Austen's Pride Research Articles

A Pragmatic Analysis of Parenthetical Structures in Jane Austen's Pride and Prejudice

This paper aims to investigate the functions of parenthetical structures in Jane Austen's Pride and Prejudice. It seeks to identify how these structures are employed from a pragmatic perspective and examines three specific types. The first type is comment clauses, which have pragmatic value; these expressions are important for readers to understand the intended meaning. The second type is relative clauses, which are used to present additional information, thereby enhancing meaning and interpretation. The final type is apposition, which helps the reader identify a referent. Hence, this paper focuses on the functions of these types, which hold significant contextual value in aiding the reader's interpretation. Therefore, it is asserted that such expressions cannot be analyzed solely through sentence grammar, as they are influenced more by contextual factors than by grammatical structures.

Reading the museum

AbstractThe museum is not a neutral container, a passive collection of art and artifacts. Rather the museum is itself a historical argument, using objects and their relations to write our collective stories. This essay shows how the museum, as it developed within nineteenth‐century European imperialism, directs meaning both within and beyond literature. The museum integrates readers into its collections and its narratives, directing them figuratively and literally through exhibits. Nineteenth‐century literature, I argue, capitalizes on this dynamic interplay among the collection, the viewing subject, and the museum's ideologies. In both poetry and prose the museum appears as a place, a concept, and a form. For example, William Thackeray's “May Day Ode” shows how the Crystal Palace and the 1851 Great Exhibition facilitate an imperialist agenda. The galleries in Jane Austen's Pride and Prejudice and Charlotte Brontë’s Villette, meanwhile, are not just places the characters go; they also exert control over how characters (and readers) experience and evaluate collections. Across these texts, the museum is setting and theme. But, I argue, the museum also works as form, curating the collections, the characters who visit them, and the readers who access the narrative through museum logics. In conjunction with literary examples and an overview of scholarly conversations around nineteenth‐century museum studies, I consider how the museum continues to direct bodies, interpretations, and ideas today by drawing on my experiences using museums in the college classroom.

Tracking civility and westernization through the performances of the characters in Pride and Prejudice and Aşk-ı Memnu

This study investigates the transition of Western culture into the late Ottoman society and the traces of westernisation through cultural performances and performances of culture in private and public life. Since the concept of civility in English culture appears to be compatible with westernisation in late Ottoman culture, this study discusses how these concepts were digested in the two societies and how they were transformed into real-life performances. An in-depth comparative analysis of the performances of the characters in Jane Austen's Pride and Prejudice (1813) and Halid Ziya Uşaklıgil's Aşk-ı Memnu (1900) points out the analogy between the socio-cultural lives of societies and sheds light on how structured cultural performances move from one society to another. Even the habits and daily routines of members of the communities in private or public spheres, which can be taken as performances of culture, are shaped according to the socio-historical context they are situated in. Thus, several daily performances which are considered civilized in British society are considered western in Ottoman society and indicate a social code. Since the patriarchal structure of societies leads to segregated roles between the two sexes, this study discusses female education and its reflections on their performances seperately.

