Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / Jane Austen is an important English writer at the turn of the eighteenth into the nineteenth century. She is praised for her vivid description of the English society, the development of important narrative techniques, and the deep psychological treatment of her characters. In her six novels, Austen discusses social and literary issues that were important in her day. Therefore, Austen’s fiction has been the subject of a wealth of critical studies. Nonetheless, there is an aspect of her fiction that has not been sufficiently studied yet, namely, the notions of reading and readers. Two novels are especially meaningful to discuss this issue: Pride and Prejudice (1813) and Sense and Sensibility (1811). Thus, this study aims to identify and discuss the notions of reading and readers in both novels. The characters/readers of each novel are analyzed with regards to their individual attitude as readers of fictional and non-fictional texts and of the circumstances they live. The analysis enables us to discuss the notions of reading and readers that the author defends or criticizes. We can affirm that this topic was not only an important subject for Jane Austen and the English society, but also an internalized and structuring aspect of her novels. The reading and re-reading process experienced by Austen’s characters allows for their psychological depth once the narrative voice penetrates into the characters’ consciousness or moves away from them in order to comment on and evaluate their attitude as readers. In both novels, the author discusses the process of internalization and subjectivation of reading. Therefore, through the different notions of reading and readers present in Pride and Prejudice and Sense and Sensibility, Austen not only defends the importance of reading and re-reading for the reader’s intellectual and emotional maturity (an issue that is still topical), but also opens up new perspectives for the novel as a literary genre. / Jane Austen é uma importante escritora inglesa da virada do século XVIII para o XIX, aclamada pela vívida descrição da sociedade inglesa, pelo desenvolvimento de importantes técnicas narrativas e pelo aprofundamento psicológico de suas personagens. Além disso, em seus seis romances, Austen discute questões sociais e literárias importantes para sua época. Assim, a obra de Jane Austen possui fortuna crítica extensa. Todavia, há um aspecto de seus romances ainda insuficientemente estudado: as concepções de leitura e de leitores neles elaboradas. Dois romances representativos dessa questão são Pride and Prejudice (1813) e Sense and Sensibility (1811). Em vista disso, este estudo discute as concepções de leitura e de leitores nesses dois romances. A análise das personagens-leitoras, em cada romance, permite perceber suas posturas individuais quanto aos textos que leem e às circunstâncias que vivem, e discutir quais concepções de leitura e de leitor são defendidas ou criticadas pela autora. Conclui-se que a questão de leitura e de leitores era tanto um assunto relevante para Jane Austen e para a sociedade inglesa da época como também um elemento internalizado e estruturante dos romances da autora. O processo de leitura e releitura, com o qual as personagens de Austen estão envolvidas, permite o aprofundamento psicológico das mesmas através da voz narrativa que ora penetra na consciência das personagens ora se afasta delas para comentar e avaliar sua postura como leitores. Nos dois romances, a autora discute o processo de internalização e subjetivação da leitura. Assim, por meio das diferentes concepções de leitura e de leitores presentes em Pride and Prejudice e Sense and Sensibility, Austen defende não só a importância da leitura e da releitura para o amadurecimento intelectual e emocional do leitor (tema ainda de interesse contemporâneo), como também abre novas perspectivas para o romance como gênero literário.

