for the novels; they are central to Fielding’s novelistic plans. The first part of the thesis discusses the history of the English legal system and the legal profession up to Fielding’s time. The second part discusses the variety of ways in which the law is represented in Fielding’s four novels. Joseph Andrews casts doubt upon the soundness of the law of evidence and satirises popular attitudes towards evidence; Jonathan Wild gives a caustic picture of society not ruled by law, with the eponymous hero dismantling legal order; Tom Jones poses a legal dilemma of whether or not to obey what conscience dictates when the law seems unable to find effectual measures; Amelia expresses a deep apprehension about the English legal system and its constitution, both seeming to work in such blind and capricious ways that it is difficult for one living under their control to feel that the rule of law protects them.
16
PANSIER, FREDERIC-JER. „Delinquance et chatiment dans l'oeuvre de henry fielding. (essais et romans)“. Montpellier 3, 1988. http://www.theses.fr/1988MON30023.
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En introduction, henry fielding est presente au travers de sa passion du droit. Une premiere partie analyse la delinquance dans l'oeuvre de henry fielding par l'inventaire de ses causes - les inegalites sociales, l'existence de lieux de distraction, l'alcoolisme, le jeu, la liberte des moeurs, le gout de la violence et de l'affrontement et la cupidite - et de ses formes, d'une part en ce qui concerne les delits mineurs et les delits majeurs, d'autre part en distingant, infractions contre les personnes et contre les biens. Une seconde partie etudie le chatiment dans ces oeuvres, par la determination de celui-ci au travers de la procedure penale et des personnes y contribuant, et, par son execution. La reconnaissance du chatiment suppose son effectivite et sa severite, tandis que son application demeure variee, notamment la prison et la peine de mortThe introduction presents henry fielding through his passion for the law. The first part analyses delinquency in his works, first by enumerating the different causes of it - social inequalities, expensive diversions, drunkeness, gaming, sexual liberties, inclination for riot, and cupidity - and then the different forms of it, on the one hand concerning minor and major offences and, on the other hand, distinguishing between offences against the goods, and offences against people. The second part deals with the punishment, determining it by the penal proceedings and by the people acting in the judiciary process, and then, how it is executed. The recognizance of punishment supposes its effectivity and severity, meanwhile its application remains of a great diversity, among others prison and death
17
Pansier, Frédéric-Jérôme. „Délinquance et châtiment dans l'oeuvre de Henry Fielding (essais et romans)“. Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb37617304g.
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18
Fallon, Roger J. „Henry Fielding and the language of morals : an experiment in contextual reading“. Thesis, University of Leicester, 1988. http://hdl.handle.net/2381/34853.
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This historical study attempts a thorough revision of some current assumptions about Fielding's moral 'philosophy'. It endorses the orthodox view that Latitudinarian Anglicanism was a decisive influence, but questions whether the Anglican moralists can usefully be described as exponents of 'benevolism' - their sermons are distinguished most notably by an overriding concern with the inculcation of prudence, and by persistent hortatory appeals to self-interest. 'Prudentialism' is arguably a better term for Latitudinarian ethics, and indeed for that dimension of Fielding's work which is attributable to Anglican influence - above all, the reiterated emphasis on the coincidence of virtue and interest. The Latitudinarian connexion is important. But there were other formative influences, including the 'negative' influence of philosophies with which Fielding disagreed, such as ethical rationalism and psychological egoism. The moral 'philosophy' of Tom Jones is not a rigid conceptual structure: it is a dynamic, and sometimes polemical, response to contemporary ethical debate. This study therefore analyzes Fielding's moral vocabulary by relating it to various other contemporary moral vocabularies. Making constant, detailed reference to chosen contextual sources, it explores Fielding's views on a range of 'live' moral and moral-psychological issues: on the functions of prudence and the grounds of prudential obligation; on the relations between prudential obligation and other moral duties; on benevolence, self-love, and 'disinterestedness'; on the relative status of 'private' and 'public' virtues; on the moral functions of reason and the passions; and on the psychology of moral judgment. This study suggests that Fielding's writings embody a complex and uneasy synthesis of two historically divergent ethical traditions: in his didactic emphasis on interest and his concern with the enlightenment of self-love, Fielding is a literary heir of Anglican prudentialism; in his esteem for the 'heart', he can be seen as an ally of the newer 'sentimental' school of Shaftesbury, Hutcheson and Hume.
19
Ironhill, Christopher, Bryan Otis, Frederick Lancaster, Angel Perez, Diana Ly und Nam Tran. „Small Tactical Unmanned Aerial System (STUAS) Rapid Integration and fielding process (RAIN)“. Thesis, Monterey, California: Naval Postgraduate School, 2013. http://hdl.handle.net/10945/37705.
