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Bibliografias temáticas / Morland, catherine

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Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Morland, catherine"

1

Campos, Priscila Da Silva. "O espaço gótico e a questão de leitura em "Nothanger Abbey" de Jane Austen". Em Tese 22, n.º 1 (15 de novembro de 2016): 123. http://dx.doi.org/10.17851/1982-0739.22.1.123-131.

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Northanger Abbey é uma paródia da ficção gótica escrita por Jane Austen e publicada, postumamente, em 1818. Austen escreveu esse romance no momento em que a ficção gótica havia alcançado seu clímax de popularidade no final do século XVIII. Austen apresenta, neste romance, um problema de interpretação: a protagonista, Catherine Morland, é incapaz de compreender os limites entre o mundo ficcional e sua realidade. Tal limitação, muitas vezes, é enfatizada através de um aspecto formal da narrativa – o espaço. Catherine constrói sua ilusão através da associação entre o espaço estereotipado do romance gótico e o mundo que a cerca. As dificuldades que Catherine enfrenta não estão apenas ligadas a como Catherine vê o mundo ao seu redor, mas como ela o interpreta. Por esse motivo, este artigo tenciona discutir como o espaço, um aspecto formal da narrativa, é responsável pela ilusão em torno do romance ao qual Catherine está submersa.

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2

Joanne Cordóón. "Speaking Up for Catherine Morland: Cixous and the Feminist Heroine". Frontiers: A Journal of Women Studies 32, n.º 3 (2011): 41. http://dx.doi.org/10.5250/fronjwomestud.32.3.0041.

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Cord�n, Joanne. "Speaking Up for Catherine Morland: Cixous and the Feminist Heroine". Frontiers: A Journal of Women Studies 32, n.º 3 (2011): 41–63. http://dx.doi.org/10.1353/fro.2011.a461364.

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4

Voicu, Ana. "Reading Habits in Jane Austen’s Northanger Abbey". Studia Universitatis Babeș-Bolyai Philologia 66, n.º 2 (30 de março de 2021): 175–90. http://dx.doi.org/10.24193/subbphilo.2021.2.12.

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"Reading Habits in Jane Austen’s Northanger Abbey. This article focuses on the way Catherine Morland, Northanger Abbey’s heroine, is influenced and even guided by the literature she either chooses or is given to read. Her reading habits, as well as her changing typologies as a reader, influence both the development of her character and the narrative. This study also debunks the idea that Northanger Abbey is a parody of Gothic fiction, contextualizing book reading in an age when the novel was yet to be considered a respectable literary genre. Keywords: wise reader, the avid reader, the hypocritical reader, character development, narrative development, Gothic fiction, novel theory"

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5

Manizza Roszak, Suzanne. "Laughing at Vampire Novels: Gothic Horror, Teen Girl Agency, and the Old and New Northanger Abbey". Anglia 141, n.º 4 (28 de novembro de 2023): 604–23. http://dx.doi.org/10.1515/ang-2023-0035.

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Abstract Although casual readers of Northanger Abbey often still interpret the novel as a straightforward parody of the Gothic, a range of critics have pinpointed the realistically Gothic horrors that do reside in Austen’s narrative. This essay applies a similar lens to crime novelist Val McDermid’s understudied and underappreciated retelling of Northanger Abbey, arguing that the new version of Austen’s text employs the form of Gothic writing in which the most horrifying types of violence are gendered everyday injuries: experiences of gaslighting and denials of physical and verbal agency. Responding to reviewer criticism that has painted the new Northanger Abbey as pointlessly derivative, I also argue that McDermid innovates on Austen’s original narrative by refiguring the novel’s conclusion, giving her version of Catherine Morland an assertive voice with which to resist Gothic psychological violence. In this reimagined ending, the figure of General Tilney becomes defined by his anti-queer bigotry, highlighting the gothicism of pathological heteronormativity and the importance of intersectional approaches to feminist resistance. Grasping how McDermid’s Gothic approach both echoes and innovates on the rich complexities of Austen’s novel is key to recuperating this contemporary text.

