As obras de Jane Austen são extremamente populares tanto entre leitores comuns e estudiosos de literatura desde a época em que foram publicados, no início do século XIX até os dias de hoje. Tamanha popularidade foi responsável por inúmeras obras de arte, especialmente na literatura e no cinema, que foram ou implicitamente ou explicitamente influenciados pela obra de Austen. Um de seus romances mais adaptados é Orgulho e Preconceito, talvez seu romance mais lido, estudado e adaptado. Um dos motivos para tal apreciação é provavelmente resultado dos valores morais que Jane Austen expõe em seus romances. Estes valores, mesmo duzentos anos mais tarde, permanecem importantes e de grande valor, especialmente na era pós-moderna, quando o excesso de liberdade e alternativas parecem deixar a humanidade mais desprovida de um suporte seguro na vida. Esta é a razão que permite um fã de Austen encontrar na religião um possível diálogo, onde, em um mundo cheio de incertezas, certos códigos morais são as certezas a que alguém pode se segurar. Em 2003, Andrew Black dirigiu o filme Pride and Prejudice: a latter-day comedy1, uma transposição moderna do romance de Austen, no qual os personagens vão à igreja e estudam em uma universidade religiosa. Meu trabalho busca estabelecer uma relação entre o livro de Jane Austen, o filme de Andrew Black e as questões sobre moralidade e religião, e como o romance e o filme estabelecem uma conexão não apenas em seus elementos de ficção como personagens e enredo, mas principalmente no que diz respeito a uma das possíveis mensagens finais em ambas obras. / The works of Jane Austen are extremely popular both among average readers and literature scholars from the time they were published, in the early 19th century until today. Such popularity has been responsible for innumerous works of art, especially in literature and cinema, that were either implicitly or explicitly influenced by Austen’s work. One of her most adapted novels is the 1812 novel Pride and Prejudice, which is perhaps her most read, studied and adapted novel. One of the reasons for such appraisal has probably to do with the moral values Jane Austen exposes in her novels. Those values, even two hundred years later, remain important and of great worth, especially in the postmodern era, when the excess of freedom and alternatives seems to make humanity more deprived of a secure ground in life. This is the reason that allows an Austen fan to find in religion a possible dialogue, where, in a world full of uncertainties, some moral codes are the certainties one can hold onto. In 2003, Andrew Black directed a movie entitled Pride and Prejudice: a latter-day comedy, a transposition of Austen’s novel to a modern setting, where the characters are themselves churchgoers and students at a religious university. My work is aimed at establishing a connection between Jane Austen’s novel, Andrew Black’s movie and the issue of morality and religion, and how the novel and movie establish a connection not only in terms of fictional elements such as characters and plot, but mainly in regards to one of the possible final messages in both works.