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SYSTEMS ENGINEERING CAPSTONE PROJECT REPORTApproved for public release; distribution is unlimited
The Department of the Navy (DoN) maintains an inventory of Small Tactical Unmanned Aircraft Systems (STUAS). These systems are designed for payload modularity to support user selection of multiple mission configurations in order to meet any unique mission need. Numerous mission ready payloads have been developed for each system, and only need to be integrated in order to become part of the fielded unmanned aerial system (UAS) configuration. Unfortunately, the DoN does not have a method that maintains sufficient systems engineering (SE) discipline to rapidly integrate and field new mission configurations to the fleet in support of aggressive schedules and urgent user needs. The typical fielding time frame can range from 24 to 36 months, instead of the desired 6 to 18 months. Furthermore, without a sufficient SE approach, risk to mission success is not well understood. This paper captures all applicable requirements for fielding a new capability onto an existing UAS, and using an SE approach, outlines a process to rapidly integrate payloads DoN system. The process identified provides a comprehensive list of integration requirements; a cost, schedule, and performance trade-off analysis; technical risk associated with each tradeoff option; and recommendations on how to best support a rapid fielding timeline.
20
Westmore, Matthew Joseph. „Dynamic flat-fielding of BATSE data and the BATSE all-sky survey“. Thesis, University of Southampton, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.269934.
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21
Ellsworth, Ann Elizabeth. „Resisting Richardson : Sarah Fielding, Frances Sheridan, Charlotte Lennox, and the didactic novel /“. Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9501.
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22
Emeis, Rachel M. „Davies, Fielding, and Dickens the middle temple, literature, and the legal profession /“. Tallahassee, Fla. : Florida State University, 2009. http://purl.fcla.edu/fsu/lib/digcoll/undergraduate/honors-theses/244586.
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23
Budd, Adam. „"Too fond to be here related" : ironic didacticism and the moral analogy in Henry Fielding's Amelia (1751)“. Thesis, McGill University, 1997. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28249.
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This thesis, entitled "Too Fond to Be Here Related": Ironic Didacticism and the Moral Analogy in Henry Fielding's "Amelia" (1751), opens by exploring the current and historical critical reception of Fielding's final extended work of fiction. In an effort to explain Amelia's "failure"---the prevailing assessment among even its more sympathetic critics---I then argue that this experimental novel offers an innovative engagement with David Hume's moral philosophy. The emerging analogy provides a fascinating but previously neglected departure from Samuel Richardson's means of providing moral instruction through a sentimental appeal to upholding a specific social contract; Fielding's unsteady narrator and provocative paradoxical treatment of the novel's protagonists invite us to appreciate the link between Amelia and the progressive social protest novels of the later eighteenth century.
24
Suzuki, Mika. „The 'true use of reading' : Sarah Fielding and mid eighteenth-century literary strategies“. Thesis, Queen Mary, University of London, 1998. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1622.
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The aim of this thesis is to explore, by examining her life and works, how Sarah Fielding (1710-68) established her identity as an author. The definition of her role involves her notions of the functions of writing and reading. Sarah Fielding attempts to invite readers to form a sense of ties by tacit understanding of her messages. As she believes that a work of literature is produced through collaboration between the writer and the reader, it is an important task in her view to show her attentiveness toward reading practice. In her consideration of reading, she has two distinct, even opposite views of her audience: on the one hand a familiar and limited circle of readers with shared moral and cultural values and on the other potential readers among the unknown mass of people. The dual targets direct her to devise various strategies. She tries to appeal to those who can endorse and appreciate her moral values as well as her learning. Her writings and letters testify that she is sensitive to the demands of the literary market, trying to lead the taste of readers by inventing new forms. The thesis opens with an overview of Sarah Fielding's career, followed by a consideration of her critical attention to the roles of reading. I go on to examine the narrative structures and strategies she deploys, with a particular emphasis on her use of the epistolary method. The following chapter deals with her attention to the reading of the moral message tangibly embodied in her educational writing. It is followed by an analysis of the activity which earned her a reputation as a learned woman. Various as the forms of her works are, they invariably reflect her attempt to balance herself between the two demands of inventiveness and familiarity.
25
Audigier, Jean-Pierre. „Autorite et enonciation : defoe, richardson, fielding, sterne, ou le roman (anglais) de l'origine“. Paris 8, 1986. http://www.theses.fr/1986PA080031.
