Made available in DSpace on 2016-08-10T11:06:49Z (GMT). No. of bitstreams: 1 Domicio Moreira Ribeiro.pdf: 803668 bytes, checksum: e0bac1b7a1ca9fadb490d2e6320ed121 (MD5) Previous issue date: 2012-03-23 / This dissertation is a bibliographical research on translation, novel language and film language. Its aim is to compare, first, among themselves, three Portuguese language translations of the novel Pride and Prejudice, by Jane Austen. Then do the comparison of them with the source text in English. After that, make the confrontation of the namesake film language, adapted in 2005 and directed by Joe Wright, with the source language of the literary work. Translations were made by Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira. In this research, we presented, first, a comprehensive theoretical framework of multiple methods and technical procedures of translation through a timeline that begins in the fourth century AD, with Jerome, and ends in 1990 with Jacques Derrida. Then we did a collation of the translations with the original work and a comparison of the film language with the source language of the novel. With respect to the above-mentioned translators, Roberto Leal Ferreira made the more literal and semantic translation, because it preserves the content and form of the source text. Regarding the film language, it is equivalent to the language of the novel in terms of language levels, though it is more concise because of the length of the movie, sticking to the crucial aspects of the fictional story. Conclusion shows that there is no mutual understanding regarding the definition of translation, nor exist procedures that address and solve all possible problems that may arise from various situations of translation. The methods and procedures address the same dichotomies: content and form, word translation and translation of meaning, fidelity to the author or to the reader, and nationalization or foreignization. We found that the novel Pride and Prejudice is a valuable laboratory to practice the technical procedures of translation, considering that various procedures, such as additions, deletions, omissions, clarifications, borrowings, literal translations, transpositions, modulations, equivalences and adaptations have been found in the evaluated translations. The relationship between translation, language of the novel and film language, often conflicting, is pacific in the collation between Pride and Prejudice, the movie and Orgulho e Preconceito, considering that the abovementioned translators and the film scriptwriter were able to bring into the target language and into the movie language the meanings of the source text without apparent losses. / Este trabalho consiste, fundamentalmente, numa pesquisa bibliográfica que discorre sobre tradução, linguagem romanesca e linguagem cinematográfica. Seu objetivo é, primeiramente, comparar entre si três traduções em Língua Portuguesa do romance Orgulho e Preconceito, de Jane Austen, e posteriormente cotejá-las com o textofonte em Língua Inglesa. Em seguida, pretende-se contrastar a linguagem do filme homônimo, adaptado em 2005 e dirigido por Joe Wright, com a linguagem original da obra literária. Para tanto, será apresentada, inicialmente, uma fundamentação teórica que trata dos vários métodos, bem como dos procedimentos técnicos da tradução, numa linha do tempo que começa no século IV d.C., com São Jerônimo, e se estende até os anos 1990, com Jacques Derrida. Logo após, realizar-se-á a comparação das traduções com a obra original e o confronto da linguagem fílmica com a linguagem-fonte do romance. Com relação às três traduções avaliadas, pretende-se verificar como os significados da obra original são transportados para a língua da tradução, sempre cuidando, cada uma a seu modo, para evitar as perdas. Nesse sentido, com relação aos trabalhos tradutórios de Lúcio Cardoso, Enrico Corvisieri e Roberto Leal Ferreira, urge atentar para este último, que realiza uma tradução mais literal e semântica, concernente ao conteúdo e à forma do texto-fonte. Acerca da linguagem fílmica, é preciso buscar a sua equivalência com a linguagem do romance em termos de registro, apesar de sua forma concisa, em função da duração do filme, atendo-se aos aspectos cruciais da obra. Observados tais aspectos, adianta-se que não haverá uma conclusão definitiva sobre o tema em debate, considerando não haver qualquer consenso a respeito das várias nuances que cercam o termo tradução, tampouco existem procedimentos que contemplem, elucidem e sanem os complexos problemas do ato tradutório. Desse modo, este trabalho corrobora a assertiva de que os métodos e procedimentos tradutórios, por mais ousados que sejam, não se afastam das dicotomias: conteúdo e forma, tradução da palavra e tradução do sentido, fidelidade ao autor ou ao leitor e nacionalização ou estrangeirização. Ele também se solidariza com a premissa de que a obra Pride and Prejudice é um valioso laboratório para a prática da tradução, tendo em vista que vários procedimentos técnicos, como acréscimos, apagamentos, omissões, explicitações, empréstimos, transposições, modulações, equivalências e adaptações podem ser encontrados nas traduções avaliadas. E, finalmente, que a relação entre tradução, linguagem romanesca e linguagem cinematográfica, geralmente conflituosa, se mostra harmônica no paralelo entre Pride and Prejudice, o filme e Orgulho e Preconceito, pois os tradutores mencionados e a roteirista conseguiram trasladar para a língua-meta e para a linguagem do filme, sem perdas aparentes, os sentidos da obra original.

