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Academic literature on the topic 'Bennet, elizabeth'

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Published: 27 July 2024
Last updated: 28 July 2024

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Journal articles on the topic "Bennet, elizabeth"

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Gesmaloni, Gesmaloni. "The power and discrimination of women as seen in jane austen’s Pride and prejudice." Jurnal Ilmiah Langue and Parole 1, no. 1 (June 23, 2017): 105–16. http://dx.doi.org/10.36057/jilp.v1i1.10.

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There is always discrimination against women in any field, as experienced by the main character Elizabeth Bennet in the novel Pride and Prejudice. Because women can not accept the inheritance from their fathers, therefore women are required to marry rich men to improve social class and economic life. Discrimination of women in the inheritance of wealth makes women have to struggle in finding rich men to marry. In the data analysis method the author performs a systematic procedure with a novel understanding, the main character of Elizabeth Bennet and also feminist theory, the technique used in this research is a structural technique by analyzing novels based on the elements that make up. The results of this study found that: 1) the discrimination of women in the inheritance of his father's estate, 2) the main character of Elizabeth Bennett describes the strength of women, because of his firm and wise in facing all problems in his life, 3) the women's struggle was carried out by Elizabeth Bennet in Find his true love and marry on the basis of love until it ends happily, but so many obstacles he faces both from the outside and from himself.
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2

Alba, Julieta Ojeda. "Elizabeth Bennet and Her Weaknesses." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 3-4-5 (March 5, 1996): 57–71. http://dx.doi.org/10.35869/afial.v0i3-4-5.3401.

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Elizabeth Bennet, la heroína de Pride and Prejudice, ha sido considerada por la crítica y por su misma creadora Jane Austen como uno de los más atractivos personajes de la literatura inglesa de todos los tiempos. Este artículo sostiene que, paradójicamente, son precisamente sus debilidades e inconsistencias las que prestan al personaje su atractivo, convirtiéndolo en el motor de la acción.
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Fitzpatrick, Laura. "From Elizabeth Bennet to Barbie." JAMA Dermatology 150, no. 4 (April 1, 2014): 406. http://dx.doi.org/10.1001/jamadermatol.2013.10436.

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4

Deon Rossato, Bianca. "Elizabeth Bennet: a woman of her time." Cadernos do IL, no. 51 (January 4, 2016): 175. http://dx.doi.org/10.22456/2236-6385.52923.

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De Pontes, Francisco Edinaldo, and Francis Willams Brito da Conceição. "Orgulho e Preconceito (1813), de Jane Austen: subversão e submissão a partir das personagens Elizabeth e Jane Bennet." IPOTESI – REVISTA DE ESTUDOS LITERÁRIOS 26, no. 1 (September 15, 2022): 18–37. http://dx.doi.org/10.34019/1982-0836.2022.v26.38070.

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Este trabalho analisa as caracterizações das irmãs Elizabeth e Jane Bennet como representações da subversão e da submissão na Inglaterra oitocentista. No romance Orgulho e Preconceito (1813), de Jane Austen, a investigação se baseou nos aspectos discursivos e comportamentais das personagens irmãs, a partir de leituras de Millett (1970), Muraro (2002), Woolf (2019), dentre outros. Ademais, partiu-se da seguinte hipótese: Elizabeth subverte-se através da fuga do casamento e do apego à leitura, enquanto Jane submete-se pela candura e neutralidade.
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6

Stowe, Simon. "Who Betrays Elizabeth Bennet?: Further Puzzles in Classic Fiction (review)." Philosophy and Literature 24, no. 2 (2000): 480–82. http://dx.doi.org/10.1353/phl.2000.0047.

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7

Greenfield, Susan C. "The Absent-Minded Heroine or, Elizabeth Bennet has a Thought." Eighteenth-Century Studies 39, no. 3 (2006): 337–50. http://dx.doi.org/10.1353/ecs.2006.0005.

