The Novel Stage: Narrative Form from the Restoration to Jane Austen by Marcie Frank

2022 ◽  
Vol 55 (2) ◽  
pp. 266-268
Author(s):  
Aparna Gollapudi’
Keyword(s):  
Jane Austen ◽  
Narrative Form ◽  
The Novel

Satire and Realism in Jane Austen’s Pride and Prejudice: an Interpretative Analysis

2019 ◽  
Vol 3 (1) ◽  
Keyword(s):  
Jane Austen ◽  
The Novel ◽  
Pride And Prejudice ◽  
Rigorous Analysis ◽  
Literary Life ◽  
Interpretative Analysis

Jane Austen is acknowledged for the application of realism and satire in her novels. This paper focuses on the analysis of realism and satire in Jane Austen’s Pride and Prejudice; however, her entire oeuvre spotlights the features (of satire and realism) alongside robust feminism: typical of her literary taste and temperament, not necessarily of the Romantic Age which she lived in. Rigorous analysis and realistic observation reveals that the employment of realism and satire in Pride and Prejudice, are quite obvious, in all sorts of aspects including narrative, settings, themes and characters. Analysis of the novel under study leads to the observation that satire and realism go hand in hand in the said novel—intermittently—and thoughtfully. Conclusively, it is observed that Jane Austen’s literary life had a tremendous influence on how to subsume realism (primarily through matrimonies) of age and satire on a romantic society (whereby ideals collapse headlong), in Pride and Prejudice.

TYPES OF HEDONISM ON THE MAIN CHARACTER SIR WALTER ELLIOT IN THE NOVEL PERSUASION BY JANE AUSTEN

2020 ◽  
Vol 8 (1) ◽  
pp. 30-43
Author(s):  
Enggin Valufi ◽  
Retno Budi Astuti
Keyword(s):  
Qualitative Method ◽  
Jane Austen ◽  
18Th Century ◽  
The Novel ◽  
Main Character ◽  
Philosophical Approach ◽  
High Culture ◽  
Descriptive Qualitative

Hedonism is a view of life in philosophy that seeks to avoid pain and make pleasure as the main goal in life. People who embrace hedonism tend to over-pursue pleasure. The hedonism lifestyle is mostly carried out by 18th century people especially the nobles who live in high culture. They are as close to hedonism as they are in the Persuasion novel by Jane Austen. Sir Walter Elliot the main character is a nobleman who did a lot of hedonism. Hedonism which is seen as too glorifying personal pleasure to ignore others. The purpose of this study was to find out the types of hedonism done by Sir Walter Elliot in Persuasion. This research uses descriptive qualitative method because all data are in the form of sentences. The researcher uses a philosophical approach and analyzes data using Weijers' theory as the main theory. The results of this study found that Sir Walter Elliot performed two types of hedonism, namely aesthetic hedonism and selfish hedonism.

Inference of Personality Projected onto Fictional Characters Having an Author's First Name

2001 ◽  
Vol 89 (3) ◽  
pp. 705-706 ◽  
Author(s):  
Herbert Barry
Keyword(s):  
Social Communication ◽  
Jane Austen ◽  
Personality Characteristics ◽  
Fictional Characters ◽  
The Novel ◽  
Pride And Prejudice

Jane Austen projected some of her personality characteristics onto her fictional namesakes Jane Bennet in the novel Pride and Prejudice and Jane Fairfax in the novel Emma. Wishful fantasy seems satisfied by two attributes of both Janes. They are very beautiful, and they marry rich men they love. A feeling of inferiority was expressed by two attributes of both Janes, depicted as deficient in social communication and subordinate to the heroine of the novel.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

Elizabeth Bowen and Eudora Welty: Selected Correspondence

2021 ◽  
Vol 51 (1) ◽  
pp. 137-161
Author(s):  
Allan Hepburn
Keyword(s):  
Jane Austen ◽  
Gustave Flaubert ◽  
Second World War ◽  
Contemporary Fiction ◽  
Eudora Welty ◽  
The Novel ◽  
Elizabeth Bowen ◽  
World War ◽  
Comprehensive Theory ◽  
Second World

Over her career, Elizabeth Bowen published ten novels, yet she left no comprehensive theory of the novel. This essay draws especially upon ‘Notes on Writing a Novel’ (1945), ‘The Technique of the Novel’ (1953), and ‘Truth and Fiction’ (1956), as well as opinions that Bowen expressed in her weekly book columns for The Tatler, to formulate her key perceptions of, and rules for, writing a novel. Bowen defined her ideas by drawing upon the empirical evidence of novels by Elizabeth Taylor, Olivia Manning, H.E. Bates, Jane Austen, Gustave Flaubert, and numerous others. She gave particular thought to ‘situation’, by which she means the central problematic or the crux of the story. The situation precedes and fuels plot. The Second World War, Bowen claimed in her essays and reviews, had a decisive influence on heroism and contemporary fiction by heightening its scale and its repertory of situations.

Jane Austen’s Questioning of Gender and Genres

2019 ◽  
Author(s):  
Marie-Laure MASSEI-CHAMAYOU
Keyword(s):  
Eighteenth Century ◽  
Social Order ◽  
Power Relations ◽  
Jane Austen ◽  
The Political ◽  
The Novel ◽  
Conduct Books ◽  
Northanger Abbey ◽  
Gothic Novels ◽  
Opposite View

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.

Site Unseen

Site Reading ◽  
2018 ◽  
pp. 149-156
Author(s):  
David J. Alworth
Keyword(s):  
Social Order ◽  
Social Problems ◽  
Climate Model ◽  
Thought Experiment ◽  
Narrative Form ◽  
The Novel ◽  
The Road ◽  
Sociological Thought ◽  
The Moment ◽  
A Site

This chapter argues that to perform a site reading of Cormac McCarthy's The Road is to appreciate how the text functions as a novel of purpose that aims to vivify the planet as what Latour would call a “matter of concern.” Still, The Road reads less as a critique of contemporary social problems than as a “thought-experiment,” a sort of literary climate model, forecasting a chillingly plausible correlation between a ruined site and a grisly social order. By imagining this correlation through narrative form, McCarthy offers his own striking contribution to environmental and sociological thought, a contribution that starts to become apparent the moment we ask how his setting functions as an actant, both in the novel itself and beyond.

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