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Suryanovika, Citra, e Novita Julhijah. "Directive Speech Acts and Hedges Presented by Female Main Characters of Jane Austen’s Novels". Lingua Cultura 12, n.º 4 (8 de novembro de 2018): 345. http://dx.doi.org/10.21512/lc.v12i4.4118.

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This research aimed at identifying the category of directive speech acts found in the utterances of six female characters of six Jane Austen’s novels (Elinor Dashwood of Sense and Sensibility, Elizabeth Bennet of Pride and Prejudice, Fanny Price of Mansfield Park, Emma Woodhouse of Emma, Anne Elliot of Persuasion, and Catherine Morland of Northanger Abbey), and explaining the hedges used in directive speech acts. The research employed a descriptive qualitative method to collect, analyze, and discuss the findings which closely related to the classification of directive speech acts of female main characters in Jane Austen’s novels and the use of hedges in directive speech acts. The findings show that directive speech acts are formed imperatively, declaratively, and interrogatively. From all existing categories of directive speech acts (ask, order, command, request, suggestion, beg, plead, pray, entreat, invite, permit, and advise), the female main characters in Jane Austen’s novels only presents ask, request, advice, and suggestion. Hedges found in directive speech acts are not only used to show hesitancy but also to present certainty (I believe, I must) of the speakers’ previous knowledge. In addition, hedges are not the only marker that may show uncertainty, because exclamation ‘well!’ and ‘oh!’, as well as the contrasting conjunction are used to pause due to the uncertain statement.

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Abril-Fornaguera, Jordi, Laura Torrens, Juan Carrillo-Reixach, Alexander Rialdi, Ugne Balaseviciute, Carla Montironi, Philipp Haber et al. "Abstract 4005: Identification of IGF2 as genomic driver and actionable therapeutic target in hepatoblastoma". Cancer Research 82, n.º 12_Supplement (15 de junho de 2022): 4005. http://dx.doi.org/10.1158/1538-7445.am2022-4005.

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Abstract Background and Aims: Management of hepatoblastoma (HB), the most frequent pediatric liver cancer, is based on surgical resection and perioperative platin-based regimens, commonly cisplatin. Here, we aimed to identify actionable targets in HB and assess the efficacy of molecular therapies in HB cell lines, organoids and murine models. Methods: Paired tumor and adjacent tissues from 31 resected HBs and a validation set of 50 HBs were analyzed at the transcriptomic, genomic and epigenomic level using RNAseq, SNP and methylation arrays, respectively. The main targetable driver in HB was identified by gene co-expression network analysis (GCN) and its overexpression was confirmed by qRT-PCR. The anti-tumor effect of driver inhibition with molecular therapies alone or in combination with cisplatin was assessed in cell lines, patient-derived HB organoids and in a HB xenograft murine model. Results: IGF2 overexpression (FC> 4 vs adjacent tissue) was identified as the top targetable HB driver (71%, 22/31). IGF2high tumors displayed progenitor cell features and were significantly enriched in molecular classes with aggressive phenotypes and CTNNB1 mutations, while IGF2low tumors were enriched in inflammatory and TGF-β signaling. IGF2high tumors correlated with shorter recurrence-free survival after resection (median 34 months vs not reached for IGF2low; p = 0.02). IGF2 overexpression correlated in most cases (86%) with fetal promoter hypomethylation (50%), 11p15.5 loss of heterozygosity (LOH, 57%) or overexpression of miR483 (55%). Xentuzumab (anti-IGF1/2 mAb) alone or combined with cisplatin reduced proliferation and clonogenic capacity in IGF2high cell lines. The combination of xentuzumab and cisplatin exhibited synergistic effects in terms of cell viability in organoids derived from IGF2high human HBs. In mice, this combination induced a significant decrease in the viable tumor volume and extended survival compared to cisplatin alone (n = 13-14 per arm, p = 0.04). Conclusion: IGF2 is an actionable driver in HB and its overexpression was associated with fetal promoter hypomethylation, LOH or miR483 overexpression. The combination of a mAb against IGF1/2 (xentuzumab) with cisplatin led to remarkable anti-tumoral effects in pre-clinical models, providing the rationale for exploring this regimen in IGF2high HB patients. Citation Format: Jordi Abril-Fornaguera, Laura Torrens, Juan Carrillo-Reixach, Alexander Rialdi, Ugne Balaseviciute, Carla Montironi, Philipp Haber, Álvaro Del Río-Álvarez, Montserrat Domingo-Sàbat, Laura Royo, Nicholas Akers, Catherine E. Willoughby, Judit Peix, Miguel Torres-Martin, Marc Puigvehi, Roser Pinyol, Stefano Cairo, Margaret Childs, Rudolf Maibach, Rita Alaggio, Piotr Czauderna, Bruce Morland, Bojan Losic, Vincenzo Mazzaferro, Ernesto Guccione, Daniela Sia, Carolina Armengol, Josep M. Llovet. Identification of IGF2 as genomic driver and actionable therapeutic target in hepatoblastoma [abstract]. In: Proceedings of the American Association for Cancer Research Annual Meeting 2022; 2022 Apr 8-13. Philadelphia (PA): AACR; Cancer Res 2022;82(12_Suppl):Abstract nr 4005.