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Il s'agit, au-dela de la specificite du roman anglais, d'apporter une contribution a la grammaire de l'enonciation et a la typologie du discours romanesque en general. Cela a travers: quatre categories servant de crible a l'analyse du discours (interlocuteurs, ordre, figures, temporalite); et une opposition radicale entre un discours "autorise" soucieux de faire comme si l'enonciation ecrite etait immediate, et un discours "autoritaire" proclamant au contraire sa mediatete fondamentale. 1. Discours autorise. 1. 1. Defoe: pseudo-autobiographie et autorisation du "je". Au-dela de l'absence d'auteur, "je" tend a accaparer tous les roles. Ce discours de neophyte, paradoxal, se fonde sur des idiosyncrasies negatives. L'origine fait de l'enonce une metaphore de l'enonciation. Il jouit d'une dyschronie et d'une programmation specifiques. 1. 2. Richardson: epistolarite et autorisation du "tu". L'absence d'auteur se double de l'absence de lecteur. Economie paradoxale et morcelement deplacent l'origine du cote de la 2eme personne. La lettre est a la fois metaphore et metonymie du sexe. Temporellement il y a a la fois synchronie et differement. 2. Discours autoritaire : fielding. Le narrateur, investi de tous les pouvoirs et savoirs, occupe le sommet de la hierarchie. La digression, prerogative autoritaire, met en jeu le principe d'identite. Le voyage fait de l'enonce une metaphore de l'enonciation. Les temps de l'aventure et de l'ecriture sont subordonnes a celui de l'ecriture. 3. L'autorisation autoritaire: sterne. La crise du sujet provient du cumul intenable des deux postures precedentes. La digression, subie, devient passive. Enonce et enonciation sont unis par deux metaphores: la castration et la guerre. La dyschronie est double, le temps a la fois ralenti et accelereWhat is aimed at, beyond the specific englishness of those novels, is some step towards a grammar of literary enunciation. Four categories are used as a pattern for speech analysis (interlocutors, order, figures, time-schemes); plus a basic opposition between "authorized" speech (writing as if written enunciation were immediate) and "authoritary" speech (openly displaying its inherent mediacy). 1. Authorized speech. 1. 1. Defoe: pseudo-autobiography as lst person authorization. There is no such thing as an author; "i" tends to play all the parts. The speech paradoxically relies upon its unprofessionality. The motif of the "origin" turns the story into a metaphor of its enunciation. A specific dyschronism leads to a specific kind of suspense. 1. 2. Richardson: epistolary novel as 2nd person authorization. No author, but no reader either. Broken as it is, the speech proves to be eventually originated by its destinee. The letter is both metaphor and metonymy of the female sex. The attempt at synchronism combines with a systematic procrastination towards a specific suspense. 2. Authoritary speech : fielding. The omnipotent and omniscient narrator rules over the whole hierarchy. Digression, an authoritary prerogative, questions the very principle of identity. Travelling turns the story into a metaphor of its enunciation. Events and reading are temporally enslaved to writing. 3. Authoritary authorization: sterne. The problem of the self reaches a climax through the conflicting combination of the two previous attitudes. Digression, by now passive, entails a new species of writing and reading. Castration and war act as two metaphorical hinges between the story and its enunciation. Dyschronism is twofold; time is both speeded up and slowed down
26
Audigier, Jean-Pierre. „Autorité et énonciation Defoe, Richardson, Fielding, Sterne ou le roman, anglais, de l'origine“. Lille 3 : ANRT, 1987. http://catalogue.bnf.fr/ark:/12148/cb375955835.
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27
Castro, Santana Anaclara. „Errors and reconciliations : marriage in the plays and early novels of Henry Fielding“. Thesis, University of York, 2013. http://etheses.whiterose.ac.uk/5100/.
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This thesis explores Henry Fielding’s fascination with marriage, and the importance of the marriage plot in his plays and early novels. Its main argument is twofold: it contends that Fielding presents marriage as symptomatic of moral and social evils on the one hand, and as a powerful source of moral improvement on the other. It also argues that the author imported and adapted the theatrical marriage plot—a key diegetic structure of stage comedies of the early eighteenth century—into his prose fictions. Following the hypothesis that this was his favourite narrative vehicle, as it proffered harmony between form and content, the thesis illustrates the ways in which Fielding transposed some of the well-established dramatic conventions of the marriage plot into the novel, a genre that was gaining in cultural status at the time. The Introduction provides background information for the study of marriage in Fielding’s work, offering a brief historical contextualization of marital laws and practices before the Marriage Act of 1753. Section One presents close readings of ten representative plays, investigating the writer’s first discovery of the theatrical marriage plot, and the ways in which he appropriated and experimented with it. The four chapters that compose the second part of the thesis trace the interrelated development of the marriage plot and theatrical motifs in Fielding’s early novels, namely Shamela (1741), Joseph Andrews (1742), Jonathan Wild (1743), and The Female Husband (1746). By drawing attention to the continuities between Fielding’s plays and novels, my research challenges the conventional Richardson-Fielding dichotomy, proposing alternative readings that demonstrate that Fielding’s novels are more indebted to their author’s theatrical past than to the factual, but frequently overstated, rivalry with Samuel Richardson. A key argument, which this thesis offers as an innovative contribution, is that the novel form as moulded by Fielding at mid-century has an explicitly theatrical bearing, which has hitherto not been studied.
28
Marques, Mariana Teixeira. „Mistura fina, ou a verdadeira história das Aventuras de David Simple“. Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-10082007-151240/.
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As Aventuras de David Simple, primeiro romance de Sarah Fielding publicado em 1744, foi redescoberto pela crítica anglo-saxã nos anos 60 através da adoção de perspectivas que buscavam questionar as abordagens canônicas no que se refere ao romance moderno como gênero. Neste trabalho, procuramos compreender a contribuição, dentro da história do romance, dos principais estudos acerca de David Simple, e propor uma análise crítica que, aproximando-se do material narrativo, visa a expor como se formulam, no nível da fatura, algumas das questões fundamentais da vida socioeconômica e literária da Inglaterra neste períodoThe Adventures of David Simple, Sarah Fielding\'s first novel published in 1744, was rediscovered by Anglo Saxon critics in the 1960\'s who employed new perspectives that aimed at questioning earlier canonical assumptions regarding the modern novel as a genre. The aim of this research is to understand the contributions, to the history of the novel, of the main studies concerning David Simple, and also to propose a critical analysis that, approaching the narrative material, aims at exposing how the novel formulates, in the managing of its structure and themes, some of the fundamental issues in socioeconomic and literary English life in this period
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Morgan, George MacGregor. „London! O Melancholy! : the eloquence of the body in the town in the English novel of sentiment“. Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2573.
