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1
Lavigne, Valérie. „« Féminiflores » : le motif de la femme-fleur dans l'imaginaire décadent“. Electronic Thesis or Diss., Université Côte d'Azur, 2024. https://theses.hal.science/tel-05000838.
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Le motif de la femme-fleur, récurrent dans les représentations littéraires et iconographiques de la fin du XIXe siècle, a un sens spécifique dans l'imaginaire décadent. Un large corpus de romans, de nouvelles et de poèmes, organisé notamment autour des œuvres de Jane de La Vaudère et de Félicien Champsaur, ainsi que de tableaux, d'affiches et de lithographies, faisant la part belle aux œuvres d'Edmond Rocher, de Georges de Feure et d'autres artistes Art nouveau, permet de rendre compte de son succès entre 1880 et 1910 et d'analyser ses caractéristiques symboliques. En lien avec un contexte de misogynie avérée d'une part et d'engouement pour l'horticulture d'autre part, la parenté entre femme et fleur témoigne des obsessions d'une époque. La femme-fleur est l'une des modalités de la femme fatale, figure d'une essence féminine séductrice et duplice, à la fois belle et dangereuse. La thèse s'attache non seulement à mettre au jour la fécondité des images florales pour dire la femme fatale, mais aussi à montrer qu'elles ont pour effet d'érotiser et d'esthétiser cette figure du féminin fatal, d'en faire à la fois un objet de désir et un objet d'art. Le travail est organisé en trois parties : l'enracinement du motif de la femme-fleur dans l'esthétique décadente, l'éclosion d'un érotisme floral, et l'épanouissement d'une icône 1900. La première partie vise à identifier et analyser les traits caractéristiques des femmes-fleurs décadentes, envisagées comme des parangons de cette esthétique. La deuxième partie étudie la portée érotique de l'association entre femme et fleur, détaillant comment les dimensions concrètes et symboliques de la fleur permettent de décrire le sexe et la sexualité. La troisième partie traite de la consécration et de la codification du motif de la femme-fleur, devenu emblématique au début du XXe siècle, marquant le triomphe de son caractère ornemental sur son caractère fatal. Ce parcours souligne que le motif de la femme-fleur est crucial dans l'imaginaire décadent, dont il cristallise plusieurs dimensions, et permet de conclure à une objectification et à une minoration symbolique du féminin par les images floralesThe motif of the flower-woman, widespread in literature and the pictorial arts at the end of the nineteenth century, carries specific meaning in the Decadent movement. Through a broad corpus of novels, short stories and poems, centered on Jane de La Vaudère and Félicien Champsaur, as well as paintings, posters and lithographs by various Art nouveau artists like Edmond Rocher and Georges de Feure, this dissertation accounts for the trope's success between 1880 and 1910, and analyzes its symbolic characteristics. In a context marked by blatant misogyny and horticultural enthusiasm, the link between women and flowers encapsulates the obsessions of an era. The flower-woman is one of the many facets of the femme fatale, a figure of the seductive and duplicitous female, both beautiful and dangerous. The thesis not only sheds light on the fecundity of floral images to express the femme fatale, but also shows that they serve to eroticize and aestheticize it, making it both an object of desire and a work of art. The dissertation is organized in three parts: the rooting of the flower-woman motif in Decadent aesthetics, the blossoming of a floral eroticism, and the flourishing of a 1900 icon. The first part identifies and analyzes the characteristic traits of decadent flower-women, considered as paragons of this aesthetic. The second part studies the erotic scope of the association between woman and flower, detailing how the concrete and symbolic aspects of flowers express sex and sexuality. The third part considers the consecration and codification of the motif of the flower-woman, which became emblematic at the beginning of the twentieth century, marking the triumph of its ornamental character over its fatal character. This thesis shows that the flower-woman motif is crucial in the Decadent movement, of which it crystallizes several dimensions, and that the floral images objectify and debase the female gender
2
French, Esther. „Sadie Jane“. TopSCHOLAR®, 2019. https://digitalcommons.wku.edu/theses/3161.
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Sadie Jane is a novella set in the town of Gypsum, a fictional location in rural Kentucky. The introduction covers the inspiration for the novella, which is based on Southern storytelling traditions and features the adventures of Sadie Jane, an independent octogenarian who returns to her hometown after many years. Sadie experiences the internal challenges of regrets and grief as well as the external challenges of busybodies and car thieves before finding her place in the community.
3
Caldas, Marina Oliveira. „Pelos olhos de Jane: o in between em Jane Eyre“. Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09012018-181955/.
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A presente dissertação tem como objetivo investigar a sedimentação sócio-histórica do romance de estreia de Charlotte Brontë, Jane Eyre (1847), a partir de seu foco narrativo. Ao atentar à fortuna crítica da obra, em especial às resenhas que seguiram a publicação do romance e às críticas materialista e feminista, distinguem-se duas tendências, dois modos de entender Jane Eyre. Por meio da análise de trechos do romance, visa-se ilustrar como essas duas vias de leitura são possíveis por conta da posição ambígua da narradora-personagem dentro da sociedade vitoriana. Expandindo o conceito de Terry Eagleton do in between, argumenta-se que, por estar sempre em uma posição entre as classes alta e baixa e por desejar inserção, Jane relata e denuncia as violências que permeiam a sociedade vitoriana e, ao mesmo tempo, incorpora o discurso dominante, mesmo quando esse vai contra ela mesma. Entende-se, assim, que o romance retrata a situação contraditória da classe média e o impacto de viver nessa posição na própria consciência do indivíduo, isto é, na sua visão de si e do mundo, como observado na voz da narradora de Jane Eyre.The aim of this dissertation is to investigate the social and historical sedimentation of Charlotte Brontës 1847 debut novel, Jane Eyre, by exploring its point of view. Drawing from the novels literary criticism, especially from the reviews that followed its publication and from the Feminist and Marxist criticism, two different ways of understanding Jane Eyre are distinguished. The close reading of excerpts from Charlotte Brontës work aims at highlighting that these two readings are possible due to the narrators ambiguous position in the Victorian social structure. By expanding Terry Eagletons concept of the in between, it is discussed that, since Jane is from the very beginning of the novel in a position between the upper and lower classes and she longs for inclusion, she accounts on and denounces the violence that permeated the Victorian society, just as, at the same time, she incorporates the dominant discourse even when it speaks against herself. Thus, it is understood that the novel portrays the contradictory situation of the petty bourgeoisie and the impact of being in such a position on the individuals consciousness, as it is seen in Jane Eyres narrators voice.
