Sense and Sensibility - By Jane Austen. Edited by Edward Copeland

2011 ◽  
Vol 34 (1) ◽  
pp. 118-119
Author(s):  
Claire Lamont
Author(s):  
Jane Austen

‘Pray, pray be composed,’ cried Elinor, ‘and do not betray what you feel to every body present. Perhaps he has not observed you yet.’ For Elinor Dashwood, sensible and sensitive, and her romantic, impetuous younger sister Marianne, the prospect of marrying the men they love appears remote. In a world ruled by money and self-interest, the Dashwood sisters have neither fortune nor connections. Concerned for others and for social proprieties, Elinor is ill-equipped to compete with self-centred fortune-hunters like Lucy Steele, whilst Marianne’s unswerving belief in the truth of her own feelings makes her more dangerously susceptible to the designs of unscrupulous men. Through her heroines’ parallel experiences of love, loss, and hope, Jane Austen offers a powerful analysis of the ways in which women’s lives were shaped by the claustrophobic society in which they had to survive.


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.


2000 ◽  
Vol 93 (8) ◽  
pp. 670-679
Author(s):  
S. I. B. Gray

THE ACADEMY AWARD–WINNING MOVIE Sense and Sensibility presented a wonderful vision of life in early nineteenth-century England. In the absence of television, radio, movies, and videos, families sought entertainment in a manner far different from today's. The Dashwood girls—Elinor, Marianne, and Margaret—filled their days with visiting, reading, practicing the pianoforte, needleworking, and letter writing, not to mention gossiping and matchmaking. Long days were highlighted by a wonderfully relaxed midday family meal, during which conversation was paramount. Above all, Jane Austen portrays a concern for the thoughts and feelings of one's immediate acquaintances and pride in one's village.


2019 ◽  
Vol 63 (2 (465)) ◽  
pp. 125-135
Author(s):  
Aleksandra Budrewicz

The article is a comparative study of Sense and Sensibility by Jane Austen and the contemporary novel by Emma Tennant Pemberley, which is a continuation of the story of Austen’s characters. Tennant enriched the description of certain protagonists of Sense and Sensibility; for example, the new information about Elizabeth come from the sources which are connected to the biography of Austen herself (letters, memoirs). The theoretical background of the paper is based on research of A. Fulińska, A. Stoff etc.


Author(s):  
Tatiana V. Bobyleva

The purpose of the study is to analyze two Russian titles of J. Austen’s novel Sense and Sensibility translated by Irina G. Gurova (1988) and Alla Yu. Frolova (2013). The meanings of the lexemes sense and sensibility in English (in the 18–19th centuries and nowadays) are compared with the meanings of their corresponding translations in the modern Russian language. The most important meanings of the Russian lexemes are identified by using associative databases: Russian regional associative dictionary-thesaurus EVRAS (Institute of Linguistics, RAS) and Russian regional associative database SIBAS (Institute of Linguistics, RAS; Institute of Philology, SB RAS; Novosibirsk State University). In the conclusion «Разум и чувство» [razum i chuvstvo] (i.e. Reason and Feeling) by Alla Yu. Frolova is argued to be the best relevant translation of the novel title. The author of the article also suggests her own possible Russian versions of the novel title, not only taking into account the opposition of the rational and irrational components, but also reflecting the alliteration that takes place in the English original. The analysis is a part of a larger research based on studying the full-text versions of J. Austen’s novel Sense and Sensibility done by Russian and French translators.


Author(s):  
Maja Kovacevic ◽  

Bakhtin’s views (1980:127-130) on the importance of studying speech representation and its interaction with authorial context incited prolific research in various disciplines. The research presented in this paper is based on Bakhtin’s crucial claims about speech representation, and on the theoretical framework of linguistic stylistics (Kovačević 2011, 2012, 2013, 2015; Katnić-Bakaršić 2001) and representology (Kovačević 2015:253-254). The aim of this paper is twofold—to identify the types of speech, thought and writing representation employed in the novel Sense and Sensibility and to describe their interaction with the authorial context. The method applied is‘word by word’ analysis, where in the first stage the modes of speech, thought and writing representation are identified; in the next stage their interaction with authorial context is described. The modes of speech are classified and differentiated by combining the classifications of representation modes in Serbian and English (Leech and Short 2007; Semino and Short 2004; Kovačević 2013). The results of the analysis prove that Jane Austen employs the following modes to repоrt speech, thought and writing: indirect speech/thought/writing, narrator’s report of speech act/ thought act/writing act, expressive indirect speech/thought, free indirect speech/thought, direct speech (monologue, dialogue, polylogue), free direct speech, line of dialogue, fragmental quote, hypothetical speech, direct thought, free direct thought, direct writing, embedded speech/thought. Predominantly, the line of interaction between authorial speech and direct speech involves the former being parenthetically embedded into foregrounded direct speech, amalgamating with the free indirect thought/speech or having as an attachment a ”package” of different embedded modes of speech/thought/writing representation. Primarily indirect thought, free indirect thought, direct thought, and free direct thought are the modes employed to characterise Elinor Dashwood, while on the other side the modes of direct speech, free direct speech, free indirect speech and direct writing combined with numerous mimetic markers prevail in depicting her sister Marianne. It is through the stylistically effective transitions between these modes and their interaction with the authorial context that the total antithetical effect regarding the sense and sensibility principles is obtained on the syntactic-stylistic level.


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