Eudora Welty Foundation 2022 News

Eudora Welty Foundation 2022 News Jeanne Luckett The Eudora Welty Foundation, often working in collaboration with the Eudora Welty House & Garden, helped promote and produce an increased number of in-person activities in 2022 as the Coronavirus (COVID–19) abated to a degree. Although some virtual programming continued, many events were held outside on the lawn of the Welty House and in the Welty Garden. Some programs that had been postponed were finally held. A most significant occurrence for the Foundation in 2022 was its receipt of a grant from the Mississippi Arts Commission to assist with the construction of an Education Center on the property immediately behind the Visitor Center which is next door to the Welty House. Mississippi Arts Commission Grant Facilitates Education Center Construction Plans for an Education Center to host larger audiences than the Welty Visitor Center can seat were greatly enhanced when the Eudora Welty Foundation received a $225,000 Building Fund for the Arts (BFA) grant from the Mississippi Arts Commission (MAC). MAC is a state agency that receives funding from the National Endowment for the Arts, the Mississippi Legislature, and other resources. Of forty-six applicants, the Foundation was one of sixteen to receive a BFA grant. The Foundation had already begun fundraising and is continuing to raise the grant match and the balance needed. Maggie Bjorgum of Belinda Stewart Architects, PA, of Eupora, MS, has developed architectural plans, and site work is already underway. The Visitor Center garage where garden supplies and tools have been stored will be torn down. The Welty House garage has been repurposed as a garden shed, thanks to a grant from the Garden Club of Jackson and help from the Foundation. The Education Center will be completed within two years and will accommodate a variety of activities and events. The new building [End Page 181] will have, among other amenities, a large meeting room, a kitchen, and a covered back porch and will be donated by the Foundation to the Mississippi Department of Archives and History when completed. Welty At Home Virtual Book Club Held via Zoom Continues To Thrive Begun in 2020, the virtual Welty at Home Book Club was a success throughout 2022. With participation growing, Zoom capacity was increased to permit more than 100 participants. The Welty House staff manages the technical operations, and Welty Foundation scholar-in-residence Suzanne Marrs leads most discussions, with readers actively engaged in comments. Programs from January through March focused on William Faulkner's The Sound and the Fury with guest lecturer Jay Watson, Howry Professor of Faulkner Studies at the University of Mississippi. Welty's The Wide Net and Other Stories was read and discussed May–July. Jane Austen's Pride and Prejudice was the subject September–November. To sign up for the Book Club and receive the Zoom link, call 601–353–7762 or email info@eudoraweltyhouse.com. For a participant's view of Welty at Home, see University of Mississippi Jacob Agner's story about the Book Club in the Eudora Welty Review, Volume 14, 2022. Author Ron Rash Delivers Bettye Jolly Lecture at Welty Garden Acclaimed author Ron Rash presented the Bettye Jolly Lecture in the Welty Garden on September 22 to a large and enthusiastic audience. The lecture was delayed two years because of Covid. Rash discussed his appreciation of Welty's work and noted that he teaches "A Worn Path" in his classes at Western Carolina University. He read from "The Belt," a story from In the Valley. He also read one of his poems "3 a.m.: The Stars Were Out" and noted that he had become a better poet by writing fiction. The lecture may be viewed on the Welty Foundation website: eudorawelty.org. Search: Ron Rash Lecture. Rash is the author of seven novels, seven collections of short stories, six poetry collections, and a children's book. An endowed program of the Welty Foundation, the lecture honors the late Bettye Jolly, a volunteer and supporter of the Welty House & Garden. [End...

An excursion regarding women's impediments in Austen's Pride and Prejudice

Pride and Prejudice is a novel of manners. In the novel Jane Austen characterises the complex conditions of women in nineteenth-century England. A woman's happiness is associated with marriage. Her social status is being guided by a man whom she chooses as her husband. Happiness and love are the secondary themes in the marriage, what carries weight is the wealth and the property of the man or groom. A woman tries to mould her identity at the optimum level to deem fit for married apparel because unmarried daughters are considered a burden on their parents. Women's priorities and choices are often ignored. The patriarchal civilization has always dominated the female counterparts through their authoritative voices. Women play a submissive role in society, their voices are crushed and they are compelled to follow in the footsteps of their husbands and fathers. In the novel, there is not a single self-made woman. All women are tied to societal constraints.

