DOCSLIB.ORG

"To Tbe Great Detriment of Tbe Post Office Revenue"

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
"To tbe Great Detriment of tbe Post Office Revenue" An analysis ofJane Austen's early narrative development through her use and abandonment ofepistolary fiction in 'Lady Susan' David Owen Ph.D. Thesis directed by Professor Andrew Monnickendam Departament de Filologia Anglesa, F aeultat de Filosojia i Lletres Universitat Autónoma de Barcelona March2006 For my parents, Tom & Audrey Owen 'The Rice Portrait' by the English e 18 miniaturist Ozias Humphrey (1742-1810), possibly of Jane Austen in her early adolescence. The painting is tentatively dated c.1790. , '" ... .... 1 , ""'"" ~ . , ' ~4~~ " '1cll'O'\ .. ".. ' ·T • > CI"",..~ r /;::;~ Ji:..&;¡:;. ~a...- .,.~_. h .. ; . " . ,:. :~ M:&. ~ -, ~~,-; , &-· ~~ . r;;,-;¿_ c; .. ·'~:. ~ . ~y~~ , ..YJ,.v/~ A',...e~~_..... .~ / &. <.~ é."o.... &~:. ;..u;~ .--' .~~ ~ d~~~~._~ < . ¿r~~ . c:/'ái:~.. ~ ~-- ~ /'" .. ~~ . ¿é¿ ~e...e.~C! - ~ k-~ ~ ~. ~~tx' ,J6,~2... 1''''.~t- ~~~A. : ;t ~ .~. ., ~ ' #.. :";':.-. " ~ r . "- . ,'. ~ ~:'" k'_~ ...... }-"" ~ aL.:.~~. ./ - ~~. r"'l' "'"',, _... .61 . ...... • , .¿. < . • • t/. ' .... • "',:00. .: ~~ ~-r~ ~- :<~.~ . .¿"y ~ ./¿z.~ :/-.J2'L.. III!' .... <4,_ ~;,/~-;, '. ' '. • • /o /47y /~~"-~ J' ..r.n~ ....... ~ .....:¿ ~ . "-,, /..,. .,..,. L/z.,..d;,...""." ttI'_,.T. .., .- \ .../ "This Correspondence, by a meeting between sorne 01 the Parties & a separation between the others, could not, to the great detriment olthe Post office Revenue, be continued longer". First section ofthe direct-narrative conclusion to Lady Susan, interrupting and terminating the epistolary fonn used tbroughout the rest ofthe novella (p. 151, facsirnile of Austen's fair copy). Acknowledgements It is my pleasure to give my sincere thanks to Professor Andrew Monnickendam for the invaluable support and detailed guidance he has provided me from the very outset of this thesis. 1 am particulady grateful for his admirable-indeed enviable-ability throughout to unfailingly point me towards surer critical ground whilst never impinging on the thesis writers' need to discover for themselves the demands and implications oftheir own work. 1 would also like to express my thanks to my departmental col1eague, Dr Joan Curbet, for kindly reading an early draft of the thesis, for the perceptiveness of his comments and for his infectious enthusiasm. My thanks, too, go to Professor Christine Alexander ofthe University ofNew South Wales, Australia, for inviting me to co-edit with her the Juvenilia Press edition of Lady Susan (published in autumn 2005). The opportunity that this afforded me of gaining an intimate knowledge of Austen's early text has been of enormous value in shaping many of the arguments set out in this thesis. 1 thank Professor Laurie Kaplan of Goucher College in the United States, for her considerable generosity in reading several parts of the thesis and for her meticulous comments. 1 am grateful for her kind and constructive encouragement, and for patientIy allowing me frrst-hand access to the opinions and insight of a renowned Austen specialist. Final1y, it should never go without saying that my greatest debt of gratitude-one that 1 am deeply privileged to record here-lies with my long-suffering family, Sonia, Tom and Max (current1y waiting in the wings). Without their understanding and support, both of which have been given readily, unconditionalIy and with unfailing good humour, this entíre undertaking could never have gone beyond being the merest shadow of an idea. March2006 Formatting This thesis has been written in general accordance with the guidelines established by the MLA Handbook lor Writers 01 Research Papers (Fifth Edition), except for the placing of notes, which are situated at the foot of each page for ease of reference. "Novels in letters were assuredly more popular in the eighteenth century than tbey have been since; but abandonment of an unfashionable form does not automatically entail artistic advance ...". (Hugh McKellar, "Lady Susan: Sport or Cinderella?" 