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.

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.

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The plot twist is a complex narrative surprise in which a revelation retroactively transforms readers’ understanding of the preceding events. Readers discover belatedly that the situation depicted in the narrative had all along been quite different from what they thought. Although the term “plot twist” was first used in the early twentieth century, many of the best-known works of fiction of the nineteenth century were revealed, in retrospect, to be twist narratives. This dissertation studies twist narratives and their readers in the period before the plot twist became a known device. Through case studies of Jane Austen’s Emma, Charles Dickens’s Great Expectations, Guy de Maupassant’s “The Necklace” and Agatha Christie’s The Murder of Roger Ackroyd, the chapters investigate what kinds of knowledge-making practices readers engage in during first-time readings and rereadings of twist narratives, as well as before and after reading. Across these chapters I make the case that twist narratives demonstrate the crucial and interconnected roles of knowledge and temporality in any narrative experience. What we know, and when, and especially what we don’t (yet) know, is crucial to how narratives work and why we enjoy them.

The aim of this study is to reveal how LBD adheres to postmodern tenets while also being ultimately suspicious of these principles. This suspicion of postmodern principles is reflected in the interaction between the main subject of the videos, Lizzie Bennet, and the audience. This examination invokes the questions of when, where, and how the audience experiences LBD. This illuminates the manner in which LBD functions as a postmodern literary text and how this text is critical of its digital composition. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

A escritora inglesa Jane Austen possui, além do status de autora canônica, um apelo popular não apenas em função de sua qualidade como escritora, mas também pela força imagética de suas obras quando adaptadas para o cinema. Em Amor e Inocência (2007), o diretor Julian Jarrold apresenta um episódio ocorrido na vida da autora, com base em fatos extraídos da biografia Becoming Jane Austen, escrita em 2003 por Jon Spence. O filme explora um possível envolvimento entre a jovem Jane e o estudante irlandês Tom Lefroy. Essa produção, enquanto apresenta o início da carreira da escritora, sugere que o trauma da relação mal sucedida com Lefroy possa ter sido a fonte temática que inspirou sua obra ficcional posterior. Esta dissertação verifica de que forma o filme articula as questões históricas sobre a vida de Austen com as situações ficcionais apresentadas em seus romances para chegar a um produto final tão coeso e verossímil, embora ficcional. Especial atenção é dada ao estudo da construção da personagem protagonista, que resulta da combinação entre o conteúdo imagético das obras de Austen e os elementos biográficos pesquisados por Spence. Além dessas fusões, há ainda que ser considerado o ícone Jane Austen, que habita o imaginário dos ingleses e dos leitores pelo mundo afora. Na evolução das adaptações fílmicas das obras de Austen testemunhamos a fusão entre as personagens e a própria autora, especialmente no caso de Elizabeth Bennet, em Orgulho e Preconceito (1813). Para realizar esta análise, lanço mão dos conceitos de adaptação e apropriação propostos por Linda Hutcheon, e do conceito de metaficção historiográfica estabelecido pela mesma autora em A Poetics of Postmodernism: History, Theory, Fiction (1988). Ao término do trabalho, espero que esta discussão investigativa e argumentativa seja útil em três aspectos: contribuindo para o debate sobre autores usados como personagens na ficção derivativa contemporânea; identificando certas necessidades culturais que subjazem ao culto do ícone Jane Austen, conhecido como Austenmania; e verificando até que ponto o conceito de metaficção historiográfica dá conta de propostas narrativas em que a personagem histórica retratada é também uma escritora. / Jane Austen enjoys more than the status of canonical author: she is also popular not only because of her achievements as a writer but also for the cinematic appeal of her novels. In Becoming Jane (2007), director Julian Jarrold presents the story of Jane Austen from an episode occurred early in the author’s life. Based on facts extracted from Jon Spence’s biography Becoming Jane Austen (2003), the film explores a supposed relationship between young Jane and an Irish Law student, Tom Lefroy. In Becoming Jane we witness the beginning of Austen’s writing career, and the film speculates that the trauma of a failed relationship with Lefroy was the inspiration for Austen’s mature novels. This work verifies the ways in which the film articulates the historical aspects of Jane Austen’s life with fictional events as presented in her novels to reach a cohesive and credible – although fictional – result. Special attention is paid to the process of constructing a fictional Jane as main character, combining the images contained in her novels with the biographical elements presented by Spence; it is also considered in this analysis the evolving nature of Jane Austen as an icon that inhabits not only the English imaginary but also that of readers all over the world. In the evolution of Austen filmic adaptations, we witness a fusion between her characters and the author herself, especially Elizabeth Bennet from Pride and Prejudice (1813), which adds to the intertextual layers of any film analysis. To deal with the questions of film adaptations, I refer to the concepts of adaptation and appropriation as posed by theoretician Linda Hutcheon. For the specific analysis of the phenomenon of author as character, I turn again to Linda Hutcheon and the concept of historiographic metafiction presented in A Poetics of Postmodernism: History, Theory, Fiction (1988). I hope, by the end of this thesis, that this investigative and argumentative analysis is helpful in three instances: contributing to the discussion of the use of authors as characters in contemporary fiction, be it filmic or literary; identifying the cultural needs of readers and critics that perpetuate the cult of Jane Austen, known as Austenmania; and verifying to what extent historiographic metafiction alone is enough to deal with narratives in which the historical character portrayed is also a writer.

