Thesis (M.A.)--Kutztown University of Pennsylvania, 1997. / Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract appears at end of volume. Includes bibliographical references (leaves 125-128).

Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 64 p. Includes bibliographical references.

Thesis (D.A.)--Illinois State University, 1993. / Title from title page screen, viewed February 9, 2006. Dissertation Committee: Victoria Frenkel Harris (chair), Richard Dammers, Charles Harris, William Morgan. Includes bibliographical references (leaves 244-255) and abstract. Also available in print.

Sedan 1968 har det producerats lättlästa böcker i Sverige. Lättlästa böcker som riktar sig till vuxna läsare som har någon form av svårighet med att läsa. Den här uppsatsen presenterar en komparativ analys av Charlotte Brontës Jane Eyre och en svensk lättläst adaptation av romanen. Uppsatsen handlar om vad som händer när ett litterärt verk omarbetas till en lättläst text. Analysen berör skillnader och likheter i vad som berättas och hur det berättas. De båda verken diskuteras parallellt. Det ges även en presentation av vad lättlästa böcker är. Resultatet visar på att det finns skillnader mellan de två verken och att adaptationen är en mycket förkortad och förenklad version av originalet, där det både har tagits bort men även gjorts ändringar i handlingen.

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Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material.

Denna uppsats syftar till att jämföra filmatiseringen av Jane Eyre med det litterära verket. Filmatiseringen jämförs mot en kvalitativ narrativanalys av verket för att se likheter och skillnader dem emellan. Dessa likheter och skillnader blir grunden för att se om filmatiseringen förmedlar samma bild av epokerna och de teman som det litterära verket lyfter. Vidare tittar denna studie på filmens för- och nackdelar i skolundervisningen.De resultat och slutsatser som denna analys funnit visar att filmen inte kan ersätta boken i undervisningen. Filmen kan dock användas som komplement och/eller jämföras med boken. Filmen kan även fungera som ett självständigt inslag i undervisningen gällande typiska drag från epoker och teman. Jane Eyre som film och undervisningsredskap är enligt denna analys fullt möjlig.

Jane Austen has been called an artist and a moralist. Few attempts have been made, however, to illustrate how she combines the artist and the moralist in her novels. In the light of modern critical thinking, especially, which tends to isolate the function of art from that of morality, Jane Austen's works seem to demand elucidation. [...]

Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material.

Elizabeth Jane Gardner (1837-1922) was an American artist who lived in Paris from 1864-1922. She was the most frequently represented woman artist of any nationality at the Paris Salon in the late nineteenth century, and the only American woman to have ever won a medal (1887). In 1896, she married William Bouguereau, the major academic painter of the time. Yet in spite of these distinctions, Elizabeth Gardner has received surprisingly little scholarly attention. / This thesis is a biographical and analytical study of the expatriate artist, based on her unpublished letters in the Archives of American Art, Smithsonian Institution, Washington, D.C. Though the focus is primarily on her years as a practicing artist in Paris (1864 to 1896), attention is also given to her early and late years, and to the collaborative nature of her relationship with Bouguereau. / A chronology of the artist, as well as inventories of her paintings and letters are also included.