Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-11-12T20:42:22Z No. of bitstreams: 1 Dissertação - Márcio Azevedo da Silva.pdf: 1600077 bytes, checksum: f6003f5f4724927713f895ba30aad228 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-11-16T18:47:57Z (GMT) No. of bitstreams: 1 Dissertação - Márcio Azevedo da Silva.pdf: 1600077 bytes, checksum: f6003f5f4724927713f895ba30aad228 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-11-16T18:55:03Z (GMT) No. of bitstreams: 1 Dissertação - Márcio Azevedo da Silva.pdf: 1600077 bytes, checksum: f6003f5f4724927713f895ba30aad228 (MD5) / Made available in DSpace on 2015-11-16T18:55:04Z (GMT). No. of bitstreams: 1 Dissertação - Márcio Azevedo da Silva.pdf: 1600077 bytes, checksum: f6003f5f4724927713f895ba30aad228 (MD5) Previous issue date: 2015-04-24 / FAPEAM - Fapeam - Fundação de Amparo à Pesquisa do Estado do Amazonas / The purpose of this dissertation is to promote a dialogue between the novels Pride and Prejudice by the English writer, Jane Austen, and “Senhora”, written by the Brazilian writer José de Alencar from the Comparative Literature point of view of social mobility. Each novel is extremely relevant to the comprehension of the English and Brazilian societies the period in which the books were written. In the first chapter, we present the historical context that influenced the authors, considering the influence of the Georgian era in the work of Jane Austen, besides her strange choice not to join the Romanticism in vogue at the time. We highlight the Bourgeois Romance and its influences in the work of José de Alencar. In the second chapter, we present a comparison between both novels and their main characters based on the book Comparative Literature, by Sandra Nitrini. The third chapter presents an inter-semiotic dialogue between the 2005 movie Pride and Prejudice, directed by Joe Wright and the novel written by Jane Austen. It also brings an inter-semiotic dialogue between the 1976 movie ”Senhora”, directed by Geraldo Vietri, and the novel written by José de Alencar. Both dialogues aim to elucidate the specifications of literary narrative and filmic narrative. / A proposta desta dissertação é promover um diálogo, a partir da Literatura Comparada, sobre mobilidade social nos romances Orgulho e Preconceito, da escritora inglesa, Jane Austen, e Senhora, do escritor brasileiro José de Alencar. Cada romance é de extrema relevância para a compreensão das sociedades inglesa e brasileira do período em que os livros foram escritos. No primeiro capítulo, apresentamos o contexto histórico em que os autores estão inseridos, considerando a influência da era Georgiana na obra de Jane Austen, além de sua curiosa escolha por não aderir ao Romantismo em voga. Ressaltamos a respeito do Romance Burguês e suas influências na obra de José de Alencar. No segundo capítulo, apresentamos a comparação entre os dois romances e suas principais personagens, tendo como base teórica o livro Literatura Comparada, de Sandra Nitrini. O terceiro capítulo apresenta um diálogo intersemiótico entre o filme Orgulho e Preconceito, de 2005, dirigido por Joe Wright e o romance de Jane Austen, o mesmo acontecendo com o filme Senhora, de 1976, dirigido por Geraldo Vietri e o romance de Alencar, com o objetivo de elucidar as especificidades da narrativa literária e da narrativa fílmica.

This study examines the settings in Jane Austen's six novels. Chapter I introduces the topic generally, and refers briefly to Jane Austen's aims and methods of creating her settings. Short accounts are given of the emphasis put on setting in the criticism of Jane Austen's work; of the chronology of the novels; and of the use made of this aspect of the novel in eighteenth-century predecessors. Chapter II deals with the treatment of place in Northanger Abbey, Sense and Sensibility, Pride and Prejudice, Mansfield Park and Emma. The consideration of five novels together makes it possible to generalize about aspects of place common to all , and to discuss particulars peculiar to individual novels without, I hope, excessive repetition. The chapter may be thought disproportionately long, but this aspect of setting is most prominent and important in the delineation of character. Chapter III discusses the handling of spatial detail and time in these five novels. Chapter IV offers a fuller analysis of what is the chief concern of this thesis, the nature and function of setting, in respect of the single novel Persuasion, and attempts to draw together into a coherent whole some of the points made in Chapters II and III. Persuasion separates conveniently from the other works, not only because it was written after them, but more importantly because in it there is a new development in Jane Austen's use of setting. Some critics, notably E.M. Forster and B.C. Southam, have found startlingly new qualities in the setting of Sanditon, and, certainly, the most striking feature of the fragment is the treatment of place. But Jane Austen left off writing Sanditon in March 1817 because of illness, and the twelve chapters make up too small and unfinished a piece to be considered in the same way as the other novels. The Watsons, too, except for some references to it in Chapter I, does not come within the scope of this dissertation. Another introductory point needs to be made briefly. Where it is necessary, the distinction between Jane Austen and the omniscient narrator is observed, but generally, partly because it is clear that Jane Austen's values are close to those of the narrator, and partly because it is convenient, traditional and sensible to do so, the name "Jane Austen" is used to refer both to the actual person and to the narrator of the novels.