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Abril-Fornaguera, Jordi, Laura Torrens, Juan Carrillo-Reixach, Alex Rialdi, Ugne Balaseviciute, Júlia Huguet-Pradell, Carla Montironi et al. "Abstract PO009: Identification of IGF2 as genomic driver and actionable therapeutic target in hepatoblastoma". Clinical Cancer Research 28, n.º 17_Supplement (1 de setembro de 2022): PO009. http://dx.doi.org/10.1158/1557-3265.liverca22-po009.

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Abstract Background and Aims: Management of hepatoblastoma (HB), the most frequent pediatric liver cancer, is based on surgical resection and perioperative chemotherapy regimens, commonly cisplatin. Here, we aimed to identify actionable targets in HB and assess the efficacy of molecular therapies in preclinical models of HB.Methods: Paired tumor and adjacent tissues from 31 resected HBs and a validation set of 50 HBs were analyzed at the transcriptomic, genomic and epigenomic level using RNAseq, SNP and methylation arrays, respectively. The main targetable driver in HB was identified by gene co-expression network analysis (GCN) and its overexpression was confirmed by qRT-PCR. The anti-tumor effect of driver inhibition with molecular therapies alone or in combination with cisplatin was assessed in cell lines, patient-derived HB organoids and in a HB xenograft murine model.Results: Seven network modules were significantly deregulated in tumors compared to non-tumoral samples, including IGF2 signaling pathway, cell cycle and survival and immune response. IGF2 overexpression (FC> 4 vs adjacent tissue) was identified as the top targetable HB driver (study cohort: 71%, 22/31; independent validation cohorts: 78% and 76%). IGF2high tumors displayed progenitor cell features and were significantly enriched in molecular classes with aggressive phenotypes and CTNNB1 mutations, while IGF2low tumors were enriched in inflammatory and TGF-β signaling. IGF2high tumors correlated with shorter recurrence-free survival after resection (median 34 months vs not reached for IGF2low; p = 0.02). IGF2 overexpression correlated in most cases (86%) with fetal promoter hypomethylation (50%), 11p15.5 loss of heterozygosity (LOH, 57%) or overexpression of miR483 (55%). Xentuzumab (anti-IGF1/2 mAb) alone or combined with cisplatin reduced proliferation and clonogenic capacity in IGF2high cell lines. The combination of xentuzumab and cisplatin exhibited synergistic effects in terms of cell viability in organoids derived from IGF2high human HBs. The combination treatment induced apoptosis and reduced IGF2 pathway activation in vitro. In mice (n = 13-14 per arm), this combination induced a significant decrease in the viable tumor volume (p < 0.01), extended survival compared to cisplatin alone (p < 0.05) and inhibited tumor angiogenesis (p < 0.05).Conclusion: IGF2 is an actionable driver in HB and its overexpression was associated with fetal promoter hypomethylation, LOH or miR483 overexpression. The combination of a mAb against IGF1/2 (xentuzumab) with cisplatin led to remarkable anti-tumoral effects in pre-clinical models, providing the rationale for exploring this regimen in IGF2high HB patients. Citation Format: Jordi Abril-Fornaguera, Laura Torrens, Juan Carrillo-Reixach, Alex Rialdi, Ugne Balaseviciute, Júlia Huguet-Pradell, Carla Montironi, Philipp Haber, Álvaro Del Río-Álvarez, Montserrat Domingo-Sàbat, Laura Royo, Nicholas Akers, Catherine E Willoughby, Judit Peix, Miguel Torres-Martin, Marc Puigvehi, Roser Pinyol, Stefano Cairo, Margaret Childs, Rudolf Maibach, Rita Alaggio, Piotr Czauderna, Bruce Morland, Bojan Losic, Vincenzo Mazzaferro, Ernesto Guccione, Daniela Sia, Carolina Armengol, Josep M Llovet. Identification of IGF2 as genomic driver and actionable therapeutic target in hepatoblastoma [abstract]. In: Proceedings of the AACR Special Conference: Advances in the Pathogenesis and Molecular Therapies of Liver Cancer; 2022 May 5-8; Boston, MA. Philadelphia (PA): AACR; Clin Cancer Res 2022;28(17_Suppl):Abstract nr PO009.

