The theme of this thesis is the relationship of the Jane Austen heroine to her social environment--codes of proper behavior as exemplified by the heroines of Emma, Pride and Prejudice, Sense and Sensibility, and Persuasion. The study follows the development of the characters from the ignorance of the social code demonstrated by Emma Woodhouse, through views of the expectations of women of marriageable age as seen by Elizabeth and Jane Rennet, to a comparison of sensible and sensitive behavior in Marianne and Elinor Dashwood, and concluding with the perfect propriety of Anne Elliot. The thesis explores the connection between propriety and the heroine, demonstrating why a heroine succeeds or fails on the basis of her individual view of the social code and her behavior in obeying or denying its dictates.

'Women and independence in the nineteenth century novel : a study of Austen, Trollope and James', begins with the concept of independence and works through the three most common usages of the word. The first, financial independence (not needing to earn one's livelihood) appears to be a necessary prerequisite for the second and third forms of independence, although it is by no means an unequivocal good in any of the novels. The second, intellectual independence (not depending on others for one's opinion or conduct; unwilling to be under obligation to others), is a matter of asserting independence while employing terms which society recognizes. The third, of being independent, is exemplified by an inward struggle for a knowledge of self. In order to trace the development of the idea of self during the nineteenth century, I have chosen a group of novels which seem to be representative of the beginning, the middle, and the end of the period. Particular attention is given to the characterizations of Emma Woodhouse, Glencora Palliser, Isabel Archer, Milly Theale and Maggie Verver. Whereas in Jane Austen's novels the self has a definite shape which the heroine must discover, and in Anthony Trollope's novels the self (reflecting the idea of socially-determined man) must learn to accommodate social and political changes, in Henry James's novels the self determined by external manifestations (hollow man) is posed against the exercise of the free spirit or soul. Jane Austen's novels look backward, as she reacts against late eighteenth century romanticism, and forward, with the development of the heroine who exemplifies intellectual independence. Anthony Trollope's women characters are creatures of social and political adaptation; although they do not derive their reason for being from men, they must accommodate themselves to men's wishes. And Henry James looks backward, wistfully, at Austen's solid, comforting, innocent self and forward, despairingly, to the dark, unknowable self of the twentieth century.

The last works of Jane Austen and Barbara Pym, written while each was knowingly dying, both continue and transform a discourse of illness and cure traceable through their canon. Illness figures both literally and metaphorically in their narratives; in Austen as failures in wholeness and in Pym as failures in love. After undergoing the metaphorically medical treatments of purging and vivifying in Austen and inoculating in Pym, their female protagonists achieve conditions of health and wholeness by closure of the narrative. In the dying works, individual metaphorical illnesses become a general societal condition of fragmentation, and cure becomes more elusive. The shared use of a village undergoing profound change reflects each writer's own bodily transformation as certain death approaches, and the restoration of health to the village-as-body becomes one of achieving balance or homeostasis. This is effected in the narrative by the hinted-at curative powers of nature in Sanditon and of restored faith in A Few Green Leaves. On a theoretical level, both texts reflect their narratives of dis-ease and cure. Pym's last text remained unpublished before her death and therefore "ill" because not functioning, but second opinions and faith in her reputation confirmed its public health. Austen's Sanditon as a fragment embodies its own discourse of dis-ease, or failure of wholeness, and requires a curative act on the part of the reader to restore it to some sense of ideal wholeness or health.

Thesis--Agra University. / Bibliography: p. 408-432.