This thesis considers Jane Austen's reception in America from 1800 to 1900 and concludes that her novels were not generally recognized for the first half of the century. In that period, she and her family adversely affected her fame by seeking her obscurity. From mid century to the publication of J.E. Austen-Leigh's Memoir in 1870, appreciation of Austen grew, partly due to the decline of romanticism, and partly due to the focusing of critical theory for fiction, which caused her novels to be valued more highly. From 1870 to 1900 Austen's novels gained popularity. The critics were divided as to those who admired her art, and those who found her novels to be dull.

Marriage is arguably one of the most important events and choices to be made in one’s life, especially for many of the female characters in Pride and Prejudice by Jane Austen. Whether characters are searching for a husband for themselves or is searching for someone else, marriage is the source of many conflicts. Social class plays an important part in the marital process in Regency England and remains a point of tension in the novel. Moreover, the women seemingly have different yet similar experiences with the marriage process. This essay will analyze Catherine de Bourgh, Caroline Bingley, Mrs Bennet, Jane Bennet, Elizabeth Bennet as well as Charlotte Lucas, with the focus of the essay being their views and experiences with marriage through a characterization study in order of their social class. The essay will be positioned within classic Marxism due to the importance of social classes in Marx as well as in Neo- Marxism. The main part of the analysis consists of whether a female character acts in agreement or disagreement with the ISAs (Ideological State Apparatuses) as presented by Louis Althusser. It will be evident that some will be in agreement while others are in disagreement. Because of this the essay will also show that regardless of the social classand relation to the ISAs a woman’s main purpose in life is to be a wife and mother, even if Austen hints at characters breaking free from this ideology to make way for a new way of thinking.

The purpose of this study is to demonstrate Jane Austen’s illumination of Samuel Johnson’s moral precepts in seeking harmony in choice of life. Austen explores the various decisions of her characters and the effects of those choices on happiness through the use of free indirect discourse. Austen and Johnson both contend that marriage is a potential source of great happiness in an individual’s choice of life, and concordia discors between spouses offers the highest form of contentment in marriage. Johnson believed that the novelist had a moral duty to his or her reader to present characters with attainable virtue. Austen’s illumination of Johnson’s moral precepts and philosophies fulfills the standards Johnson set forth for the novel genre. This study traces the relationship between Johnson’s precepts in Austen’s Emma, Persuasion, Pride and Prejudice, and Sense and Sensibility.

Feminist scholars have focused on the Gothic as a medium for expressing the horrors of female experience in a patriarchal society. This study examines Gothic awareness in Jane Austen’s Northanger Abbey and Silvia Moreno-Garcia’s Mexican Gothic.The first part of the study focuses on Gothic awareness in relation to female sexuality and the threat of sexual violence from a feminist and psychoanalytic point of view.The second part of the analysis focuses on Gothic awareness in relation to domestic entrapment from a feminist point of view. In the third and final part of the study, Gothic awareness is analysed in relation to class and ethnicity from a Marxist and a postcolonial perspective. It is concluded that in Northanger Abbey, Catherine's lack of Gothic awareness stops her from becoming a victim, but also stops her from recognising the Gothic dangers surrounding her, whereas in Mexican Gothic, Noemí’s growing Gothic awareness enables her to take action against the Gothic dangers she faces. In both works, Gothic genre conventions are appropriated in order to convey the dangers faced by women in the worlds of the novels, but also subverted in order to show that women are more than passive victims.

