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Publicado: 26 de julio de 2024
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1

Diederich, Susanne. "Invasion of Pacific oysters (Crassostrea gigas) in the Wadden Sea competitive advantage over native mussels = Eingeführte Pazifische Austern (Crassostrea gigas) im Wattenmeer : Konkurrenzvorteil gegenüber heimischen Miesmuscheln /". [S.l.] : [s.n.], 2005. http://e-diss.uni-kiel.de/diss_1690/d1690.pdf.

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2

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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3

Dunn, Catherine. "Adapting Austen /". Title page, contents and introduction only, 2001. http://web4.library.adelaide.edu.au/theses/09AR/09ard9231.pdf.

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4

Smith, Grace B. "Austen Girls". Digital Commons at Loyola Marymount University and Loyola Law School, 2020. https://digitalcommons.lmu.edu/etd/925.

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Based on the novels of Jane Austen, when naïve Catherine Morland is accepted into the prestigious Austen Academy for Girls, she finds herself completely unprepared for the high class world of loyalty, backstabbing, and goose-related theft. In this condensed pilot, Catherine is kidnapped by the girls of her dorm, Emma Woodhouse, Lizzy Bennet, Marianne and Ellie Dashwood, Anne Elliot and Frankie Price, to join them in reclaiming the pride of their school, their mascot, Cassandra. Cassandra is a taxidermized goose who has been kidnapped by the boys of the neighboring school, Steventon School for Boys. Steventon and Austen have been feuding over the goose for 50 years, and Catherine must decide if she wants to get sucked in to the fight.
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5

Nilsson, Jonas. "Hybriditet inom Paul Austers författarskap". Thesis, Malmö högskola, Institutionen för globala politiska studier (GPS), 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-24010.

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SammanfattningJag har i denna uppsats sammanfogat två litterära teorier genom att använda ett väletablerat begrepp, hybriditet, inom den ena teoribildningen, postkolonialism, på en annan teoribildning, postmodernism. Under arbetet med uppsatsen har jag brottas med en enhetlig definition av hybriditetsbegreppet men insett att en sådan inte existerar, jag har därför citerat vad ledande teoretiker på området har skrivit om begreppet och sedan försökt hitta beröringspunkter för att kunna skapa en enhetlig definition. Jag har presenterat denna, personliga definition av begreppet i uppsatsen. I uppsatsen har jag påvisat hur olika forskningsdiscipliner ser på hybriditetsbegreppet och via ett annat etablerat begrepp inom sociologin, flanören, har jag gett ett exempel på hur postkolonial litteraturteori och postmodern litteraturteori kan överbryggas. Jag har också skapat ett nytt begrepp för att underlätta överbryggandet av gapet mellan postmodern litteraturteori och postkolonial litteraturteori i uppsatsen, den hybride flanören.
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6

Mertens, Sven. "Erweiterung des automatischen Testsystems AUSTERE". [S.l. : s.n.], 2003. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB10952957.

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7

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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8

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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9

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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10

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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11

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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12

Silva, Egle Pereira da. "A poesia de Paul Auster". Universidade do Estado do Rio de Janeiro, 2014. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=7262.

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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This thesis examines Paul Austers extremely neglected early work: his poetry. Five books were published: Unearth (1974), Wall writing (1976), Effigies (1977), Fragments from cold (1977) and Facing the music (1980), available only at antiquarians and restrective universities libraries in the United States, as well as at the New York Public Library. Studies around Austers poetic oeuvre are restricted to papers, reviews, translators introduction, and a thesis that focus on his poetry to produce new analyses and interpretations of Austers novelistic works. The aim of this thesis is to gather this scattered material and provide new parameters of study around his poetry. Divided into three chapters, the first one maps the literary magazines where Auster published his poems at first, the translations of his poems and critical fortune; the second examines Austers five books according to three specific topics authorship, language, I and other themes related to them; the third analyzes White Spaces, text considered by the author as the bridge that leads him to prose and in this thesis as a singular writing in which Auster consolidates his literary project, since poetry, previous to prose, yet to come. Maurice Blanchot, Karlheinz Stierle and, principally, Auster, lay the foundation of the investigation. Other theorists who contribute to the understanding of the subject will be called to build the sui generis comparativism put into effect here
This thesis examines Paul Austers extremely neglected early work: his poetry. Five books were published: Unearth (1974), Wall writing (1976), Effigies (1977), Fragments from cold (1977) and Facing the music (1980), available only at antiquarians and restrective universities libraries in the United States, as well as at the New York Public Library. Studies around Austers poetic oeuvre are restricted to papers, reviews, translators introduction, and a thesis that focus on his poetry to produce new analyses and interpretations of Austers novelistic works. The aim of this thesis is to gather this scattered material and provide new parameters of study around his poetry. Divided into three chapters, the first one maps the literary magazines where Auster published his poems at first, the translations of his poems and critical fortune; the second examines Austers five books according to three specific topics authorship, language, I and other themes related to them; the third analyzes White Spaces, text considered by the author as the bridge that leads him to prose and in this thesis as a singular writing in which Auster consolidates his literary project, since poetry, previous to prose, yet to come. Maurice Blanchot, Karlheinz Stierle and, principally, Auster, lay the foundation of the investigation. Other theorists who contribute to the understanding of the subject will be called to build the sui generis comparativism put into effect here
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13