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Glosson, Sarah G. „Performing Jane: a cultural history of Jane Austen's fans in America“. W&M ScholarWorks, 2015. https://scholarworks.wm.edu/etd/1539720290.
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Jane Austen's American fans have a vibrant history. This dissertation traces how fans have sustained devotion to Austen, her works, and her world since the early nineteenth century through a set of practices still current among fans today: collecting objects and knowledge; writing imitative works; and carrying out literary pilgrimage.;I argue that these three modes of engagement are performative. Through practices such as creating and collecting material objects, and writing and reading fan fiction, fans engage in acts of what Joseph Roach has called surrogation. This is a performative means through which fans seek a substitute for a past affective experience that can never be repeated in the same way, such as reading a beloved novel for the first time. These acts take place within the everyday lives of fans who seek pleasure from Austen's world. Through pilgrimage fans enter into a liminal space, apart from the quotidian, where they may perform subjectivity as fans. These performances are enacted during pilgrimage to Austen-related sites, as well as to special events like those sponsored by the Jane Austen Society of North America.;Throughout this dissertation I offer evidence of fan practices overlooked or underrepresented by past studies. This evidence reveals nearly two hundred years of continuity within the American Austen fandom. These fans enjoy a nostalgic, personal connection to Austen, her characters, and her era. their practices offer means of entering Austen's world, seeking pleasure, fulfillment, and community; they also offer means of re-engaging with the original texts, always in search of something new within the familiar.;This case study of Jane Austen fandom contributes to the larger understanding of fans and fan practices. The Austen fandom boasts unique qualities and has a history predating the term "fan," yet it resembles recent popular culture media fandoms. Through a history of three modes of fan practices, I describe and theorize how performativity and surrogation work within fandom, proposing new, more specific ways of understanding the subjectivity, history, and practices of fans---representing prevalent and creative ways American culture consumes literature and narrative media.
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Stensson, Anna-Maja. „Jane Eyre av Charlotte Brontë? : En komparativ analys av Charlotte Brontës Jane Eyre och en lättläst adaptation av Jane Eyre“. Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-47932.
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Sedan 1968 har det producerats lättlästa böcker i Sverige. Lättlästa böcker som riktar sig till vuxna läsare som har någon form av svårighet med att läsa. Den här uppsatsen presenterar en komparativ analys av Charlotte Brontës Jane Eyre och en svensk lättläst adaptation av romanen. Uppsatsen handlar om vad som händer när ett litterärt verk omarbetas till en lättläst text. Analysen berör skillnader och likheter i vad som berättas och hur det berättas. De båda verken diskuteras parallellt. Det ges även en presentation av vad lättlästa böcker är. Resultatet visar på att det finns skillnader mellan de två verken och att adaptationen är en mycket förkortad och förenklad version av originalet, där det både har tagits bort men även gjorts ändringar i handlingen.
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Johansson, Agneta. „The Struggle Within Jane“. Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-6904.
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Begum, Jinat Rehana. „Jane Austen's early readers“. Thesis, University of York, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533498.
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James, Nicola. „Jane Gardam : religious writer“. Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7628/.
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This thesis examines the work of the award-winning contemporary English short story and novel writer Jane Gardam. It proposes that much of her achievement and craft stems from her engagement with religion. It draws on Gardam’s published works from 1971 to 2014 including children’s books and adult novels. While Gardam has been reviewed widely, there is little serious critical appreciation of her fiction and there are misreadings of the influence of religion in her work. I therefore analyse the religious dimensions of her stories: the language, stylistics and hermeneutic of Gardam’s three religious influences, namely the Anglo-Catholic, Benedictine and Quaker movements and how she sites them within her work. The thesis proposes lectio divina, arguably an ancient form of contemporary reader-response criticism, as a framework to describe the Word’s religious agency when embedded or alluded to in fiction. It also considers and applies critical discussion on the medieval concept of the aevum, a literary religious space. Finally, I suggest that religious writing such as Gardam’s has a place in the as yet unexplored ‘poetic’ strand of Receptive Ecumenism, a new movement that seeks to address reception of the Word between members of different faith communities. Having examined many aspects of Gardam’s writing, its history and potential, I conclude that her achievement owes much to her engagement with particular and divergent forms of religious life and practice.
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Trunel, Lucile Cachin Marie-Françoise Ogée Frédéric. „Les éditions françaises de l'oeuvre de Jane Austen (1815-2007) : l'apport de l'histoire éditoriale à la compréhension de la réception de l'auteur en France /“. [S. l.] : [s. n.], 2008. http://catalogue.bnf.fr/ark:/12148/cb41260867p.
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Thèse de doctorat--Sociétés anglophones--Paris 7, 2008.Contient un résumé en anglais. Bibliogr. et webliogr. p. 508-538. Chronologie de la vie de Jane Austen p. 539-540. Table des éditions française de Jane Austen p. 541-547. Notes bibliogr. Index.