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8

Nachumi, Nora. "“I Am Elizabeth Bennet”: Defining One's Self through Austen's Third Novel." Pedagogy 4, no. 1 (January 1, 2004): 119–24. http://dx.doi.org/10.1215/15314200-4-1-119.

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9

Newman, Emily L. "Illustrating Elizabeth Bennet and Mr Darcy: Jane Austen’s Pride and Prejudice." Journal of Illustration 1, no. 2 (October 1, 2014): 233–56. http://dx.doi.org/10.1386/jill.1.2.233_1.

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10

Harris, Jocelyn Margaret. "Jane Austen and celebrity culture: Shakespeare, Dorothy Jordan and Elizabeth Bennet." Shakespeare 6, no. 4 (December 2010): 410–30. http://dx.doi.org/10.1080/17450918.2010.527364.

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Dissertations / Theses on the topic "Bennet, elizabeth"

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Silva, Ricelly JÃder Bezerra da. "A traduÃÃo da personagem Elizabeth Bennet, de Pride & Prejudice, para o cinema." Universidade Federal do CearÃ, 2014. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=12140.

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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel Superior
O objetivo deste trabalho à analisar o processo de traduÃÃo da personagem Elizabeth Bennet, protagonista do romance Pride & Prejudice, publicado em 1813, de autoria da escritora inglesa Jane Austen, para o filme Pride and Prejudice (1940), de Robert Z. Leonard. Em sua obra, Austen constrÃi uma crÃtica a padrÃes socioculturais que relegam posiÃÃo inferior à mulher do sÃculo XIX em relaÃÃo ao sexo masculino. Tal crÃtica està presente de maneira sutil em sua narrativa, principalmente, centrada na personagem Elizabeth Bennet, pois Austen a apresenta como uma mulher inteligente, irÃnica, decidida e ousada; qualidades que nÃo eram associadas ao comportamento feminino durante o sÃculo XIX. Por apresentar personagens femininas de carÃter decidido, suas criaÃÃes ganham qualidade atemporal, sendo projetadas à posteridade por meio de traduÃÃes. Pride & Prejudice foi adaptado pela primeira vez para o cinema hollywoodiano em 1940, na versÃo supracitada de Leonard. E, sendo o cinema um meio que atinge grande pÃblico formado por leitores e nÃo leitores de obras literÃrias, indagamo-nos quais estratÃgias foram empregadas no processo tradutÃrio da referida personagem para a narrativa fÃlmica. Portanto, partimos da hipÃtese de que, ao ser traduzida para as telas, a personagem à reestruturada e a crÃtica à apagada para ceder lugar a uma narrativa cÃmica e romÃntica. Como base teÃrica, utilizamos princÃpios de Estudos da TraduÃÃo: Lefevere (2007), com o conceito de traduÃÃo como Reescritura e Cattrysse (1995), que concebe a adaptaÃÃo fÃlmica como traduÃÃo. Quanto aos estudos de cinema e literatura, utilizamos Martin (2005), Eisenstein (2002) e McFarlane (2010); e no que diz respeito a questÃes literÃrias, utilizamos Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) e Forster (2004). Os resultados mostraram que ocorreram mudanÃas na configuraÃÃo da personagem cinematogrÃfica, obedecendo aos critÃrios do sistema receptor e apagando o teor crÃtico encontrado no romance de Austen. Mostraram ainda que a obra fÃlmica projetou o universo literÃrio do romance para um pÃblico mais amplo, dada as reediÃÃes do romance durante aquela dÃcada, em decorrÃncia da exibiÃÃo do filme.
This dissertation aims at analyzing the process of translating the character of Elizabeth Bennet, protagonist of the novel Pride & Prejudice, first published in 1813 by the English author, Jane Austen, into the film version Pride & Prejudice (1940), by Robert Z. Leonard. In her novel, Austen criticizes sociocultural patters which relegate women to an inferior position in relation to the male sex. Such criticism is subtlety present in the narrative and, especially, in the character of Elizabeth Bennet, who is seen as an intelligent, ironic and decisive woman. These qualities differ from the moral idea of women in nineteenth-century England. The presentation of this type of female character assures her of a timeless quality which is transmitted to posterity by means of translations. Pride & Prejudice was first translated for the Hollywood film in 1940, in the above mentioned Leonardâs version. Since the cinema is a medium that reaches a large audience of both readers and non-readers of literary works, one may question the strategies that are implied in the translation process of such character to the silver screen. It may be correctly assumed that when thus translated, any social criticism presented by the principal literary character tends to give way to a narrative which proposes entertainment, focusing on the love and comical relationship between the protagonists of the novel. The theoretic basis for the present analysis is based on the following concepts of translation: Lefevereâs translation rewriting (2007) and Cattrysseâs postulate (1995) which conceives film adaptation as a type of translation. Concerning film adaptation, Martin (2005), Eisenstein (2002) and McFarlaneâs (2010) studies, which regard cinema as a linguistic art in its own right, were incorporated into our analysis as were those of Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) and Forster (2004), all of whom discuss the structure of the fictional character. Such studies have resulted in a new configuration of the cinematographic character. Based on the criteria on the target system, this configuration permits the deleting of the critical level found in the universe of the novel and introduces the original work to a wider audience, as can be proved by the republishing of the novel in various editions after the release of the film version in 1940.
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2