Asker, Rebecca. "Money and Love in Jane Austen’s Pride and Prejudice". Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-13040.

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In the late 18th century, it was not uncommon that a middle class woman had to choose if her marriage should be based on love or money. Since women often depended on either a husband or male relatives to support them, marriage was a way to avoid economic hardship. Pride and Prejudice gives many examples of women in this situation, and it is evident that both men and women are affected by economy and social class in their choice of a partner. The purpose of this essay is therefore to look closer on how the courtships in the novel are influenced by economy and class. Some characters are greedy and believe that wealth and an upper class life equals happiness. The wealthy man Mr. Darcy becomes suspicious of women and believes that they are only after his money. Women are also seen as commodities; wealthy men expect to be able to marry whomever they like regardless of the woman’s feelings.         I will show that there are three main types of marriages in the novel: marriages based on financial considerations, marriages based on infatuation, and marriages combining love and money. Marriages based on financial considerations are not ideal since emotional needs are not often fulfilled. However, in some cases it might be a solution for women who do not have the time to wait for a romantically and economically fulfilling marriage. Marriages that include no financial considerations at all are not ideal since a stable economy is important to live happily. In the essay, I will show that the most ideal marriages are those who combine both love and money, as they ignore neither emotional needs nor economy.
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14

Krämer, Kathrin. "Walking in deserts, writing out of wounds : Jewishness and deconstruction in Paul Auster's literary work". Heidelberg Winter, 2008. http://deposit.d-nb.de/cgi-bin/dokserv?id=2991871&prov=M&dokv̲ar=1&doke̲xt=htm.

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15

Cano, López Marina. "Finishing off Jane Austen : the evolution of responses to Austen through continuations of The Watsons". Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/3972.

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This doctoral thesis analyses the evolution of responses to Jane Austen's fiction through continuations of her unfinished novel The Watsons (c.1803-5). Although the first full “appropriation” of an Austen novel ever published was a continuation of The Watsons and a total of eight completions appeared between 1850 and 2008, little research has been done to link the afterlife of The Watsons and changing perceptions of Austen. This thesis argues that the completions of The Watsons significantly illuminate Austen's reception: they expose conflicting readings of Austen's novels through textual negotiations between the completer's and Austen's voice. My study begins by examining how the first continuation, Catherine Hubback's The Younger Sister (1850), implies an alternative image of the Victorian Austen to that propounded by James Edward Austen-Leigh, Austen's first official biographer (Chapter 1). The next two chapters focus on the effects of World War I and II on modes of reading Austen. Through L. Oulton's (1923), Edith Brown's (1928) and John Coates's (1958) completions of The Watsons, this study examines the connection between Austen's fiction and different notions of Englishness, politics and the nation. Chapter Four addresses the contribution of the 1990s completions to the debate over Austen's feminism. Finally, Chapter Five analyses recent trends in Austenalia, which thwart the production of successful completions of The Watsons. My thesis presents the first substantial analysis of this body of work.
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16

Quarré-Roger, Catherine. "Paul Auster, l'enchanteur désenchanté : le monde, le moi et l'autre dans l'oeuvre de Paul Auster /". Paris : Publibook, 2006. http://catalogue.bnf.fr/ark:/12148/cb409630182.