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Edwards, John Stephan. „'Jane the Quene': A new consideration of Lady Jane Grey, England's nine-days queen“. Connect to online resource, 2007. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3256390.
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Urrejola, Dobiasch Anouschka. „"Jane only smiles, I laugh" zur Poetik des Lachens in den Romanen Jane Austens“. Trier Wiss. Verl. Trier, 2007. http://www.wvttrier.de/top/Beschreibungen/ID602.html.
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Müller, Luciane Oliveira. „Revisiting Jane Austin : a reading of Karen Joy Fowler's The Jane Austen Book Club“. reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/102206.
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Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo.Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.
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Lindsmyr, Christina. „Jane Austen - Pride and Prejudice“. Thesis, Halmstad University, School of Humanities (HUM), 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-827.
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Evoy, Karen. „Jane Austen : women and power“. Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=66161.
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Halsey, K. E. „Jane Austen and reading women“. Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.603600.
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Part One of my dissertation explores Jane Austen’s attitudes towards female readers, as manifested both in the fictionalised scenes of reading in her novels and in her complex and allusive use of her own reading in both the novels and her letters. I contextualise Austen’s novels within eighteenth-century anxieties about reading women and women’s reading, specifically discussing Austen’s interactions with the conservative conduct literature of the mid- to late-eighteenth century. Through a discussion of Austen’s relationship with her literary predecessors, I suggest that her style presupposes a reader familiar with both the allusions she makes and the constraints of propriety within which a female writer must express herself indirectly or allusively. I argue that such a style, itself enacting the dictates of propriety, actually encourages readings that question the conservation ideologies that the novels’ marriage plots appear to support. Part Two examines the responses of female readers to Austen’s novels, to some extent testing the hypothesis set out in the first half, and, in the process, reassessing Jane Austen’s place in female literary history. In these chapters, I consider extra-textual factors, such as the changing cultural status of the novel, the varying significance of Austen’s literary reputation and social pressures on female readers, which play an important role in determining women readers’ responses to Austen. I argue that Austen’s influence on her literary successors and on female literary history needs to be reconceptualised in ways that focus not only on literary influence, but on the culturally-contingent motivations that push female readers towards complicit, oppositional or appropriate readings of a female author. This kind of reassessment elucidates Austen’s relationship to her literary successors as well as challenging the assumptions that underpin existing versions of Austen’s reception history.
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Byrne, Paula Jayne. „Jane Austen and the theatre“. Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.343860.
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Counts, Diane M. „Jane Austen's powers of consciousness“. Huntington, WV : [Marshall University Libraries], 2003. http://www.marshall.edu/etd/descript.asp?ref=228.
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Newell, Jessica. „Jane Dulaney Hilbert: Appalachian Aviator“. Digital Commons @ East Tennessee State University, 2018. https://dc.etsu.edu/asrf/2018/schedule/177.
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Jane Dulaney Hilbert: Appalachian Aviator
Jessica Newell
The Archives of Appalachia preserves the papers of Jane Dulaney Hilbert (1911-2004) who was a prominent aviator in the Tri-Cities area during the formative years of commercial air travel. Born in Bristol, Hilbert took up flying in 1930 when a local businessman offered her lessons to increase publicity for his airfield. Hilbert was one of the first women in Virginia to earn a pilot’s license and soon after joined Eastern Air Transport as a flight attendant. She later became American Airlines’ first female airport manager and trained servicemen, including students from East Tennessee State University, to fly during the Second World War. She and her husband Joseph Louis Hilbert ran the Appalachian Flying Service at Tri-Cities Airport from 1937 to 1968. This paper seeks to shed light on Hilbert’s contributions to the development of commercial air transport in East Tennessee. Furthermore, pilots like Hilbert often faced obstacles when attempting to join the male-dominated aviation industry. Her story reflects the international conversation about the capabilities of female aviators during the early twentieth century. This project draws on the correspondence, diaries, flight logs, official records, photographs, and news media held in the Joseph Louis and Jane Dulaney Hilbert Collection. The research involved studying these resources to understand Jane Dulaney Hilbert’s professional career and how it relates to the struggles of other female pilots. For example, the collection includes a 1937 issue of The New York Woman magazine in which Hilbert is interviewed about career prospects for women in aviation alongside Amelia Earhart. In addition, secondary sources about the history of commercial aviation, organizational theory about how the airlines tailored gender roles for pilots and support staff, and the development of flight in Eastern Tennessee place the discussion of Hilbert’s career within a wider historical and cultural context. Hilbert’s archival materials demonstrate that she played a significant role in the success of commercial aviation in Appalachia. This paper serves as a companion piece to a future exhibit at the Archives of Appalachia detailing her life and career using documents and artifacts from the collection. Overall, this project gives Jane Dulaney Hilbert deserved recognition as an inspirational Appalachian figure.
19
Castillo, Heather Christine. „Jane Eyre's Gricean conversational portrait“. CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1641.
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Smith, Matthew Morel Michel. „Représentation et instrumentalisation du sujet narratif "character" chez Jane Austen /“. Nancy : Université Nancy 2, 2002. http://cyberdoc.univ-nancy2.fr/htdocs/docs_ouvert/doc127/2002NAN21004.pdf.
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Costa, Fabianne Rodrigues. „A representação feminina em Orgulho e preconceito, de Jane Austen e Jane Eyre, de Charlotte Brontë“. Universidade Federal do Amazonas, 2015. http://tede.ufam.edu.br/handle/tede/4985.
