DOCSLIB.ORG

In the Pride of H Moment ENCOUNTERS in JANE AUSTEN's WORLD

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
In the Pride of H Moment ENCOUNTERS in JANE AUSTEN's WORLD In the Pride of h Moment ENCOUNTERS IN JANE AUSTEN'S WORLD ft} V JOHN A. DUSSINGER John A . Dussinger argues that the strength of Jane Austens writing is found in the minute encounters that reveal a character s life rather than in the larger de­ sign of the story. In the Pride of the Mo­ ment contests the familiar view that Aus­ tens novels are stylistically polished but lacking in substance by showing that they give unusual significance to the most ordi­ nary events. Austens narrative strategy brings her characters together in an encounter, a radically focused interaction revealing nuances of behavior. Th e encounter con­ veys symbolically the participants' atti­ tudes and intentions; and if the nominal activity in the scene is significant in form­ ing political alignments, it also defines the alienation of the individuals outside that frame of reference. Such deliberately cho­ reographed performances reinforce the idea that the principal action in Austen's world is talking. The most immediate quality of such oral communication is the sense of its circumstantial uniqueness, its ability to place a character both as a social- class membe r and as an individual. When Austen began writing in the 1790s, she had available ample models in Defoe, Richardson, Fielding, Sterne, Smollett, Fanny Burney, Maria Edge- worth, Charlotte Smith, Ann Radcliffe, and many other authors in the Steventon parsonage; but most striking from the first juvenile spoofs to her last, incomplete novel is her radically critical eye toward literary form in general and novelistic dis­ course in particular. Dussinger asserts that Austen, like these eighteenth-century novelists, found that imitating speech was a form of parody, and she employed it to ridicule affected social behavior as well as such literary fads as Gothic horror. But Austen is thefirst English novelist to grasp the full implications of parody In the Pride of the Moment In the Pride of Moment ENCOUNTERS IN JANE AUSTEN'S WORLD :«V->. I^a JOHN A. DUSSINGER The Ohio State University Press, Columbus Copyright © 1990 by the Ohio State University Press. All rights reserved. Engraving from Thomas Wilson's Panorama, reproduced by permission of the Houghton Library, Harvard University. Library of Congress Cataloging-in-Publication Data Dussinger, John A . In the pride of the momen t : encounters in Jane Austens world / John A . Dussinger. p. cm. Bibliography: p. Includes index. ISBN 0-8142-0491-0 (alk. paper) 1. Austen, Jane, 1775-1817—Criticism and interpretation. 2. Social interaction in literature. 3. Conversation in literature. I. Title. PR4037.D87 1989 832'. 7—dc20 89-31597 © CIP The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. Printed in the U.S.A. 987654321 For Astrid, Karin, and Camilla / do not write for such dull elves As have not a great deal of ingenuity themselves. —Chawton, 29 January 1813 Contents Acknowledgments xi Abbreviations xiii Introduction 1 I. Play 17 1. Performance 19 2. The "Irresistible Waltz" 30 3. The Crown Inn Ball 35 4. "Every Savage Can Dance" 40 II. Desire 45 1. Emma in Love 50 2. "The Power of Eating and Drinking" 65 3. "The Work of a Moment" 74 III. Character (Written) 81 1. Self and Other 84 2. Inner and Outer Self 88 3. Narrative Authority and Readerly Freedom 93 4. Subjective and Objective Description 100 IV. Speech 111 1. Mrs. Allen: "No Real Intelligence to Give" 114 2. Mrs. Jennings: "A Voice of Great Compassion" 116 3. Mrs. Bennet: A Complete Victory 121 4. Miss Bates's Secrets 128 V. Text (Printed) 145 1. The Media 148 2. The Writerly Reader 155 3. The Violence of the Word 162 4. The "Language of Real Feeling" 168 Conclusion 175 Notes 185 Index 209 Acknowledgments Many of the ideas for this book originated while I was teaching the novels of Jane Austen in the late 1970s at the Uni­ versity of Illinois, whe n her comic subversity suddenly quick­ ened in the minds of the students and prompted considerable rereading to find some answers. Northrop Frye's brilliant ordering of comicfiction in Anatomy of Criticism immeasur­ ably eased m y task in the classroom and also emboldened m e to undertake this study. For the early stages of research and contemplation, I owe special thanks to James Sambrook for making possible m y teaching exchange at the University of Southampton in early 1979, where I enjoyed spending the precious time retracing Jane Austen's footsteps in southern England as well as meeting astute British readers of her novels, who were always gener­ ous in imparting insights to an American visitor. I a m especially grateful to the Department of English and the Center for Advanced Studies at the University of Illi­ nois for a sabbatical research fellowship during 1980-81. M y colleague Jack Stillinger was encouraging from the start and gave helpful advice on the rough draft. Frederick Keener and Charles Knight wrote painstaking