Silva, Ricelly Jáder Bezerra da. "A tradução da personagem Elizabeth Bennet, de Pride & Prejudice, para o cinema." www.teses.ufc.br, 2014. http://www.repositorio.ufc.br/handle/riufc/8661.

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SILVA, Ricelly Jáder Bezerra da. A tradução da personagem Elizabeth Bennet, de Pride & Prejudice, para o cinema. 2014. 123f. – Dissertação (Mestrado) – Universidade Federal do Ceará, Programa de Pós-graduação em Letras, Fortaleza (CE), 2014.
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This dissertation aims at analyzing the process of translating the character of Elizabeth Bennet, protagonist of the novel Pride & Prejudice, first published in 1813 by the English author, Jane Austen, into the film version Pride & Prejudice (1940), by Robert Z. Leonard. In her novel, Austen criticizes sociocultural patters which relegate women to an inferior position in relation to the male sex. Such criticism is subtlety present in the narrative and, especially, in the character of Elizabeth Bennet, who is seen as an intelligent, ironic and decisive woman. These qualities differ from the moral idea of women in nineteenth-century England. The presentation of this type of female character assures her of a timeless quality which is transmitted to posterity by means of translations. Pride & Prejudice was first translated for the Hollywood film in 1940, in the above mentioned Leonard’s version. Since the cinema is a medium that reaches a large audience of both readers and non-readers of literary works, one may question the strategies that are implied in the translation process of such character to the silver screen. It may be correctly assumed that when thus translated, any social criticism presented by the principal literary character tends to give way to a narrative which proposes entertainment, focusing on the love and comical relationship between the protagonists of the novel. The theoretic basis for the present analysis is based on the following concepts of translation: Lefevere’s translation rewriting (2007) and Cattrysse’s postulate (1995) which conceives film adaptation as a type of translation. Concerning film adaptation, Martin (2005), Eisenstein (2002) and McFarlane’s (2010) studies, which regard cinema as a linguistic art in its own right, were incorporated into our analysis as were those of Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) and Forster (2004), all of whom discuss the structure of the fictional character. Such studies have resulted in a new configuration of the cinematographic character. Based on the criteria on the target system, this configuration permits the deleting of the critical level found in the universe of the novel and introduces the original work to a wider audience, as can be proved by the republishing of the novel in various editions after the release of the film version in 1940.
O objetivo deste trabalho é analisar o processo de tradução da personagem Elizabeth Bennet, protagonista do romance Pride & Prejudice, publicado em 1813, de autoria da escritora inglesa Jane Austen, para o filme Pride and Prejudice (1940), de Robert Z. Leonard. Em sua obra, Austen constrói uma crítica a padrões socioculturais que relegam posição inferior à mulher do século XIX em relação ao sexo masculino. Tal crítica está presente de maneira sutil em sua narrativa, principalmente, centrada na personagem Elizabeth Bennet, pois Austen a apresenta como uma mulher inteligente, irônica, decidida e ousada; qualidades que não eram associadas ao comportamento feminino durante o século XIX. Por apresentar personagens femininas de caráter decidido, suas criações ganham qualidade atemporal, sendo projetadas à posteridade por meio de traduções. Pride & Prejudice foi adaptado pela primeira vez para o cinema hollywoodiano em 1940, na versão supracitada de Leonard. E, sendo o cinema um meio que atinge grande público formado por leitores e não leitores de obras literárias, indagamo-nos quais estratégias foram empregadas no processo tradutório da referida personagem para a narrativa fílmica. Portanto, partimos da hipótese de que, ao ser traduzida para as telas, a personagem é reestruturada e a crítica é apagada para ceder lugar a uma narrativa cômica e romântica. Como base teórica, utilizamos princípios de Estudos da Tradução: Lefevere (2007), com o conceito de tradução como Reescritura e Cattrysse (1995), que concebe a adaptação fílmica como tradução. Quanto aos estudos de cinema e literatura, utilizamos Martin (2005), Eisenstein (2002) e McFarlane (2010); e no que diz respeito a questões literárias, utilizamos Candido (2011), Rosenfeld (2011), Bakhtin (2011), Gomes (2011) e Forster (2004). Os resultados mostraram que ocorreram mudanças na configuração da personagem cinematográfica, obedecendo aos critérios do sistema receptor e apagando o teor crítico encontrado no romance de Austen. Mostraram ainda que a obra fílmica projetou o universo literário do romance para um público mais amplo, dada as reedições do romance durante aquela década, em decorrência da exibição do filme.
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Berggren, Elin. "Characterization in Social Satire : A comparative analysis of the heroines Elizabeth Bennet in Jane Austenʼs Pride and Prejudice, and Becky Sharp in William Makepeace Thackerayʼs Vanity Fair." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-40753.