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Morgan reads the treatment of gesture in Clarissa (Richardson, 1747 - 48), Amelia (Fielding,1 751), and Cecilia (Burney, 1782) to study the capacity the sentimental novel attributes to physical forms of eloquence to generate sociability and moderate selfishness in London. He argues that the eighteenth-century English novel of sentiment adopts a physiology derived from Descartes's theory of the body-machine to construct sentimental protagonists whose gestures bear witness against Bernard Mandeville's assertions that people are not naturally sociable, and that self-interest, rather than sympathy, determines absolutely every aspect of human behaviour. However, when studied in the context of sentimental fiction set in the cruel and unsociable metropolis of London, the action of this eloquent body proved relatively ineffectual in changing its spectators for the better. In the English novelistic tradition that stems from Samuel Richardson's Clarissa (1747 - 48), selfishness lies at the roots of civilization, and inculcates modern urban people with instinctively theatrical mores: metropolitan theatricality, marked out in the gestures of the polite body, works to vitiate the sociability that might naturally animate everyday human intercourse. Clarissa responds to the dilemma of the intrinsic theatricality and self-interestedness of modern civil society with a heroine whose gestures (that is, whose physical states) demonstrate an eloquence that partially counteracts some of the effects self-love has upon the metropolis. But while sympathy and natural eloquence do little to diminish London's submission to selfishness, they remain, in Clarissa, unequivocally good. In contrast with Clarissa, Henry Fielding's Amelia (1751) and Frances Burney's Cecilia (1782) criticize both phenomena. In these novels, both by written by socially conservative authors, natural eloquence and sympathy do not generate sociability in London at all and do not even ensure personal virtue unless they are tempered by the discipline of some kind of theatricality. For Fielding and for Burney, unregulated sympathy becomes a problem to which the best remedy is a modicum of stage-craft. But, strangely enough, all three novels indirectly licence the principles of the self-interest they ostensibly attack. Ultimately, these novels of sentiment self-consciously position sympathy and natural eloquence as supplemental discourses that might protest against the dominant practices of Mandevillian self-interest that produce the social order of the metropolis. The net result is that the novel of sentiment implicitly tolerates the dominance of self-interest in the areas of public activity that lie mostly outside the subject-matter with which sentimental fiction principally concerns itself.
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Mace, Rachel Kathryn. „Character on trial : reading and judgement in Henry Fielding's works“. Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/10893.
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To be placed above the Reach of Deceit is to be placed above the Rank of a human Being - Henry Fielding, A Clear State of the Case of Elizabeth Canning, 1753. Throughout his literary and legal careers, Fielding was concerned with the difficulties of reading and judging character accurately. He saw society as being rife with deceptive and duplicitous individuals and articulated his concerns in his writing, offering various advices to his readers. This thesis examines Fielding’s changing approaches to characterization and his proposed methods for judging character. There is a strong tradition within Fielding criticism, particularly prevalent in the mid-twentieth century, of seeing Fielding’s characters as ‘essential’, that is to say, innate and unchanging: the product of his theory of ‘Conservation of Character’. As such, his characters are often deemed easy-to-read and lacking fully-determined internal lives. Since the mid-1990s, however, critics have begun to argue that his characters are more dynamic than first supposed. While critics have noted the role of judgement in Fielding’s novels, it has not yet been explored in depth in his plays. With some notable exceptions, few studies have explored the interrelation between his novels and plays in a sustained way. I argue that Fielding examines questions of discerning character in both his plays and his novels, and that the early plays are essential for understanding the concepts which are central to his theory of judgement. This thesis contributes to studies of Fielding in three ways: by intervening in long-standing discussions of Fielding’s characterization; by analysing themes of good nature, perception and gossip which develop from his early dramatic work into the better-known novels; and by exploring its relationship to wider ideas about character in the eighteenth-century theatre and novel. Beginning with his plays, I consider Fielding’s presentation of the judgement of character in a range of his works from 1728-1753. I suggest that the early plays gave Fielding the space in which to experiment with the presentation of character and his relationship to his audience. His novels build upon concepts first introduced in the plays, such as good nature, perception and gossip, which he suggests are key to perceiving character. Fielding encourages his audiences and readers to engage with character as a process of discovery (as it is in life), but does not punish or mock them when they make mistakes. In doing so, he gives his audiences and readers indulgences he could ill afford in his magisterial career: time for judgement and the luxury of occasionally being proved wrong.
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Bartkuvienė, Vilija. „Humoro vertimas H. Fielding romanuose "Bridžitos Džouns dienoraštis" ir "Bridžitos Džouns dienoraštis:ties proto riba"“. Master's thesis, Lithuanian Academic Libraries Network (LABT), 2005. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2005~D_20051014_140642-35429.