208). "A newly born genre never supplants or replaces any already existing genres. Each new genre merely supplements the old ones, merely widens the circle of already existing genres. For every genre has its own predominant sphere of existence, in which it is irreplaceable". (Mikhail Bakhtin, Problems ofDostoevsky's Poetics 271). Contents INTRODUCrION ._................................................................ ~ ...................._ ......." ...................................................... _ •••• 1 THESIS OurUNE ••• "", •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• "..................................................... 16 1. TIrE EPISTOLARY: THEORETlCAL INTEREST & CRITICAL ATTENTION .................................................... 21 1.1 LITERA.RY THEORY AND THE LE1TER-FoRlvl ..................................................................................... t-••• 22 1.2 CRITICAL WORK ON THE EPISTOURY••••••• III ••••••• "'IIt ..........................................................................".1Ii 44 1.3 CRlTICAL LIMITATlONS AND DEVELOPING AREAS IN THE EPISTOLARY............................................... S8 1.4 CRlTICALATTENTIONTOAuSTEN'sEpISTOLARY WRITING ._............................................................ 61 1.5 AUSTEN'S Rh~L AND FICTIONAL LETTERS ....... iI.iI ................"' .......u ..................••••••••••••••••• , •••••••••••••••• 78 2.DIRECTNARRATlVEANDTHE EPISTOLARY: 'CA THARlNE , AND 'LADYSu SAN' ....................................... 88 2.1 "CATHA'RlNE OR THE BOWER' ............................................................................................................. 89 2.2 "LADYSUSAN' •••••••••••••••••••• ,,11\ •••••••••••••••••••••••••••••••••••••••••••••••••• iIIO ••••••••••••••••••••••••• III ••••••••••••••••••••••••••• 116 2.2 .. 1 CRITICAL VOleEs OF DlSSENT................................................ ......................u ...................... 120 2.2.2 CRlTIC~ VOleES OF ASSENT •••••••• _ ........................................................................................ 196 2.2 .. 3 IMPROVING ON ICATHARJ.NE 1 ••••••••••• 1.. 10 •• "' ••••••••••••••••••••••••••••••••••••••••••••••••••••• , ••••••••••••••••••••••• 207 3. AUSrrEN'S ABANDONMENT OF THE EPISTOLARY .......................,. ........."' .........................u .......................... 225 3 .. 1 THEINFLUENCE OF FORM•••••••••••••••••••••••••••••••••••••••••••••••••• ............................................................. 226 3 .. 2 THE INFLUENCE OF READING "' •••••••••••••••••••••••• 1",.' ••••••••••••••••••••••••• , ••••••• " ••••••••••••• ,' ••••••••••••••••••••••••• 111 231 3,,3 THE INFLUENCE OF POLITICS ........................................................................................................ 247 3.4 THE INFLUENCE OF COMMERCIAL CONCERlIIS ............................................................................... 267 4, CONCLUSIONS AND IMPLICATIONS ., ••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• " .............................. ,. 280 5. FURTHER "REsE,ARCH ."' ......................................... _ •••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••••• 297 WORKS CITED AND CONSULTED ......................................................................................................................... 