The roles played by the Southern Scots and Scotch-Irish in the War of American Independence have been generally neglected by American and European historians. If any reference at all is made to persons of Scottish heritage, normally only high-ranking officers or government figures are mentioned. This study identifies men of Scottish origin on every level of life and illuminates their roles in the War. In 1775 and 1776, the Scots and Scotch-Irish in the Southern colonies were not uniform in their political, social, and religious ideologies, nor were they totally of one mind in their posture toward the growing demands for independence in the American colonies. Several factors--community relationships, family ties, economic interests, and religious convictions--influenced each individual in making his decision to support the Royal government or to join the Rebels. When the British invaded the South in 1780, the Rebels and the Loyalists rekindled the internecine war which had begun in 1775. The British victory at Charles Town encouraged the Loyalists to repay the Rebels for real and imagined injuries and insults. As a result, civil strife became widespread throughout the Carolines and Georgia. Although the populace was upset over the internal struggle, it was the introduction of terror tactics by British and Loyalist officers that caused the greatest alarm among the Up-Countrymen, who were chiefly Scottish and Scotch-Irish Presbyterians. These acts of unrestrained warfare caused numerous uncommitted Up-Countrymen to join the ranks of the Rebels. Unfortunately for Cornwallis, this mistake in tactics by his subordinates forced him to fight several long and costly campaigns. In order to disperse the Rebels, the British and their allies marched into the strongholds of the South Carolina Scotch-Irish Presbyterians. This development greatly alarmed the North Carolinians. The resulting uprising of the North Carolina Scotch-Irish masses on the one hand and the subsequent military engagements in South Carolina on the other postponed Cornwallis's invasion of North Carolina. Meanwhile, as Cornwallis attempted to regroup his army and to formulate a new strategy to meet the situation, the predominantly Scottish and Scotch-Irish Rebel forces won major victories at Kings Mountain and Cowpens. Once it was apparent that militia units could defeat British regular units, many Southerners, some of whom had remained uncommitted and some of whom renewed their resistance, entered the daily growing ranks of the Rebels. At the same time, the Loyalists became reluctant to further ally themselves with the British army. These unexpected developments doomed to failure Cornwallis's plan to subjugate the Carolinas. Instead, the chain of events begun at Kings Mountain and Cowpens ended with Cornwallis's surrender at Yorktown. This study, based primarily on the Whigs' personal accounts of military involvement recorded in the Federal pension claims, in memoirs and recollections of the soldiers on both sides, and in the audited accounts of the Loyalists, demonstrates that from the very beginning of the Revolution to its end Scots and Scotch-Irishmen on all levels played major and decisive roles in the outcome of the Southern campaigns in the War of American Independence.

O presente trabalho é uma tentativa de elucidar o que eu considero um fenômeno na literatura, os mash-ups. Em 2009 a lista dos livros mais vendidos da New York Times trouxe um novo romance intitulado Orgulho e Preconceito e Zombies. A editora Quirk Books apresentou como autor Seth Grahame-Smith e a romancista inglesa há muito falecida Jane Austen como co-autora. O livro combina o texto clássico de Austen de 1813 com elementos da moderna ficção de zumbis. O objetivo desta pesquisa é estudar a (desconcertante) possibilidade de alguém modificar uma obra-prima. A autora ainda está presente em seu texto, ou aquele que insere, remixa e acrescenta ao trabalho é o real autor? Esta e outras perguntas são investigadas. Com o aporte teórico de Sanders (2006), Shields (2010), Lessig (2004), faz-se a investigação sobre adaptações, colagens, apropriações e direitos autorais. O romance aqui analisado pertence à literatura não mais protegida por direitos autorais e, portanto, é considerado apto para modificações, permitindo, assim, a justaposição que está no centro do gênero literário sob escrutínio. O tremendo sucesso comercial deste mash-up serve para mostrar que não só Jane Austen, mas também os mortos-vivos são transformados em mercadorias, o que conduz às possíveis conclusões de que Austen vende, os zumbis vendem, e ambos dão aos leitores algo que estes anseiam, talvez maneiras mais suaves, romance, costumes e valores de outrora; no caso dos mortos-vivos, eles exploram temas que transgredem e ameaçam nosso senso de asseio e decoro, particularmente no tocante ao corpo, às nossas identidades, e a nossa mortalidade. Através de olhares como o de Žižek (2008), pode-se inferir que o sucesso do livro pode ser visto como um tributo ao poder do marketing viral, ao interesse duradouro e contínuo em Jane Austen, e ao atual zeitgeist zumbi. / The present research brings an attempt to elucidate what I consider a phenomenon in literature, the mash-ups. In 2009 the New York Times Bestseller List featured a new novel entitled Pride and Prejudice and Zombies. Publisher Quirk Books presented as author Seth Grahame-Smith and long dead and beloved English novelist Jane Austen as co-author. The book combines Austen‘s 1813 classic text with elements of modern zombie fiction. The aim of this research is to study the (disconcerting) possibility of someone tweaking with a masterpiece. Is the author still present in her text or the one who inserts, remixes and adds to the work is the actual author? This and other questions are investigated. With the theoretical approach of Sanders (2006), Shields (2010), Lessig (2004), and others, there is an investigation on adaptations, collage, appropriations and authorial rights. The novel analyzed here is literature no longer protected by copyright and therefore considered apt for tweaking, thus allowing for the juxtaposition which is at the core of the literary genre under scrutiny. This mash-up‘s tremendous commercial success goes to show that not only Jane Austen, but also the undead have become commodities, which leads the possible conclusions that Austen sells, and zombies sell, and they all give readers something they crave for, perhaps gentle manners, romance, mores and values long gone; and in the case of the living-dead, they explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body, our identities, and our mortality. Through the point of view of Žižek (2008), and other thinkers, it is possible to infer that the book's success may be regarded as a tribute to the power of viral marketing, to the long lasting and continuous interest in Jane Austen, and to the current zombie zeitgeist.