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This essay presents a comparative analysis of the characterizations of the female protagonists Elizabeth Bennet in Jane Austen̕ s Pride and Prejudice (1813), and Becky Sharp in William Makepeace Thackeray̕ s Vanity Fair (1847-1848). The analysis is conducted from a gender perspective, and with the use of feminist criticism. The two novels complement each other since they are both satirical images of society, concerning aspects such as class and gender. Also, both novels  portray women climbing the class ladder, during the period of the Napoleonic wars. In the comparison, the main focus lies on the social satire constructed around the heroines of these novels. I come to the conclusion that Austen̕ s and Thackeray̕ s characterizations are very different from each other, mainly due to their different satirical approaches. This conclusion is put in relation to a patriarchal context and to feminist values.
I denna uppsats presenteras en komparativ analys av karaktäriseringarna av de kvinnliga huvudkaraktärerna Elizabeth Bennet i Jane Austens Stolthet och Fördom (1813), och Becky Sharp i William Makepeace Thackerays Vanity Fair (1847-1848). Analysen är utförd från ett genusperspektiv, och med användning av feministisk samhällskritik. De två romanerna kompletterar varandra då de båda är satiriska illustreringar av samhället, och både rör aspekter såsom klass och genus. Dessutom porträtterar båda novellerna klassklättrande kvinnor under tiden för Napoleonkrigen. I jämförelsen ligger största fokuset på samhällssatiren konstruerad kring hjältinnorna i de båda romanerna. Jag når slutsatsen att Austens och Thackerays karaktäriseringar skiljer sig mycket från varandra, främst på grund av författarnas skilda förhållningssätt till sin satir. Denna slutsats relateras till en patriarkal kontext, samt till feministiska värderingar.
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4

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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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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Abrahamsson, Joffrey Levi. "Elizabeth Bennet's Intelligence : A Reading of Class and Gender Conventions And Transgressions in Jane Austen's Pride and Prejudice." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35416.