Quanto mais nostálgicas e românticas se tornam as noções que apresentam sobre mundo idealizado de Austen, mais claramente podemos perceber as carências que fazem com que assim o percebam. Portanto, o objetivo desta tese é apresentar uma leitura de The Jane Austen Book Club através da aproximação com a obra de Austen, e assim entender o que as personagens de Fowler estão procurando, e por quê. A premissa é que essa busca revela muito a respeito do mundo contemporâneo. No âmbito da literatura, tomando Austen e Fowler como autoras que revelam os protocolos de leitura de suas épocas, espero explicitar algumas das razões do fascínio exercido por Austen sobre o leitor de hoje. Para tanto, utilizo como apoio teórico o contraste entre os conceitos de modernidade sólida e modernidade líquida propostos por Zygmunt Bauman, especialmente em relação às considerações sobre os termos fluidez, ética, velocidade, desimpedimento e medo. / Almost two hundred years separate Karen Joy Fowler from Jane Austen. The latter is a great English literary icon, author to six of the best treasured novels in English literature, admired for her style, wit and subtlety in the delineation of her characters and their social relations. The former is a contemporary awarded American Sci-fi and Fantasy writer, author to the novel The Jane Austen Book Club, which is the corpus of the present dissertation. In spite of the wide distance in time, subject matter, and even in literary stature that separates them, both authors are deeply involved in the investigation of human nature and human bonds. The Jane Austen Book Club not only pays homage to Jane Austen, it also offers a rich contrast between life as it was, in the 18th Century, in Austen’s rural England, and as it is now, in Fowler’s present-day sunny California. In Fowler’s novel we meet six interesting characters who undergo different kinds of personal crises. They form a book club and meet monthly, during half a year. In each meeting, they discuss one of Jane Austen´s novels. Each of them is in charge of leading the discussion on one of the novels. Fowler’s book is divided in six chapters, respectively: Jocelyn with Emma, Allegra with Sense and Sensibility, Prudie with Mansfield Park, Grigg with Northanger Abbey, Bernadette with Pride and Prejudice, and Sylvia with Persuasion. The way they interact with their assigned novels tells much not only about them and their circumstances, but also about the world in which they live. The more nostalgic and romantic their notion of Austen’s idealized past becomes, the clearer we can identify the circumstances in present-day life that provoke such reactions. The aim of this dissertation is to present a reading of The Jane Austen Book Club through an approximation with Austen’s work, so as to understand what Fowler’s characters are looking for, and why. The premise is that their quest tells about the world we live in nowadays, and about the difficulties we have in dealing with personal relations. To approach the contrast between the solid fictional world of Jane Austen and the liquid fictional world of Karen Joy Fowler, I rely on the theories presented by Zygmunt Bauman, especially on his use of concepts as fluidity, ethics, velocity, disengagement and fear.