and constructive criticisms of the whole argument in its earliest stages. An enormous debt goes to Alistair Duckworth, who devoted many hours of his time trying to make sense out of confusion. Besides the anony­ mous readers of the later drafts of this book, I should thank Ronald Rosbottom and James Thompson for comments invalu­ able for thefinal revision, and Barbara Folsom for the meticu­ lous copyediting. If darkness still lingers in the corners of this phenomenological reading of Austen's novels, the responsibil­ ity is entirely mine. Finally, without the conversations at hom e with a wife and two daughters, all keen and perennial readers of Jane Austen, writing this book would have been a muc h more lonely endeavor. Champaign, Illinois J.A.D. February 1989 XI Abbreviations All references to Jane Austen's novels and fragments are taken from the edition of R. W. Chapman, 6 vols. (London: Oxford University Press, 1933-34, 1954); page numbers are included in parentheses within the text. All references to her correspondence are from Chapman's edition, Jane Austens Letters to Her Sister Cassandra and Others, 2d ed. (Oxford: Oxford University Press, 1952 [reprint 1979]), cited hereafter as Letters. Wherever necessary, the following abbreviations are also used: NA Northanger Abbey SS Sense and Sensibility PP Pride and Prejudice MP Mansfield Park E Emma P Persuasion MW Minor Works Xlll Introduction "Writing, when properly managed . is but a differ­ ent name for conversation." —Tristram Shandy, II, xi Jane Austen's narrative art excels in rendering the tex­ ture of actual speech, and almost any scene in her novels al­ ludes to the precarious circumstances of conversation: 'The meeting was generally felt to be a pleasant one, being com­ posed in a good proportion of those wh o would talk and those wh o would listen" (MP, 238-39). Even when the participants in the social event seem to be interacting, the narrator hints, there is usually a residue of mistrust about the gestures of the moment, something that remains open to interpretation. The dual card games in chapter 25 of Mansfield Park, for instance, are activities symbolic of the "real-life" roles played by the characters in the room, reflecting not only the Crawfords' competitive energy, expressed in their conversa­ tion on improving Thornton Lacey, but also the heroine's quiescent spirit. In response to Edmund's cautious rejection of Henry's expensive plans for the parsonage, Mary insinuates her libertine indifference by playing a card recklessly: Miss Crawford, a little suspicious and resentful of a certain tone of voice and a certain half-look attending the last expression of his hope, made a hastyfinish of her dealings with William Price, and securing his knave at an exorbitant rate, exclaimed, "There, I will stake m y last like a woma n of spirit. N o cold prudence for me. I am not born to sit still and do nothing. If I lose the game, it shall not be from not striving for it." (MP, 242-43) Mary wins the hand, we are told, but at too high a cost. In contrast to this selfish motive, Fanny, wh o resorts to the game mainly to conceal her interest in the conversation about Thornton, almost squanders her queen on William, much to Henry's dismay, causing Edmun d to observe that she would rather have her brother win the game: "Poor Fanny! not al­ lowed to cheat herself as she wishes!" (MP, 244). 1 Introduction In the other part of the room, at the whist table, there is "steady sobriety and orderly silence" during concentrated play until Mrs. Norris, "in high good-humour" after taking a trick with her partner, Sir Thomas , against the Grants, enters into the conversation in a predictably self-seeking way. While the older members of the group engage conventionally in win­ ning and losing without any thought of the future, the younger ones express their "real-life" attitudes through the metony m of the game of speculation; and just as the activity defines a sphere of interest, so it also marks off the nonplayers and strengthens their ties as outsiders: "William and Fanny were the most detached. They remained together at the otherwise deserted card-table, talking very comfortably and not think­ ing of the rest, till some of the rest began to think of them" (MP, 249). The card games in this scene thus rehearse the parts that are played elsewhere on more "serious," less cate­ gorical occasions. This scene illustrates Austen's general narrative strat­ egy of bringing her characters together in an encounter,1 a radically focused interaction, to reveal nuances of behavior; and we have seen that it serves at least four important func­ tions: (1) it divides the group into playing two ideologically dif­ ferent games—the young at speculation (Lady Bertram is en­ couraged to participate here mainly because her husband does not want her for a partner in his game) and the old at whist; (2) it divides them according to the rules of the game as "win­ ners" and "losers" without any connection to their status in the everyday world (both Mar y Crawford and Mrs .