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Texte remanié de: Thèse de doctorat--Études de l'aire culturelle anglophone--Aix-Marseille 1, 2002. Titre de soutenance : Le monde, le moi et l'autre dans l'oeuvre de Paul Auster.
Bibliogr. p. 315-323.
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17

Kollmann, Elizabeth. "Jane Austen re-visited a feminist evaluation of the longevity and relevance of the Austen Oeuvre". Thesis, University of Port Elizabeth, 2003. http://hdl.handle.net/10948/299.

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Although many might consider Jane Austen to be outdated and clichéd, her work retains an undying appeal. During the last decade the English-speaking world has experienced an Austen renaissance as it has been treated to a number of film and television adaptations of her work, including Pride and Prejudice, Emma, Mansfield Park and Sense and Sensibility. Film critics such as Bill De Lapp (1996) and Sherry Dean (1996) have commented on the phenomenal response these productions received and have been amazed by Austen’s ability to compete with current movie scripts. The reasons for viewers and readers enjoying and identifying with Austen’s fiction are numerous. Readers of varying persuasions have different agendas and hence different views and interpretations of Austen. This thesis follows a gynocritical approach and applies a feminist point of view when reading and discussing Austen. Austen’s novels - Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, Sense and Sensibility, and Persuasion – are re-read and reevaluated from a feminist perspective in order to call attention to Austen’s awareness of women’s second-class position in her society. Women’s experiences in Austen’s time are compared to women’s experiences in society today in order to illustrate, in some way, the tremendous progress the feminist movement has made. In addition, by examining what Austen reveals about the material reality of women in her time, it is possible to explore the legacy that modern women have inherited. Literary critics such as André Brink (1998), Claudia Johnson (1988), and Gilbert and Gubar (1979) believe Austen to create feminist awareness in her novels. There are critics, however, who do not view Austen as necessarily feminist in her writing. Nancy Armstrong writes in Desire and Domestic Fiction (1987) that Austen’s objective is not a critique of the Abstract iv old order but rather a redefinition of wealth and status. In Culture and Imperialism (1993) Edward Said implicates Austen in the rationale for imperial expansion, while Barbara Seeber argues in “The Schooling of Marianne Dashwood” (1999) that Austen’s texts should be understood as dialogic. Others, such as Patricia Beer (1974), believe Austen’s fiction primarily to be about marriage since all her novels end with matrimony. My own reading of Austen takes into consideration her social milieu and patriarchal inheritance. It argues that Austen writes within the framework of patriarchy (for example by marrying off her heroines) possibly because she is aware that in order to survive as a woman (writer) in a male-favouring world and in a publishing world dominated by men, her critique needs to be covert. If read from a feminist perspective, Austen’s fiction draws our attention to issues such as women’s (lack of) education, the effects of not being given access to knowledge, marriage as a patriarchal institution of entrapment, and women’s identity. Her fiction reveals the effects of educating women for a life of domesticity, and illustrates that such an education is biased, leaving women powerless and without any means of self-protection in a male-dominated world. Although contemporary women in the Western world mostly enjoy equal education opportunities to men, they suffer the consequences of a legacy which denied them access to a proper education. Feminist writers such as Flis Henwood (2000) show that contemporary women believe certain areas of expertise belong to men exclusively. Others such as Linda Nochlin (1994) reveal that because women did not have access to higher education for so many years, they failed to produce great women artists like Chaucer or Cézanne. Austen’s fiction also exposes the economic and social system (of which education constitutes a major part) for enforcing marriage and for enfeebling women. In addition, it illustrates some of the realities and pitfalls of marriage. While Austen only subtly refers to Abstract v women’s disempowerment within marriage, contemporary feminist scholars such as Germaine Greer (1999) and Arnot, Araújo, Deliyanni, and Ivinson (2000) explicitly warn women that marriage is a patriarchal institution of entrapment and that it often leaves women feeling unfulfilled. The issue of marriage as a patriarchal institution has been thought important and has been addressed by feminists because it contributes to women’s powerlessness. Feminist scholars today find it imperative to expose all forms of power in order to eradicate women’s subordination. bell hooks comments in Feminist Theory: From Margin to Center (2000) on the importance of revealing unfair power relations in order to eliminate oppression of any kind. Austen does not necessarily express the wish to eradicate forms of power or oppression in her novels. Yet, if we read her work from a feminist point of view, we are made aware of the social construction of power. From her fiction we can infer that male power is enshrined in the very structure of society, and this makes us aware of women’s lack of power in her time. Austen’s novels, however, are not merely novels of powerlessness but of empowerment. By creating rounded women characters and by giving them the power to judge, to refuse and to write, Austen challenges the stereotyped view of woman as either overpowering monster or weak and fragile angel. In addition, her novels seem to question women’s inherited identity and to suggest that qualities such as emotionality and mothering are not natural aspects of being a woman. Because she suggests ways in which women might empower themselves, albeit within patriarchal parameters, one could argue that she contributes, in a small way, to the transformation of existing power relations and to the eradication of women’s servile position in society.
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18