302 Introduction Introduction "[TJbe conventional "take" on wby Ansten stopped nsing tbe epistolary mode ••• bas becn sbaped by teleological assnmptions about tbe development of narrative forms, tbe view associated witb lan Watt's Rise 01 the Novel, tbat from tbe beginning of tbe 18th c., prose fiction was tending towards tbe "realist" novel, and Austen's later use of free indirect speecb clincbes tbe crucial tecbnological advance towards an iIIusion ofnarrative transparency. 1 tbink there's a different way to tell the story••• ". 1 In Epistolary Rodies, Elizabeth Heckendom Cook suggests that not only Ian Watt's seminal work on the novel (1957) but also subsequent work on the same subject such as the , influential studies by Michael McKeon or Nancy Armstrong (both 1987) have given support to the· notion that epistolary writings are the "imperfect precursors of nineteenth- century works" and "cul-de-sacs of [the] evolutionary model" (Heckendom Cook, 20), in turn shaping views on the novel itself and limiting critical recognition of the importance of epistolary form within the development of the novel? Such a view, consequentIy, is reflected in assessments of Jane Austen's own styIistic development, from the juvenilia through to the mature fiction. It has been common 1 EJizabeth Heckendorn Cook, private correspondence, 23/0612003. 2 Heckendom Cook's point in referring to McKeon and Arrnstrong is to suggest that even revisionist work produced in the wake of Watt's study nevertheless continues to put forward the idea of a 'discarded image'. However, this notion predates Watt; it was posited at least as early as the 1930s and 1940s by Singer, Lascelles and Blaek. It is of interest bere to note that within Watt's 'triple-rise theory' (the growth of a middle class led to an inerease in literaey that, in turn, led to the rise of the novel), put forward in Rise, specific eomrnents on the epistolary are very few, and almost entirely in exclusive referenee to Richardson (see for example Rise 195 and 201). For further discussion of MeKeon's work in opposition to that of Watt, see, Heckendorn Cook, 187, n. 28. For further and comparative discussion
Load more

Recommended publications
  • September 2013 News
    Sent 9/1/2013 Jane Austen Society of North America Southwest September 2013 News In This Issue September Calendar Fall Meeting Registration Sunday, September 1, 1:30pm - THE SCHOOL FOR September Calendar SCANDAL by Richard Brinsley Sheridan with the New Austen-themed Long Beach Reading Group Books Please join the Long Beach Reading Group as they Royal Oak Events participate in a readers theater of The School for Scandal, Winter Meeting Preview a 1777 comic treatment on manners. Theatrical Connect on Social Media participation is voluntary. For more information, please click here to email Gerda Kilgore or call her at (562) 496- 4452. Sunday, September 1, 6:00pm - A CIRCLE OF SISTERS by Judith Flanders with the Santa Monica Reading Group. Please join the Santa Monica Reading Group to discuss a Circle of Sisters, a novel about four sisters who come from a lower-middle class background and how they fare in Victorian society.For more information, please call Diana Birchall at (310)394-2196, or please click here to email her. Sunday, September 8 - The next meeting will be devoted to socializing and talking about Jane and There are still playing games inspired by Pride and Prejudice with a few days to the Pasadena Reading Group. sign up for the Please join the Pasadena Reading Group for a a fun Fall Meeting! social event. For more information, please email Susan Ridgeway, or you may call her at 626-357-1397. NOTE: This group is at capacity and can't accept new members, Registration please see the information on the San Gabriel Valley open until Reading Group below.