Load more

Recommended publications
  • English Pronunciation in Virginia
    English Pronunciation in Virginia A DISSERTATION Submitted to the Faculty of the University of Virginia in Partial Fulfillment of the Requirements for mavww-»~mn the Degree of Doctor of Philosophy -—wu_.<.=.- gr r-i ~ 7' - ‘ By EDWIN FRANCIS SHEWMAKE Alumni Professor of English in Davidson College _ ' UV; “Vtw ‘z 7 , ul’.m.‘;tl=-frmmfi.flmfiwuz_;_-I .- u~ 33915 . ._..,. PREFACE —. This study of English pronunciation in Virginia was accepted in 1920 by the faculty of the University of Virginia as a doctoral disserta- tion. That part dealing with the dialectal pronunciation of 0:4 and of i, was published in slightly modified form in Modern Language Notes, XL, 489 E., for December, 1925. The editor of the N ates has kindly given permission for the use of the article here. The author would thank all those who have in any way assisted or encouraged him in this undertaking. Especially does he wish to record his indebtedness to Professors John Calvin Metmlf and James Southall Wilson of the University of Virginia, Professor Percy W. Long of Harvard University, and Professor George Philip Krapp of Columbia University, all of whom have given valuable suggestions and advice. Thanks are also due to several editors and publishers for permission to use certain material for purposes of quotation and summary. The titles of books and periodicals used in this way appear in the text, with specific references to volumes and pages. E. F. S. Davidson, North Carolina. November, 1927. .-r.. .. _. .i 4.. ..._......_.__..4.-. .. >»~e~q—.«+.~vym oOpr-r 3-,, - A“.
    [Show full text]
  • Feminine Charm
    THE GREAT DYING A thesis submitted To Kent State University in partial Fulfillment of the requirements for the Degree of Master of Fine Arts in Creative Writing by Amy Purcell August, 2013 Thesis written by Amy Purcell B.S., Ohio University, 1989 M.F.A., Kent State University, 2013 Approved by Varley O’Connor, Advisor Robert W. Trogdon, Chair, Department of Psychology Raymond A. Craig, Dean, College of Arts and Sciences ii CHAPTER ONE Lucy Sullivan first noticed she was disappearing on Monday morning as she prepared to return to work at the Field Museum. This was two weeks after Sean had died, at the peak of Chicago’s worst heat wave in history, and two weeks after she had asked, politely, for time and space alone. The apartment smelled of the worn-out sympathies of friends. Baskets of shriveled oranges and pears and wilting lilies and roses moldered on the coffee table and mantle above the fireplace in the living room and anywhere else Lucy had found room to place them. She was certain there were even more baskets waiting for her outside the door of the apartment. She hadn’t opened the door during her seclusion, hadn’t touched the fruit or watered the plants. The idea that a dozen oranges or a clichéd peace plant would alleviate her grief brought on such an unreasonable rage that she’d decided it was best to ignore the whole lot. Outside it was pitch black, except for the sickly yellow-white pools of light illuminating the empty, elevated train tracks above North Sedgwick Avenue.
    [Show full text]
  • The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl ​ ​ ​ Nichole Decker Honors Scholar Project May 6, 2019
    Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl ​ ​ ​ Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher ​ ​ In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an ​ ​ ​ ​ adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring ​ ​ this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an ​ ​ ​ actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd.