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Literature has always been marked by the presence male writers, and texts called canons were written by men. Thus, for a long time women's representation was made only by male literary tradition. In this context, the women writers were trying to enter, searching a space and trying to create a literary tradition of its own. Jane Austen (1775-1817) and Charlotte Brontë (1816-1855) are examples of authors who innovated English literature, as both presented a literary production that stands out for critical and reflective thoughts on the position of women this in the English society of their time. Pride and Prejudice and Jane Eyre are presented as controversial works, due to bring out many controversial points and create debates about representation of women in English society between the eighteenth and nineteenth centuries. Using the Comparative Literature as a basis for the implementation of this research, we´re going to analyze the representation of women in English society of the eighteenth and nineteenth centuries comparing the works Pride and Prejudice, by Jane Austen and Jane Eyre, by Charlotte Brontë. As representatives of English literature, the authors stand out for their unique languages and their works. Each in its own way, and through its characters, made important contributions to the female literary tradition that formed. However, many literary critics argue the idea that the authors present different representations of women's role in English society of their time, generating controversy surrounding their work. It should be noted, however, that the authors are the result of different centuries, literary periods and movements and therefore had different perceptions about the society in which they were living. But above all, through their works, we noticed that the authors showed how the women’s representation changes in the face of historical and social changes in British society during the Georgian and Victorian Eras. We believe that this research will also be used to investigate and analyze such opinions. Thus, this study will bring a contribution to the female authorship studies, since the works were written by authors who deal with issues of women's invisibility. And the analysis of works will show the representation of society from a female point of view.
A literatura sempre foi um campo marcado pela presença masculina, de modo que textos chamados cânones foram escritos por homens. Assim, por muito tempo a representação feminina foi feita apenas pela tradição literária masculina. É nesse contexto que as escritoras foram se inserindo, buscando um espaço e tentando criar uma tradição literária só sua. Jane Austen (1775-1817) e Charlotte Brontë (1816-1855) são exemplos de autoras que inovaram a literatura inglesa, pois ambas apresentaram uma produção literária que se destaca pelo caráter crítico e reflexivo sobre a sociedade inglesa da época e da posição da mulher nesta. Orgulho e Preconceito e Jane Eyre se apresentam como obras controversas, em razão de trazer à tona muitos pontos polêmicos e de criar debates acerca da representação da mulher na sociedade inglesa entre os séculos XVIII e XIX. Tendo a Literatura Comparada como base para a execução desta pesquisa, buscamos analisar qual a representação da mulher na sociedade inglesa dos séculos XVIII e XIX por meio da comparação das obras Orgulho e Preconceito, de Jane Austen, e Jane Eyre, de Charlotte Brontë. Como representantes da literatura inglesa, as autoras se destacam por suas linguagens peculiares e por suas obras. Cada uma, a seu modo, e por meio de suas personagens, deram importantes contribuições para a tradição literária feminina que se formava. Muitos críticos literários defendem a ideia de que as autoras apresentam diferentes representações do papel da mulher na sociedade inglesa da época, gerando polêmica em torno de seus trabalhos. Ressalta-se, entretanto, que as autoras são frutos de diferentes séculos, períodos e movimentos literários e, por isso, tinham diferentes percepções acerca da sociedade em que estavam inseridas. Mas, acima disso tudo, percebemos que, por meio de suas obras, as autoras evidenciaram como a representação feminina muda frente às mudanças históricas e sociais da sociedade inglesa durante os períodos georgiano e vitoriano. Acreditamos que esta pesquisa também servirá para investigar e analisar tais opiniões. Deste modo, este estudo trará uma contribuição para os estudos de autoria feminina, uma vez que as obras foram escritas por autoras que lidavam com as questões da invisibilidade feminina conferida às mulheres de seu tempo. E a análise de obras que exprimem a perspectiva feminina mostrará a leitura da sociedade sob o ponto de vista feminino.
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Andersson, Angela. „Identity and Independence in Jane Eyre“. Thesis, Mittuniversitetet, Institutionen för humaniora, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-15134.
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Bath, Randeep Kaur. „Jane Austen as a feminist moralist /“. Title page and contents only, 1991. http://web4.library.adelaide.edu.au/theses/09AR/09arb331.pdf.
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Pereira, Bárbara Albuquerque. „Mulheres nas obras de Jane Austen“. Universidade do Estado do Rio de Janeiro, 2015. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=8509.
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Fundação de Amparo à Pesquisa do Estado do Rio de JaneiroConsiderando-se o papel representado pela literatura diante da formação de novas subjetividades, esta pesquisa investigou os discursos acerca do feminino presentes em três romances de autoria feminina do século XIX Razão e sensibilidade, Orgulho e Preconceito e Mansfield Park da romancista Jane Austen, uma das escritoras mais aclamadas da Inglaterra. Utilizando-se os personagens femininos desses romances e como eles se posicionam diante das relações afetivas e sociais, buscou-se estabelecer um paralelo entre a literatura e a história das mulheres. Sendo considerada uma das responsáveis pela consolidação do gênero romanesco inglês, Jane Austen insere em seus romances a questão da feminilidade como histórica e socialmente construída, além de ser ela própria também um exemplo da desconstrução dos papéis femininos, já que escreveu num tempo no qual a vida literária não era um espaço que as mulheres deveriam ocupar. No entanto, muitas vezes, tanto a discussão sobre as representações das mulheres nas suas obras, como a própria representatividade da autora para o campo de atuação das mulheres inglesas são negligenciados devido a uma leitura superficial de seus romances. Assim, este trabalho buscou dialogar com a história das mulheres, enriquecendo este campo de estudo, trazendo novos dados e formas de pensar as relações das mulheres na sociedade, através da literatura, além de objetivar dar mais destaque à romancista dentro deste campo de estudo. Não foi intenção fazer uma análise literária das obras, mas uma análise dos discursos existentes por trás dos papéis femininos nos romances escritos por Jane Austen, enquanto possível espelho da visão social da feminilidade, levando-se em consideração o contexto sócio histórico em que foram escritas
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Wynne, Julian. „Modeles de l'inconscient chez jane austen“. Montpellier 3, 1988. http://www.theses.fr/1988MON30005.