    [Show full text]
  • Looking for Comfort: Heroines, Readers, And
    LOOKING FOR COMFORT: HEROINES, READERS, AND JANE AUSTEN’S NOVELS A Dissertation by AMANDA E. HIMES Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2006 Major Subject: English © 2006 AMANDA E. HIMES ALL RIGHTS RESERVED LOOKING FOR COMFORT: HEROINES, READERS, AND JANE AUSTEN’S NOVELS A Dissertation by AMANDA E. HIMES Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Mary Ann O’Farrell Committee Members, Lynne Vallone Susan Egenolf Melanie Hawthorne Head of Department, Paul Parrish December 2006 Major Subject: English iii ABSTRACT Looking for Comfort: Heroines, Readers, and Jane Austen’s Novels. (December 2006) Amanda E. Himes, B.A., East Texas Baptist University; M.A., Baylor University Chair of Advisory Committee: Dr. Mary Ann O’Farrell Comfort—with its various connotations of physical ease, wealth, independence, and service—is an important concept to Jane Austen, who uses comfort in her novels to both affirm and challenge accepted women’s roles and status in her culture. In the late eighteenth century, new ideas of physical comfort emerged out of luxury along with a growing middle class, to become something both English people and foreigners identified with English culture. The perceived ability of the English to comfort well gave them a reason for national pride during a time of great anxieties about France’s cultural and military might, and Austen participates in her culture’s struggle to define itself against France.
    [Show full text]
  • Legal Issues in Austen's Life and Novels
    DePaul Journal of Art, Technology & Intellectual Property Law Volume 27 Issue 2 Spring 2017 Article 2 Reading Jane Austen through the Lens of the Law: Legal Issues in Austen's Life and Novels Maureen B. Collins Follow this and additional works at: https://via.library.depaul.edu/jatip Part of the Computer Law Commons, Cultural Heritage Law Commons, Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, Internet Law Commons, and the Science and Technology Law Commons Recommended Citation Maureen B. Collins, Reading Jane Austen through the Lens of the Law: Legal Issues in Austen's Life and Novels, 27 DePaul J. Art, Tech. & Intell. Prop. L. 115 (2019) Available at: https://via.library.depaul.edu/jatip/vol27/iss2/2 This Lead Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Collins: Reading Jane Austen through the Lens of the Law: Legal Issues in READING JANE AUSTEN THROUGH THE LENS OF THE LAW: LEGAL ISSUES IN AUSTEN'S LIFE AND NOVELS Maureen B. Collins I. INTRODUCTION Jane Austen is most closely associated with loves lost and found and vivid depictions of life in Regency England. Austen's heroines have served as role models for centuries to young women seeking to balance manners and moxie. Today, Austen's characters have achieved a popularity she could have never foreseen. There is an "Austen industry" of fan fiction, graphic novels, movies, BBC specials, and Austen ephemera.
    [Show full text]
  • Heads and Arms and Legs Enough: Jane Austen and Sibling Dynamics
    Heads and Arms and Legs Enough: Jane Austen and t Sibling Dynamics :Li KAY TORNEY SOUTER Kay Torney Souter is a Senior Lecturer in English at La Trobe University in Melbourne, Australia. She has a special interest in the relations between literary and psychoanalytic theory, especially Post-Kleinian Psychoanalysis, and in the representation of the body and family relations. How soon, the difference of temper in Children appears!—Jemima has a very irritable bad Temper (her Mother says so)—and Julia a very sweet one, always pleased & happy. —Jane Austen to Fanny Knight (13 March 1817) Jane Austen’s early correspondence frequently shows the young satirist in rollicking bad taste as she entertains her older sister with rude remarks about family resemblance in her acquaintance: the bad breath of all the Misses Debary (20-21 November 1800); the “fat girls with short noses” who “all prove to be Miss Atkinsons” (20-21 November 1800); the adulteress whose face “has the same defect of baldness as her sister’s, & her features not so handsome” (12-13 May 1801). When Austen describes her fictional fami- lies, however, the fun is toned down considerably. The famous advice given to her novel-writing young niece Anna, for example, that “3 or 4 Families in a Country Village is the very thing to work on” (9-18 September 1814), is sim- ple but forensically accurate. Emma, Austen’s work-in-progress at the time she wrote to Anna Austen, turns on the question of whether it is literally three or four families that drive the plot: the novel is apparently organized around the affairs of the Woodhouses, the Knightleys, the Westons—three families—but the grouping turns out to be four, including the Bateses when the mystery of Frank Churchill’s secret romance with Jane Fairfax is revealed.