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Kerfoot, Alicia. "Catherine Morland’s “Plain Black Shoes”: Practical Fashions and Buried Convents in Northanger Abbey". Fashion Theory 24, n.º 1 (24 de abril de 2018): 59–83. http://dx.doi.org/10.1080/1362704x.2018.1454746.

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Montes González, María José. "Emily Aubert y Catherine Morland: Naturaleza e interiores en su camino hacia la madurez". Oceánide, n.º 1 (9 de julho de 2009). http://dx.doi.org/10.37668/oceanide.v1i1.50.

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La naturaleza y el ser humano han tenido, desde el principio de los tiempos, una estrecha relación. No cabe el entendimiento de una sin la otra. En el siguiente artículo se tratará de reflejar esa unión en relación a la mujer en dos novelas: The Mysteries of Udolpho de Anne Radcliffe y Northanger Abbey de Jane Austen. Si bien ambas desarrollan el proceso de madurez en la mujer y cómo la naturaleza e interiores interceden en este, la primera difiere de la segunda en presentar a una protagonista que es un dechado de virtudes y estereotipo de heroína. Tendrá que sortear multitud de trabas, tanto sociales como emocionales para alcanzar su plenitud como persona. Austen, por su parte, muestra el mismo proceso pero eligiendo como personaje principal a una joven que podría ser calificada como antiheroína. Ambas escritoras consiguen su meta: libertad emocional y madurez para sus protagonistas.

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Livros sobre o assunto "Morland, catherine"

1

Jane, Austen. Northanger Abbey. San Diego, CA: ICON Classics, 2005.

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2

Jane, Austen. Opactwo Northanger. Warszawa: Prószyński i S-ka, 2004.

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3

Jane, Austen. Northanger Abbey. New York: Knopf, 1992.

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4

Jane, Austen. Northanger Abbey. Paris: 10-18, 2010.

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5

Jane, Austen. Catherine Morland. Independently Published, 2019.

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6

Jane, Austen. Catherine Morland. Independently Published, 2021.

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7

Jane, Austen. Catherine Morland. Independently Published, 2020.

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8

Jane, Austen. Catherine Morland. Independently Published, 2018.

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9

Jane, Austen. Catherine Morland. Independently Published, 2020.

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10

Jane, Austen. Catherine Morland. Independently Published, 2018.

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Capítulos de livros sobre o assunto "Morland, catherine"

1

"Catherine Morland". In Routledge Library Editions: Jane Austen, 19–36. Routledge, 2013. http://dx.doi.org/10.4324/9780203810392-6.