    [Show full text]
  • Applicant Preparation Guide for the Post Entry-Level Test Battery
    APPLICANT PREPARATION GUIDE FOR THE POST ENTRY-LEVEL TEST BATTERY PREPARING FOR THE MULTIPLE-CHOICE AND CLOZE EXAMS There are many different types of tests. Two kinds of tests that most of us are familiar with are achievement tests and aptitude tests. Achievement tests measure what you know about some specific thing. A final exam in college is an example of an achievement test. In a final exam, the student is evaluated on how well he or she has mastered the curriculum of the class. Aptitude tests are quite different; they are tests for determining the probability of a person's success in some activity in which he or she is not yet trained. A college entrance test, such as the SAT, is an example of an aptitude test. In reality, achievement tests and aptitude tests occupy the end points of a continuum of test type for all tests are a little of each. It is important to know the distinction between the two types of tests is because, in general, you can study to improve your score on an achievement test, but there is only a limited amount of study and preparation that you can do for an aptitude test. The POST Test-Battery is primarily a language aptitude test. As such, there is some improvement in test score that can be achieved by preparation, but how you do on the test is primarily determined by how much language skill you presently possess. Language skills develop over a lifetime and tend to be very stable. Noticeable improvement in language skills typically takes a prolonged, intense effort.
    [Show full text]
  • Open Steinle Cory Kanyecriticism.Pdf
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF COMMUNICATION ARTS & SCIENCES “I THOUGHT ABOUT KILLING YOU”: CONSIDERING THE UTILITY OF RHETORICAL AND BIOGRAPHICAL CRITICAL APPROACHES TO KANYE WEST’S YE CORY N. STEINLE SPRING 2020 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Communication Arts and Sciences and Labor and Employment Relations with honors in Communication Arts and Sciences Reviewed and approved* by the following: Bradford Vivian Professor of Communication Arts & Sciences Thesis Supervisor Lori Bedell Associate Teaching Professor in Communication Arts & Sciences Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT This paper examines the merits of intrinsic and extrinsic critical approaches to hip-hop artifacts. To do so, I provide both a neo-Aristotelian and biographical criticism of three songs from ye (2018) by Kanye West. Chapters 1 & 2 consider Roland Barthes’ The Death of the Author and other landmark papers in rhetorical and literary theory to develop an intrinsic and extrinsic approach to criticizing ye (2018), evident in Tables 1 & 2. Chapter 3 provides the biographical antecedents of West’s life prior to the release of ye (2018). Chapters 4, 5, & 6 supply intrinsic (neo-Aristotelian) and extrinsic (biographical) critiques of the selected artifacts. Each of these chapters aims to address the concerns of one of three guiding questions: which critical approaches prove most useful to the hip-hop consumer listening to this song? How can and should the listener construct meaning? Are there any improper ways to critique and interpret this song? Chapter 7 discusses the variance in each mode of critical analysis from Chapters 4, 5, & 6.
    [Show full text]
  • In Because of Mr. Terupt by Rob Buyea Content
    Content Questions Question Answer Pg # In Because of Mr. Terupt by Rob Buyea What grade does Mr Terupt teach? 5th grade 1 What month does Because of Mr. Terupt start? September 1 What kind of teacher is the best hope to get? Brand-new 1 Which character first narrates BOMT? Peter 1 What grade is Peter entering? Fifth 1 What is the name of the rookie teacher? Mr. Terupt 1 Where does Peter go to get out of doing work? The bathrooms 1 Where are the bathrooms located? Right across the hall 1 What did Peter's brother say you would have to clean the A tooth brush 2 toilets with if you got caught plugging them with toilet paper? Who is the pirncipal? Mrs. Williams 2 What are the two nicknames Mr. Terupt wanted to give Peter Mr. Peebody Pee-er 2 for using the restroom? What table did Peter sit at? Number Three 3 Who sat right next to Peter? Marty 3 What is the name of the school where Mr Terupt teaches? Snow Hill School 4 What was the name of the school? Snow Hill School 4 What state does the book take place? Connecticut 4 What color hair does Mr.s Williams have? Brown 4 Who is Jessica's Mom? Julie Whiteman 4 Two part question: What is the name of Jessica's new school Snow Hill School AND Mrs. Williams. 5 and who is the principal? Where is Jessica from? California 5 Where is Jessica's dad? California 5 What does Jessica's dad do? Write plays 5 1 Content Questions Question Answer Pg # In Because of Mr.