À partir de la perspective de l’Analyse du Discours pecheutienne, qui se propose d'examiner les processus discursifs dans des différentes matérialités en prenant le rapport entre langue et histoire à la production des sens, cette thèse présente une étude sur le processus traductoire du littéraire. En envisageant la traduction comme un processus discursif, nous analysons les gestes d’interprétation matérialisés dans des extraits du livre Pride and Prejudice (1813) de Jane Austen et leurs traductions imprimées et cinématographiques. Les faits et les effets discursifs qui émergent du processus traductoire nous permettent d’observer le jeu de forces existant au faire traductoire et nous mènent à considérer le processus traductoire comme un processus discursif spécifique. Méthodologiquement, en prenant le processus traductoire comme objet, nous avons comme geste d’analyse le délinéament d’une formation discursive traductoire qui, en tant que domaine de savoir, règle le faire traductoire, et qui permet en même temps d’aborder discursivement le rapport entre les langues. Nous situons donc le processus traductoire dans son rapport constitutif avec la formation discursive littéraire, en le prenant comme effet-art. Nous parcourrons ainsi les surfaces linguistique et filmique qui signifient, au cours de deux cent ans, le discours littéraire qui soutient le roman et nous proposons la notion de moment discursif comme spécifité des conditions de production d’un effet de traduction. Le proccesus traductoire peut être décrit comme une actualisation dans des (ré)formulations d’une formulation précédente, en considérant dans ce mouvement l’énoncé comme un élément de savoir qui établit rapports de rapprochement ou d’éloignement entre les sens inscrits dans les formations discursives engagées. Ainsi le texte premier, en partant de son appropriation et interprétation à travers la formation discursive traductoire, est actualisé dans le discours du texte de traduction au moyen du travail de la mémoire discursive, qui se troue, se casse, ce qui permet au sens de glisser, en se répétant et se transformant dans la même langue ou dans une autre. Et par le fonctionnement discursif de la création, le texte émerge et est historicisé comme effet d’origine, d’antériorité et de récursivité pour chaque nouveau texte de traduction. Pour son analyse, nous mobilisons la notion de fonction-traducteur comme déploiement de la fonction-auteur dans un processus de traducréation. / A partir da perspectiva da Análise do Discurso pecheuxtiana, que se propõe a investigar os processos discursivos em diferentes materialidades ao tomar a relação entre língua e história na produção dos sentidos, esta tese apresenta um estudo sobre o processo tradutório do literário. Ao encarar a tradução como um processo discursivo, analisamos os gestos de interpretação materializados em recortes da obra Pride and Prejudice (1813) de Jane Austen e suas traduções impressas e cinematográficas. Os feitos e os efeitos discursivos que emergem do processo tradutório nos permitem observar o jogo de forças existente no fazer tradutório e leva-nos a considerar o processo tradutório como um processo discursivo específico. Metodologicamente, ao tomar o processo tradutório como objeto, temos como gesto de análise o delineamento de uma formação discursiva tradutória que, como domínio de saber, regula o fazer tradutório, bem como permite abordar discursivamente a relação entre línguas. Então, situamos o processo tradutório em sua relação constitutiva com a formação discursiva literária, tomando-o como efeito-arte. Percorremos, deste modo, as superfícies linguística e fílmica que significam, ao longo de duzentos anos, o discurso literário que sustenta o romance e propomos a noção de momento discursivo como especificidade das condições de produção de um efeito de tradução. O processo tradutório pode ser descrito como atualização em (re)formulações de uma formulação anterior, considerando neste movimento o enunciado como elemento de saber que estabelece relações de aproximação ou distanciamento entre os sentidos inscritos nas formações discursivas envolvidas. Assim, o texto primeiro, a partir de sua apropriação e interpretação pelo viés da formação discursiva tradutória, é atualizado no discurso do texto de tradução através do trabalho da memória discursiva, que se esburaca, parte-se, permitindo que o sentido deslize, repetindo-se, transformando-se, na mesma ou em outra língua. E pelo funcionamento discursivo da autoria, o texto emerge e é historicizado como efeito de origem, de anterioridade e recursividade para cada novo texto de tradução. Para sua análise, mobilizamos a noção de função-tradutor como desdobramento da função-autor em um processo de tradautoria.

