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Jane Austen's (1775–1817) distinctive literary style relies on a combination of parody, burlesque, irony, free indirect speech and a degree of realism.She uses parody and burlesque for comic effect and to critique the portrayal of women in 18th-century sentimental and Gothic novels.
Jane Austen (/ ˈ ɒ s t ɪ n, ˈ ɔː s t ɪ n / OST-in, AW-stin; 16 December 1775 – 18 July 1817) was an English novelist known primarily for her six novels, which implicitly interpret, critique, and comment upon the English landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage for ...
The intention of the work was to set down the essential parts of the "ideal novel". Austen was following, and guying, the recommendations of Clarke. [1] The work was also influenced by some of Austen's personal circle with views on the novel of courtship, and names are recorded in the margins of the manuscript; [9] they included William Gifford, her publisher, and her niece Fanny Knight.
Free indirect discourse can be described as a "technique of presenting a character's voice partly mediated by the voice of the author". In the words of the French narrative theorist Gérard Genette, "the narrator takes on the speech of the character, or, if one prefers, the character speaks through the voice of the narrator, and the two instances then are merged". [1]
A common theme of Austen criticism has been on the legal aspects of society and the family, particularly wills, the rights of first and second sons, and lines of inheritance. Gene Ruoff's book Jane Austen's Sense and Sensibility explores these issues in a book-length discussion of the novel. Ruoff's first two chapters deal extensively with the ...
There has also been a return to considerations of aesthetics with D. A. Miller's Jane Austen, or The Secret of Style (2003), which connects artistic concerns with queer theory. [177] Miller in his book began the "queer" reading of Austen, when he asked why Austen's work which celebrates heterosexual love is so popular with gay men. [159]
This reading of Sense and Sensibility specifically and Austen's fiction in general has been complicated and revised by recent critics such as Claudia L. Johnson (Jane Austen: Women, Politics and the Novel (1988) and Equivocal Beings: Politics, Gender, and Sentimentality in the 1790s (1995)), Jillian Heydt-Stevenson (Austen's Unbecoming ...
Returning to Austen in "Austen’s Attitude" (1995) and especially Jane Austen, or the Secret of Style (2003), Miller remained interested in the possibilities afforded by effacement. Noting that "the realism of her works allows no one like Jane Austen to appear in them", Miller argued that Austen's omniscient, disembodied and widely celebrated ...
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