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Jane Austen, seen by some as the mother of all chick-lit, is synonymous with tales of love and marriage. Generally, scholars have classified the types of marriages Austen writes about as either companionate (a marriage based on love) or pedagogic (a marriage based on an older man training a younger woman to be his ideal wife). In comparing the companionate and pedagogic marriage models in Austen's Sense and Sensibility and Emma, however, one finds that these traditional definitions and classifications of the companionate and pedagogic marriages prove to be complicated. The companionate marriage is not only a marriage based on love, but also takes into account rank, wealth, social status, religious values, and moral character. The pedagogic marriage, on the other hand, includes not only a marriage where an older man takes a younger woman and “trains” her to be the perfect wife for him, but also when a woman admires a man's values and approach to the social world and changes her behavior to reflect those attitudes. Elinor Dashwood and Edward Ferrars from Sense and Sensibility and Frank Churchill and Jane Fairfax from Emma are classified by scholars under the companionate marriage model. However, neither of these couples fits into the companionate model due to Elinor and Jane's lack of fortunes and Edward and Frank's lack of good character. Marianne Dashwood and Colonel Brandon from Sense and Sensibility and Emma Woodhouse and Mr. Knightley from Emma are classified by scholars under the pedagogic marriage model. Marianne and Brandon would fall under the category of the woman changing her behavior to reflect the behaviors of a superior man, while Emma and Knightley would fall under the category of an older man training the younger woman to be his wife. Marianne does undergo a transformation, but it is not a result of Brandon's values or influence. She changes based on self-reflection and then turns to Brandon and falls in love with him. Emma and Knightley, on the other hand, do start out with a mentor-pupil relationship. However, as the novel progresses, so does their relationship. By the end of the novel, Emma and Knightley equally teach each other and discover a relationship based on mutual respect and love. Therefore, none of the relationships fall neatly into their assigned categories; each relationship is more nuanced and full of complexities that can't easily be classified. By more clearly understanding the complexities involved in each relationship, readers can gain an even greater appreciation for Austen, thus helping them to value Austen as more than an author of chick lit.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Sense and Sensibility (1811), o primeiro romance publicado de Jane Austen, foi transposto para o cinema em 1995, conferindo seis prêmios de melhor diretor a Ang Lee e dezenove a Emma Thompson, oito como melhor atriz e onze pelo melhor roteiro adaptado. Nesta dissertação eu apresento minha leitura da transposição feita por Emma Thompson do romance de Jane Austen, focando especialmente na maneira em que os personagens principais são transpostos para a tela. Para isso, utilizo três apoios, o texto do roteiro, os diários de Thompson e as performances dos atores. Em cada um desses eixos foram feitas escolhas que merecem ser investigadas, revelando o processo pelo qual o trabalho original se molda às regras da nova mídia e ao público pretendido. Atenção especial é dada aos recursos usados na transposição dos personagens do romance para o filme. O lastro teórico-crítico da pesquisa se apoia nos estudos de Linda Hutcheon sobre adaptação e nos textos de Gerald Mast e Christian Metz sobre a linguagem cinematográfica. A dissertação vem estruturada em duas partes. A primeira, dividida em três seções, apresenta os elementos de contextualização necessários para a discussão empreendida no trabalho. A primeira seção trata sobre o filme produzido em 1995 e sobre Ang Lee, responsável pela direção do mesmo. A segunda seção retraça alguns referentes do romance Sense and Sensibility e sua autora, Jane Austen. A terceira seção considera o processo de criação e adaptação do roteiro de Emma Thompson. A segunda parte do trabalho enfoca as escolhas de transposição, em especial no que diz respeito ao tratamento dos personagens. Ao término da pesquisa, espero identificar os traços que caracterizam Thompson como leitora diferenciada de Austen, e explicitar fatores que motivam as escolhas favorecidas no processo de transposição analisado. / Sense and Sensibility (1811), the first novel published by Jane Austen, was transposed to the movies in 1995, granting six awards to Ang Lee as best director and nineteen to Emma Thompson, eight as best actress and eleven for best adapted screenplay. In this thesis, I present my reading of Emma Thompson´s reading of Jane Austen´s novel, focusing mainly on the way the major characters are transposed into the screen. In order to do that, I direct the analysis from three cornerstones, the text of the screenplay, Thompson’s diaries, and the actors’ performances. In each of these instances choices that deserve to be investigated have been made, which reveal the process through which the original work molds itself to the rules of the new media and to the audience it is intended. Special attention is given to the resources used in the transposition of the characters from the novel into the film. The theoretical support of the research is based on Linda Hutcheon’s studies on adaptation, and on Gerald Mast’s and Christian Metz’s texts about filmic language. This thesis is composed in two parts. Part one comes divided into three sections, and presents the contextualization necessary for the discussion held in the work. The first section introduces the film produced in 1995, and Ang Lee, responsible for its direction. The second retraces some referents from the novel Sense and Sensibility and its author, Jane Austen. The third considers Emma Thompson´s process of creation and adaptation of the screenplay. Part two focuses on the choices made in the transposition, especially the ones regarding the treatment of the characters. At the end of this research, I hope to identify the traces that characterize Thompson as a differentiated reader of Austen, and show the factors that motivate the favored choices in the analyzed transposition process.

Money factors into the lives of all of Jane Austen’s heroines and, in many of her novels, the heroines struggle on the marriage market. Austen concludes every one of her novels with the marriage of the heroine and, while Austen made the choice to become a writer instead of marrying, she is consequently very mindful of what marriage means for each of her heroines and who they ultimately choose for a husband. Given that economics is the social science concerned with how individuals and institutions make optimal choices under conditions of scarcity, knowledge of some of the basic concepts in economics and an understanding of the economic theory behind how people make choices can enhance readings of Sense and Sensibility and Pride and Prejudice. Through a survey of some of the existing economic literature on marriage, I demonstrate how one might apply economic theory to these two novels. Subsequently, I explore how there are limits on how far the economics of marriage can be extended to analyze Austen’s novels, but ultimately conclude that the theory presented nevertheless helps explain how many of the characters choose their future partner.

Submitted by Izabel Franco (izabel-franco@ufscar.br) on 2016-10-06T19:02:07Z No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:38:29Z (GMT) No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-20T19:38:34Z (GMT) No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) / Made available in DSpace on 2016-10-20T19:38:40Z (GMT). No. of bitstreams: 1 DissCCCop.pdf: 1603085 bytes, checksum: c353e0d8d25b3cb8c9dc5881dc0b4775 (MD5) Previous issue date: 2016-02-28 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Jane Austen is one of the authors who owns a great prestige in the literary scenario, most notably for putting into the light aspects of the English society in which she was linked. Among many subjects described by the scholars, there is one that will be in this dissertation called into question, namely, the representative role of reading for fictional readers in two works written by her, Firstly the novel Sense and Sensibility (1811) whose selected aspect, is triggered by the disastrous reading that the heroin, Marianne Dashwood does; and, on the other hand we will point out a differentiated reading posture, in this case, in Pride and Prejudice (1813), whose tracking seems to indicate an ideal model of character as a reader, with the figure of the protagonist, Elizabeth Bennet. In both texts, we will intend to develop a literary analysis, which considers the political and social aspects, subordinating our work, to Jameson’s levels of interpretation. / Jane Austen é uma das autoras possuidoras de grande prestígio no cenário literário, principalmente por colocar em evidência aspectos da sociedade inglesa à qual estava ligada. Entre muitas questões descritas pelos acadêmicos, existe uma que estará nesta dissertação de mestrado sendo posta em discussão, a saber, o papel representativo da leitura para os leitores ficcionais de duas das obras por ela escrita. Primeiramente, o romance Razão e Sensibilidade (1811), cujo aspecto selecionado é deflagrado por meio da leitura nefasta da heroína, Marianne Dashwood; e, por outro lado, apontaremos uma postura de leitura diferenciada, nesse caso, em Orgulho e Preconceito (1813), cujo caminhar parece indicar um modelo ideal de personagem leitora, com a figura da protagonista, Elizabeth Bennet. Em ambos os textos, buscaremos desenvolver uma análise literária na qual se considera os aspectos políticos e sociais, subordinando nosso trabalho aos níveis jamesonianos de interpretação.

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.