Thesis (M.A.)--East Carolina University, 2009. / Presented to the faculty of the Department of English. Advisor: Thomas Douglass. Title from PDF t.p. (viewed May 4, 2010). Includes bibliographical references.

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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.

Thesis (Ph.D.)--University of Texas at Dallas, 2008. / Includes vita. Includes bibliographical references (leaves 218-225)

Thesis--Tübingen. / Vita. Includes bibliographical references (p. [192]-204).

Submitted by Thiago Rodrigues (thiagorodrigues@ufba.br) on 2016-06-06T20:49:18Z No. of bitstreams: 1 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) / Approved for entry into archive by Alda Lima da Silva (sivalda@ufba.br) on 2016-06-13T16:37:09Z (GMT) No. of bitstreams: 1 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) / Made available in DSpace on 2016-06-13T16:37:09Z (GMT). No. of bitstreams: 1 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.

Although many might consider Jane Austen to be outdated and clichéd, her work retains an undying appeal. During the last decade the English-speaking world has experienced an Austen renaissance as it has been treated to a number of film and television adaptations of her work, including Pride and Prejudice, Emma, Mansfield Park and Sense and Sensibility. Film critics such as Bill De Lapp (1996) and Sherry Dean (1996) have commented on the phenomenal response these productions received and have been amazed by Austen’s ability to compete with current movie scripts. The reasons for viewers and readers enjoying and identifying with Austen’s fiction are numerous. Readers of varying persuasions have different agendas and hence different views and interpretations of Austen. This thesis follows a gynocritical approach and applies a feminist point of view when reading and discussing Austen. Austen’s novels - Pride and Prejudice, Mansfield Park, Emma, Northanger Abbey, Sense and Sensibility, and Persuasion – are re-read and reevaluated from a feminist perspective in order to call attention to Austen’s awareness of women’s second-class position in her society. Women’s experiences in Austen’s time are compared to women’s experiences in society today in order to illustrate, in some way, the tremendous progress the feminist movement has made. In addition, by examining what Austen reveals about the material reality of women in her time, it is possible to explore the legacy that modern women have inherited. Literary critics such as André Brink (1998), Claudia Johnson (1988), and Gilbert and Gubar (1979) believe Austen to create feminist awareness in her novels. There are critics, however, who do not view Austen as necessarily feminist in her writing. Nancy Armstrong writes in Desire and Domestic Fiction (1987) that Austen’s objective is not a critique of the Abstract iv old order but rather a redefinition of wealth and status. In Culture and Imperialism (1993) Edward Said implicates Austen in the rationale for imperial expansion, while Barbara Seeber argues in “The Schooling of Marianne Dashwood” (1999) that Austen’s texts should be understood as dialogic. Others, such as Patricia Beer (1974), believe Austen’s fiction primarily to be about marriage since all her novels end with matrimony. My own reading of Austen takes into consideration her social milieu and patriarchal inheritance. It argues that Austen writes within the framework of patriarchy (for example by marrying off her heroines) possibly because she is aware that in order to survive as a woman (writer) in a male-favouring world and in a publishing world dominated by men, her critique needs to be covert. If read from a feminist perspective, Austen’s fiction draws our attention to issues such as women’s (lack of) education, the effects of not being given access to knowledge, marriage as a patriarchal institution of entrapment, and women’s identity. Her fiction reveals the effects of educating women for a life of domesticity, and illustrates that such an education is biased, leaving women powerless and without any means of self-protection in a male-dominated world. Although contemporary women in the Western world mostly enjoy equal education opportunities to men, they suffer the consequences of a legacy which denied them access to a proper education. Feminist writers such as Flis Henwood (2000) show that contemporary women believe certain areas of expertise belong to men exclusively. Others such as Linda Nochlin (1994) reveal that because women did not have access to higher education for so many years, they failed to produce great women artists like Chaucer or Cézanne. Austen’s fiction also exposes the economic and social system (of which education constitutes a major part) for enforcing marriage and for enfeebling women. In addition, it illustrates some of the realities and pitfalls of marriage. While Austen only subtly refers to Abstract v women’s disempowerment within marriage, contemporary feminist scholars such as Germaine Greer (1999) and Arnot, Araújo, Deliyanni, and Ivinson (2000) explicitly warn women that marriage is a patriarchal institution of entrapment and that it often leaves women feeling unfulfilled. The issue of marriage as a patriarchal institution has been thought important and has been addressed by feminists because it contributes to women’s powerlessness. Feminist scholars today find it imperative to expose all forms of power in order to eradicate women’s subordination. bell hooks comments in Feminist Theory: From Margin to Center (2000) on the importance of revealing unfair power relations in order to eliminate oppression of any kind. Austen does not necessarily express the wish to eradicate forms of power or oppression in her novels. Yet, if we read her work from a feminist point of view, we are made aware of the social construction of power. From her fiction we can infer that male power is enshrined in the very structure of society, and this makes us aware of women’s lack of power in her time. Austen’s novels, however, are not merely novels of powerlessness but of empowerment. By creating rounded women characters and by giving them the power to judge, to refuse and to write, Austen challenges the stereotyped view of woman as either overpowering monster or weak and fragile angel. In addition, her novels seem to question women’s inherited identity and to suggest that qualities such as emotionality and mothering are not natural aspects of being a woman. Because she suggests ways in which women might empower themselves, albeit within patriarchal parameters, one could argue that she contributes, in a small way, to the transformation of existing power relations and to the eradication of women’s servile position in society.