    [Show full text]
  • Unconscious Motives in Jane Austen's Emma
    SYDNEY STUDIES Unconscious Motives in Jane Austen's Emma G.A. WILKES The words 'unconscious' and 'unconsciously' occur twenty times in Jane Austen's six novels, l with various levels of meaning. The simplest instance is the 'unconscious Marianne' of Sense and Sensibility (p. 333), unconscious because she has fallen asleep. The word is applied in a similar way to the trees of Norland Park, in "\larianne's romantic imaginings about them after her departure: 'you will continue the same; unconscious of the pleasure or the regret you occasion, and insensible ofany change in those who walk under your shade!' (p. 27). When Catherine Morland is despatched so unceremoniously from Northanger Abbey, and the post-chaise passes the turning to Woodston, she thinks of Henry Tilney 'so near, yet so unconscious' (p. 230), and her grief and agitation are excessive. In these instances 'unconscious' means inert, or unaware, or lacking the capability ofawareness. 2 On otheroccasions it applies to a state of abstraction, or of absorption in other things. Thus Marianne Dashwood is spared the impertinent stares of the young man selecting a toothpick-case which are felt by her sister, 'by remaining unconscious ofit all; for she was as well ableto collect her thoughts within herself, and be as ignorant of what was passing around her, in Mr. Gray's shop, as in her own bed-room' (p. 221). When at Uppercross Anne Elliot finds herself conveyed into the carriage through Captain Wentworth's intervention, and so spared the fatigue of the walking-party, she is so affected that 'her answers to the kindness and the remarks of her companions were at first unconsciously given.
    [Show full text]
  • Two-Words.Pdf
    TWO WORDS by Isabel Allende Copyright © 1989 by Isabel Allende https://fortheloveofshortstories.wordpress.com/2016/09/01/two-words/ She went by the name of Belisa Crepusculario, not because she had been baptized with that name or given it by her mother, but because she herself had searched until she found the poetry of "beauty" and "twilight" and cloaked herself in it. She made her living selling words. She journeyed through the country from the high cold mountains to the burning coasts, stopping at fairs and in markets where she set up four poles covered by a canvas awning under which she took refuge from the sun and rain to minister to her customers. She did not have to peddle her merchandise because from having wandered far and near, everyone knew who she was. Some people waited for her from one year to the next, and when she appeared in the village with her bundle beneath her arm, they would form a line in front of her stall. Her prices were fair. For five centavos she delivered verses from memory, for seven she improved the quality of dreams, for nine she wrote love letters, for twelve she invented insults for irreconcilable enemies. She also sold stories, not fantasies but long, true stories she recited at one telling, never skipping a word. This is how she carried news from one town to another. People paid her to add a line or two: our son was born, so-and-so died, our children got married, the crops burned in the field. Wherever she went a small crowd gathered around to listen as she began to speak, and that was how they learned about each others' doings, about distant relatives, about what was going on in the civil war.
    [Show full text]
  • Beginning Japanese for Professionals: Book 1
    BEGINNING JAPANESE FOR PROFESSIONALS: BOOK 1 Emiko Konomi Beginning Japanese for Professionals: Book 1 Emiko Konomi Portland State University 2015 ii © 2018 Emiko Konomi This work is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License You are free to: • Share — copy and redistribute the material in any medium or format • Adapt — remix, transform, and build upon the material The licensor cannot revoke these freedoms as long as you follow the license terms. Under the following terms: • Attribution — You must give appropriate credit, provide a link to the license, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. • NonCommercial — You may not use the material for commercial purposes Published by Portland State University Library Portland, OR 97207-1151 Cover photo: courtesy of Katharine Ross iii Accessibility Statement PDXScholar supports the creation, use, and remixing of open educational resources (OER). Portland State University (PSU) Library acknowledges that many open educational resources are not created with accessibility in mind, which creates barriers to teaching and learning. PDXScholar is actively committed to increasing the accessibility and usability of the works we produce and/or host. We welcome feedback about accessibility issues our users encounter so that we can work to mitigate them. Please email us with your questions and comments at [email protected]. “Accessibility Statement” is a derivative of Accessibility Statement by BCcampus, and is licensed under CC BY 4.0. Accessibility of Beginning Japanese I A prior version of this document contained multiple accessibility issues.