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La these commence par une "note liminaire" sur le mot "classique"; cette note definit, implicitement, le but de l'enquete. Car l'argument de la these est le suivant: le statut de "classique" dont jouit jane austen, a ete mal compris jusqu'ici (pour les raisons analysees); repond mieux a l'invite de l'oeuvre austenienne une approche d'inspiration psychanalytique. Tout en presentant le cadre theorique selon lequel cette approche sera appliquee comme etant, en gros, freudien, l'introduction tient a rappeler les reserves, meme de la part des "freudiens", quant a l'apport de l'oeuvre de sigmund freud a la comprehension de l'art et de la feminite - lieu de jonction ou austen, artiste et femme, vient visiblement s'inserer. Les six romans "majeurs" sont abordes individuellement, l'un apres l'autre, dans six chapitres; une division de l'enquete en deux reflete la distinction (que l'auteur de la these considere capitale) entre les quatre romans publies du vivant de la romanciere - donc, intentionnellement - et les deux publies apres sa mort; il est a noter que la chronologie "recue" est modifiee en ce qui concerne "northanger abbey" seulement. Partout dans les six pre- miers chapitres les analyses cherchent a faire ressortir le caractere fonci- erement metaphorique qui sous-tend, selon une interpretation du "contenu latent", la vision austenienne - vision qui, de ce fait, anticipe sur la metapsychologie freudienne. Parmi les resultats importants de cette approche, notre lecture de l'ironie austenienne jette une nouvelle lumiere sur "mans- field park". Un septieme chapitre, consacre a l'ensemble des "juvenilia" et aux ecrits inacheves, laisse entrevoir la direction generale de l'enquete - de la forme a l'informe. C'est ainsi que la conclusion aborde les elements les plus informes - les donnees biographiques - afin d'analyser les termes memes de la notion de l'intention artistique, et d'explorer le dispositif createur a l'arriere-plan de l'oeuvre analysee sans a priori psychobiogra- phique dans le corps de la theseThe thesis begins with a prefatory note on the word 'classic(al)'; this note implicitly defines the aim of the inquiry. For the thesis presents the following argument: up to now, the 'classic(al)' status enjoyed by jane austen has been misunderstood; the invitation of austen's work responds better to an approach drawing on psychanalytical methods. Whilst the introduction presents the theoretical framework according to which this approach is to be applied as being, in general, freudian in character, it underlines the reservations - even of 'freudians' themselves - as to the contribution freud's work makes to the understanding of art and femininity - two co-ordinates, obviously, of 'jane austen', an artist and a woman. The six 'major' novels are treated individually, one after the other, in six chapters; a division of the inquiry into two parts reflects the distinction (which the author consi- ders of capital importance) between the four novels published during the novelist's lifetime - 'intentionally', therefore - and the two published after her death; n. B. That the 'received' chronology is modified only for the situ- ation of 'northanger abbey'. Throughout the first six chapters, the analyses are concerned to bring out the basically metaphorical character which, accor- ding to an interpretation of the latent content, underlies austen's vision - which is seen to adumbrate freud's metapsychology. Amongst the important results of this approach, light is thrown on 'mansfield park' by a new reading of austen's irony. A seventh chapter, devoted to the 'juvenilia' and unfin- ished writings, affords a glimpse of the general direction of the inquiry - from form to the unformed. And the conclusion examines the least formed ele- ments - biographical data - with a view to analysing the terms of artistic intention itself, and to exploring the creative apparatus behind the oeuvre which has been analysed in the main body of the thesis without psychobio- graphical a prioris
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Geoffroy, Madeleine. „Jane eyre : quete, initiation et realisation“. Grenoble 3, 1987. http://www.theses.fr/1987GRE39036.
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Premiere partie : jane : quete spirituelle ou voyage symbolique vers le centre jane, orpheline part a la quete du bonheur. Tout au long de son chemin, a chaque etape de son periple symbolisee par une demeure, l'heroine connait des tribulations; elle doit faire face aussi chaque fois a un severe protagoniste: a gateshead, mrs reed la rejette; a lowood, brocklehurst seme privation et mort; thornfield abrite la tentation de la chair symbolisee par le maitre du domaine, mr rochester qui la fait fuir du paradis terrestre; moorhouse voudrait faire d'elle une martyre soumise au fanatisme de st john mais ferndean l'attend au dernier detour du chemin pour la faire penetrer au sein de la beatitude. Durant ce long voyage regne une atmosphere etrange que les elements, reflets de l'ame et de la lutte de jane viennent assombrir ou eclairer. Deuxieme partie : rochester : epreuves et initiation etre de roc, de feu et de sang, ayant connu une jeunesse tumultueuse et trop attire par les desirs terrestres, il doit subir une initiation douloureuse, veritable transmutation alchimique l'obligeant a accepter les epreuves et la mort symbolique avant de le faire renaitre a une autre vie aupres de jane venue seulement alors le rejoindre. Troisieme partie : charlotte : ecriture et realisation charlotte bronte se cachait derriere ses heros. A travers la joie que lui apporta l'ecriture se revele l'experience poignante que fut sa vie, initiation douloureuse durant laquelle les privations, la souffrance et la mort sevirent dans le sombre presbytere de haworth; puis son coeur mis a nu brula sur le brasier ardent du renoncement a son retour de bruxelles. Cette grande et tragique experience sentimentale allait lui ouvrir pourtant toute grandes les portes de l'art. Combien immense fut l'allegement du poids de la vie, puissante sa vengeance, epanoui enfin son etre que l'inhibition avait fui lorsque le succes la fit penetrer dans le jardin de la notoriete eternelle mais charlotte devait succomber prematurement a ce bonheur trop tard venu malheureusementFirst part : jane : her spiritual quest or symbolical journey towards the centre