O presente trabalho explora a interdisciplinaridade ao analisar as heroínas de Jane Eyre de Charlotte Brontë e Pride and Prejudice de Jane Austen, bem como suas respectivas recriações em adaptações para o cinema e para a televisão. Evidenciando as retomadas dos romances para as mídias cinematográfica e televisiva, a pesquisa perpassou o olhar por filmes e seriados de 1934 a 2011, porém o estudo faz um recorte e analisa dois filmes e duas minisséries, entre outras, que recriam as personagens principais, tendo em vista a proximidade temporal das produções e o gosto pessoal da investigadora desta pesquisa. As protagonistas Jane Eyre e Elizabeth Bennet constituem-se em figuras femininas e literárias marcantes que continuam a viver no imaginário tanto do público leitor quanto do espectador, bem como são fontes de estudos da academia e de fruição em geral, reunindo interessados e admiradores sem restrições. Desta forma, o foco repousa nos romances, na minissérie Jane Eyre, de 2006, da diretora Susanna White; no filme homônimo, de 2011, do diretor Cary Fukunaga; na minissérie Pride and Prejudice, de 1995, de Simon Lang; e no filme de 2005, sob a direção de Joe Wright. Esta investigação lança um olhar, em um primeiro momento, ao interesse dirigido à busca dos textos das autoras como material para adaptações, focando as protagonistas como o cerne de tais retomadas. Além disso, neste trabalho investigativo, se realiza uma leitura crítica particular dos romances, dos filmes e dos seriados. Não se buscam tanto os pontos de contato e de afastamento entre as heroínas e suas respectivas recriações ou entre as mídias envolvidas quanto se procuram os elementos denotadores dos efeitos na leitora e na espectadora personificadas na autora da pesquisa em relação às construções das personagens principais, bem como no que concerne às suas recriações em imagens na cultura ocidental do século XX e XXI. Na tentativa de iluminar com maior profundidade a permanência das heroínas por meio das narrativas tanto literárias quanto fílmicas e televisivas ao longo do tempo, o presente exame se debruça sobre a relação entre leitor e romance, bem como entre espectador, filme e seriado. A abordagem focaliza, desta forma, na esteira do pensamento de Iser, que se baseou nos postulados de Ingarden; a questão dos espaços vazios. A projeção do preenchimento dos vazios do texto dialoga, diretamente, com a mídia fílmica, visto que o espectador, entendido como ser ativo, necessita, também, contrabalançar possíveis lacunas. Num segundo momento, o estudo se dirige propriamente à caracterização e à apreensão do que compõe Jane Eyre e Elizabeth Bennet, tanto as personagens dos romances quanto as recriações nos filmes e nas minisséries componentes do corpus desta pesquisa. Ao almejar a compreensão das nuances que formam as personalidades das heroínas, o que é determinante em suas ações, a análise contempla elementos que representam papéis marcantes para se conhecer as particularidades componentes das protagonistas. Em terceiro lugar, o enfoque passa a ser o contexto, em suas variadas acepções, tais como social, comportamental e, mesmo, geográfico, a serviço do entendimento de quem são essas heroínas, tendo em vista que o espaço que as envolve é crucial na revelação do que as torna ímpares. Contando com excertos e fragmentos retirados das seis narrativas, examina-se as facetas de comportamento que as autoras imprimem em seus textos para se possam distinguir os recursos que os diretores utilizam, juntamente com suas equipes, nas recriações, na cultura ocidental, das protagonistas dentro de cenários que as marcam em cada uma das narrativas. Assim, busca-se a essência do que as tornam referenciais para leitores e espectadores. / The present study explores interdisciplinarity by analyzing the heroines of Jane Eyre by Charlotte Brontë and Pride and Prejudice by Jane Austen, as well as their respective recreations in cinema and television adaptations. Evincing the transit of novels to cinema and television media, the study looked at films and series from 1934 to 2011, focusing, however, on two films and two miniseries, among others, that recreate the main characters, in view of the temporal proximity of the productions and the personal taste of the researcher of this study. The protagonists Jane Eyre and Elizabeth Bennet are remarkable literary female figures who continue to live in the minds of both the reader and the spectator, and are sources for academic studies and general enjoyment. Thus, the focus lies on the novels; on the 2006 miniseries Jane Eyre, directed by Susanna White; on the 2011 film with the same title, directed by Cary Fukunaga; on the 1995 miniseries Pride and Prejudice, by Simon Lang; and on the 2005 film, directed by Joe Wright. Firstly, this study focuses on the interest for the works of the