SOMETHING HAPPENED TO JANE AUSTEN WHEN SHE WROTE MANSFIELD PARK

2020 ◽  
pp. 101-106
Keyword(s):  
Literatūra ◽  
2016 ◽  
Vol 50 (5) ◽  
pp. 91
Author(s):  
Leona Toker
Keyword(s):  

Straipsniu iliustruojama, kaip semiologinį modelį galima būtų pritaikyti dėstant literatūrą universitete. Trys semiologinio modelio aspektai: semantika, sintaktika ir pragmatika – padeda suderinti detalią teksto analizę ir jo meninių, istorinių ir sociologinių kontekstų apibrėžimą. Straipsnyje apžvelgiamos kryptys, kuriomis galima plėtoti diskusiją apie Jane Austen romano Mansfield Park pavadinimą. Jos remiasi intertekstine toponimo reikšme, sociologine ir istorine abiejų pavadinimo dalių reikšme (semantika), vidiniais ryšiais tarp romano temų, jų plėtotės būdų ir romano pavadinimo motyvų (sintaktika) bei motyvų išdėstymo būdų priklausomybe nuo autorės pozicijos jos adresatų atžvilgiu (pragmatika).


Author(s):  
David Ehrenfeld

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.


2005 ◽  
Vol 57 (232) ◽  
pp. 833-838
Author(s):  
K. Sutherland
Keyword(s):  

2019 ◽  
Vol 63 (2 (465)) ◽  
pp. 77-90
Author(s):  
Karol Samsel

The understanding of Jane Austen was for Joseph Conrad (probably) the condition of the understanding of the English soul as such. And, even if we roam around fascinating hypotheses, it is worth formulating them – mainly because they are a new key to the reading of the works of the author of Lord Jim. His problems with the literary heritage of Austen could be affected by different, numerous factors: 1) the growing popularity of Janeites; 2) the authority of, appreciating the author of Mansfield Park, Henry James; 3) the feeling of being lost of the Polish writer in the situation of the late novelist debut; 4) the literary tradition of the Ukrainian School in the Polish Romanticism, in which he was raised and he formed his personality. Conrad could make an attempt of dealing with, incomprehensible for himself, Austen in the 1910s, in the period of jubilees of the editions of her novels. In this spirit, it is worthy to read again such prose texts of Conrad, as: Zwycięstwo (1915) and Ocalenie (1920), but above all – the earliest from this group – Gra losu (1913).


PMLA ◽  
1969 ◽  
Vol 84 (6) ◽  
pp. 1582-1587
Author(s):  
Lloyd W. Brown

The conclusions of Jane Austen's novels are invariably ironic devices for the final summary of themes and characters. This role is illuminated by three main elements of all the conclusions. First, the novelist parodies the predictability of sentimental “happy endings” in much popular fiction. This accounts for the exaggerated self-consciousness with which she approaches the mechanics of concluding her own narratives, a self-consciousness that seems on the surface to contradict Jane Austen's well-known dislike of unrealistic plots. Second, she subverts the canons of poetic justice that are integral to most happy endings: instead of allocating “rewards” and punishment in accordance with ideal conventions, Jane Austen exposes the prevailing social norms that frequently undermine and replace traditional ideals. Finally, she replaces the arbitrary endings of poetic justice with the logical evolution of character and theme. Each character “punishes” or “rewards” himself, in keeping with his frequently unreliable sense of right and wrong. These features are particularly useful in a much-needed revaluation of Mansfield Park, for they demonstrate that it is not the didactic work described in traditional criticism. Thus Jane Austen's comic conclusion is a consistent device for the realistic, rather than didactic, analysis of character and society.


Author(s):  
Ashok Kumar Priydarshi ◽  

Jane Austen’s genius was not recognized either by her contemperaries or even by her successors. But about 1890 the tide of appreciation and popularity markedly turned in favour and correspondingly, against her contemporary, Sir Walter Scott. She always strives in her art to remain full conscious of her responsibility to life as an artist. She is known as the last blossom of the 18th century. She has six novels to her credit-‘Sense and Sensibility’, ‘Pride and Prejudice’, ‘Mansfield Park, ‘Emma’, ‘Northanger Abbey’ and ‘Persuasion’. Though she created her stories in her above-mentioned novels more than 200 years ago, her novels were forerunners of feminism. According to a critic, “Jane Austen was a published female novelist, who wrote under her own name, which can be seen as an important feminist quality”.


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