    [Show full text]
  • Of Jane Austen Study Shows the Effects of Its Long History in Several Ways
    "79 NCI NQ,2-3950 JANE AUSTEN AND HER CRITICS, 194[.0-1954 THESIS Presented to the Graduate Council of the North Texas State College in Partial Fulfillment of the Requirements For the Degree of MASTER OF ARTS by Betty Ann Bowen, B. A. Denton, Texas August1, 9% TABLE OF CONTENTS Chapter Page I. BIOGRAPHY: 19&O-19.54 . 1 II. CRITICISM: 1940-1954 . 27 The Janeites The Non-Janeites III. CONCLUSION . 96 BIBLIOGRAPHY . 101 iii CHAPTER I BIOGRAPHY: 1940-1954 Nearly a century and a half has passed since Jane Austen lived and wrote, and the amount of biographical and critical material devoted to her during that time is of imposing, even intimidating proportions. The present state of Jane Austen study shows the effects of its long history in several ways. Because scholarship and criticism tend to assimilate earlier discoveries and opinions, recent publi- cation is difficult to assess accurately; and because biogra- phy and criticism tend to overlap, much of that recently published is difficult to categorize clearly. These factors and the immense volume of the material can present several problems to one who must select material for a specific pur- pose, and the nature of its contents makes a bibliographical guide almost necessary. The purpose of this thesis is to survey Jane Austen biography and criticism published since 1940 in order to show the present state of Jane Austen study while providing a bibliographical guide to recent material. 1 By surveying 1 The titles included in this survey are collected from the following bibliographies: Modern Humanities Research Association, Annual Bibliography of EnglishLanguage and Literature, Vols.
    [Show full text]
  • Books Owned by Jane Austen's Niece, Caroline, Donated to Chawton House Library
    VOL.1 No .4, 2015 Inside this issUE Books owned by Jane Austen’s House of Lords Tea niece, Caroline, donated to Chawton House Library N APRIL THIS YEAR, a North American Friend of Chawton House Library, Sandra Visiting Fellow Alexis Pogorelskin enjoys IClark, came to visit us all the way from afternoon tea with Baroness Williams of Crosby. Texas, bearing gifts. And what special gifts they are! They include a first edition of Frances Burney’s Camilla (1796), and a great many Improved Visitor Experience books to enhance our secondary collection, and our holdings on the Gothic novel. They also included a small collection of books once belonging to Caroline Mary Craven Austen (1805-80). Here, Executive Director Gillian The reference to Jane Austen’s acting skills came Numbers Dow discusses the importance of just one of back to me when I examined the donation from triple as the volumes in this collection, and looks at Sandra Clark. Because one of the books is a book new display what it can tell us about women’s reading, of French plays, an 1813 edition of Stéphanie- cases arrive education for girls, and women’s lives in the Félicité de Genlis’s Théatre à l’usage des jeunes early nineteenth century. personnes. All of Caroline’s books now forming part of the Chawton House Library collection When Sandra Clark came with her generous are delightful material objects. And in the case donation, I was thrilled to see the volumes once of this one, it is of particular interest, since it belonging to Caroline Austen.
    [Show full text]
  • Jane Austen: the Woman Behind Pride and Prejudice
    Jane Austen: The Woman behind Pride and Prejudice Kristin Gregory November 17th, 2010 "Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves; vanity, to what we would have others think of us." - “Pride and Prejudice” Kristin Gregory 2 Table of Contents Table of Contents 2 Obituary 3 Jane’s Journal 4-5 A Letter from Cassandra 6-7 Bibliography 8-10 Cover Sheet for Invitation 11 Invitation to Students 12 Rubric 13 List of Authors 14 List of Genres 15 OBITUARY Kristin Gregory 3 end of 1786 at the age of 11. During this time it was believed that Austen began her writing which is housed in three books, Volume the First, Volume the Second and Volume the Third. These books hold her writing from 1786 to 1793. During her early years of writing she began drafts on her more famous works including First Impressions (Pride and Prejudice) and Elinor and Marianne (Sense and Sensibility). Her first book to be published was Sense and Sensibility in 1811 on October 30th, followed by Pride and Prejudice on January 28th, 1813, Mansfield Park on May 9th 1814, Emma in December of 1815, and Northanger Abbey and Persuasion in December of 1817 after her death. Jane Austen never married but still lived a comfortable life in which many AUSTEN, JANE, 41, of 8 College Street described her as having a sweet temper, Winchester, Hampshire, England died patience, hope and a quick wit. Austen was yesterday, July 18th, 1817.