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2

Austen, Jane. "Chapter I". In Northanger Abbey, Lady Susan, The Watsons, Sanditon. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535545.003.0004.

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No one who had ever seen Catherine Morland in her infancy, would have supposed her born to be an heroine. Her situation in life, the character of her father and mother, her own person and disposition, were all equally against her. Her father was...

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3

Stoneman, Patsy. "Jane Eyre in Later Lives Intertextual Strategies in Women’S Self-Definition". In Charlotte Brontë’ s Jane Eyre A Case Book, 177–94. Oxford University PressNew York, NY, 2006. http://dx.doi.org/10.1093/oso/9780195177787.003.0010.

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Abstract No one who had ever seen Catherine Morland in her infancy would have supposed her born to be a heroine.” The opening of Jane Austen’s Northanger Abbey (1818) offers a challenge to an earlier literary convention that a heroine should be beautiful, good, and accomplished, an ideal to be aspired to rather than the real, dirty, ignorant girl Catherine Morland proves to be. The debate was still vigorous in the 1840s when Charlotte Brontë protested to her sisters that she would take a heroine as small and plain as herself and make her as interesting as the most beautiful and accomplished heroine of conventional fiction. Both the “idealist” and the “realist” approaches to literature, however, are based on a mirror-like concept of the reading process. The “idealists” assumed that the reader, by identifying with an image of perfection, would become more perfect herself. The “realists,” on the other hand, assumed that readers needed above all confirmation of their own imperfect existence.

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Chwe, Michael Suk-Young. "Jane Austen’s Six Novels". In Jane Austen, Game Theorist. Princeton University Press, 2014. http://dx.doi.org/10.23943/princeton/9780691162447.003.0005.

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This chapter analyzes Jane Austen's six novels, arguing that each is a chronicle of how a heroine learns to think strategically. For example, in Northanger Abbey, Catherine Morland must learn to make her own independent choices in a sequence of increasingly important situations, and in Emma, Emma Woodhouse learns that pride in one's strategic skills can be just another form of cluelessness. In Pride and Prejudice, people's strategic abilities develop the least. Sense and Sensibility explores through the sisters Elinor and Marianne Dashwood how strategic thinking requires both thoughtful decision-making and fanciful speculation. The chapter also examines Persuasion and Mansfield Park. In all six novels, Austen theorizes how people, growing from childhood into adult independence, learn strategic thinking.

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ALVES, I. "Jane Austen e Catherine Morland, da Abadia de Northanger, criador e criatura: algumas aproximações". In Figurações do feminino e suas dobras, 195–214. Mares Editores, 2016. http://dx.doi.org/10.35417/978-85-5927-004-4_195.

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Austen, Jane. "Chapter X". In Northanger Abbey, Lady Susan, The Watsons, Sanditon. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535545.003.0013.

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The Allens, Thorpes, and Morlands, all met in the evening at the theatre; and, as Catherine and Isabella sat together, there was then an opportunity for the latter to utter some few of the many thousand things which had been collecting within her for...

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Austen, Jane. "Chapter II". In Northanger Abbey, Lady Susan, The Watsons, Sanditon. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199535545.003.0005.

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In addition to what has been already said of Catherine Morland’s personal and mental endowments, when about to be launched into all the difficulties and dangers of a six weeks’ residence in Bath, it may be stated, for the reader’s more certain information, lest...

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Mitchell, Rosemary. "Separate Spheres and Early Women’s History". In Picturing The Past, 140–69. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780198208440.003.0007.

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Abstract ‘... history, real solemn history, I cannot be interested in ... The quarrels of popes and kings, with wars or pestilences, in every page; the men all so good for nothing, and hardly any women at all’. Catherine Morland’s well-known opinion of ‘real solemn history’ might well serve to summarize those of many other women in the late eighteenth century.

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Ehrenfeld, David. "Jane Austen and the World of the Community". In Swimming Lessons. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195148527.003.0041.

