The article is to describe an interesting phenomenon of the duplication of the literary patterns of behaviour among female protagonists created by Jane Austen. The subject of the paper is the analysis of the set books of the heroines invented by the British author in the both social and cultural context. Jane Austen’s novels can be regarded as the treasury of knowledge on the existence of the young girls at that time. The omnipresent conventions took away their right to dreams and self-fulfilment in almost every sphere of life. Lots of them found the coveted hope of improving their lives on the pages of overly aesthetic, sentimental novels. The characters from the books became inspirational among the female sex. The view of young ladies was based on their inner cultivation of the behaviour and mood which were inseparable from the girls from the popular romances. The patterns, continually given by fiction, took the place of humanistic and scientific knowledge, making the girls unaware – without the simplest information about the world. The subjects given in a wrong way by wrong teachers lowered their interest in education among youth, which also led to the popularity of sentimental, historical (especially those presenting the romance on the background of crucial events form the history of the given country) and Gothic novels. The text will concern the analysis of the attitude of the heroines created by the British author – on the basis of their set books and the position of Jane Austen in the range of literary criticism and the above-mentioned social phenomenon.
Burrows’ (1987) stylometric analysis of Austen’s novels associates quite with ‘the speech of the vulgarians, especially the women who predominate among them’. Through a corpus-based analysis, this article takes further Burrows’ (1987) claims by scrutinizing the socio-stylistic mappings between characters and functions of quite in Austen. The results indicate that gender (rather than vulgarity) is the main factor determining the socio-stylistic variation of quite in Austen’s novels. More generally, the study contributes to a better understanding of Jane Austen’s practices of linguistic gendering. Recent literary criticism has commented on Austen’s stylistic manipulations aimed at challenging 18th-century stereotypes of women’s language (Michaelson, 2002: 62–63). The corpus-based study provided in this article can be taken as a concrete example of how such manipulations work at the linguistic level. It suggests that Austen may have drawn on 18th-century stereotypes of ‘female’ language for the stylistic stratification of quite in her novels, although introducing functional and grammatical variations that allow for subtle differentiations across ‘female’ idiolects.
This paper eventually is going to involve in literary criticism according to the option from the lecture. From all possible five options, this midterm paper assignment will be occupied by two questions that should be solved. The first question is analysing some proper scenes in the film of Joe Wright’s Pride and Prejudice, form the original writer Jane Austen, the ideology on it, the analysing should attached some aspect of analysing that designated as key-term, the key term that should by focused are ideology, bourgeois society, and properties.
Feminism as a Theory of Literary Criticism: An Analysis of the Writings of Jane Austen and Piyadasa Sirisena