This essay analyses Curtis Sittenfeld’s novel Sanning och Skvaller as an adaption of Jane Austen’s Stolthet och fördom. The purpose of this essay is to take a closer look at how the characters and the plot changes in Sittenfeld’s version compared to the original. The character analysis mainly focuses on Mr. Wickham, lady Catherine de Bourgh and Caroline Bingley as characters, as well as Mary Bennet and how her sexuality is portrayed. Elizabeth Bennet’s relationship with Mr. Darcy and the importance of a proposal and a marriage is also something that this essay analyses. The reception of the novel is something that will be addressed by highlighting some of the negative, and positive, reviews that the novel received upon publication. The discussion at the end brings up whether or not Sittenfelds novel can be classified as an adaption after changing so much of the story, how the elements in the new version changes its believability and how the problematic aspects may ruin the story.

Although two hundred years separate Jane Austen and Helen Fielding and, subsequently, also their portrayals of society, the similarities outweigh the differences. When juxtaposing Pride and Prejudice and Bridget Jones’s Diary in the light of feminism it is evident that both books provide clear examples of the prevailing situation of women in each time and place. The aspects of the study, which are especially important today, show both the development and some degree of stagnation of women’s rights and identities.

<p>In this essay I compare the notion of the accomplished woman in Jane Austen’s Pride & Prejudice and Helen Fielding’s novels about Bridget Jones. My claim is that the notion of the accomplished woman that Austen described 200 years ago is still very relevant and not much different today as reflected in Helen Fielding’s narrative in Bridget Jones, but also that both authors satirically describe the pressure that is put on women to reach the ideal of the accomplished woman. I initially discuss feminist literary theory, and then I analyze the following characteristics and ideas which make up the accomplished woman: Physical appearance, Education & Knowledge, Marriage & Having Children, Career and Skills, Status & Class and Manners & Behaviour. This essay shows that the notion of the accomplished woman is still very much present and in some cases, like physical appearance, the pressure on women to reach this ideal has actually gotten worse. Both Jane Austen and Helen Fielding use irony and satirically describe the pressure on young women as a way of actually criticizing their contemporary societies.</p>

In Pride and Prejudice by Jane Austen, gender roles and gender expectations relate to class differences in a system of social convention which operates to delimit all of the characters - men and women, rich people and less privileged people - to a greater or lesser extent, in a way which reflects actual class and gender structures in England around 1800. The most important strain of social commentary on gender and class in the novel is constituted by the characterisation of Elizabeth Bennet. She is associated with intelligence in a way which is vital to her successful breach of gender and class conventions. This essay starts out from Susan Morgan’s ”Intelligence in Pride and Prejudice” and will extend her arguments in my reading of the novel to prove that Elizabeth’s intelligence allows her to transgress social conventions related to gender and class more successfully than other characters and arrive at a happy ending despite having defied social convention. A number of other characters also represent a breach of class and gender conventions. Lydia Bennet elopes with Mr. Wickham, which at the time was considered scandalous. Mr. Darcy tries to ignore his affection for Elizabeth but fails to do so. In comparison to the unconventionality of Elizabeth, who manages to overcome every obstacle by relying on her intelligence in a way which also benefits Darcy and secures a happy ending for him as well, their transgressions are not as successful. / Sammanfattning I Jane Austens Pride and Prejudice så relaterar könsroller och könsförväntningar till klassskillnader i ett system av sociala konventioner som fokuserar på att begränsa alla karaktärer, t.ex. kvinnor, män, rika och fattiga , till en större eller mindre utsträckning samt på ett sätt som reflekterar faktiska köns och klasstrukturer i England runt 1800-talet. De viktigaste sociala kommentarerna som rör köns- och klassteman i novellen utgörs av Elizabeth Bennets karaktärisering. Hon associeras med intelligens på ett sätt som är betydande för hennes lyckade överträdande mot köns- och klasskonventioner. Denna uppsats utgår från Susan Morgans ”Intelligence in Pride and Prejudice” och kommer förlänga hennes argument inom min läsning av romanen för att bevisa att Elizabeths intelligens tillåter henne att överträda sociala konventioner relaterade till genus och status på ett framgångsrikare sätt än andra karaktärer samt åstadkomma ett lyckligt slut trots att hon utmanat sociala konventioner. Andra karaktärer i romanen representerar också ett överträdande mot köns- och klasskonventioner. Lydia Bennet rymmer med Mr Wickham, vilket under den tiden ansågs vara skandalöst. Mr Darcy försöker ignorera sina känslor för Elizabeth men lyckas inte. I jämförelse med Elizabeth, som genom att förlita sig på sin intelligens lyckas överkomma varje hinder på ett sätt som också gynnar Darcy och även säkrar ett lyckligt slut för honom, så är de andra karaktärernas överträdande inte lika framgångsrikt.