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For two weeks now, I have wallowed in sinful luxury, rereading the six completed Jane Austen novels (especially my favorite parts), basking in the warmth and wit of her collected letters, eagerly absorbing the details of her life from her best biographies, and attentively following the arguments of her leading literary critics. I also saw the recent movie versions of Sense and Sensibility and Persuasion, falling in love with Emma Thompson and Amanda Root in quick succession, and finished off my orgy with viewings of the BBC videos of Sense and Sensibility, Emma, Mansfield Park, Northanger Abbey, and Pride and Prejudice. Throughout—at least when I could remember to pay attention—I had two questions in mind. What does Jane Austen have to say about people, communities, and nature? And what is the cause of her resurgent popularity? Perhaps, I allowed myself to think, the questions are related. Answering the questions proved not so simple, but I did have fun trying. Sam and I read Aunt Jane’s letter, dated 8 Jan. 1817, to her nine-year-old niece Cassy, beginning: . . . Ym raed Yssac I hsiw uoy a yppah wen raey. Ruoy xis snisuoc emac ereh yadretsey, dna dah hcae a eceip fo ekac . . . . . . I read the amusingly mordant comments she could write about her neighbors, such as the one in her letter of 3July 1813 to her brother Francis, mentioning the “respectable, worthy, clever, agreable Mr Tho. Leigh, who has just closed a good life at the age of 79, & must have died the possesser of one of the finest Estates in England & of more worthless Nephews and Neices [sic] than any other private Man in the United Kingdoms.” I read the last chapters of Pride and Prejudice, Emma, and Persuasion each three times. I read once again about Catherine Morland’s cruel expulsion from Northanger Abbey, and about the ill-omened trip of Fanny Price, the Bertram sisters, and the Crawfords to the Rushworth estate, Sotherton, with its seductive, if too regularly planted, wilderness. And again I was privileged to accompany Emma Woodhouse, Miss Bates, Frank Churchill, and Mr. Knightly on the tension-charged picnic to Box Hill, surely one of the highest peaks in English literature.

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Jack, Ian. "Peacock". In English Literature 1815—1832, 213–24. Oxford University PressOxford, 1990. http://dx.doi.org/10.1093/oso/9780198122388.003.0007.

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Abstract If it is doubtful whether Waverley should be called a novel, it is certain that Gryll Grange should not. Peacock’s works of prose fiction are best considered as satiric tales. In his essay on ‘French Comic Romances’ he distinguishes between two types of comic tale: that in which the characters are individuals and the events such as happen in real life, and that ‘in which the characters are abstractions or embodied classifications, and the implied or embodied opinions [are] the main matter of the work’. & it happens the two types are illustrated by two books that appeared in the year 1818, Northanger Abbey and Nightmare Abbey. They have a good deal in common. In each an author whose attitude is conservative and ‘eighteenth-century’ satirizes the excesses of modern literature as exemplified in the work of Mrs. Radcliffe and the ‘German’ drama of the day. In each life in an Abbey turns out to be much like life anywhere else. When Mr. Glowry in Nightmare Abbey tells Scythrop that his behaviour might ‘do very well in a German tragedy … but it will not do in Lincolnshire’ we are reminded of Catherine Morland’s discovery that it is not in the work of Mrs. Radcliffe and her followers that ‘human nature, at least in the midland counties of England, was to be looked for’. In Jane Austen’s book a young woman discovers the difference between life in books and life in fact: in Peacock’s a young man makes the same discovery. But there is a great difference between the two. In Northanger Abbey the characters are individuals, whereas in Nightmare Abbey the characters are abstractions and it is their opinions which form ‘the main matter of the work’. Unlike Jane Austen, Peacock is more interested in ideas than in people: his concern is not with what his characters do, but with what they say. He is the great satiric commentator on the age which we are considering, the Aristophanes of the period of which Hazlitt wrote, at the beginning of his essay on Coleridge: ‘The present is an age of talkers, and not of doers; and the reason is, that the world is growing old’.

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