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In this project, I analyze women's humor in three of Jane Austen's novels: Pride and Prejudice, Mansfield Park, and Emma. Using speech-act theory, I specifically examine Elizabeth's, Emma's, and Mary's utterances to demonstrate that in order for humorous utterances to be subversive, they must challenge societal or patriarchal constructs (religion, misogynist men, marriage, the feminine ideal) and do so artfully. An indirect speech act--a play on words, an insult, even a laugh--is often far more effective than a more direct one, especially when wielded by characters for whom a direct antagonistic speech act would have severe social consequences. When those socially-sanctioned and highly-regulated speech acts--marriages, wills, introductions, invitations, letters, titles--are less accessible or less beneficial to women, only indirect speech acts remain a viable option. / Master of Arts

In Letters to a Young Man (1801) Jane West states that “no character is so difficult to invent or support as that of a gentleman” (74). The invention of that character, determining what qualities, qualifications, and behaviour befits a gentleman, preoccupied writers and thinkers throughout the eighteenth century. This thesis traces the evolution of the masculine ideals – chivalry, republican virtue, professional merit – that informed what it meant to be a gentleman. Because gentlemanliness had implications for citizenship and political rights, Defoe, Richardson, Rousseau, and the other men who sought to define gentlemanliness increasingly connected it and citizenship to gendered virtue rather than socio-economic status. Women writers were equally concerned with the developing gentlemanly ideal and, as I will show, its political implications. This thesis brings together masculinity studies and feminist literary history, but also combines the gendered social history that often frames studies of women’s writing with the political and military history traditionally associated with men. Doody (1988) suggests that novels are influenced by three separate histories: “the life of the individual, the cultural life of the surrounding society, and the tradition of the chosen art” (9). With the feminocentric novel, however, the historical context is often circumscribed by a concern for what is ‘feminine’ and what polite lady novelists might be responding to. With the exception of women’s participation in the 1790s debates, eighteenth-century women writers have been seen as shying away from divisive political topics, including war. However, I will show that masculinity is central to re-evaluating the ways in which women writers engaged with politics through the courtship plot, because, as McCormack (2005) stresses, “politics and the family were inseparable in Georgian England” (13). Furthermore, as Russell (1995) observes, war is a cultural event that affects and alters “the textures of thought, feeling, and behaviour” (2-3). Focusing on late-eighteenth-century wars, this thesis will explore how political and military events influenced masculine ideals – particularly independence – and how these changes were negotiated in women's novels. Beginning with Frances Burney, this thesis explores the ways in which women writers offered solutions to the problem of masculinity while promoting a (proto)feminist project of equality. By rejecting chivalry and creating a model of manliness that builds on republican virtue and adopts the emerging professional ethic, women writers created heroes defined by personal merit, not accidents of birth. Burney begins this process in Evelina (1778) before problematising the lack of manly independence in Cecilia (1782). Charlotte Smith and Jane West take the problems Burney’s work exposes and offer alternatives to chivalric masculinity amidst the heightened concerns about liberty and citizenship surrounding the French revolution. Finally, Maria Edgeworth’s and Jane Austen’s Napoleonic-era novels promote professionalism as a path to gentility but also as a meritocratic alternative to landed and aristocratic social models. Though the solutions offered by these writers differ, in their opposition to chivalric masculinity they demonstrate that liberating men from the shackles of feudal dependence is essential to freeing women from patriarchal tyranny.

