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Fan fictions eller adaptioner? : Om Amy Heckerlings spelfilm Clueless (1996) och Debra White Smiths roman Amanda (2006) mot Jane Austens roman Emma (1815)Sundqvist, Jill January 2014 (has links)
Det huvudsakliga syftet med min uppsats var att utifrån originalverket Emma (1815) avJane Austen kunna bedöma vad två verk som inspirerats av romanen bör klassificeras som.De två verken var romanen Amanda (2006) av författaren Debra White Smith ochspelfilmen Clueless (1995) av regissören Amy Heckerling. Till min hjälp har jag lästaktuell forskning inom de två termerna adaption och fanfiction och utifrån detta gjort enjämförande analys på verken. Resultatet blev oväntat vagt, det visade sig att begreppen lågnärmre varandra än vad jag trott från början. Båda verken kan till viss del ses som enadaption på originalverket, på samma sätt som de även kan ses som fanfiction. Slutsatsenär dock att de båda verken passar bäst in under termen profic, som är en underkategoriinom fanfiction där författaren/regissören tjänar pengar på sin modifikation och intepublicerat verket i exempelvis ett obetalt nätforum som hobbyaktivitet.
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Representations of Women’s Oppressions in Jane Austen's Sense and Sensibility, Pride and Prejudice, and EmmaAbdulhaq, Hala M 16 December 2016 (has links)
This study examines Jane Austen’s realistic interpretations of eighteenth-century English society with a particular focus on representing women’s oppressions in Sense and Sensibility, Pride and Prejudice, and Emma. Austen, in these three novels, criticizes several issues related to women’s status in English society and focuses on how men and women should be treated equally. In the novels, she argues that English society creates social order, women’s oppressiveness, and gender inequality through arbitrary social norms and traditions.
This paper mainly focuses on two areas that restrict women’s roles in their society: the marriage plot and the educational system. Austen’s purpose of presenting these issues is to voice women’s rights and improve their conditions. She also offers her readers unusual descriptions of female characters in order to correct the stereotypical images of women during the period. Finally, this paper aims to show Austen’s success in redefining women’s status and change the misconceptions of women in British society.
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Tillgänglighet, Läsförståelse och Skapande förräderi, eller, Den nutida svenska läsarens möjligheter att förstå de litterära allusionerna i Jane Austens romaner / Availability, Reading comprehension and Creative treason, or, The modern Swedish reader’s possibilities to understand the literary allusions in Jane Austen’s novelsEronson, Emma January 2012 (has links)
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
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To the great detriment of the post office revenue. An analysis of Jane Austen's early narrative development through her use and abandonment of epistolary fiction in 'Lady Susan'Owen, David 06 February 2006 (has links)
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.
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Female Voice In Jane Austen: Pride And Prejudice And EmmaTanrivermis, Mihriban 01 November 2005 (has links) (PDF)
This thesis analyses the devices manipulated by Jane Austen in Pride and Prejudice and Emma to foreground the &lsquo / female voice&rsquo / . The thesis argues that in these novels satire including irony and parody is used as a tool for revealing the place of women in eighteenth century England. In addition, themes and characters by which feminist conversations are constructed are also dealt with.
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Beneath the surface psychological perception in Jane Austen's narration /Werley, Erin D. Vitanza, Dianna M. January 2008 (has links)
Thesis (M.A.)--Baylor University, 2008. / Includes bibliographical references (p. 92-95).
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Jane Austen's women seeking equity through relationships and gaining individual and social empowerment /Caffrey, Mollie. January 1997 (has links)
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).
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(Mis)appropriating (con)text Jane Austen's Mansfield Park in contemporary literary criticism and film /Caddy, Scott. January 2009 (has links)
Thesis (M.A.)--Bowling Green State University, 2009. / Document formatted into pages; contains v, 64 p. Includes bibliographical references.
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Redefining womanhood multiple roles of female relationships in Jane Austin's novels /Dobosiewicz, Ilona. Harris, Victoria Frenkel, January 1993 (has links)
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.
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A atuação crítica da tradução em The Lizzie Bennet Diaries: Deslocamentos de Orgulho e Preconceito para a Contemporaneidade VirtualFigueiredo, Manoela 12 January 2016 (has links)
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A ATUACAO CRITICA DA TRADUCAO EM THE LIZZIE BENNET DIARIES DESLOCAMENTOS DE ORGULHO E PRECONCEITO PARA A CONTEMPORANEIDADE VIRTUAL.pdf: 1162137 bytes, checksum: 3b28cc50086a343eee2ae72402483825 (MD5) / CAPES / Esta dissertação parte do princípio de que a tradução consiste num processo de deslocamento criativo e crítico que recria e transforma textos anteriores. São tomados como objetos de estudo o romance Orgulho e Preconceito, escrito por Jane Austen, em 1813, e sua tradução intersemiótica, The Lizzie Bennet Diaries, web série veiculada no YouTube, entre 2012 e 2013. Produzida por Hank Green e Bernie Su, a obra recebeu, em 2013, o Emmy Awards de melhor mídia interativa, prêmio concedido pela primeira vez naquele mesmo ano. Em especial, são discutidos aspectos críticos da representação feminina em ambas as obras e o processo de desconstrução de valores e paradigmas tradicionais subvertidos pela tradução. Ressaltamos que o termo representação é aqui empregado sob a perspectiva pós-estruturalista, isto é, de uma construção não especular, mas discursiva, intimamente ligada a interesses políticos e ideológicos e, nesse aspecto, as reflexões de Tomás Tadeu da Silva (2007) foram valiosas na condução de nossos estudos. Na web série, elementos relacionados à condição feminina e aos papéis de gênero são abordados sob a perspectiva crítica e contemporânea, de modo que as conquistas amorosas das irmãs Bennet não são tão importantes quanto seu crescimento pessoal e profissional. Autoras como Elizabeth Kollmann (2003), Nancy Armstrong (1989) e Claudia Johnson (1990) fundamentam nossas reflexões sobre o contraste entre a vida das mulheres construídas por Austen e aquelas criadas pelo texto contemporâneo. No entanto, a enorme transformação proporcionada pela tradução não permite que ela escape das marcas da anterioridade e do texto de partida que nela sobrevivem. A reflexão sobre essa tensão entre permanências e transformações que se estabelece entre tradução e anterioridade foi guiada pelos estudos de Jacques Derrida (2006) e Cristina Carneiro Rodrigues (2000), além de Julio Plaza (2003), para quem a tradução atua como uma “reescritura da história”. Desse modo, acreditamos que a tradução intersemiótica em questão age como uma ponte, uma ligação entre dois momentos históricos, atuando criticamente tanto sobre a anterioridade quanto sobre seu próprio contexto de produção, posicionando-se ideologicamente a favor dos direitos e da independência das mulheres contemporâneas.
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