jane, an orphan sets out in search of happiness. All along the road, at each stage of her progress symbolised by a dwelling place, the heroine meets trials. Each time she has to cope with a severe protagonist too : at gateshead, mrs reed rejects her; at lowood, brocklehurst is sowing starvation and death; thornfield shelters temptation symbolised by the master of the estate, mr rochester who causes her to fly the garden of eden; moorhouse would like to make a martyr of her under the influence of st john's fanaticism but ferndean is waiting for her at the last turning of her way and leads her last steps towards bliss. Throughout that long journey a strange atmosphere is prevailing, enhanced by the elements reflecting jane's feelings and struggle. Second part : rochester's trials and initiation a son of rock and fire, having experienced an eventful youth, too much attracted by earthly desires he must undergo a painful initiation, a genuine alchemical transmutation in which he almost meets his doom. But this death is metaphorical, his suffering and wounds symbolical and soon he comes to life again to enjoy the return of jane for ever. Third part : charlotte : writing and accomplishment charlotte bronte is in fact hiding herself behind her heroes. Throughout the enthralling experience of writing, the heartbreaking events of her life are revealed; it was indeed an excruciating initiation : not only did hardship and death reign supreme over the dismal parsonage but after her return from brussels her heart, laying bare, burnt on the fiery furnace of renunciation. And yet her sentimental suffering opened the way to her genius and art. When success opened the door to an eternal fame, the burden of her life, her frustration and inhibition vanished. Unfortunately at the prospect of happiness which had come too late, charlotte was about to meet an unti
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Fontes, Sofia Alexandra Correia Rodrigues Dias. „Formas do Inacabado em Jane Campion“. Master's thesis, Universidade de Aveiro, 2002. http://hdl.handle.net/10773/21914.
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Mestrado em Estudos InglesesNa minha dissertação, “Formas do Inacabado ou a Improbabilidade da Plenitude na obra de Jane Campion”, optei por não me debruçar sobre cada um dos filmes da realizadora Neozelandesa, de uma forma cronológica ou exaustiva, mas sim por analisar a sua maioria de acordo com as escolhas temáticas evidenciadas, e por me referir a alguns apenas em relação a uma qualquer dimensão específica explorada mais profundamente num outro espaço, mas de interesse com vista à consecução dos objectivos propostos. Preside a este trabalho a convicção de que Campion representa um desafio para o nosso tempo, na medida em que a complexidade dos seus filmes questiona as noções comummente aceites de verdade, significado, normalidade, realidade, poder e cinema. Defendo, assim, que a sua rebeldia perante a imposição de regulamentar significados contraria uma tendência generalizada no sentido da supressão da diferença e da alteridade. O desafio de Campion deriva da forma como impregna os seus filmes de formas plurais do inacabado, tanto na escolha dos contos que conta, como na criação dos seus personagens ou ainda na resolução das suas narrativas, particularmente, no que concerne o final dos seus filmes. Defendo que tal suspensão não é senão o reflexo da sugestão de Campion de que a plenitude, o Todo, na vida, e, nomeadamente na vida de uma mulher, é altamente improvável. Abordo o lugar de Jane Campion no contexto do debate feminista contemporâneo, articulando a representação preferencial da autora de experiências femininas muito singulares, com a sua escolha intencional de frequentemente menosprezar, e mesmo ridicularizar num tom amargo, as posições ideológicas patriarcais, movimentando-se para além dos limites de representação e significados convencionais, sabotando a racionalidade. Concluo a presente dissertação concentrando-me na forma como o ‘incompleteness’ em Campion contribuíu para elevar a cineasta ao estatuto de auteur.
In my dissertation, “A Sense of Incompleteness or The Improbability of Wholeness in Jane Campion’s Work”, I chose not to focus on each of Jane Campion’s films in a chronological or exhaustive way, but rather to look at most of them, according to the director’s choice of content, and at some only in relation to a specific dimension explored deeper elsewhere, of interest to the purpose of the dissertation. My claim throughout this work is that Jane Campion presents a challenge to our time, in that the complexity of her films defies commonsense notions of truth, meaning, normality, reality, power and the film experience. I suggest that her defiance of the desire to regulate meaning disputes a general tendency to the suppression of difference / alterity. Campion’s challenge derives from her unique way of delivering viewers a pervasive sense of incompleteness, either in her choice of tales to tell, her construction of characters or the unfolding of the narratives told, particularly her endings. I argue that such incompletenesses are but the reflection of Campion’s suggestion that wholeness in life, and particularly, in women’s life, either in the past or nowadays, is highly improbable. I discuss Jane Campion’s place within the context of feminist politics, articulating her preferential representation of specific female experiences, with her intentional choice to often undermine, even bitterly ridicule, patriarchal ideological positions, working beyond the boundaries of conventional representation and meaning and sabotaging the rationality of consciousness, whilst alluding to the director’s resistance to easy labelling. I conclude the work by concentrating on how Campion’s incompleteness has contributed to promote her to the level of auteur.
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Geoffroy, Madeleine. „Jane Eyre quête, initiation et réalisation /“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376053890.
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Wynne, Julian. „Modèles de l'inconscient chez Jane Austen“. Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37619265w.
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Sancarlo, Gilda <1987>. „Anti-heroines in Jane Austen's novels“. Master's Degree Thesis, Università Ca' Foscari Venezia, 2012. http://hdl.handle.net/10579/1503.