Dans son dernier roman achevé intitulé Persuasion, Jane Austen se sert fréquemment du style indirect afin de représenter la pensée du personnage principal, Anne Elliot. Ce roman fut traduit en français pour la première fois en 1821 par Isabelle de Montolieu, publié à Paris sous le titre de La Famille Elliot, ou l’ancienne inclination. Qu’est-ce que le style indirect libre devient dans la narration de la première traduction française de Persuasion ? La formulation de cette question, que nous envisageons à partir d’un corpus de textes théoriques, fait suite à un certain nombre de travaux consacrés aux relations entre la traduction et le discours rapporté qui ont mis en évidence le rôle du style indirect libre dans la traduction de Montolieu. On propose pour la première fois l’application des concepts narratologiques à l’analyse de cette traduction : notre étude s’appuie ainsi sur des notions opératoires susceptibles de saisir sa singularité narrative et le rapport entre le discours rapporté et la traduction. Le troisième chapitre de notre étude débute sur l’analyse de notre traduction. Grâce aux concepts issus de la narratologie surtout à tendance « énonciative », nous avons pu regarder au-delà de la phrase pour finir par remarquer que le style indirect libre est surtout très répandu dans la narration de La Famille Elliot. Nous souhaiterions ici combler une lacune en consacrant la présente étude à un phénomène souvent jugé « extraordinaire ». Pour autant, le présent ouvrage ne doit pas être considéré uniquement comme une étude spécialisée, car il a aussi l’ambition de contribuer à l’étude du discours rapporté au sein du texte traduit en général. / In Persuasion, Jane Austen uses this technique to present Anne Elliot’s consciousness. Persuasion, Austen’s posthumously published “late” novel is first translated by Isabelle de Montolieu as La Famille Elliot, ou l’ancienne inclination, Paris, 1821. This thesis analyses the translation of FID from Persuasion to La Famille Elliot. How does Montolieu handle this technique? In chapter 1 we point out that the main reason Montolieu’s use of FID in La Famille Elliot has been neglected for so long has far less to do with Austen’s fortunes in France than with an obsession with lexical and semantic equivalence within translation studies. One of the main purposes of this study is to extend the vision of translation studies beyond the level of the sentence. We think that we achieve this by setting out to document the existence of FID in the target text narration. I argue in chapter 2 that it is impossible to comment on the narrator or FID in La Famille Elliot with any precision without first analysing definitions of these abstractions within narratology. These analytical concepts may then, only then, be applied meaningfully to the target text. Ultimately, this is what this present study does in so far as it is a target-oriented translation study that draws on key concepts from the field of narratology. A re-evaluation of the target text narration within the conceptual framework of narratology reveals extensive use of FID. In chapters 3 and 4, our analysis demonstrates that sophisticated use of FID is frequently in evidence in the target text narration. In chapter 3, we analyse several passages of FID that often function to represent the complex life of the heroine’s mind as she converses with herself. In chapter 4, we analyse numerous passages of FID that seamlessly wed the narration in La Famille Elliot to the heroine’s point of view (PDV), demonstrating that the narration achieves this focus on the heroine’s consciousness through syntactically unmarked fragments of FID thought report.

L'étude des ressorts de l'intertextualité et de l'intermédialité dans l'œuvre de Jane Campion met en relief les enjeux d'un métacinéma postmoderne, tout d'abord à travers la question de l'adaptation. Illustrant le processus de novellisation, le roman Holy Smoke (1999) se clôt avec une mise en abyme fictionnelle qui, en proposant une fin alternative au roman au carrefour entre fiction policière et pastiche de texte biblique, place la question de l'écriture au centre de l'œuvre. Dans In the Cut [2001], les multiples citations littéraires du récit constituent des points névralgiques qui remettent régulièrement en question le devenir de l'œuvre et de l'héroïne. Enfin, dans An Angel at my Table [1991], le leitmotiv du cheminement et les fuites répétées d'une insaisissable protagoniste, combinés à l'utilisation d'une caméra aérienne dans le prologue et l'épilogue filmiques, se rapportent à une dimension réflexive du projet biographique. Dans le droit prolongement de ces dispositifs métatextuels, la mise en abyme des modes d'expression artistique permet à la fiction campionienne de faire retour sur elle-même. Le flash de dessin animé illustre la force de l'hypotypose en déployant des micro-fictions enchâssées, tandis que l'utilisation du tableau comme instrument métatextuel, l'allusion au conte ou encore la mise en scène du geste créatif transcendant donnent au film les moyens de se sonder lui-même. Pour finir, dans une démarche typiquement lacanienne qui distingue irrémédiablement le réel de sa représentation symbolique, Campion place sur un même plan fiction et documentaire. L'insert du documentaire botanique, du reportage sur les sectes ou des images d'archives dans la fiction dessinent des formes spécifiques de rencontres médiatiques, à travers lesquelles peuvent être identifiées l'anamorphose, la métalepse ou l'homologie intermédiales. Dans ce jeu permanent avec la frontière, l'iconographie fictionnelle emprunte les codes de représentation du réel comme avec Peel [1982], le biopic réalistico-magique, Passionless Moments [1984], le pastiche de documentaire, ou encore l'imitation d'images d'archives associées à des motifs surréalistes dans le travelogue de Portrait of a Lady. Dans cette confrontation des images documentaires et fictionnelles, le film engage à nouveau une réflexion métafilmique où le réel se donne comme l'impossible horizon de toute représentation. / The study of intertextuality and intermediality in Jane Campion’s artistic creations casts light upon the mechanism of postmodern metacinema, an issue that is raised first through the question of adaptation. Holy Smoke (1999) ends with a mise en abyme through which the writing process is put at the core of the novel. With In the Cut [2001], the literary quotations are landmarks that regularly put into question the destiny and destination of the heroïn and of the fiction. Finally, in An Angel at my Table [1991], the recurrent images of Janet’s itinerary and the use of aerian tracking shots can be viewed as autoreferential devices. The embedding of other artistic genres within the movie also allows the fiction to comment on itself. The cartoon sequences bring about the essence of hypotyposis. The use of paintings as referential material, the allusions to fairy tales and the shooting of transcending creative moments give to the movie the tools to speak about itself. Lastly, in a typically lacanian approach, Campion puts fictions and documentaries on the same level when contrasted to the real. The botanical documentary footage, the report on sects or the archives shed light upon specific types of intermediality : the anamorphosis, the metalepsis and the homological structure. Moreover, the fiction borrows the codes of representation to the informational genres with the magical-realistic biopic, the imitation of the documentary footage or archives sometimes combined with surrealistic developments. In contrasting the fictional and the informational, the movie leads to a metafilmic reflection, in which the Real stands for the unreachable horizon of any form of representation.

