Gotowa bibliografia na temat „Criticism and interpretationausten, jane , 1775-1817”

Although many might consider Jane Austen to be outdated and clichéd, her work retains an undying appeal.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.

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.

This thesis argues that a ‘tradition of moral analysis’ between Jane Austen and George Eliot — a common ground which has been identified by critics from F.R. Leavis to Gillian Beer, but never fully explored — can be illuminated by turning to what this thesis calls ‘the reflective tradition’. In the eighteenth century, ideas about reflection provided a new and influential way of thinking about the human mind; about how we come to know ourselves and the world around us through the mind. The belief in the individual to act as his/her own guide through the cultivation of a reflective mind and attentiveness to a reflective voice emerges across a wide range of discourses. This thesis begins with an examination of reflection in the philosophy, children’s literature, novels, poetry, educational tracts and sermons that would have been known to Austen. It then defines Austen’s development of reflective dynamics by looking at her six major novels; finally, it analyzes Middlemarch to define Eliot’s proximity to this aspect of Austen’s art. The thesis documents Eliot’s reading of Austen through the criticism of G. H. Lewes to support a reading of Eliot’s assimilation of an Austenian attention to mental processes in her novels. Reflection is at the heart of moral life and growth for both novelists. This thesis corrects a tendency in Austen’s reception to focus on the mimetic aspect of her art, thereby overlooking the introspective sense of reflection. It offers new insights into Austen’s and Eliot’s work, and it contributes to an understanding of the development of the realist novel and the ethical dimension in the role of the novel reader.

Jane Austen sprinkles deaths throughout her novels as plot devices and character indicators, but she does not tackle death directly. Yet death pervades her novels, in a subtle yet brutal way, in the lives of her female characters. Austen reveals that death was the definition and the destiny of women; it was the driving force behind the social and economic constructs that ruled the eighteenth-century woman's life, manifested in language, literature, religion, art, and even in a woman's doubts about herself. In Northanger Abbey Catherine Morland discovers that women, like female characters in gothic texts, are written and rewritten by the men whose language dominates them. Catherine herself becomes an example of real gothic when she is silenced and her spirit murdered by Henry Tilney. Marianne Dashwood barely escapes the powerful male constructs of language and literature in Sense and Sensibility. Marianne finds that the literal, maternal, wordless language of women counts for nothing in the social world, where patriarchal,figurative language rules, and in her attempt to channel her literal language into the social language of sensibility, she is placed in a position of more deadly nothingness, cast by society as a scorned woman and expected to die. Fanny Price in Mansfield Park is sacrificed as Eve, but in her death-like existence and in her rise to success she echoes Christ, who is ultimately a maternal figure that encapsulates the knowledge of the goddess, the knowledge that from death will come life. Emma Woodhouse in Emma discovers that her perfection, sanctioned by artistic standards, is really a means by which society eases its fears about death by projecting death onto women as a beautiful ideal. In Persuasion, Anne Elliotfindsthat women endure death while men struggle against it, and this endurance requires more courage than most men possess or understand. Austen's novels expose the undercurrent of death in women's lives, yet hidden in her heroines is the maternal power of women—the power to bear children, to bear language and culture, to bear both life and death.

Three of the most notable English women authors, Jane Austen, Charlotte Bronte, and George Eliot, explore similar themes of the individual, particularly the young woman, in relation to a hierarchical, patriarchal society, more specifically a crumbling paternalist society. My focus is on three Victorian novels' representations of society's transformation from a paternalistic nature to one of greater individualism; and in particular, I explore how women defined for themselves positions of power within these structures. So this study is twofold, one on representations of gender and the other of class; for the two are inseparable in discussing power relationships of Victorian women. Austen, Bronte, and Eliot understood and, to some degree, accepted the pervasive paternal values. Their novels, however, do not advocate radical social change; rather, their heroines willingly turn to domesticity. I aim to argue that each author, although dissatisfied with aspects of society, did not desire to radically alter women's role within society. The fictitious lives they created became both a representation and a critique of the ideologies surrounding them. The texts of Emma, Jane Eyre, and Middlemarch are representative of traditional social norms and yet question some of the culture's dominant codes, especially in relation to paternalism and gender. What strikes me about these novels is that although the female characters are limited by society, they are not ineffectual. Rather the authors portray women in control of their lives and able to make choices for themselves within the framework of society. My research includes social, philosophical, and political attitudes of the decades in which each novel was written, as well as personal philosophies held by Austen, Bronte, and Eliot in relation to gender and class and the influence of these philosophies in their art. Finally, my reading of the texts explicates evidences of the culture's and author's attitudes in relation to paternalism and gender.

There are many factors that contributed to the proliferation of visual codes, metaphors and references to the gendered gaze in women's fiction of the late-eighteenth and early-nineteenth centuries. This thesis argues that the visual details in women's novels published between 1778 and 1815 are more significant than scholars have previously acknowledged. My analysis of the oeuvres of Jane Austen, Ann Radcliffe, Maria Edgeworth and Fanny Burney shows that visuality — the nexus between the verbal and visual communication — provided them with a language within language capable of circumventing the cultural strictures on female expression in a way that allowed for concealed resistance. It conveyed the actual ways in which women ‘should' see and appear in a society in which the reputation was image-based. My analysis journeys through physiognomic, psychological, theatrical and codified forms of visuality to highlight the multiplicity of its functions. I engage with scholarly critiques drawn from literature, art, optics, psychology, philosophy and anthropology to assert visuality's multidisciplinary influences and diplomatic potential. I show that in fiction and in actuality, women had to negotiate four scopic forces that determined their ‘looks' and manners of looking: the impartial spectator, the male gaze, the public eye and the disenfranchised female gaze. In a society dominated by ‘frustrated utterance,' penetrating gazes and the perpetual threat of misinterpretation, women novelists used references to the visible and the invisible to comment on emotions, socio-economic conditions and patriarchal abuses. This thesis thus offers new insights into verbal economy by reassessing expression and perception from an unconventional point-of-view.

The eighteenth-century female of sensibility was characterized by delicate nerves that allowed her to feel her surroundings and enabled her to choose virtue over vice more consistently than males. While females were considered virtuous, their "innate" delicacy or weakness became their dominant trait and the true focus of male admiration. Although critics have already observed that Jane Austen's novels work against this idealization of feminine weakness, not one has recognized exactly how Austen transforms the female of sensibility tradition. Austen dissociates a female's delicacy from her virtue, making the primary source of virtue intellect and, in doing so, relocates male desire on to a female's inner self. Her novels work in progression to achieve this goal. Sense and Sensibility exposes delicacy's negative effects. Subsequent novels transform the sensibility tradition using two strategies. In Pride and Prejudice and Mansfield Park, several relationships demonstrate the different ways a dissociation and relocation can occur. Emma and Persuasion employ the second strategy: the problem of illusion. The existence of a weak female as attractive proves only to be delusive and is ultimately rejected by the novels' characters and readers. Hence, these five novels progressively use not only male and female interactions but characters' and readers' perceptions to eliminate the idea of feminine weakness in Austen's fictional world.
Graduation date: 1999