authors as materials for adaptations, focusing on the protagonists as the center of such adaptations. Furthermore, a particular critical reading of the novels, the films and the series is carried out, seeking not so much the contact and distance points between the heroines and their respective recreations, or between the media involved, but seeking the elements that show the effects on the reader and spectator, personified here in the author of this research, concerning the constructions of the main characters, as well as with regard to their recreations in images to the western culture of the twentieth and twenty-first centuries. In an attempt to shed light on the permanence of the heroines through both literary and filmic narratives over time, the research looks at the relationship between reader and novel, as well as between spectator and film and series. The approach focuses, therefore, in the light of Iser’s thought, which was based on the postulates of Ingarden, on the issue of blank spaces. The projection of filling in the empty spaces of the text are directly convergent to reading/interpreting filmic media, since the viewer, seen as an active being, also needs to counterbalance possible gaps. Secondly, the study addresses the characterization and the understanding of what comprises Jane Eyre and Elizabeth Bennet in the novels and in the films and miniseries adaptations which are part of the corpus of this research. By trying to understand the nuances that form and individualize the personalities of the heroines, which is decisive in their actions, the analysis includes elements that represent roles that are significant to know the particularities of the protagonists. Thirdly, the focus shifts to the context in its many traits, such as social, behavioral, and even geographical, in order to understand who these heroines are, considering that the space that surrounds them is crucial in the revelation of what makes them unique. Relying on excerpts and fragments taken from the six narratives, the facets of behavior that the authors impress in their texts are examined to distinguish the resources that the directors and their teams use in the recreations, for the contemporary western culture, of the protagonists in the scenarios that mark them in each of the narratives. Thus, the aim is the search for the essence of what makes them an updated reference for readers and spectators.

O presente trabalho explora a interdisciplinaridade ao analisar as heroínas de Jane Eyre de Charlotte Brontë e Pride and Prejudice de Jane Austen, bem como suas respectivas recriações em adaptações para o cinema e para a televisão. Evidenciando as retomadas dos romances para as mídias cinematográfica e televisiva, a pesquisa perpassou o olhar por filmes e seriados de 1934 a 2011, porém o estudo faz um recorte e analisa dois filmes e duas minisséries, entre outras, que recriam as personagens principais, tendo em vista a proximidade temporal das produções e o gosto pessoal da investigadora desta pesquisa. As protagonistas Jane Eyre e Elizabeth Bennet constituem-se em figuras femininas e literárias marcantes que continuam a viver no imaginário tanto do público leitor quanto do espectador, bem como são fontes de estudos da academia e de fruição em geral, reunindo interessados e admiradores sem restrições. Desta forma, o foco repousa nos romances, na minissérie Jane Eyre, de 2006, da diretora Susanna White; no filme homônimo, de 2011, do diretor Cary Fukunaga; na minissérie Pride and Prejudice, de 1995, de Simon Lang; e no filme de 2005, sob a direção de Joe Wright. Esta investigação lança um olhar, em um primeiro momento, ao interesse dirigido à busca dos textos das autoras como material para adaptações, focando as protagonistas como o cerne de tais retomadas. Além disso, neste trabalho investigativo, se realiza uma leitura crítica particular dos romances, dos filmes e dos seriados. Não se buscam tanto os pontos de contato e de afastamento entre as heroínas e suas respectivas recriações ou entre as mídias envolvidas quanto se procuram os elementos denotadores dos efeitos na leitora e na espectadora personificadas na autora da pesquisa em relação às construções das personagens principais, bem como no que concerne às suas recriações em imagens na cultura ocidental do século XX e XXI. Na tentativa de iluminar com maior profundidade a permanência das heroínas por meio das narrativas tanto literárias quanto fílmicas e televisivas ao longo do tempo, o presente exame se debruça sobre a relação entre leitor e romance, bem como entre espectador, filme e seriado. A abordagem focaliza, desta forma, na esteira do pensamento de Iser, que se baseou nos postulados de Ingarden; a questão dos espaços vazios. A projeção do preenchimento dos vazios do texto dialoga, diretamente, com a mídia fílmica, visto