Writing at a moment of ideological crisis between individualism and hierarchical society, Jane Austen asserts a definition of moral behavior and female identity that mediates the two value systems. I argue that Austen most effectively articulates her belief in women's moral autonomy and social responsibility in her novels through her portrayal of sisterhood. Austen reshapes the stereotype of sisters and female friendships as dangerous found in her domestic novel predecessors. While recognizing women's social vulnerability, which endangers female friendship and turns it into a site of competition, Austen urges the morality of selflessly embracing sisterhood anyway. An Austen heroine must overcome sisterly rivalry if she is to achieve the moral strength Austen demands of her. As Mansfield Park (1814) and Pride and Prejudice (1813) demonstrate, such rivalry reveals the flawed morality of both individualism and patrilineal society. I further argue that in these novels sisterhood articulates the internally motivated selflessness Austen makes her moral standard. Sisterhood not only indicates female morality for Austen, it also enables this character. Rejecting Rousseau's proposal of men shaping malleable female minds, Austen pronounces sisters to be the best moral guides. In Northanger Abbey (1818), Austen shows the failure of the man to educate our heroine and the success of his sister. In Sense and Sensibility (1811), Austen pinpoints the source of sisterly education's success in its feminine context of nurture, affection, intimacy, and subtlety. With this portrait of sisterhood, Austen adheres to the moral authority inherent in Burkean philosophy while advocating individual responsibility, not external regulation, to choose selfless behavior. Austen further promotes gender equality by expressing women's moral autonomy, while supporting gender distinctions that privilege femininity. By offering such powerful, complex sister relationships, Austen transforms eighteenth-century literary thought about women, sisters, and morality.

No description available.

Barring a few notable exceptions, English music between the eighteenth and twentieth centuries earns scant notice in music history textbooks, despite overwhelming evidence that England enjoyed a vibrant musical culture, especially during the Georgian era. However, I will argue that the English of this period were, in many respects, even more committed to music than their continental counterparts. The problem, for England, was not that it made no music during this period, but that it made the wrong kind of music, and enjoyed it in the wrong ways. At a time when Germanic critics like E.T.A. Hoffmann and A.B. Marx were establishing grand, large-scale musical masterpieces (and the singular geniuses who created them) as the highest form of art, the English prioritized musical process over the musical work, and remained committed to music that could be played and enjoyed socially, in drawing rooms. I argue that England’s absence from the standard music history is due to three primary social issues: England’s complex and longstanding cultural anxieties regarding music’s supposed ability to feminize men and empower women; the invisibility of England’s most musical citizens (women); and a vibrant culture of domestic music-making (dominated by women) that was incompatible with the new aesthetic values of nineteenth-century Romanticism, which placed greater importance on the autonomous musical product than the malleable musical process.

Les romans de Jane Austen sont souvent perçus comme étant une narration parfaite de la vie domestique au dix-neuvième siècle. La plupart des intrigues sont centrées autour de quelques familles et d'une héroïne qui, à la fin du roman, est récompensée à travers son mariage avec l'homme de son choix (qui s'avère souvent riche et muni d'une bonne position sociale). Puisque les romans d'Austen se terminent généralement par un mariage conventionnel et apparaissent d'une envergure limitée, les analyses des thèmes féministes sous-jacents ne sont pas apparues avant le vingtième siècle. Plusieurs études ont révélé qu'au dessous de ces romans à caractère domestique se cache des arguments féministes en faveur de l'éducation des femmes et une critique des inégalités entre les sexes et des codes de conduite. L'étude qui suit comparera le féminisme d'Austen à celui de Mary Wollstonecraft, à partir de ses essais A Vindication of the Rights of Woman, A Vindication of the Rights of Men, ainsi que ses romans Mary et The Wrongs of Woman. Cette analyse portera aussi sur trois des romans d'Austen : Northanger Abbey, Sense and Sensibility et Mansfield Park. Ces romans reflètent clairement la situation des femmes de l'époque et s'attardent sur l'importance de l'éducation des femmes, les stéréotypes socialement définis, les relations homme-femme et les situations de violence dans le mariage et la famille. En comparant son engagement avec cette problématique aux oeuvres de Wollstonecraft, cette étude démontre que, au travers de ses romans, Austen était beaucoup plus consciente et engagée avec la société dans laquelle elle vivait qu'on ne l'imaginait