Ma, Oi-ming Gloria. "The quest for truth : an examination of simulacra and simulations in Paul Auster's the New York trilogy /". Hong Kong : University of Hong Kong, 2001. http://sunzi.lib.hku.hk:8888/cgi-bin/hkuto%5Ftoc%5Fpdf?B23472832.

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19

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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20

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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21

Collins, Eleanor. "Reading gender, choice and Austen narrative". Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416530.

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22

Martin, B. P. "The post-modernity of Paul Auster". Thesis, Queen's University Belfast, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419455.

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23

Silva, Luís Henrique do Amaral e. "Ficção e trauma em Paul Auster". Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/47/47132/tde-24032015-164243/.

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O presente trabalho busca explorar como a dimensão do traumático incide na literatura contemporânea, mais especificamente, na literatura de um escritor nova-iorquino, Paul Auster. Supomos que as modalidades de subjetivação de determinado período histórico podem ser investigadas a partir de objetos estéticos culturais particulares, ou, pelo menos, que determinadas obras podem servir como uma espécie de testemunho e de historiografia dos sofrimentos de uma época. Esboçamos possíveis ressonâncias entre o plano geral da cultura e da história e o das qualidades específicas e expressivas de uma obra determinada, o que abre espaço para um diálogo entre esses domínios. Com isso, contudo, não se espera privilegiar o que é externo à obra em detrimento dela, e muito menos explicar a literatura pelo recurso a teorias e sistemas de compreensão prévios. Ao contrário, partimos de uma leitura próxima e imanente às obras para realizar ensaios a partir de três livros de Paul Auster: A invenção da solidão, O livro das ilusões e Noite do oráculo. Tais leituras seguiram uma espécie de ética da hospitalidade enquanto ética da leitura. Seguindo de perto as obras, e instalando-se nelas como num regime de habitação, fomos abrindo pontos de contato e comunicação entre as obras, bem como com outras dimensões da história, principalmente no que concerne a aspectos traumáticos e catastróficos. Os ensaios aventam a hipótese de que os livros de Paul Auster escolhidos demonstram, em seu aspecto mais formal, aspectos importantes do que veio a ser conhecido, na psicanálise, como compulsão à repetição. Além disso, a transmissão de aspectos indigestos e traumáticos transgeracionais, por via de criptas psíquicas, pode ser observada na própria autobiografia de Paul Auster, notadamente, A Invenção da solidão. As vicissitudes e destinos do trauma em sua dimensão transgeracional e individual são articuladas com o plano da cultura e com outros pensadores. Propomos, também, uma modalidade de leitura reparadora, em contraposição a uma leitura paranoica, para responder à complexidade e às ambiguidades das obras selecionadas
The present thesis aims to explore how the dimension of the traumatic concurs in contemporary literature, particularly in the one by New Yorker writer Paul Auster. It is supposed that the forms of subjectivity in a certain historical period can be searched into on the basis of particular cultural aesthetic objects. Or, at least, certain pieces of work can render as some sort of witness, as well as historiography of suffering in a particular era. It has been possible to outline some resonances between the general cultural and historical level ground and the one of expressive and specific qualities in a certain work, which opens space for a dialog between these domains. Nevertheless it is not expected neither to grant a privilege to what is external to the piece of work to its detriment, nor to explain literature from the theories and systems of previous comprehension. To the contrary, a close and immanent reading has been made, in order to make an assay, out of three of Paul Austers books: The invention of solitude, The book of illusions and Oracle Night. Such reading has followed some kind of hospitality ethics whereas reading ethics. Accompanying closely these works, and settling down on them as in a habitation regime, points of communication were opened between them, as well as with other dimensions of history, mainly to what concerns traumatic and catastrophic aspects. The assays suggest the hypothesis that these chosen Austers books demonstrate, in their formal aspect, important features of what has become known in Psychoanalysis as compulsion of repeating. Furthermore, the transmission of transgenerational indigestive and traumatic aspects, through psychic crypts, can be observed in Austers autobiography The invention of solitude. The vicissitudes and destinies of trauma on its transgenerational and individual dimensions are articulated with the cultural level ground and with other authors. It is also proposed a modality of repairing reading, in opposition to a paranoid reading, to respond to the complexity and ambiguity of the selected works
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24

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 Janeiro
Considerando-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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25

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 these
The 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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Wynne, Julian. "Modèles de l'inconscient chez Jane Austen". Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37619265w.