que o espectador, entendido como ser ativo, necessita, também, contrabalançar possíveis lacunas. Num segundo momento, o estudo se dirige propriamente à caracterização e à apreensão do que compõe Jane Eyre e Elizabeth Bennet, tanto as personagens dos romances quanto as recriações nos filmes e nas minisséries componentes do corpus desta pesquisa. Ao almejar a compreensão das nuances que formam as personalidades das heroínas, o que é determinante em suas ações, a análise contempla elementos que representam papéis marcantes para se conhecer as particularidades componentes das protagonistas. Em terceiro lugar, o enfoque passa a ser o contexto, em suas variadas acepções, tais como social, comportamental e, mesmo, geográfico, a serviço do entendimento de quem são essas heroínas, tendo em vista que o espaço que as envolve é crucial na revelação do que as torna ímpares. Contando com excertos e fragmentos retirados das seis narrativas, examina-se as facetas de comportamento que as autoras imprimem em seus textos para se possam distinguir os recursos que os diretores utilizam, juntamente com suas equipes, nas recriações, na cultura ocidental, das protagonistas dentro de cenários que as marcam em cada uma das narrativas. Assim, busca-se a essência do que as tornam referenciais para leitores e espectadores. / The present study explores interdisciplinarity by analyzing the heroines of Jane Eyre by Charlotte Brontë and Pride and Prejudice by Jane Austen, as well as their respective recreations in cinema and television adaptations. Evincing the transit of novels to cinema and television media, the study looked at films and series from 1934 to 2011, focusing, however, on two films and two miniseries, among others, that recreate the main characters, in view of the temporal proximity of the productions and the personal taste of the researcher of this study. The protagonists Jane Eyre and Elizabeth Bennet are remarkable literary female figures who continue to live in the minds of both the reader and the spectator, and are sources for academic studies and general enjoyment. Thus, the focus lies on the novels; on the 2006 miniseries Jane Eyre, directed by Susanna White; on the 2011 film with the same title, directed by Cary Fukunaga; on the 1995 miniseries Pride and Prejudice, by Simon Lang; and on the 2005 film, directed by Joe Wright. Firstly, this study focuses on the interest for the works of the authors as materials for adaptations, focusing on the protagonists as the center of such adaptations. Furthermore, a particular critical reading of the novels, the films and the series is carried out, seeking not so much the contact and distance points between the heroines and their respective recreations, or between the media involved, but seeking the elements that show the effects on the reader and spectator, personified here in the author of this research, concerning the constructions of the main characters, as well as with regard to their recreations in images to the western culture of the twentieth and twenty-first centuries. In an attempt to shed light on the permanence of the heroines through both literary and filmic narratives over time, the research looks at the relationship between reader and novel, as well as between spectator and film and series. The approach focuses, therefore, in the light of Iser’s thought, which was based on the postulates of Ingarden, on the issue of blank spaces. The projection of filling in the empty spaces of the text are directly convergent to reading/interpreting filmic media, since the viewer, seen as an active being, also needs to counterbalance possible gaps. Secondly, the study addresses the characterization and the understanding of what comprises Jane Eyre and Elizabeth Bennet in the novels and in the films and miniseries adaptations which are part of the corpus of this research. By trying to understand the nuances that form and individualize the personalities of the heroines, which is decisive in their actions, the analysis includes elements that represent roles that are significant to know the particularities of the protagonists. Thirdly, the focus shifts to the context in its many traits, such as social, behavioral, and even geographical, in order to understand who these heroines are, considering that the space that surrounds them is crucial in the revelation of what makes them unique. Relying on excerpts and fragments taken from the six narratives, the facets of behavior that the authors impress in their texts are examined to distinguish the resources that the directors and their teams use in the recreations, for the contemporary western culture, of the protagonists in the scenarios that mark them in each of the narratives. Thus, the aim is the search for the essence of what makes them an updated reference for readers and spectators.