Magister Artium - MA / In this thesis I focus on the ways I believe Jane Austen re-imagines the idea of the hero. In popular fiction of her time, such as Samuel Richardson’s Sir Charles Grandison (1753), what we had as a hero figure served as a male monitor, to guide and instruct the female heroine. The hero begins the novel fully formed, and therefore does not go through significant development through the course of the novel. In addition to Sir Charles Grandison, I read two popular novels of Austen’s time, Fanny Burney’s Cecilia and Maria Edgeworth’s Belinda. An examination of Burney’s construction of Delvile and Edgeworth’s construction of Clarence Hervey allows me to engage with popular conceptions of the ideal hero of the late eighteenth and early nineteenth centuries. Burney and Edgeworth deviate from these ideals in order to accommodate conventions of the new Realist novel. I argue that Austen reimagines her male protagonist so that hero and heroine are well-matched and discuss, similarly, how Burney and Edgeworth create heroes as a complement to their heroines. Austen’s re-imagining of her male protagonist forms part of her contribution to the genre of the Realist novel. Austen suggests the complexity of her hero through metaphors of setting. I discuss the ways in which the descriptions of Pemberley act as a metaphor for Darcy’s character, and explore Austen’s adaptations of the picturesque as metaphors to further plot and character development. I offer a comparative reading of Darcy and Pemberley with Mr Bennet and Longbourn as suggestive in understanding the significance of setting for the heroine’s changing perceptions of the character of the hero. I explore Austen’s use of free indirect discourse and the epistolary mode in conveying “psychological or moral conflict” in relation to Captain Wentworth in Persuasion and Mr Knightley in Emma, offering some comparison to Darcy. This lends itself to a discussion on the ways in which Austen’s heroes may be read as a critique of the teachings of Lord Chesterfield’s Letters to His Son (1774). I conclude the thesis with a discussion of the ways in which Darcy has influenced the stereotype of the modern romance hero. Using two South African romance novels I suggest the ways in which the writers adapt conventions of writing heroes to cater for the new black South African middle class at which the novels are aimed. My reading of Jane Austen’s novels will highlight the significance of Austen’s work in contemporary writing, and will question present-day views that the writing of the eighteenth- and nineteenth-centuries is not relevant to African literature.

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