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The paper consists of a Content, Introduction, three chapters (two of them are theoretical, and the last chapter is a practical one), then follows Conclusions, References, Summary and Appendix containing the remnant examples and a piece of information about the author of the novels. In the first chapter the definitions of humour itself and its cultural and linguistic aspects are being discussed. Since humour is rather elusive as a theoretical concept we are going to mention only the definitions or theories that are related to the research. As humour is often culturally specific it nearly always contains some piece of sociocultural information shared between the sender and the recipient. Unless the recipient is aware of it, the joke fails to perform its function. The relevance of E. Nida’s theory of dynamic equivalence to the translation of humour and other translation problems such as cultural and linguistic ones are being analyzed in the second chapter. The problem of this type of translation is that of recasting the humorous effect. Eugene Nida’s theory of dynamic equivalence requires analysing the source language text and then restructuring it before transferring it to the target language in such a way that will make a perfect sense in the target language. The third chapter is a practical one and it deals with the achievements and failures of translating humour in the above-mentioned novels, i.e. Bridget Jones’s Diary and Bridget Jones’s Diary: the Edge of Reason by Helen... [to full text]
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Müller, Patrick. „Latitudinarianism and didacticism in eighteenth century literature moral theology in Fielding, Sterne, and Goldsmith“. Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2007. http://d-nb.info/99168236X/04.
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Barlow, Kathleen P. „Henry Fielding's four journals : the Champion, the True patriot, the Jacobite's journal, the Covent garden journal : on the uses and abuses of language“. Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/774766.
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This study is an examination of Henry Fielding's attitude toward the uses and abuses of language in the four newspapers which he edited: The Champion (1739-40), The True Patriot (1745-46), The Jacobite's Journal (1747-48), The Covent Garden Journal (1752). This exploration begins with a consideration of Fielding's attitude toward the corrupting and corruptible word and the relationship which he saw between the corruption and decline in language and the corruption and decline in ethics and morality. It focuses on these four journals largely neglected by previous Fielding critics, searching them for references to language uses and abuses and for the social theory underlying these remarks. This study moreover traces and investigates Fielding's seventeenth-century philosophical forerunners-Thomas Hobbes, Bernard de Mandeville, Anthony Ashley Cooper Third Earl of Shaftesbury, John Locke--and their profound effect on Fielding's ethos and ethics in particular and on those of the eighteenth century in general. Locke is discussed in most detail because he directly shaped Fielding's attitude toward language.Because language is a major tool of certain learned professions, three chapters examine Fielding's position in his journals on the uses and abuses of language as related to three groups of professionals: the clergy, writers and critics, and lawyers and doctors.This study suggests further areas needing investigation: (1) critical editions of The Champion and The Covent Garden Journal, (2) a comparative study of Fielding's journalistic efforts with those of Addison, Steele, Defoe, and especially Swift, (3) an examination of Fielding's attitude toward women in the four journals, (4) an exploration of the philosophical relationship between Fielding and Locke, (5) a comparison of Fielding's theories of language and society with those of two modern linguistphilosophers--George Orwell and Walter Ong.Fielding attempted in his four journals to restore a language that he saw as fallen into corruption and abuse. Language, he thought, often becomes corrupt first; then the corruptions in society follow. Fielding's four journals provide particularly useful indications of how seriously he took language, how prevalent he found its abuses in the professions of mid-eighteenth-century England, and how he hoped through purifying language to reform society itself in his own time.Department of English
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Aubague, Mathilde. „Ambiguïtés du récit sério-comique de Rabelais à Fielding : formation du personnage, mystification du lecteur“. Thesis, Dijon, 2012. http://www.theses.fr/2012DIJOL017.