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In Pride and Prejudice by Jane Austen, gender roles and gender expectations relate to class differences in a system of social convention which operates to delimit all of the characters - men and women, rich people and less privileged people - to a greater or lesser extent, in a way which reflects actual class and gender structures in England around 1800. The most important strain of social commentary on gender and class in the novel is constituted by the characterisation of Elizabeth Bennet. She is associated with intelligence in a way which is vital to her successful breach of gender and class conventions. This essay starts out from Susan Morgan’s ”Intelligence in Pride and Prejudice” and will extend her arguments in my reading of the novel to prove that Elizabeth’s intelligence allows her to transgress social conventions related to gender and class more successfully than other characters and arrive at a happy ending despite having defied social convention. A number of other characters also represent a breach of class and gender conventions. Lydia Bennet elopes with Mr. Wickham, which at the time was considered scandalous. Mr. Darcy tries to ignore his affection for Elizabeth but fails to do so. In comparison to the unconventionality of Elizabeth, who manages to overcome every obstacle by relying on her intelligence in a way which also benefits Darcy and secures a happy ending for him as well, their transgressions are not as successful.
Sammanfattning I Jane Austens Pride and Prejudice så relaterar könsroller och könsförväntningar till klassskillnader i ett system av sociala konventioner som fokuserar på att begränsa alla karaktärer, t.ex. kvinnor, män, rika och fattiga , till en större eller mindre utsträckning samt på ett sätt som reflekterar faktiska köns och klasstrukturer i England runt 1800-talet. De viktigaste sociala kommentarerna som rör köns- och klassteman i novellen utgörs av Elizabeth Bennets karaktärisering. Hon associeras med intelligens på ett sätt som är betydande för hennes lyckade överträdande mot köns- och klasskonventioner. Denna uppsats utgår från Susan Morgans ”Intelligence in Pride and Prejudice” och kommer förlänga hennes argument inom min läsning av romanen för att bevisa att Elizabeths intelligens tillåter henne att överträda sociala konventioner relaterade till genus och status på ett framgångsrikare sätt än andra karaktärer samt åstadkomma ett lyckligt slut trots att hon utmanat sociala konventioner. Andra karaktärer i romanen representerar också ett överträdande mot köns- och klasskonventioner. Lydia Bennet rymmer med Mr Wickham, vilket under den tiden ansågs vara skandalöst. Mr Darcy försöker ignorera sina känslor för Elizabeth men lyckas inte. I jämförelse med Elizabeth, som genom att förlita sig på sin intelligens lyckas överkomma varje hinder på ett sätt som också gynnar Darcy och även säkrar ett lyckligt slut för honom, så är de andra karaktärernas överträdande inte lika framgångsrikt.
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Pedersen, Jessica. "Gender in Pride and Prejudice : A look at gender roles relating to the characters Elizabeth and Lydia Bennet." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-101421.

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This essay will discuss gender in Pride and Prejudice, the timeless work by Jane Austen. It also discusses how a teacher might approach the subject of gender roles in a classroom environment based on a reading project featuring Pride and Prejudice. The different theories will include theories regarding gender as a social concept, gender roles and pedagogical implications. This essay argues that the gender roles in Pride and Prejudice can be used in an EFL classroom to increase students' awareness of gender and gender roles.
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Barakat, Kareen. "Unsmiling Lips and Dull Eyes: A Study of Why We Continue to Read Jane Austen." FIU Digital Commons, 2017. https://digitalcommons.fiu.edu/etd/3559.

