The aim of this Master’s thesis is to investigate the modern Swedishreader’s possibilities to understand the literary allusions in Jane Austen’sfirst three novels in light of young people’s decreasing readingand understanding of classic literature. This is done by examining historicaloverviews of literature written in Swedish, curriculums forliterature courses at three Swedish universities and library holdings inSwedish libraries, both public and academic.In the thesis three different elements are combined – informationabout the alluded authors and texts, a comparison between the Swedishand the English versions of the novels and the result from theabove mentioned investigation. The description of the alluded authorsand texts provide information about the connotations that can be madeby an allusion to them. The comparison between the English and theSwedish novels show whether or not the allusions still exists in thetranslated text and if there are any differences that might affect theunderstanding of the novels.The theoretical framework is based upon literary sociology, especiallythe work of Escarpit. His concept creative treason is an inspiration forthe thesis. The hermeneutic theory of understanding is also consulted.That previous understanding effect the interpretation of a text is afundamental idea upon which the importance of the three chosen resources(curriculums, historical overviews of literature, library holdings)are based. / Program: Bibliotekarie

The eighteenth-century female of sensibility was characterized by delicate nerves that allowed her to feel her surroundings and enabled her to choose virtue over vice more consistently than males. While females were considered virtuous, their "innate" delicacy or weakness became their dominant trait and the true focus of male admiration. Although critics have already observed that Jane Austen's novels work against this idealization of feminine weakness, not one has recognized exactly how Austen transforms the female of sensibility tradition. Austen dissociates a female's delicacy from her virtue, making the primary source of virtue intellect and, in doing so, relocates male desire on to a female's inner self. Her novels work in progression to achieve this goal. Sense and Sensibility exposes delicacy's negative effects. Subsequent novels transform the sensibility tradition using two strategies. In Pride and Prejudice and Mansfield Park, several relationships demonstrate the different ways a dissociation and relocation can occur. Emma and Persuasion employ the second strategy: the problem of illusion. The existence of a weak female as attractive proves only to be delusive and is ultimately rejected by the novels' characters and readers. Hence, these five novels progressively use not only male and female interactions but characters' and readers' perceptions to eliminate the idea of feminine weakness in Austen's fictional world. / Graduation date: 1999

This satire offers an update of Jane Collier's "An Essay on the Art of Ingeniously Tormenting," an instruction manual for sadists. It includes directions for the beginning tormentor with specific instructions for tormenting strangers, acquaintances, friends, lovers and relatives.

The essay explores a new way of interpreting the role of setting in Jane Eyre arguing that nature does not only provide a pretty backdrop for the story. The theoretical approach used in the study is ecocriticism, an earth-centered method. This approach is juxtaposed with a traditional linear analysis of setting in Jane Eyre. The essay is structured along two main lines. In the first part I challenge the traditional linear approach to setting and in the second I show that Jane Eyre is intertwined with nature from the very start. Lawrence Buell’s theory of place, in particular, is used to demonstrate that Eyre is not necessarily a lost soul. By contrast, the many descriptions of nature in the novel imply that her character is so entwined with setting that she could be at home wherever life may take her.

This thesis aims essentially at a re-evaluation of the marginalisation that conventional critical assessment makes of Jane Austen's epistolary novella 'Lady Susan' (1794-1795). The consensus within Austen studies, one that has largely been unchanged and unchallenged since the time of the first professional academic accounts of Austen's work (and in turn influenced by the C19 view of the writer) is that 'Lady Susan' is an artistic failure, a regressive step in Austen's stylistic development and, most fundamentally, that its epistolarity is a constraint on the technical progress that Austen appeared to be making in work prior to this, most notably, the unfinished third-person novella "Catharine, or The Bower". The thesis provides a close reading of 'Lady Susan' and of 'Catharine' and in marked opposition to the consensus, concludes that 'Lady Susan' is an emphatic step forward in Austen's stylistic progress, most particularly through the manner in which it establishes a moral framework from within which to develop character and plot, its attainment of incipient narrative voice through a complex use and exploitation of epistolary polyphony (thereby foreshadowing the omniscient third-person narrators of Austen's mature fiction, in addition to its experimentation with a form of free indirect speech) and the markedly plausible realism that is present throughout the novella. Austen's termination of the epistolary section (the novella being concluded in third-person narrative - an ending that was added some time later and which is generally viewed as her own recognition of epistolary limitation), in the view of this thesis, therefore cannot be attributed to stylistic inadequacy or constraint, and obliges other motives to be posited. The thesis then proceeds to move from text into context and assesses the extra-literary factors that may have prompted Austen's abandonment of the epistolary section, according a co-centrality to the character of Catherine that has never before been emphasised in Austen studies and the consequences of which suggest the writer’s political engagement with “the French Question”, and with political concerns in general, at an age that is far earlier than most critics usually accept (‘Lady Susan’ was written when Austen was 19). Beyond the text itself, our close assessment of a broad range of critical views (both on ‘Catharine’ and ‘Lady Susan’) lead us to posit that the critical insistence on the novella’s inferiority and regressiveness, both of which claims we strongly refute through our close reading of the text, in fact corresponds to a determinedly evolutionary manner of understanding novelistic development, on that in turn derives from Ian Watt’s account of the rise of this literary form. In accordance with standard academic procedure, the thesis begins with a critical review—in this case, of epistolary studies— including studies that monographically consider Austen’s work. It also considers the role of Austen’s private correspondence in the broader question of literary epistolarity. The thesis terminates by adding to its conclusion the obligatory outlines of what we deem to be valid and necessary further research into this subject and related issues.