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Analisi dei ruoli e delle funzioni narratologiche svolte dalle antieroine nei romanzi di Jane Austen. In sei capitoli, ognuno dei quali prende in considerazione un singolo romanzo, le anti-eroine vengono presentate individualmente, in modo da evidenziare la loro relazione con l'eroina corrispondente e la loro funzione all'interno del romanzo nel suo complesso. In un ultimo capitolo di stampo narratologico, vengono evidenziate alcune somiglianze e differenze nella presentazione e nelle funzioni delle varie antieroine.
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Nelson, Heather. „"Till this moment, I never knew myself" : developing self, love, and art in Jane Austen's Sense and sensibility, Pride and prejudice, and Emma /“. Electronic thesis, 2005. http://etd.wfu.edu/theses/available/etd-06022005-194043/.
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Isaksson, Terese. „Jane, hennes älskade och hans hustru : En läsdidaktisk litteraturanalys av Charlotte Brontës Jane Eyre och Jean Rhys Sargassohavet“. Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-167360.
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Karlsson, Caroline. „Jane Austen : Hennes dialoger och hennes samtid“. Thesis, Jönköping University, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:hj:diva-7830.
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Jane Austen
Her dialogues and the time in which she lived
This essay is about the dialogues in Jane Austen’s novels and what they say about the time she lived in. The interest for Austen comes from the “Austen movies” I’ve seen the latest year.
AIM AND FRAMING OF QUESTIONS My aim has been to compare the contents in the dialogues with the fact in the biographies. The questions are:
What do the dialogues say about the convention, the behaviour, manners and the form of address? What does it say about young men and women and about the marriage? Are the dialogues supported by the content in the biographies? Did Jane Austen really write realistic?
METHOD AND MATERIAL The method was to read the novels and then the biographies. I divided the empiric material in different categories and based it on the fact in the biographies. I have read Sense and sensibility, Pride and prejudice, Mansfield Park and Persuasion. The biographies I have used are for example Valerie Grosvenor Myer’s Obstinate Heart Jane Austen A Biography, Carol Shield’s Jane Austen.
RESULTS I found that the text and the dialogues and contents in Austen’s novels are realistic. She has not made up own rules for convention and behaviour but lets her characters act in a normal way.
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Erdogan, Gokcen. „Control Of The Readers In Jane Austen“. Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1218098/index.pdf.
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This thesis analyses techniques employed by Jane Austen in Emma and
Sense &Sensibility to control the readers when they make judgements about characters and events.The thesis will argue that the point of view used in these two novels to present events and characters has great influence upon readers. In addition, the role of skilful use of irony by Austen, and witholding of information by characters and author in keeping readers alert will be analysed.
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Murphy, Olivia. „Jane Austen's critical art of the novel“. Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.547781.
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Catsikis, Phyllis Joyce. „"Unfolding" the letter in Jane Austen's novels“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape11/PQDD_0005/MQ43843.pdf.
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Spiekermann, Jane Anna [Verfasser]. „Gewalttätige Frauen und Mentalisierung / Jane Anna Spiekermann“. Ulm : Universität Ulm. Medizinische Fakultät, 2013. http://d-nb.info/103310910X/34.
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Tandon, Bharat. „Jane Austen and the morality of conversation“. Thesis, University of Cambridge, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.337094.
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Wu, Yih Dau. „Jane Austen and the poetics of waiting“. Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610602.
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Taylor, Maria Dolores. „Religion in Jane Austen's life and works“. Thesis, Birkbeck (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429191.
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Massei, Marie-Laure. „L'argent dans les romans de Jane Austen“. Paris 4, 2005. http://www.theses.fr/2005PA040156.
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Qu'il soit lié à la consommation, au mariage ou à l'héritage, l'argent se trouve au cœur des romans et de la correspondance de Jane Austen (1775-1817). A une époque où les lois de la gentry anglaise entravaient l'accès des femmes au pouvoir financier, l'argent ne pouvait que susciter des sentiments ambivalents, d'angoisse ou de fascination. En marge de la gentry et du marriage market par son impécuniosité, Austen utilise l'argent comme une clef d'exploration multiple dans ses romans, où il génère une circulation complexe. Ce motif littéraire permet ainsi de représenter la mobilité sociale caractéristique d'une époque de mutations, qui voyait l'affrontement de fortunes d'origines différentes. Face aux dangers induits par les déviances pécuniaires, le conservatisme et les valeurs morales de la romancière transparaissent dans son évocation de la gestion de l'estate. Austen dénonce cependant la violence des pratiques patriarcales comme l'entail et leurs effets sur la psyché féminine. Au cœur d'une stratégie de dévoilement subversive, l'argent participe en fait du double registre métaphorique et symbolique pour évoquer la sexualité féminine et masculine et, partant, révéler la face cachée de la société de l'époqueMoney is a central theme in Jane Austen's novels and letters, through its links to the recurring questions of consumption, marriage and inheritance. At a time when women were denied financial power in the gentry, money was both a subject of anxiety and fascination. Handicapped on the marriage market by her position as a relatively poor member of the urban gentry, Austen uses the money motif as a means of exploration in her novels, in which it generates a complex circulation. Money enables her to represent the social mobility characteristic of a period of transformations, as fortunes of different origins competed for power. The novelist's conservatism stands out in her depiction of the management of the estate, since the assertion of moral values helps her confront the increasing pecuniary deviances at the beginning of the 19th century. However, Jane Austen also denounces the sheer violence of patriarchal practices, such as the entailing of estates, and their effects on the female psyche. A deeper level of analysis reveals that money is at the core of a subversive strategy of unveiling, since its metaphorical and symbolical potential leads to a daring exploration of the taboo of sexuality
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Sun, Shuo. „The reception of Jane Austen in China“. Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/38499/.