xii, 259 p. Print copy also available for check out and consultation in the University of Oregon's library under the call number: B105.L45 A76 2008 / The question of freedom has been a present and constant concern since the inception of the occidental philosophical tradition. Yet after a certain point the manner in which this question is to be asked has been canonized and sedimented: do humans (subject) have the capacity (predicate) for free and spontaneous action? The third antinomy of Kant's Critique of Pure Reason, I argue, demonstrates the necessary failure, the perpetual aporia, of continuing to discuss whether humans conceived of as subjects possess the predicate freedom. I argue that if we do not want to fall either into the Third Antinomy, we must steer away from thinking of freedom as a predicate of a subject and reconfigure it as an experience or a comportment. Following suggestions from Jean-Luc Nancy's The Inoperative Community, Being Singular Plural, and The Experience of Freedom, my dissertation argues that re-thinking of freedom as an experience simultaneously requires a re-thinking of identity, in terms of ecstasy, ek-stases, or ex-position, and accordingly a re-thinking of the activity of thinking itself. Nancy cites Schelling and Heidegger as the thinkers who have made an attempt to think about ecstasy seriously as a fundamental ontological fact about the constitution of things. This reconfiguration of the constitution of things as either parts of organic structures (Schelling) or beings in a world (Heidegger), demands that we recognize how our identities are perpetually being constituted in all of our acts of relating with the world. We are constituted and constituting by our engagement with the things that environ us, and this environing is active and alive. If this is accepted as an ontological fact, this requires that we reconsider what it would mean to think, as all of our engagements with the world would be creative-both of ourselves and of what it is that we encounter. This would also mean that the meaningfulness of all things is wildly contingent, in fact necessarily, so. Accordingly, I defend that freedom, as the experience of possibility through our awareness of this contingency due to the lack of an origin, emerges for us in the experience of thinking. / Adviser: Peter Warnek

O presente trabalho é uma tentativa de elucidar o que eu considero um fenômeno na literatura, os mash-ups. Em 2009 a lista dos livros mais vendidos da New York Times trouxe um novo romance intitulado Orgulho e Preconceito e Zombies. A editora Quirk Books apresentou como autor Seth Grahame-Smith e a romancista inglesa há muito falecida Jane Austen como co-autora. O livro combina o texto clássico de Austen de 1813 com elementos da moderna ficção de zumbis. O objetivo desta pesquisa é estudar a (desconcertante) possibilidade de alguém modificar uma obra-prima. A autora ainda está presente em seu texto, ou aquele que insere, remixa e acrescenta ao trabalho é o real autor? Esta e outras perguntas são investigadas. Com o aporte teórico de Sanders (2006), Shields (2010), Lessig (2004), faz-se a investigação sobre adaptações, colagens, apropriações e direitos autorais. O romance aqui analisado pertence à literatura não mais protegida por direitos autorais e, portanto, é considerado apto para modificações, permitindo, assim, a justaposição que está no centro do gênero literário sob escrutínio. O tremendo sucesso comercial deste mash-up serve para mostrar que não só Jane Austen, mas também os mortos-vivos são transformados em mercadorias, o que conduz às possíveis conclusões de que Austen vende, os zumbis vendem, e ambos dão aos leitores algo que estes anseiam, talvez maneiras mais suaves, romance, costumes e valores de outrora; no caso dos mortos-vivos, eles exploram temas que transgredem e ameaçam nosso senso de asseio e decoro, particularmente no tocante ao corpo, às nossas identidades, e a nossa mortalidade. Através de olhares como o de Žižek (2008), pode-se inferir que o sucesso do livro pode ser visto como um tributo ao poder do marketing viral, ao interesse duradouro e contínuo em Jane Austen, e ao atual zeitgeist zumbi. / The present research brings an attempt to elucidate what I consider a phenomenon in literature, the mash-ups. In 2009 the New York Times Bestseller List featured a new novel entitled Pride and Prejudice and Zombies. Publisher Quirk Books presented as author Seth Grahame-Smith and long dead and beloved English novelist Jane Austen as co-author. The book combines Austen‘s 1813 classic text with elements of modern zombie fiction. The aim of this research is to study the (disconcerting) possibility of someone tweaking with a masterpiece. Is the author still present in her text or the one who inserts, remixes and adds to the work is the actual author? This and other questions are investigated. With the theoretical approach of Sanders (2006), Shields (2010), Lessig (2004), and others, there is an investigation on adaptations, collage, appropriations and authorial rights. The novel analyzed here is literature no longer protected by copyright and therefore considered apt for tweaking, thus allowing for the juxtaposition which is at the core of the literary genre under scrutiny. This mash-up‘s tremendous commercial success goes to show that not only Jane Austen, but also the undead have become commodities, which leads the possible conclusions that Austen sells, and zombies sell, and they all give readers something they crave for, perhaps gentle manners, romance, mores and values long gone; and in the case of the living-dead, they explore themes that transgress and threaten our sense of cleanliness and propriety, particularly referencing the body, our identities, and our mortality. Through the point of view of Žižek (2008), and other thinkers, it is possible to infer that the book's success may be regarded as a tribute to the power of viral marketing, to the long lasting and continuous interest in Jane Austen, and to the current zombie zeitgeist.

