Is it ‘a marriage of true minds’? Balanced Reading in Northanger Abbey and Persuasion

Author(s):  
Lynda A. Hall
1975 ◽  
Vol 30 (3) ◽  
pp. 335-350 ◽  
Author(s):  
George Levine
Keyword(s):  

Author(s):  
Jane Austen ◽  
Claudia L. Johnson

‘… in suspecting General Tilney of either murdering or shutting up his wife, she had scarcely sinned against his character, or magnified his cruelty.’ Northanger Abbey is about the misadventures of Catherine Morland, young, ingenuous, and mettlesome, and an indefatigable reader of gothic novels. Their romantic excess and dark overstatement feed her imagination, as tyrannical fathers and diabolical villains work their evil on forlorn heroines in isolated settings. What could be more remote from the uneventful securities of life in the midland counties of England? Yet as Austen brilliantly contrasts fiction with reality, ordinary life takes a more sinister turn, and edginess and circumspection are reaffirmed alongside comedy and literary burlesque. Also including Austen's other short fictions, Lady Susan, The Watsons, and Sanditon, this valuable new edition examines the ambitious and innovative works with which she inaugurated as well as closed her career.


2013 ◽  
Vol 44 (2-3) ◽  
pp. 140-148 ◽  
Author(s):  
Jillian Heydt-Stevenson
Keyword(s):  

2020 ◽  
Vol 04 (04) ◽  
pp. 9-11
Author(s):  
Ashok Kumar Priydarshi ◽  

Northanger Abbey’ is a commentary on as well as satire of the popular Gothic novels of Austen’s era. She was exploiting public interest in the creaky house, creaky older man and frightened virginal young heroine tropes of the era’s popular Gothic novel. As it is in one of the hardest novels of Austen, people miss its satire. Here, we get a brilliant satire on the ridiculousness of the events, settings, and emotions of gothic novels in general.


2021 ◽  
Author(s):  
Bill Hughes

This presentation considers the relationships between Gothic and Romanticism between 1764 and 1818. It locates the Gothic within the literary heritage of the Graveyard Poets and the intellectual culture of the Enlightenment. Horace Walpole’s The Castle of Otranto (1764), the first explicitly Gothic novel, is then considered as a reference point for later Gothic stylistics. The presentation concludes by considering the close of the First Phase of Gothic in 1818, not merely through Frankenstein – which had its origins in a meeting of Romantic poets at the Villa Diodati in 1816 – but also by way of Jane Austen’s Northanger Abbey and Thomas Love Peacock’s Nightmare Abbey, which respectively satirised Gothic and Romantic sensibilities.


2019 ◽  
Author(s):  
Marie-Laure MASSEI-CHAMAYOU

If Jane Austen admits in her correspondence that she was eventually pleased with Thomas Gisborne’s Enquiry into the Duties of the Female Sex (1797), the Anglican theologian nonetheless endorsed the prejudices shared by most eighteenth-century moralists towards novels. Now, in Northanger Abbey, a novel filled with literary allusions, Jane Austen’s narrator bravely takes the opposite view by launching into a bold defence of the genre. Besides resorting to a biting irony to scrutinize her society’s axioms, rules and power relations, her novels notably question Manichean representations of masculine and feminine roles. Jane Austen’s choice to distance herself from the strictly gendered models inherited from conduct books, sentimental, or gothic novels, further combines with her questioning of generic conventions. This article thus aims at exploring how Jane Austen engaged with these representations while articulating her subtle didacticism. Her aim was not merely to raise the respectability of the novel genre, but also to provide a possible answer to the crisis of values that was threatening the very foundations of the political and social order.


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