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In China, Jane Austen is today widely acknowledged as one of the greatest English writers. Yet her literary reputation has altered greatly since her works were first introduced to Chinese readers in the early decades of the twentieth century. This thesis will examine and explain the major changes in the Chinese reception of Austen in light of the political, social, and cultural upheavals experienced by the country over the last century. The introduction will provide a historical overview of Chinese translation and criticism of Austen’s novels. During the first half of the twentieth century, Austen was generally disapproved of by Chinese critics for restricting her writing to a limited social sphere and her fame therefore grew slowly. I will discuss the influence of Chinese political history on critical assessments regarding Austen’s conservatism and realism. Following the establishment of the People’s Republic of China in 1949, Marxism came to dominate the literary and cultural scenes. As a consequence, some Chinese translators attempted to incorporate Austen’s works into a Marxist canon, but failed. I will investigate the profound impact of the Communist Party’s political campaigns on the translation and reception of Western literature in China from the 1950s to the 1970s. However, since the 1980s Austen has enjoyed a rapid rise in critical reputation and popularity in China, with her six major novels all appearing in Chinese. However, there are presently significant differences in the reception of each of these novels. The six main chapters of this thesis will examine the reasons behind the popularity of Pride and Prejudice, Sense and Sensibility, and Emma and the relative obscurity of Mansfield Park, Northanger Abbey, and Persuasion. In doing so, I will explore Chinese critics’ views of Austen’s connection to feminism, conservatism, and romanticism as well as areas of literary debate in her time. I will demonstrate the radical changes in Chinese approaches to Austen’s works in recent decades. This thesis also aims to compare the reception of Austen in China to that in Britain, and contains questionnaire and interview surveys that were conducted among undergraduate students at the University of Nottingham’s China and UK campuses.
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Scharff, Kathleen Clark. „Evil in the Works of Jane Austen“. W&M ScholarWorks, 1986. https://scholarworks.wm.edu/etd/1539625357.
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Chowdhury, Pradip Kumar Roy. „Jane Austen : the novelist as an ironist“. Thesis, University of North Bengal, 2007. http://hdl.handle.net/123456789/1169.
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Upfal, Annette. „Jane Austen's hidden portrait gallery : a study of the images and text of the juvenilia's History of England /“. [St. Lucia, Qld.], 2005. http://www.library.uq.edu.au/pdfserve.php?image=thesisabs/absthe19059.pdf.
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Werker, Anke. „By a lady : Jane Austen's female archetypes in fiction and film /“. Le Tilburg (the Netherlands) : Tilburg university press, 1998. http://catalogue.bnf.fr/ark:/12148/cb37560646d.
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Edholm, Carin. „Uppsetting Binary oppositions in Charlotte Brontë's Jane Eyre“. Thesis, Mittuniversitetet, Institutionen för humaniora, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:miun:diva-13368.
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Nascimento, Sandra Mônica do. „Jane Eyre: do romance (1847) ao filme (2011)“. Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/4726.
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Previous issue date: 2014-02-28Financiadora de Estudos e Projetos
This dissertation aims to investigate how the Charlotte Brontë s literary project presents in the novel, Jane Eyre (1847), through female authorship, and, as its transposition into Cinema, the movie version by Cary Joji Fukunaga´s Jane Eyre (2011) occurs. The literary project of the author focuses on the issue of gender and its concern was to give voice to the women of her time. The director´s project for this movie comes from melodrama to the triumph of love search. The purpose of analysis is to understand how the interpretation of this source-novel occurs in the 21st century, with the aim of examining how this story is reread, seeking current interpretive understanding of the novel through the film. Thus, this study will demonstrate the importance of the periodization as proposed by Jameson (1992) for the reading of the novel and its transcreation, according to Campos (2004), considering the relationship between economic s, political, social and aesthetic characteristics of each period, as also teaches Candido (1967). The research was developed through the reading the novel, of the theoretical works about the author as well as the director and analysis of filmic narrative.
Esta dissertação tem por objetivo demonstrar como o projeto literário de Charlotte Brontë se apresenta no romance Jane Eyre (1847), por meio da autoria feminina, como ocorre sua transposição para o Cinema, na versão fílmica, de Cary Joji Fukunaga, Jane Eyre (2011). O projeto literário da autora concentra-se na questão de gênero e sua preocupação foi a de dar voz à mulher de seu tempo. O projeto do diretor para esse filme parte do melodrama para o triunfo da busca pelo amor. O intuito de análise é perceber como ocorre a interpretação desse romance-fonte no século XXI, com o objetivo de analisar como essa história é relida, buscando a compreensão interpretativa desse romance-fonte na atualidade pelo olhar fílmico. Neste âmbito, este estudo demonstrará a importância da periodização conforme proposto por Jameson (1992) para a leitura do romance e de sua transcriação, de acordo com Campos (2004), considerando as relações entre as características econômicas, políticas, sociais e estéticas de cada período, conforme também nos ensina Candido (1967). A pesquisa foi desenvolvida por meio da leitura do romance, de obras teóricas sobre a autora e o diretor e análise da narrativa cinematográfica.
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Geng, Li-ping. „Dialectical elements in the novels of Jane Austen“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0015/NQ45698.pdf.
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Wajsberg, Jeffrey. „Jane Austen's free indirect style : a linguistic ethnography“. Thesis, University of British Columbia, 2012. http://hdl.handle.net/2429/40337.
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This study assesses the relationship between the diffusion of free indirect discourse and the decline of the British epistolary novel in the late-eighteenth and early-nineteenth centuries. Studying the works of a single stylist, Jane Austen, and her engagement with the mobility of the letter genre at the turn of the century, it synthesizes literary-historical, linguistic, and narratological perspectives on discourse representation in order to evaluate claims that Austen was the “pioneer” of this free indirect style, and to comment on how her simultaneous shift in genre from the first-person epistolary mode to third-person classical realism informs that style’s development.