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Notre étude se propose d’analyser les enjeux et les formes de la représentation d’une figure d’auteur dans la fiction narrative comique du XVIe au XVIIIe siècle en Europe. Cette figure, extérieure à la diégèse ou appartenant au personnel narratif, exhibe un discours d’auteur, mime un dialogue avec le lecteur, instaurant une communication narrative fictive avec le lecteur. Cette communication apparaît paradoxale, elle représente une parole orale, problématique dans un texte écrit, et la présence réelle de l’auteur est insituable dans le texte, la figure auctoriale appartenant déjà à l’univers fictionnel. Le dialogue avec le lecteur repose sur une fiction de présence et sur un dispositif rhétorique séducteur dont les enjeux sont pragmatiques. Le récit est donné comme porteur d’enseignements. Il thématise une formation du héros souvent sujette à caution, dont le lecteur doit démêler les enjeux. La structure comique du récit et de l’énonciation contribue à une mystification du lecteur, appelé à interpréter un texte ludique, à la fois comique et sérieux, qui refuse de livrer son sens de façon univoque. Du XVIe au XVIIIe siècle se mettent en place, en relation avec leur contexte d’écriture, les formes d’un genre sério-comique, qui repose sur la parodie et le détournement des codes et des formes de la littérature contemporaine, sur l’instauration d’une attitude intellectuelle ironique et critique et d’une communication fictive avec le lecteur. Nous analyserons les formes de l’ambiguïté énonciative et narrative chez Rabelais, chez l’auteur anonyme du Lazarillo, chez Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux et Henry FieldingOur study intends to analyse the stakes and forms of a figure of author’s representation in the comical narrative fiction in Europe from 16th to 18th century. Such figure, either external to the diegesis or belonging to the narrative characters, produces the speech of an author, mimes a dialogue and by doing so, establishes an imaginary narrative communication with the reader. This kind of communication seems paradoxical. It represents oral speech, which is problematic in a written text; the actual presence of the author cannot be placed within the text whereas the auctorial figure already belongs to the fictional world. The dialogue with the author is set on an imaginary presence and on a seducing rhetorical device with pragmatic stakes. Lessons are expected to be drawn from this narrative. It topicalizes the forming of the hero, which is often questionable, and it is up to the reader to untangle the stakes. The comical structure of the narrative and of the enunciation contributes toward a deception of the reader who is expected to give an interpretation of an entertaining text which is both comical and serious, and which refuses to deliver its meaning in a univocal way. From 16th to 18th century forms of a serio-comic gender are established within their writing context. They rely on parody and diversion of the forms and codes of contemporary literature, on the introduction of an ironic and critical intellectual attitude as well as an imaginary interaction with the reader. We will analyse the different forms of enunciative and narrative ambiguity in Rabelais, in the anonymous author of Lazarillo to Mateo Alemán, Cervantès, Charles Sorel, Grimmelshausen, Marivaux to Henry Fielding
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Aubrey, Amanda Leigh. „The Gastonia Novels and Ecofeminism: Rereading the Works of Fielding Burke Grace Lumpkin and Myra Page“. Digital Commons @ East Tennessee State University, 2011. https://dc.etsu.edu/etd/1355.
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This thesis examines Fielding Burke's Call Home the Heart, Grace Lumpkin's To Make My Bread, and Myra Page's Gathering Storm through the lens of ecofeminism, an interdisciplinary theory that contributes the necessary insight into the link between the abuse of power on personal, political, and economic levels that underlies the human oppression and environmental exploitation experienced by the novels' characters and communities. A resurrection of the Gastonia novels through the framework of ecofeminism will contribute to the scholarly discourse regarding this maturing theory as well as intensify the critical body of work concerning the Gastonia novels themselves.
This thesis, in conjunction with the works of instrumental Appalachian scholars, literary critics, and historians as well as major landmark texts in the field of ecofeminism such as Kathy Warren's Ecofeminism: Women, Culture, Nature and Greta Gaard's Ecofeminism: Women, Animals, Nature, purposes to advance the critical standing of the Gastonia novels.
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Cogan, Daniel R. „REpresentational State Transfer in the Modern Internet“. Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/cmc_theses/1387.
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REpresentational State Transfer or REST is the software architecture style most commonly used for Web Application Programming Interfaces (APIs) and was first defined in 2000 by Roy Thomas Fielding in his PhD dissertation Styles and the Design of Network-based Software Architectures and became a standard for the design of the early World Wide Web and Web-based software. The REST standard continues to be influential in the design of Web systems today, however, it was defined over 15 years ago when the Web was still in its infancy. This paper analyzes REST as it was originally defined by Fielding in 2000 and investigates the validity of its original principles in the modern Internet and Web APIs by sampling a number of prominent APIs and their use of REST. REST definitely has drawbacks for certain types of APIs as evidenced by deviations in the majority of sampled APIs. It is not popular with services that are difficult to represent in REST's resource model. However, REST’s popularity has not noticeably decreased since it was defined rather it has most likely increased. Additionally, each use case that is unsupported by REST goes against some REST constraints that crucial in other areas of it implementation. In conclusion, RESTful properties were not only relevant in the late 1990s and early 2000s but continue to be relevant today as evidenced by its continued widespread use by reputable Web APIs.
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Millet, Baudouin Bony Alain. „"Ceci n'est pas un roman" l'évolution du statut de la fiction en Angleterre de 1652 à 1754 /“. Lyon : Université Lumière Lyon 2, 2004. http://demeter.univ-lyon2.fr:8080/sdx/theses/lyon2/2004/millet_b.
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Armstrong, Katherine Anne. „Self-consciousness in mid-eighteenth-century minor fiction : Fielding, the Cervantic and the 'New Species of Writing'“. Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314953.
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McVitty, Debbie. „Familiar collaboration and women writers in eighteenth-century Britain : Elizabeth Griffith, Sarah Fielding and Susannah and Margaret Minifie“. Thesis, University of Oxford, 2007. http://ora.ox.ac.uk/objects/uuid:626a7d25-a7b8-448c-acef-cba199e63f54.