O objetivo deste trabalho é estudar o vlog The Lizzie Bennet Diaries (2012-2013), dos adaptadores Bernie Su e Hank Green, como adaptação feminista do romance Pride and Prejudice (1813), da escritora inglesa Jane Austen. Parte-se inicialmente de uma definição de vlog, verificando as peculiaridades formais e técnicas deste formato, para em seguida observar como se deu a adaptação do romance inglês que lhe serviu de inspiração. Trata-se de um estudo descritivo, conforme o proposto por Toury (1995), do processo de adaptação, buscando verificar quais os procedimentos e tipos mais frequentes, considerando os conceitos de adaptação propostos por Sanders (2006) e Hutcheon (2006), e associando-os a teorias de Estudos da Tradução, principalmente Lefevere (1992), bem como as considerações teóricas de Elliot (2003) sobre adaptação. A análise femisnista de Austen e sua obra baseia-se principalmente nos estudos de Johnson (1990) e Kaplan (1992). / The aim of this work is to study the vlog The Lizzie Bennet Diaries (2012-2013), by adapters Bernie Su and Hank Green, as a feminist adaptation of Jane Austens Pride and Prejudice (1813). It starts with the definition of vlog, checking the formal and technical peculiarities of this format, so as to see how the adaptation of the English novel which inspired it took place. It is a descriptive study, as proposed by Toury (1995), of the adaptation process, seeking to verify the most frequent procedures and types, considering the adaptation concepts as proposed by Sanders (2006) and Hutcheon (2006), and associating them with Translation Studies theories, mainly Lefevere (1992), as well as the theoretical considerations by Elliot (2003) on adaptation. Feminist analysis of Austen and her work is mainly based on the studies of Johnson (1990) and Kaplan (1992).

O presente trabalho faz um estudo crítico de Pride and Prejudice (1813), de Jane Austen, buscando mostrar aproximações da obra com as mudanças sociais, políticas, econômicas e ideológicas que ocorreram na Inglaterra da passagem do século XVIII ao XIX, a partir da ascensão da burguesia. Com base na construção feita da heroína Elizabeth Bennet como uma personagem racional, em oposição às demais personagens do romance, contrastes de classe e gênero são explorados, de modo a conduzir a análise para uma interpretação da maneira como o casamento (atuação social principal de mulheres de certa classe no período) é desenvolvido ao longo de todo o romance, acabando por se tornar o fio condutor da narrativa uma verdadeira investigação de significados sociais desenvolvida pela autora. / This work brings a critical study of Jane Austens Pride and Prejudice (1813). It aims to show the approaches between the book and social, political, economic and ideological transformations that took place in England in the transition of the eighteenth century to the nineteenth, since the rise of the bourgeoisie. Based on the construction of the heroine Elizabeth Bennet as a rational character, in opposition to the other characters of the novel, class and gender contrasts are explored in order to conduct the analysis to an interpretation of how the marriage (the main social activity of women of a certain class in the period) is developed throughout the novel, eventually becoming the underlying theme of the narrative a true research of social meanings developed by the author.