    [Show full text]
  • Jane Austen Article Version 1
    56 Days: The Final Chapter of Jane Austen’s Life Jane Maxwell is a Cathedral Guide at Winchester with specialist knowledge of Jane Austen, and she is also a guide at Chawton House Library. In this article she has assembled some extracts of letters and writings, both from Jane and members of her family, which together tell the story of Jane’s last days in Winchester. On 24th May 1817 Jane Austen, accompanied by her sister Cassandra, departed from Chawton Cottage, and travelled to Winchester in the carriage of eldest brother James. They took up lodgings in the home of Mrs David, at No 8 College Street, the arrangements having been made by close friend Mrs Elizabeth Heathcote and her sister Miss Alethea Bigg. This was to be Jane’s home for the last 56 days of her life. As her life drew to a close, her letters related the intimate details of her final struggle. Fig 1 Jane Austen, rear view, by Cassandra Austen reproduced by kind permission of Belinda Austen 27th May 1817, Jane to nephew James Edward Austen: “I know no better way my dearest Edward, of thanking you for your most affectionate concern for me during my illness, than by telling myself as soon as possible that I continue to get better. I will not boast of my handwriting; neither that, nor my face have yet recovered their proper beauty, but in other respects I am gaining strength very fast. I am now out of bed from 9 in the morning to 10 at night – upon the sopha t’is true, but I eat my meals with Aunt Cassandra in a rational way and can employ myself, and walk from one room to another.
    [Show full text]
  • 1775 on 16 December, Jane Austen, the Seventh of Eight Children Of
    Chronology 1775 On 16 December, Jane Austen, the 1803 Austen sells copyright for Northanger Abbey 1940 The Jane Austen Society is founded in seventh of eight children of George (then titled “Susan”) to Benjamin Crosby, England. and Cassandra Austen, is born in a London publisher, for £10. He never The first Austen film,Pride and Prejudice, Steventon, England. published it. starring Greer Garson and Laurence Olivier, is released. 1778 James Gillray is admitted to the Royal 1804 Austen starts drafting The Watsons, an Academy to study engraving. His tenure unfinished novel. 1979 The Jane Austen Society of North America overlaps that of William Blake. is founded. The majority of Gillray’s satirical engravings 1805 Austen’s father dies. appeared between 1793 and 1810. 1995 Colin Firth plays Mr. Darcy in the 1809 Austen settles at Chawton Cottage on her BBC/A&E film version ofPride and Prejudice. 1783 Austen’s brother Edward is formally brother Edward’s estate. Ang Lee’s film of Sense and Sensibility is adopted by Mr. and Mrs. Thomas Knight, nominated for an Oscar for best picture; wealthy distant cousins. 1811 Sense and Sensibility published. Emma Thompson wins an Oscar for best George iii declared insane, the prince of adapted screenplay. 1793 French Revolutionary War with England Wales (future George iv) becomes begins; France and England are at war prince regent. 2007 Becoming Jane, the first feature film inspired by almost continuously until the Battle of Austen’s life and letters, is released. Waterloo in 1815. 1813 Pride and Prejudice published. 2009 Later Manuscripts, the ninth and final volume 1794 The husband of Austen’s cousin Eliza is 1814 Mansfield Park published.