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The purpose of this thesis is to take a closer look at Jane Austen’s work and understand the importance of it in both the academic and cultural sphere. With a specific focus on Pride and Prejudice, this research starts with a focus on feminist readings of the novel. Primarily, this research looks at the novel with a feminist lens in order to better understand the female characters and their involvement in the marriage plot. Secondarily, the research goes on to look at the cultural impact of Pride and Prejudice and attempts to understand the ways in which this novel re-appears in different adaptations. Finally, the research suggests that there should be a new way of reading Austen that better fits contemporary society. Despite how far removed Jane Austen’s world may seem, her work remains important and worth studying. This thesis argues in favor of the appreciation of Jane Austen’s work both academically and culturally.
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Blom, Elin. "Contrasting Attitudes Toward Marriage in Pride and Prejudice: Elizabeth Bennet's Disregard for the Contemporary Marital Conventions." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-15275.

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Through a liberal feminist perspective, this essay investigates the unconventional marital views of the fictional character Elizabeth Bennet. These are analyzed and compared to the traditional marital opinions of the novel's social environment. Moreover, the historical context is important in understanding the marital views in Pride and Prejudice, because the novel was written at a time when the views toward marriage changed significantly. This paper argues that Elizabeth's behavior, expressed opinions and rejections of Mr. Collins's and Mr. Darcy's proposals depict liberal feminist ideas of marriage. The literary review supports the notion that there are two contrasting attitudes toward marriage in Pride and Prejudice: the traditional view and the liberal feminist view. The thorough examination of Elizabeth Bennet's character strongly suggests that she represents the unconventional view of marriage, while characters such as Mr. Collins, Mrs. Bennet, and Charlotte Lucas voice the traditional view of marriage. Furthermore, an analysis of Mr. Darcy's attraction toward Elizabeth indicates that it was Elizabeth's very unconventionality that made Mr. Darcy fall in love with her.
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Ludtke, Laura Elizabeth. "The lightscape of literary London, 1880-1950." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:99e199bf-6a17-4635-bfbf-0f38a02c6319.

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From the first electric lights in London along Pall Mall, and in the Holborn Viaduct in 1878 to the nationalisation of National Grid in 1947, the narrative of the simple ascendency of a new technology over its outdated predecessor is essential to the way we have imagined electric light in London at the end of the nineteenth century. However, as this thesis will demonstrate, the interplay between gas and electric light - two co-existing and competing illuminary technologies - created a particular and peculiar landscape of light, a 'lightscape', setting London apart from its contemporaries throughout the late nineteenth and early twentieth centuries. Indeed, this narrative forms the basis of many assertions made in critical discussions of artificial illumination and technology in the late-twentieth century; however, this was not how electric light was understood at the time nor does it capture how electric light both captivated and eluded the imagination of contemporary Londoners. The influence of the electric light in the representations of London is certainly a literary question, as many of those writing during this period of electrification are particularly attentive to the city's rich and diverse lightscape. Though this has yet to be made explicit in existing scholarship, electric lights are the nexus of several important and ongoing discourses in the study of Victorian, Post-Victorian, Modernist, and twentieth-century literature. This thesis will address how the literary influence of the electric light and its relationship with its illuminary predecessors transcends the widespread electrification of London to engage with an imaginary London, providing not only a connection with our past experiences and conceptions of the city, modernity, and technology but also an understanding of what Frank Mort describes as the 'long cultural reach of the nineteenth century into the post-war period'.
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Books on the topic "Bennet, elizabeth"

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Harold, Bloom, ed. Elizabeth Bennet. Philadelphia: Chelsea House, 2004.

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John, Sutherland. Who betrays Elizabeth Bennet?: Further puzzles in classic fiction. Oxford: Oxford University Press, 1999.

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1775-1817, Austen Jane, ed. Being Elizabeth Bennet: Create your own Jane Austen adventure. London: Atlantic, 2008.

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G, Bennett John. Idiots in Paris: Diaries of J.G. Bennett and Elizabeth Bennett, 1949. York Beach, Me: S. Weiser, 1991.

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G, Bennett John. Idiots in Paris: Diaries of J.G. Bennett and Elizabeth Bennett, 1949. Santa Fe, N.M: Bennett Books, 2008.

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6

Berdoll, Linda. Darcy & Elizabeth: At home at Pemberley. Naperville, Ill: Sourcebooks Landmark, 2006.