As obras de Jane Austen são extremamente populares tanto entre leitores comuns e estudiosos de literatura desde a época em que foram publicados, no início do século XIX até os dias de hoje. Tamanha popularidade foi responsável por inúmeras obras de arte, especialmente na literatura e no cinema, que foram ou implicitamente ou explicitamente influenciados pela obra de Austen. Um de seus romances mais adaptados é Orgulho e Preconceito, talvez seu romance mais lido, estudado e adaptado. Um dos motivos para tal apreciação é provavelmente resultado dos valores morais que Jane Austen expõe em seus romances. Estes valores, mesmo duzentos anos mais tarde, permanecem importantes e de grande valor, especialmente na era pós-moderna, quando o excesso de liberdade e alternativas parecem deixar a humanidade mais desprovida de um suporte seguro na vida. Esta é a razão que permite um fã de Austen encontrar na religião um possível diálogo, onde, em um mundo cheio de incertezas, certos códigos morais são as certezas a que alguém pode se segurar. Em 2003, Andrew Black dirigiu o filme Pride and Prejudice: a latter-day comedy1, uma transposição moderna do romance de Austen, no qual os personagens vão à igreja e estudam em uma universidade religiosa. Meu trabalho busca estabelecer uma relação entre o livro de Jane Austen, o filme de Andrew Black e as questões sobre moralidade e religião, e como o romance e o filme estabelecem uma conexão não apenas em seus elementos de ficção como personagens e enredo, mas principalmente no que diz respeito a uma das possíveis mensagens finais em ambas obras. / The works of Jane Austen are extremely popular both among average readers and literature scholars from the time they were published, in the early 19th century until today. Such popularity has been responsible for innumerous works of art, especially in literature and cinema, that were either implicitly or explicitly influenced by Austen’s work. One of her most adapted novels is the 1812 novel Pride and Prejudice, which is perhaps her most read, studied and adapted novel. One of the reasons for such appraisal has probably to do with the moral values Jane Austen exposes in her novels. Those values, even two hundred years later, remain important and of great worth, especially in the postmodern era, when the excess of freedom and alternatives seems to make humanity more deprived of a secure ground in life. This is the reason that allows an Austen fan to find in religion a possible dialogue, where, in a world full of uncertainties, some moral codes are the certainties one can hold onto. In 2003, Andrew Black directed a movie entitled Pride and Prejudice: a latter-day comedy, a transposition of Austen’s novel to a modern setting, where the characters are themselves churchgoers and students at a religious university. My work is aimed at establishing a connection between Jane Austen’s novel, Andrew Black’s movie and the issue of morality and religion, and how the novel and movie establish a connection not only in terms of fictional elements such as characters and plot, but mainly in regards to one of the possible final messages in both works.

The nineteenth century in Germany posed a repressive environment for-women as they were defined as inferior to men and forced into the subservient roles of housewives and mothers. This thesis examines the portrayal of femininity in three contemporary writers of the period, Louise Aston, Charlotte Birch-Pfeiffer and Louise von Francois. The first chapter endeavors to situate the writers in their social environment. It examines the mechanics that supported the patriarchal system, such as socializing women through education and categorizing them as inferior to justify and support their traditional roles. Chapters two, three, and four respectively deal with each author, presenting an introduction to their particular conditions and a brief summary of their lives. Following this, the individual tests are analyzed for their portrayal of femininity. These writers' visions of femininity differ greatly. Aston, whose career spanned the revolution of 1848, openly promotes liberal-humanist ideas and advocates the emancipation of women. Her heroines bear male an female traits and rise to positions of power and leadership. Birch-Pfeiffer's women are strong and independent. She frequently reverses the traditional gender roles. However, she upholds the moral code of her time, including the idea of the woman as exemplar of chastity and virtue . Francois idealizes the traditional role of women. However, she elevates that role by extolling motherhood and marital fidelity as supreme virtues. Despite these differences, there are similarities. All three writers offer an alternative picture of femininity despite this adherence, to a greater or lesser