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Quinn, Natalie. "The "Crafting" of Austen: Handicraft, Arts and Crafts, and the Reception of Austen during the Victorian Period". BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2942.

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This thesis addresses the significant but often overlooked relationship between Jane Austen's works and the body of criticism about them and the two major craft movements of the nineteenth century: the Handicraft Movement and the Arts and Crafts Movement. The connections occur at two important moments during that century—first, at the moment of Austen's career during the Regency/Romantic period, and second, at the Victorian moment of the years surrounding the 1869 publication of James Edward Austen-Leigh's Memoir about Austen. In both of these moments, critics and reviewers repeatedly respond to Austen's life and works by using craft-related diction. This diction and the coetaneous nature of the craft and critical movements are indicative of the ongoing struggle throughout the nineteenth century to negotiate, eliminate, or redefine the art versus craft aesthetic binary. During the Regency moment, this negotiation begins to emerge in the heyday of the Handicraft Movement and its love for ornamentation. However, it is not until the years surrounding the publication of Austen-Leigh's Memoir that the interdisciplinary ideologies of craft and literary aesthetics burst forth. This period of overlap is short-lived, lasting approximately two decades. Nevertheless, by acknowledging its existence and examining its influence upon the Memoir and the criticism surrounding it, we can gain a greater appreciation for the aesthetic context in which the Memoir was published and for the image of Austen crafted by Victorian reviewers—an image that would ultimately become the literary inheritance of readers and scholars in the twentieth century.
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28

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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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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30

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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31

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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Pereira, Maria Helena de Queirós. "Da ficção em Leviathan de Paul Auster". Master's thesis, Porto : [Edição do Autor], 1997. http://hdl.handle.net/10216/18124.

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O presente trabalho estuda o tratamento que a obra de Paul Auster e, especificamente, Leviathan, dá à tendência actual que relativiza o poder da linguagem e da ficção para representar o real associando-a a uma visão construcionista do mundo. A análise da construção narrativa de Leviathan salientará a importância da multiplicação de versões na sua estruturação, a qual será ligada ao inevitável processo de ficcionalização da realidade e do homem inerente à condição humana, retratado e problematizado na obra. Investigar-se-ão depois as ambiguidades do texto ao nível das instâncias narrativas e das personagens, pondo a descoberto as relações de dependência e influência entre os diferentes discursos presentes e conduzindo à exploração do papel do autor e à aceitação de uma concepção palimpséstica do texto e do homem. Esta investigação será equacionada com a questionação subversiva de Auster dos poderes e limites da linguagem e da ficção na descrição e/ou criação do real.
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34

Hardy, Seguin Mireille. "Paul Auster : tours et détours du fictif". Paris 3, 1996. http://www.theses.fr/1996PA030186.