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D, James P. Death comes to Pemberley. New York: Random House Large Print, 2011.

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Grange, Amanda. Mr. Darcy, vampyre. Naperville, Ill: Sourcebooks Landmark, 2009.

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Grange, Amanda. Mr. Darcy, vampyre. Naperville, Ill: Sourcebooks Landmark, 2009.

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Ṭaharlev, Ben-Shaḥar Erʼelah, ed. יומנו של מר דארסי. Ḳiryat Gat: Ḳorʼim, 2008.

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Book chapters on the topic "Bennet, elizabeth"

1

Bourbon, Brett. "Elizabeth Bennet, the Socrates of Descriptive Reason." In Jane Austen and the Ethics of Description, 23–30. New York: Routledge, 2022. http://dx.doi.org/10.4324/9781003331445-4.

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Birk, Hanne, Marion Gymnich, Sarah Cordes, Sarah Fißmer, Corinna Jörres, Christine Lehnen, and Manuela Zehnter. "Elizabeth Bennet: A Heroine Past and/or Present?" In Pride and Prejudice 2.0, 291–302. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737004527.291.

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Burger, Bettina. "Is Elizabeth Bennet really a heroine for our time?" In Pride and Prejudice 2.0, 303–10. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737004527.303.

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Bhattacharji, Shobhana. "The Gloom and Cheerfulness of Childe Harold and Elizabeth Bennet." In Byron, 151–63. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230611047_15.

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Burkhard, Denise, and Simone Fleischer. "Have a Fan-tastic 200th Birthday, Lizzy! – Elizabeth Bennet in Recent Fan Fiction." In Pride and Prejudice 2.0, 311–22. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737004527.311.

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Mitchell, Marea, and Dianne Osland. "‘It Was Happy She Took a Good Course’: Saving Elizabeth Bennet in Pride and Prejudice." In Representing Women and Female Desire from Arcadia to Jane Eyre, 158–74. London: Palgrave Macmillan UK, 2005. http://dx.doi.org/10.1057/9780230504370_8.

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Baumann, Uwe. "Elizabeth Bennet, Liebe und Ehe – Untersuchungen zu Jane Austens Pride and Prejudice und den deutschen Übersetzungen des Romans." In Pride and Prejudice 2.0, 77–150. Göttingen: V&R Unipress, 2015. http://dx.doi.org/10.14220/9783737004527.77.

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"Elizabeth Bennet." In Routledge Library Editions: Jane Austen, 54–75. Routledge, 2013. http://dx.doi.org/10.4324/9780203810392-8.

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Rowson, Martin. "Who betrays Elizabeth Bennet?" In The Literary Detective, 489–94. Oxford University PressNew York, NY, 2000. http://dx.doi.org/10.1093/oso/9780192100368.003.0069.

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Abstract:
Abstract Elizabeth Bennet’s final put-down of Lady Catherine de Bourgh in Volume III, Chapter 14 of Pride and Prejudice ranks with Lady Bracknell and the handbag as one of the most memorable scenes in literature. As Jane Austen tells it, it is a conflict of battleaxe versus rapier with the old battleaxe comprehensively vanquished. Lady Catherine flies the field with her magnificently hollow rebuke: ‘I take no leave of you, Miss Bennet. I send no compliments to your mother. You deserve no such attention. I am most seriously displeased’ (p. 318). What has so seriously displeased Lady Catherine is the report that Elizabeth is about to become engaged to Darcy –– a marital prize she has reserved for her own daughter Anne. The couple are ‘tacitly’ engaged –– she loftily tells Miss Bennet. But, as she is obliged to add:’ The engagement between them is of a peculiar kind’ (p. 315). The de Bourghs have not troubled, that is, to secure the young man’s compliance in the matter.
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"Elizabeth Bennet—Humbled Heroine." In Teaching Character Education through Literature, 60–87. Routledge, 2005. http://dx.doi.org/10.4324/9780203299838-14.

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