degree, to the traditional values of their time. In addition, they all criticize the patriarchal structures of society, revealing their discontent more or less openly. Finally, their portrayal of femininity was in each case based on their particular circumstances of the individual writers lives. Aston exploited the revolutionary times to present a strong claim for female emancipation; Birch- Pfeiffer, in need o f money, adapted strongly to the taste of her audience, finding in turn, interested recipients for her ideas; and Francois, a very private and proud person, chose to upgrade the women's role within the tradition, in attempt to avoid public attention. Within their circumstances, each one of the authors presented the best possible version of femininity as an alternative to traditional values. / Arts, Faculty of / Central Eastern Northern European Studies, Department of / Graduate

This dissertation considers the role of affective management in realist aesthetics and British imperial culture. Drawing on formalist analyses of English novels, nineteenth-century theories of emotion, and postcolonial accounts that identify the colonizer’s affective desensitization as the ground from which ongoing violence can be perpetrated, this study explores how domestic English novels developed new techniques for deflating the heightened feelings surrounding empire and distant intimacy. Through satires of sensibility, the replacement of epistolary style with impersonal omniscience, and newly dispassionate presentations of villains and protagonists alike, realist novelists explored affective restraint as at once a generic characteristic and an increasingly central element of British imperial and racial identities. This dissertation therefore argues, through readings of works by Jane Austen, William Makepeace Thackeray, George Eliot, and Joseph Conrad, for the deep influence of imperial culture on the realist novel’s distinguishing formal features. At the same time, it prompts critics to revisit longstanding accounts of the relationship between the novel and sympathy. Since the Victorian era, critics have readily understood the realist novel as concerned with the expansion of readers’ sympathies: this study reframes this important account by examining how the insistence on sympathy in novels often rerouted more turbulent reactions to empire’s dislocations—such as longing, desire for vengeance, and guilt—into cooler, more tractable feelings.

Ce mémoire explore les modalités culturelles de la participation politique de la salonnière parisienne et célèbre écrivaine Anne-Louise-Germaine Necker, baronne de Staël-Holstein (1766-1817), au cours de la Révolution française (1789-1799). Sur le plan des représentations, il souligne chez Germaine de Staël l’appropriation et la reformulation des normes de genre pour élaborer un rôle politique convenable à une femme d’esprit dans le contexte révolutionnaire. Ce rôle se fondait notamment sur une éthique de l’amitié et un idéal de vertu acquise par la sensibilité et la raison. Son projet constitutionnel, à la fois libéral et élitiste, cherchait à intégrer la contribution des femmes au processus politique à travers la sociabilité polie et la production littéraire. Sur le plan des pratiques, ce mémoire montre comment les outils de réseautage et de communication qu’étaient le salon, la correspondance et la publication fonctionnaient ensemble pour permettre à Staël de se positionner dans un espace sociopolitique et d’y déployer une action. Il considère ces forums comme des éléments constitutifs d’une culture politique révolutionnaire dont Staël sut faire un usage créatif et constructif pour promouvoir ses idées et son parti. / This essay explores the cultural conditions shaping the political participation of the Parisian salon woman and famous author Anne-Louise-Germaine Necker, baroness of Staël-Holstein (1766-1817), during the French Revolution (1789-1799). Looking at representations, it underlines Germaine de Staël’s appropriation and recasting of gender norms to work out a suitable political role for elite women in the revolutionary context. This role was notably based on an ethic of friendship, and an ideal of virtue acquired by combining sensibility and reason. Her constitutional project, both liberal and elitist, sought to integrate female contribution to the political process through polite sociability and literary production. In regard to practices, this essay shows how networking tools and forums of discussion such as salons, correspondence and publication functioned together to position Staël within a socio-political space where she could act. It considers these forums as constitutive elements of a revolutionary political culture that Staël used creatively and constructively to promote her ideas and party.