    [Show full text]
  • Elizabeth Bennet: a Woman of Her Time
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archives of the Faculty of Veterinary Medicine UFRGS Elizabeth Bennet: a woman of her time Bianca Deon Rossato Submetido em 17 de janeiro de 2015. Aceito para publicação em 14 de dezembro de 2015. Cadernos do IL, Porto Alegre, n.º 51, dezembro de 2015. p. 175-188 ______________________________________________________________________ POLÍTICA DE DIREITO AUTORAL Autores que publicam nesta revista concordam com os seguintes termos: (a) Os autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Creative Commons Attribution License, permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista. (b) Os autores têm autorização para assumir contratos adicionais separadamente, para distribuição não exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. (c) Os autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado. (d) Os autores estão conscientes de que a revista não se responsabiliza pela solicitação ou pelo pagamento de direitos autorais referentes às imagens incorporadas ao artigo. A obtenção de autorização para a publicação de imagens, de autoria do próprio autor do artigo ou de terceiros, é de responsabilidade do autor.
    [Show full text]
  • Humor in Jane Austen's Letters
    “The Whinnying of t Harpies?”: Humor in Jane :Li Austen’s Letters JAN FERGUS Jan Fergus, Professor of English at Lehigh University and a frequent speaker at JASNA regional and national meetings, has published a biography of Jane Austen (Jane Austen: A Literary Life), a critical study, and numerous articles. Her most recent book, Provincial Readers in Eighteenth-century England, will be issued by Oxford University Press. The letters that Jane Austen included in the novels are endlessly fascinating, from Darcy’s explanation to Elizabeth to the splendid whining letter from Mary Musgrove to her sister Anne at Bath, the one in which she claims that “‘my sore-throats, you know, are always worse than anybody’s’” (P 164). On a number of occasions, JASNA has called for members to submit let- ters from the characters—and in doing so we are almost following in the footsteps of Austen’s own niece Fanny Knight, who apparently wrote a letter to Jane Austen as though addressed to Georgiana Darcy, hoping to elicit a reply in character. Austen replied, “I cannot pretend to answer it. Even had I more time, I should not feel at all sure of the sort of Letter that Miss D.[arcy] would write” (24 May 1813).1 We are all as readers, I think, a little overcome when Austen herself tells Fanny that she doesn’t know what Georgiana would write. How can we possibly understand that statement? How can Austen not know?—she who gives the impression of knowing everything about her characters though telling us at best only half, she who makes us feel as though we know her characters intimately, more so than some of our acquaintances.
    [Show full text]
  • "Janeite" at 100
    "Janeite" at 100 LORRAINE HANAWA\- 19 FarmWayne, Road, Pennsylvania Wayne, PA 19087 "Janeite," the word, is now 100 years old, having passed the century mark in February 1994.It was written into the language by George Edward Bateman Saintsbury in a preface which he prepared for an elaborately illustrated edition of Jane Austen's Pride and Prejudice published in February 1894. Among "Austenians or Janites," he noted, would be found partisans of every one of the novels. He counted himself among these "Janites" and boldly asserted, "I, for my parI, declare for Pride and Prejudice unhesitatingly." The 1894 P&P was issued in both London and New York and is probably best known for its 101 illustrations by Hugh Thomson. Saintsbury was a leading critic of his time, with an impressive list of weighty titles to his credit, among them A History oJ Nineteenth Century Literature, A Short History of English Literature and A First Book of English Literature. My curiosity was roused when I found "Janeite" in Metiam-Webster's Collegiate Dic:tionary, Tenth edition, published in 1993. The deflnition reads, just as it ought, ". an enthusiastic admirer of Jane Austen's writings." The entry is dated 1896. The Webster's Third New International Dictionatl of the English Language Unabridged (1911) may be the source of the Collegiate's definition. It is an exact echo, but the unabridged gives no date of origin. "Janite" appears as an alternate spelling. These few scraps sent me to the OED for more information. "Janeite" did not make its debut in the Otford English Dictionary unttl 1976 when the second volume of A Supplement to the O.rford English Dictionary was published.
    [Show full text]