À partir de la perspective de l’Analyse du Discours pecheutienne, qui se propose d'examiner les processus discursifs dans des différentes matérialités en prenant le rapport entre langue et histoire à la production des sens, cette thèse présente une étude sur le processus traductoire du littéraire. En envisageant la traduction comme un processus discursif, nous analysons les gestes d’interprétation matérialisés dans des extraits du livre Pride and Prejudice (1813) de Jane Austen et leurs traductions imprimées et cinématographiques. Les faits et les effets discursifs qui émergent du processus traductoire nous permettent d’observer le jeu de forces existant au faire traductoire et nous mènent à considérer le processus traductoire comme un processus discursif spécifique. Méthodologiquement, en prenant le processus traductoire comme objet, nous avons comme geste d’analyse le délinéament d’une formation discursive traductoire qui, en tant que domaine de savoir, règle le faire traductoire, et qui permet en même temps d’aborder discursivement le rapport entre les langues. Nous situons donc le processus traductoire dans son rapport constitutif avec la formation discursive littéraire, en le prenant comme effet-art. Nous parcourrons ainsi les surfaces linguistique et filmique qui signifient, au cours de deux cent ans, le discours littéraire qui soutient le roman et nous proposons la notion de moment discursif comme spécifité des conditions de production d’un effet de traduction. Le proccesus traductoire peut être décrit comme une actualisation dans des (ré)formulations d’une formulation précédente, en considérant dans ce mouvement l’énoncé comme un élément de savoir qui établit rapports de rapprochement ou d’éloignement entre les sens inscrits dans les formations discursives engagées. Ainsi le texte premier, en partant de son appropriation et interprétation à travers la formation discursive traductoire, est actualisé dans le discours du texte de traduction au moyen du travail de la mémoire discursive, qui se troue, se casse, ce qui permet au sens de glisser, en se répétant et se transformant dans la même langue ou dans une autre. Et par le fonctionnement discursif de la création, le texte émerge et est historicisé comme effet d’origine, d’antériorité et de récursivité pour chaque nouveau texte de traduction. Pour son analyse, nous mobilisons la notion de fonction-traducteur comme déploiement de la fonction-auteur dans un processus de traducréation. / A partir da perspectiva da Análise do Discurso pecheuxtiana, que se propõe a investigar os processos discursivos em diferentes materialidades ao tomar a relação entre língua e história na produção dos sentidos, esta tese apresenta um estudo sobre o processo tradutório do literário. Ao encarar a tradução como um processo discursivo, analisamos os gestos de interpretação materializados em recortes da obra Pride and Prejudice (1813) de Jane Austen e suas traduções impressas e cinematográficas. Os feitos e os efeitos discursivos que emergem do processo tradutório nos permitem observar o jogo de forças existente no fazer tradutório e leva-nos a considerar o processo tradutório como um processo discursivo específico. Metodologicamente, ao tomar o processo tradutório como objeto, temos como gesto de análise o delineamento de uma formação discursiva tradutória que, como domínio de saber, regula o fazer tradutório, bem como permite abordar discursivamente a relação entre línguas. Então, situamos o processo tradutório em sua relação constitutiva com a formação discursiva literária, tomando-o como efeito-arte. Percorremos, deste modo, as superfícies linguística e fílmica que significam, ao longo de duzentos anos, o discurso literário que sustenta o romance e propomos a noção de momento discursivo como especificidade das condições de produção de um efeito de tradução. O processo tradutório pode ser descrito como atualização em (re)formulações de uma formulação anterior, considerando neste movimento o enunciado como elemento de saber que estabelece relações de aproximação ou distanciamento entre os sentidos inscritos nas formações discursivas envolvidas. Assim, o texto primeiro, a partir de sua apropriação e interpretação pelo viés da formação discursiva tradutória, é atualizado no discurso do texto de tradução através do trabalho da memória discursiva, que se esburaca, parte-se, permitindo que o sentido deslize, repetindo-se, transformando-se, na mesma ou em outra língua. E pelo funcionamento discursivo da autoria, o texto emerge e é historicizado como efeito de origem, de anterioridade e recursividade para cada novo texto de tradução. Para sua análise, mobilizamos a noção de função-tradutor como desdobramento da função-autor em um processo de tradautoria.