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Between 1740 and 1770, a number of women writers choose to make explicit in their printed texts their collaboration with a ‘familiar’: a family member or close friend. In so doing, they strategically enact their personal relationships through the medium of print in order to claim for themselves a level of literary power and delineate the terms on which they entered the marketplace as authors. This thesis argues that familiar relations expressed along a horizontal axis – those of husband, wife, brother, sister and friend – offer a relatively flexible model of familiar relations in which women could acquire a level of agency in self-definition, supported by ideologies that valued women’s contribution to the polite sphere of sociable conversation. It demonstrates that Elizabeth Griffith, Sarah Fielding, Jane Collier, and Susannah and Margaret Minifie not only engage in collaborative literary production that is thoroughly inflected with the pressures of their historical context but that through familiar collaboration women writers display their professional authorial personae and generate social and literary criticism. Through close readings of carefully selected collaborative texts in the corpus of each writer, including the material history of the texts themselves, and the relationships expressed through those texts, this thesis highlights the complexity with which family relations interacted with print culture in the period. Far from using the familiar relation as a means of modestly retiring to the domestic sphere these women writers used their familiar relations as a basis from which to launch, describe and defend their authorial careers.
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Thompson, Anna Murell. „'The Scar Must Remain': Memory and the First World War in the Ruth Fielding and Beverly Gray Series“. W&M ScholarWorks, 2014. https://scholarworks.wm.edu/etd/1539626750.
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Azeka, Gabriela Hatsue Yuasa. „"Um enjeitado e um sargento de milícias: formação do indivíduo e do romance"“. Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-08062006-102156/.
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Este trabalho busca investigar o processo de formação do romance enquanto gênero literário na Inglaterra do século XVIII, a partir do paradigma estabelecido por Henry Fielding (1707-1754) em TOM JONES (1749), bem como suas reverberações no processo de formação do romance brasileiro em meados do século XIX, através do exame de MEMÓRIAS DE UM SARGENTO DE MILÍCIAS(1854), de Manuel Antônio de Almeida (1831-1861). Propomos que TOM JONES incorpora em sua composição uma tensão entre as chamadas esferas da essência e da aparência, ou entre o âmbito interior, privado e individual frente àquele do exterior, público e inerente ao mundo das convenções sociais, o que remete não apenas ao momento de formação do gênero em questão, mas também às condições históricas do meio onde o romance é produzido a partir da configuração da noção de indivíduo burguês. Tal embate não se articula nas MEMÓRIAS com a mesma complexidade e desenvoltura: novamente isso traz à discussão não somente o momento de formação do romance em solo nacional, mas também a peculiaridade das condições históricas brasileiras, pouco propícias à configuração da noção de indivíduo à época da publicação do livro.This thesis aims at investigating the formation of the novel as a literary genre in eighteenth-century England, from the perspective of the paradigm established by Henry Fielding (1707-1754) in TOM JONES (1749), as well as its reverberations in the formation of the Brazilian novel in mid-nineteenth century, through the examination of MEMÓRIAS DE UM SARGENTO DE MILÍCIAS (1854), by Manuel Antônio de Almeida (1831-1861). We argue that TOM JONES incorporates in its composition the tension between the so-called spheres of the essence and the appearance, or between the scope of the internal, private and individual as opposed to what is external, public and inherent in the world of social conventions. Such a struggle leads us not only to the moment of genre formation, but also to the historical conditions in which the novel is produced, from the perspective of the rise of the bourgeois individual. Such a tension is not articulated in the MEMÓRIAS with the same level of complexity and effectiveness: once more, that brings us not only to the moment of genre formation on Brazilian soil, but also to the peculiarity of the Brazilian historical conditions, not much favourable to the configuration of the notion of the individual at the time the book was published.
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Taujanskaitė, Aurelija. „Pride and Prejudice by Jane Austen and Bridget Jones’s Diary by Helen Fielding: The Situation of Writing a Novel“. Bachelor's thesis, Lithuanian Academic Libraries Network (LABT), 2012. http://vddb.laba.lt/obj/LT-eLABa-0001:E.02~2012~D_20120831_092258-48880.
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The object of the research is Austen’s and Fielding’s situation of writing a novel through their works Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding. Though, these women authors are representatives of the two different epochs of English literature their novels are frequently taken in parallel. In order to carry out the research, the comparative and feminist criticism methods were applied. The comparative methodology was useful in order to analyze the meanings of similarity or distinction in the novels Pride and Prejudice by Austen and Bridget Jones’s Diary by Fielding, also, to compare two different contexts for writing two novels.Tyrimo objektas – Džeinės Austen ir Helenos Fielding romano rašymo situacija remiantis jų kūriniais: Austen Puikybė ir prietarai bei Fielding Bridžitos Džouns dienoraštis. Nors autorės yra skirtingų laikotarpių anglų rašytojos, jų kūriniai yra dažnai lyginami.Bakalauro darbe buvo naudojami lyginamosios bei feministinės kritikos metodai. Lyginamasis metodas buvo taikomas ištirti romanų Puikybė ir prietarai ir Bridžitos Džouns dienoraštis panašumo ar savitumo reikšmes, palyginti kūrinių rašymo kontekstus. Kadangi Austen ir Fielding yra moterys rašytojos, feministinės kritikos metodas buvo naudojamas atskleisti moterų literatūros savitumą.
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Canter, Zachary A. „Tom Jones, Joseph Andrews, and The Canterbury Tales: Parallels in the Comic Genius of Henry Fielding and Geoffrey Chaucer“. Digital Commons @ East Tennessee State University, 2016. https://dc.etsu.edu/etd/3036.