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.

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.

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.

In this essay I compare the notion of the accomplished woman in Jane Austen’s Pride &amp; Prejudice and Helen Fielding’s novels about Bridget Jones. My claim is that the notion of the accomplished woman that Austen described 200 years ago is still very relevant and not much different today as reflected in Helen Fielding’s narrative in Bridget Jones, but also that both authors satirically describe the pressure that is put on women to reach the ideal of the accomplished woman. I initially discuss feminist literary theory, and then I analyze the following characteristics and ideas which make up the accomplished woman: Physical appearance, Education &amp; Knowledge, Marriage &amp; Having Children, Career and Skills, Status &amp; Class and Manners &amp; Behaviour. This essay shows that the notion of the accomplished woman is still very much present and in some cases, like physical appearance, the pressure on women to reach this ideal has actually gotten worse. Both Jane Austen and Helen Fielding use irony and satirically describe the pressure on young women as a way of actually criticizing their contemporary societies.

The perception that the epistolary form was rejected by novelists during the Romantic Era has largely been accepted by scholars. However, in looking at the period's two most prominent authors, Walter Scott and Jane Austen, we see that the epistolary form remained vibrant long after its supposed demise. Throughout their careers, both Austen and Scott employed embedded letters as a tool to create authenticity. Both Austen and Scott use what I call "literary letters" to create a sense of realism in their novels that contributed to the rise of the novel. Scholars often claim that Austen eschewed the epistolary form with Lady Susan and solidified her rejection by revising both Sense and Sensibility and Pride and Prejudice from epistolary novels to third person narration. But a careful examination shows that Austen followed Richardson's tradition with Lady Susan, that Sense and Sensibility was not originally written in epistolary form, and that Austen retained sixteen critical letters in Pride and Prejudice. In fact, Darcy's five-page letter to Elizabeth signals Austen's continued reliance on the form as it completely changes the dynamics of the novel and transforms Elizabeth from a static protagonist to a dynamic heroine. Further indication that Austen found value in the form is seen in her later and often considered more mature novels, Emma and Persuasion, where she found innovate ways to turn the epistolary form into an embedded narratological device. The value of letters in Scott's novels is often overlooked. For instance in Heart of Midlothian, Jeanie Down's claim that letters cannot feel is often cited as an argument that oral testimony is more valuable than written, yet it is a letter that ultimately gets her an audience with the queen. In fact, in both Heart of Midlothian and Redgauntlet, Scott explains the legal implications of the written testimony, its preference over oral testimony, and its power in persuading both in and out of court. And in Guy Mannering, Scott relies on embedded letters to develop important plot points including the identity of the lost heir, create believable characters, and explore the conflict between Scottish traditions and law. And although Redgauntlet is often considered the moment Scott eschewed the epistolary form, the way he employs letters to create the illusion that his characters are authentic historical figures helps him explore notions of national identity.