Ce mémoire explore les modalités culturelles de la participation politique de la salonnière parisienne et célèbre écrivaine Anne-Louise-Germaine Necker, baronne de Staël-Holstein (1766-1817), au cours de la Révolution française (1789-1799). Sur le plan des représentations, il souligne chez Germaine de Staël l’appropriation et la reformulation des normes de genre pour élaborer un rôle politique convenable à une femme d’esprit dans le contexte révolutionnaire. Ce rôle se fondait notamment sur une éthique de l’amitié et un idéal de vertu acquise par la sensibilité et la raison. Son projet constitutionnel, à la fois libéral et élitiste, cherchait à intégrer la contribution des femmes au processus politique à travers la sociabilité polie et la production littéraire. Sur le plan des pratiques, ce mémoire montre comment les outils de réseautage et de communication qu’étaient le salon, la correspondance et la publication fonctionnaient ensemble pour permettre à Staël de se positionner dans un espace sociopolitique et d’y déployer une action. Il considère ces forums comme des éléments constitutifs d’une culture politique révolutionnaire dont Staël sut faire un usage créatif et constructif pour promouvoir ses idées et son parti. / This essay explores the cultural conditions shaping the political participation of the Parisian salon woman and famous author Anne-Louise-Germaine Necker, baroness of Staël-Holstein (1766-1817), during the French Revolution (1789-1799). Looking at representations, it underlines Germaine de Staël’s appropriation and recasting of gender norms to work out a suitable political role for elite women in the revolutionary context. This role was notably based on an ethic of friendship, and an ideal of virtue acquired by combining sensibility and reason. Her constitutional project, both liberal and elitist, sought to integrate female contribution to the political process through polite sociability and literary production. In regard to practices, this essay shows how networking tools and forums of discussion such as salons, correspondence and publication functioned together to position Staël within a socio-political space where she could act. It considers these forums as constitutive elements of a revolutionary political culture that Staël used creatively and constructively to promote her ideas and party.

Three of the most notable English women authors, Jane Austen, Charlotte Bronte, and George Eliot, explore similar themes of the individual, particularly the young woman, in relation to a hierarchical, patriarchal society, more specifically a crumbling paternalist society. My focus is on three Victorian novels' representations of society's transformation from a paternalistic nature to one of greater individualism; and in particular, I explore how women defined for themselves positions of power within these structures. So this study is twofold, one on representations of gender and the other of class; for the two are inseparable in discussing power relationships of Victorian women. Austen, Bronte, and Eliot understood and, to some degree, accepted the pervasive paternal values. Their novels, however, do not advocate radical social change; rather, their heroines willingly turn to domesticity. I aim to argue that each author, although dissatisfied with aspects of society, did not desire to radically alter women's role within society. The fictitious lives they created became both a representation and a critique of the ideologies surrounding them. The texts of Emma, Jane Eyre, and Middlemarch are representative of traditional social norms and yet question some of the culture's dominant codes, especially in relation to paternalism and gender. What strikes me about these novels is that although the female characters are limited by society, they are not ineffectual. Rather the authors portray women in control of their lives and able to make choices for themselves within the framework of society. My research includes social, philosophical, and political attitudes of the decades in which each novel was written, as well as personal philosophies held by Austen, Bronte, and Eliot in relation to gender and class and the influence of these philosophies in their art. Finally, my reading of the texts explicates evidences of the culture's and author's attitudes in relation to paternalism and gender.

An historical study of the Diocese of St John's of the Church of the Province of South Africa, with special reference to Bishop Callaway's vision of a black clergy Henry Callaway (1813 - 1890) came to South Africa with Colenso. In 1857 he founded a mission at Springvale, and later at Highflats and Clydesdale. He was highly respected as an expert in the Zulu language, customs and religion. He became bishop of St John's in 1874. Callaway developed St John's from four isolated mission stations into a thriving diocese. He laid the foundations of education and health systems as well as organising the Church itself. Of special interest was the training a core of black clergy to carry the church to the people. Callaway resigned because of ill health in 1886. / Christian Spirituality, Church History and Missiology / Th. M. (Church History)