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The parallels between the works of Geoffrey Chaucer and Henry Fielding are very striking. Both authors produced some of the greatest works in English literature, yet very little scholarly investigation has been done regarding these two in relationship with one another. In this work I explore the characters of Chaucer’s Parson and Parson Adams, assessing their strengths and weaknesses through pastoral guides by Gregory the Great and George Herbert, while drawing additional conclusions from John Dryden. I examine the episodic, theatrical nature of both authors’ works, along with the inclusion of fabliau throughout. Finally, I look at the shared motif of knight-errant in the works of both authors and the motion employed throughout the tales as travel narratives. By examining these authors’ works, I contend that Fielding masterfully employs many of Chaucer’s literary techniques in his own tales, crafting them to work specifically for the eighteenth-century novel and its audience.
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Tolley, Rebecca. „Review of Sociology: A Guide to Reference and Information Sources, by Stephen H. Aby, James Nalen, and Lori Fielding“. Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etsu-works/5630.
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Stamoulis, Derek Clarence. „In pursuit of virtue : the moral education of readers in eighteenth-century fiction /“. Title page, contents and preface only, 1991. http://web4.library.adelaide.edu.au/theses/09ARM/09arms783.pdf.
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Hamilton, William John. „"The irrevocable ties of love and law" : rhetorics of desire in Eliza Haywood's contributions to eighteenth-century satire /“. view abstract or download file of text, 2005. http://wwwlib.umi.com/cr/uoregon/fullcit?p3201680.
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Thesis (Ph. D.)--University of Oregon, 2005.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 173-182). Also available for download via the World Wide Web; free to University of Oregon users.
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Leuschner, Eric D. „Prefacing fictions : a history of prefaces to British and American novels /“. free to MU campus, to others for purchase, 2004. http://wwwlib.umi.com/cr/mo/fullcit?p3144435.
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Johansson, Elin. „Genus i skönlitteratur : En komparativ analys av Elizabeth Bennet och Bridget Jones ur ett genusperspektiv“. Thesis, Linnéuniversitetet, Institutionen för svenska språket (SV), 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-49972.
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This thesis analyses protagonist Elizabeth Bennet in Jane Austen’s book Pride and Prejudice (1813) and protagonist Bridget Jones in Helen Fielding’s book Bridget Jones' Diary (1996) from a gender theory perspective. I use a comparative method to analyse how two themes are portrayed in the books: family and marriage and education and career. The study shows that Elizabeth, from a gender perspective, is controlled by the society and her family's expectations that she must marry a man of the right table. Bridget, on the other hand, lives in accordance to the patriarchal norm, but this seems rather appear on a more personal level. Regarding education and career it seems to have gone from seeing this as an important part of being a woman not just for herself personally but also for being more attractive for men, to an objective perspective where education seems to define your work ability instead of the woman herself. The study, in a didactic point of view, can be useful for teachers to help their pupils to see how gender is constructed and deconstructed from time to time. The syllabus of the subject of Swedish gives opportunities for the pupils to discuss and maybe first and foremost problematize gender and equality in both a literary historical perspective and a personal way.
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Widlund, Lina. „In Search of a Man : A Comparative Analysis of the Marriage Plot in Jane Austen’s Pride and Prejudice and Helen Fielding’s Bridget Jones’s Diary“. Thesis, Södertörn University College, School of Language and Culture, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-423.
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Jonsson, Ida. „Petticoats or Miniskirts: A Comparative Analysis of Feminine Narration in Pride and Prejudice and Bridget Jones's Diary“. Thesis, Stockholms universitet, Engelska institutionen, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-164773.
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Abstract Both Pride and Prejudice (Jane Austen) and Bridget Jones’s Diary (Helen Fielding) have been thoroughly examined by literary critics. When discussed from a feminist perspective, critics are ambiguous as some claim that the novels work against feminist values rather than the reverse. This essay aims to add to the existing discussion, with focus on narration, specifically the narrative authority heroines Elizabeth and Bridget claim. Thus, it is situated within feminist narratology, examining the discourse of the narrative rather than the story. Analysis is conducted with Alison Case’s concept feminine narration, where women traditionally have been narrative witnesses without authority. Through acts of plotting and preaching, authority is claimed by which the narrator can control the meaning the reader is meant to derive from the narrative. I argue that Elizabeth and Bridget both assert narrative authority throughout their stories, thus breaking gendered conventions by claiming agency in traditionally male positions. Additionally, the comparative analysis enables discussion on “Chick lit” literary status, which has been questioned by critics. Analysis shows that both Elizabeth and Bridget assert narrative authority throughout their stories, by acts of plotting and preaching. Often, both heroines meet male characters attempting to usurp narrative authority by assuming the role of master-narrator, a figure who traditionally possesses more authority. By avoiding these attempts, Elizabeth and Bridget escape the position as narrative witnesses and claim authority, thus directing the readers towards the intended meaning of respective narratives. Furthermore, the comparative analysis opens up for a broader discussion of issues women have faced, and continue to face, throughout time.