    [Show full text]
  • Jane Austen: a Study of Film Adaptations Megan Graham University of South Florida
    University of South Florida Scholar Commons Outstanding Honors Theses Honors College 4-1-2011 Jane Austen: A Study of Film Adaptations Megan Graham University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/honors_et Part of the American Studies Commons Scholar Commons Citation Graham, Megan, "Jane Austen: A Study of Film Adaptations" (2011). Outstanding Honors Theses. Paper 20. http://scholarcommons.usf.edu/honors_et/20 This Thesis is brought to you for free and open access by the Honors College at Scholar Commons. It has been accepted for inclusion in Outstanding Honors Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Jane Austen: A Study of Film Adaptations Megan Graham Pat Rogers Spring 2011 1 Jane Austen’s novels have been adapted for film and television since 1938. This popularity is due to the fact that Austen’s novels tell timeless love stories, which are appealing to audiences. In the 1990’s there were massive quantities of movies or television mini-series made from her books. Today, most people know about the novels through the films they watch. It is hard for the modern reader to relate to the lifestyle and everyday events of the characters in Jane Austen’s books because of such a vast time span. The films help modern society to interpret Austen’s writings. In regards to film adaptation there are two schools of thought. The first school is the traditionalist school that believes that a film should mirror the original work, the novel, as closely and faithfully as possible.
    [Show full text]
  • United States District Court for the District of Columbia ) Robert R. Prunté, )
    Case 1:06-cv-00480-PLF Document 116 Filed 03/29/10 Page 1 of 24 UNITED STATES DISTRICT COURT FOR THE DISTRICT OF COLUMBIA __________________________________________ ) ROBERT R. PRUNTÉ, ) ) Plaintiff, ) ) v. ) Civil Action No. 06-0480 (PLF) ) UNIVERSAL MUSIC GROUP, INC., et al., ) ) Defendants. ) __________________________________________) OPINION Plaintiff Robert R. Prunté alleges that approximately 45 named defendants have infringed his copyright in numerous songs that he wrote and produced. He seeks to recover damages pursuant to the Copyright Act, 17 U.S.C. §§ 101 et seq., for direct and contributory copyright violations. Of the many defendants currently named in this case, only two — UMG Recordings, Inc. (“UMG” or “Universal”), and Warner Music Group Corp. (“Warner”) (collectively “the defendants”), have responded to the complaint. These defendants have filed a motion for summary judgment, and Mr. Prunté has filed a cross-motion. Mr. Prunté has also submitted two plainly frivolous motions in which he (1) alleges that the defendants are in contempt of court, and (2) requests that the Court “take judicial notice of certain adjudicative facts and facts of law.” Docket No. 94 at 1. The defendants have moved to strike various papers Case 1:06-cv-00480-PLF Document 116 Filed 03/29/10 Page 2 of 24 filed by Mr. Prunté, including his motion alleging contempt of court and his motion for summary judgment.1 Upon consideration of the entire record in this case, the parties’ arguments, and the relevant law, the Court concludes that the defendants’ works are not substantially similar to those of the plaintiff and that the defendants therefore are entitled to summary judgment on all claims.
    [Show full text]
  • Emma: Power and Propriety
    Emma: Power and Propriety Exploring power in Jane Austen’s novel Emma Marloes van den Berg 3367053 BA-thesis Literatuurwetenschap Supervisor: B. Bagchi 02-02-2012 Preface Here I am; at the end of my thesis. Writing the preface is one of the last things on my checklist “completing a bachelor thesis”. For a long time I thought writing a bachelor thesis would be the hardest thing ever. Writing something between six and eight thousand words seemed impossible, what subject should I choose? The more I thought about it, the more I realized how important it was to choose a subject I like. Therefore I chose one of Jane Austen’s novels. Jane Austen was probably one of the first authors who wrote literature I really liked. Besides focussing on Emma I wanted to use some of Foucault’s theory on power. I am always intrigued by the way Foucault writes about power and how power seems to be everywhere. So, a combination of those two would be the subject of my thesis. The next step was to find a supervisor. After asking some people who knew a lot of Jane Austen, it became clear to me that I would be lucky if Dr. Bagchi would be my supervisor. Luckily enough she agreed, and I am very thankful that she helped me throughout the whole process. I really enjoyed the Friday afternoon meetings in which we talked about my thesis. Thank you Barnita for all the help you gave me. One of the hardest things for me was writing my thesis in English.
    [Show full text]