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Cette etude a pour objet de faire le tour des tours et detours qui parcourent la fiction de paul auster en jouant sur la polysemie comme il le fait lui-meme : le tour (l'entour) la tour, mais aussi jouer un tour : par le detour detournement, donner un tour (d'ecrou), boucler, donc (re)tourner au point de depart et mettre en doute tout ce qui predece. Les deux figures-cles de la tour de babel et du labyrinthe assoient l'ecriture sur la confusion et l'inscrivent dans une impossible logique circulaire de (non)-retour. A la fois point de repere et origine de la dispersion, la tour occupe une position centrale et ambivalente, de meme que le quadrillage qui surcloture l'espace, en faisant tantot une prison tantot un lieu de renaissance et de redemption (la chambre). Toute stabilite lui etant refusee, le repere se construit et se deconstruit tour a tour sous differentes formes : gratte-ciels, mur-ubuesque, statue de la liberte, lune. De meme, la quete du langage pre-babelien, vecue comme essentielle, s'avere rapidement impossible. Le texte est constamment entraine hors de ses rails : detours palimpsestueux, labyrinthes, devoiements ou deviations voire perversions du temps et de l'espace, detours par le miroir et la mise en abyme destabilisent l'ecriture, l'entrainent en terrain mouvant. Le schema narratif traditionnel est sans cesse remis en question, greve par le doute et les doubles tropismes qui le condamnent a une indepassable ambiguite et en verrouillent la sortie. Oscillations, glissements, absences, flou auctorial, secrets et mensonges creent un vertige paradoxal qui frustre le lecteur. Effacement des traces et entropie semblent entrainer le recit vers une fin inexorable qui pourtant n'arrive jamais. La voix voie du texte s'egare quelque part entre l'excipit et le retour a l'incipit
This study aims at exploring the different tours and detours that suffuse paul auster's fiction, hinging on the polysemy of the french word "tours" : towers, surrounding walls, tricks, twists. Detours or diversions lead to a final turn of the screw, looping the loop, forcing the text back to its beginning and questioning what has just been asserted. Both key figures - the tower of babel and the labyrinth - build the text on images of confusion and urge it to an impossible logic of (no)-return. The tower, both landmark and origin of disorder, holds a central and ambiguous position, and so does the grid-pattern that fences space in, turning it now into a prison, then into a place of redemption and rebirth (the room). Since they are denied stability, the landmarks that appear successively as new york skyscrapers, a grotesque wall, the statue of liberty, or the moon are alternately being built and unbuilt. Likewise, the quest for pre-babelian language, which is felt as essential, turns out to be impossible. The text constantly winds about, as palimpsestuous detours, labyrinths, diversions, or even perversions of time and space and mirror images drag it out of its tracks, lead it astray, destabilize it. The traditional narrative is repeatedly questioned, weighed down with doubts and double tropisms that condemn it to an impassable ambiguity keep it locked inside itself. Fluctuations, shifts in meaning, absence of the author, secrets and lies all build up to paradoxes that make the reader feelgiddy and deprive him of all certainties. Entropy and the constant obliteration of tracks seem to drag the text towards an inflexible conclusion which never comes: the voice of the text gets lost somewhere between the end and the new beginning
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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'époque
Money 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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37

Pereira, Maria Helena de Queirós. "Da ficção em Leviathan de Paul Auster". Dissertação, Porto : [Edição do Autor], 1997. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000062319.

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O presente trabalho estuda o tratamento que a obra de Paul Auster e, especificamente, Leviathan, dá à tendência actual que relativiza o poder da linguagem e da ficção para representar o real associando-a a uma visão construcionista do mundo. A análise da construção narrativa de Leviathan salientará a importância da multiplicação de versões na sua estruturação, a qual será ligada ao inevitável processo de ficcionalização da realidade e do homem inerente à condição humana, retratado e problematizado na obra. Investigar-se-ão depois as ambiguidades do texto ao nível das instâncias narrativas e das personagens, pondo a descoberto as relações de dependência e influência entre os diferentes discursos presentes e conduzindo à exploração do papel do autor e à aceitação de uma concepção palimpséstica do texto e do homem. Esta investigação será equacionada com a questionação subversiva de Auster dos poderes e limites da linguagem e da ficção na descrição e/ou criação do real.
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38

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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Engelmann, Jonas. ""Welches Vergessen erinnere ich?" : Auschwitz im Werk von Paul Auster und Hubert Fichte". Marburg Tectum, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2908511&prov=M&dokv̲ar=1&doke̲xt=htm.

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41

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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Jakubzik, Heiko. "Paul Auster und die Klassiker der American Renaissance". [S.l. : s.n.], 1999. http://nbn-resolving.de/urn:nbn:de:bsz:16-opus-72598.

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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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Coquet-Cardinal, Dominique Burner Sylviane. "Identité de l'écriture et écriture de l'identité dans the New York trilogy de Paul Auster". Metz : Université Metz, 2008. ftp://ftp.scd.univ-metz.fr/pub/Theses/2005/Coquet_Cardinal.Dominique.LMZ0509_1.pdf.

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Figueroa, Pereira Lidia. "Paul Auster: hitos biográficos en su obra literaria". Tesis, Universidad de Chile, 2006. http://www.repositorio.uchile.cl/handle/2250/110409.

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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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Bergeron, Gino. "Le dépouillement dans Moon palace de Paul Auster". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/MQ57897.pdf.

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Grayson, Richard S. "Austen Chamberlain and British foreign policy, 1924-9". Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260642.

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Smith, Erin Jamie. "Bodies in motion : social dance in Jane Austen". Thesis, Birkbeck (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406703.

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