Nature is everywhere. Every day we have contact with it. Still, many of us do not realize how important it is for our survival. Descriptions of nature have always been present in novels. However, recently the aspect of nature in literature, as well as in other disciplines, has been dealt with in a slightly different way. As a result, an ecocritical approach to literature has been favoured. This essay shows nature's impact on the characters in Jane Urquhart's The Stone Carvers. Using this novel as an example, I start by studying how the concept of nature is often constructed through opposition. I then move on to show how stereotypical boundaries between nature and human beings may be challenged. Finally I study how nature function as a healing agent in The Stone Carvers. In my studies I combine the theories of ecocriticism with a psychoanalytical perspective through the concept of abjection.

This thesis examines the suburban verge’s latent potential as an alternative public space. It is located between the boundaries of private properties and public streets, where territorial boundaries and ownership are unclear. The site for this thesis is the southeast quadrant of the intersection at Jane Street and Finch Avenue West in the former city of North York, now part of Toronto. The intersection reveals a fertile field of public activity that engenders new forms of social engagement and invites a reconsideration of public space in the urban periphery. A product of Modern planning, the suburban verge is a buffer between vehicles and pedestrians. Home to hydro poles, streetlights, small-scale furnishings and the ubiquitous cast-in-place concrete sidewalk, the suburban verge is a definitive element of the suburban landscape that accounts for a substantial amount of neglected public land. The suburban verge’s ambiguity attracts a variety of unsanctioned and informal activities. At Jane and Finch, socio-economic issues, a diverse population and escalating pressure to increase density further intensify this unscripted behaviour. This thesis calls attention to the unrealized potential of the suburban verge. It does not set out to create new public space; rather, it draws upon existing social patterns in order to enrich the suburban public realm. Subtle inflections in the existing terrain, deliberately modest in form and operation, expand the social and ecological capacity of the suburban verge and demonstrate the need to consider the potential of everyday practices as a vehicle for generating dynamic public space.

In rapidly growing North American cities, large-scale urban developments struggle to create a distinctive sense of community. Responding to increasing trends of isolation, decentralization, cultural and artistic expressions, capitalizing on local knowledge and people, have emerged as driving forces in the creation of authentic community development. Working within the existing model of large-scale development, interrogating process and program in relation to community building, this thesis asserts that architecture and urban design must calibrate themselves in response to the emerging trends by taking a multidisciplinary and comprehensive approach to design. This thesis asks the following questions: What is architecture’s contribution to a creative community? How can our existing instant communities continue to evolve in response to changing needs? Where can we find public space in our contemporary communities? Can public art be used as a tool for community building? The case study site, surrounding the Jane-Finch intersection, was rapidly developed from 1960 to 1970. The imposing Palisades apartment complex, standing on the north-east corner of the intersection, has become an icon in the neighbourhood. Three distinctly modern buildings rise out of a grassy lawn to be seen throughout the larger neighbourhood. The development represents both challenges and opportunities; 4,400 people know it as home while others associate it with media reports of poverty, crime and an aging legacy of modern architecture (San Romanoway Revitalization Association 2009). Issues of identity, public space, scale and implementation are examined through case studies of highly designed architectural precedents and informal grassroots organizations to inform the design proposal. Through the re-conception of the ambiguous ground plane at the base of the Palisades apartment complex as an educational and cultural campus for the emerging arts community, this thesis demonstrates the potential role of architecture in supporting creative community building and an expanded understanding of the contradictory role of an architect as mediator, dreamer and realist.

While some people enjoy reading full-length novels, most people have a difficult time concentrating on reading or even finding the time to do it. Audio books, especially abridged ones, may be a way for people to enjoy fiction without having to read the whole novel and they can listen to the text at the same time as they do other things. The purpose of this essay is to study whether the abridged audio books can be a valid replacement for the full novel in terms of genre. The essay compares Jane Eyre by Charlotte Brontë in its full length with three abridged audio books of the same novel. In these three audio versions the original text has been abridged in varying degrees so that the shortest version runs to fifty minutes, the second shortest to three hours and the longest to six hours. The three genres I focus on are the Romance, the Gothic novel and the female Bildungsroman. I present genre-specific features and then analyze how these characteristics are affected in the abridged versions of Jane Eyre.

This thesis examines the suburban verge’s latent potential as an alternative public space. It is located between the boundaries of private properties and public streets, where territorial boundaries and ownership are unclear. The site for this thesis is the southeast quadrant of the intersection at Jane Street and Finch Avenue West in the former city of North York, now part of Toronto. The intersection reveals a fertile field of public activity that engenders new forms of social engagement and invites a reconsideration of public space in the urban periphery. A product of Modern planning, the suburban verge is a buffer between vehicles and pedestrians. Home to hydro poles, streetlights, small-scale furnishings and the ubiquitous cast-in-place concrete sidewalk, the suburban verge is a definitive element of the suburban landscape that accounts for a substantial amount of neglected public land. The suburban verge’s ambiguity attracts a variety of unsanctioned and informal activities. At Jane and Finch, socio-economic issues, a diverse population and escalating pressure to increase density further intensify this unscripted behaviour. This thesis calls attention to the unrealized potential of the suburban verge. It does not set out to create new public space; rather, it draws upon existing social patterns in order to enrich the suburban public realm. Subtle inflections in the existing terrain, deliberately modest in form and operation, expand the social and ecological capacity of the suburban verge and demonstrate the need to consider the potential of everyday practices as a vehicle for generating dynamic public space.