“The rightful property of some one or other of their daughters”: Men-as-Commodities in Jane Austen's Pride and Prejudice and Emma


 
 
 
 Jane Austen's novels Pride and Prejudice and Emma present heroines who have their own ideas of identity making: one of them chooses to stay away from the marriage market entirely, while the other acts in a matron/chaperone like fashion, projecting herself as existing outside the norm. This paper focuses on this aspect of identity making in both these novels. Apart from this, in Pride and Prejudice, men like Darcy, Bingley, Wickham and Fitzwilliam are reduced to mere commodities while the women are customers, evaluating them to no end. Emma of Emma views men in the same manner, trying to arrange matches between the elusive Weston and her governess or looking for a suitable costumer for Mr Elton, who has “fitted up his house so comfortably” (Austen, Emma 7) but can find “nobody in Highbury who deserves him” (ibid). This paper is therefore a rereading that argues that the narrative presents the men, instead of women, in the novel as commodities (taking recourse to Irigaray's concept of women-as- commodities) that have no voice or opinion of their own, and who in fact spend their time pleasing women around them and exhibiting their traits and position in society, in order to be seen as eligible.
 
 
 

Conversational Implicature in Austen's Pride and Prejudice: A Pragmatic Analysis of the Bennets' Discourse

Studying the implications of literary language is an interesting field of study as its focal analyses are the sophisticated linguistic features used consciously or unconsciously by the authors. Concerning the focus of this paper, the talent of Jane Austen is evident in the domain of literary linguistics. Reviewing the previous literature proves excessive scrutiny of the chief young couples, namely Elizabeth and Darcy. Given that, the present article sheds light on the conversations between the old couple in Pride and Prejudice; Mr. and Mrs. Bennet from a pragmatic perspective. The analysis focuses on the very first conversation between the couple as being representative of their relationship. This analysis employs two major pragmatic concepts: the various types of Austin's speech acts as defined by Cutting (2002) and Grice's maxims (1975). Of the thirty-one utterances analyzed in the targeted conversation, 20 are by Mrs. Bennet and 11 by Mr. Bennet. Mrs. Bennet's most frequent speech act is the representative whereas that of Mr. Bennet is the directive. Both violate the maxims, but Mrs. Bennet violates that of quantity as being talkative, unlike Mr. Bennet who violates quality and relation maxims. These analyses demonstrate the misunderstanding and deep psychological gap between Mr. and Mrs. Bennet inferred through their linguistic exchange.

What Did Playwright Arthur Miller Do to Jane Austen's Pride and Prejudice?

abstract: Radio drama was a popular form of entertainment in the late 1930s and early 1940s. While Arthur Miller was struggling to make a place for himself as a playwright, he found financial security and an outlet for his talent by writing radio plays. He adapted Helen Jerome's Broadway script of Jane Austen's Pride and Prejudice for an hour-long radio play broadcast on 18 November 1945. The radio play captures some of the essence of the novel, but it is not Jane Austen. Neither is it representative of the best of Arthur Miller. This essay suggests that if Miller had written his radio play after writing his major plays, he could have captured the depth of Pride and Prejudice. The motifs found in Miller's plays suggest that even with the simpler story required of a radio play, there are the makings of a stronger adaptation in Miller's mature hands.

Cross-Cultural Encounters: A Feminist Perspective on the Contemporary Reception of Jane Austen in China

This article examines the changing nature of Austen's reception in China since the 1950s, in particular the growth of feminist critical approaches to her work among contemporary Chinese scholars. Among Austen's works, Pride and Prejudice has remained at the centre of scholarly and popular attention and has had a major impact on Chinese readers’ view of Austen as a feminist writer. Anglo-American scholarship commonly considers Austen's feminism in relation with her contemporary Mary Wollstonecraft's feminist thought. Unfamiliar with Wollstonecraft, Chinese scholars and general readers tend to read Austen rather differently, and their exploration of her engagement with ‘the woman question’ is instead closely connected with the development of Marxism and gender studies in contemporary China.

Heterosexual Plots and Ill Narratives in Jane Austen's Pride and Prejudice

Heterosexual Plots and Ill Narratives in Jane Austen's Pride and Prejudice Hannah Chaskin (bio) Angry at Fitzwilliam Darcy for his role in disrupting her sister's courtship, Elizabeth Bennet of Pride and Prejudice (1813) looks on his alleged intended with a sarcastic bite in her voice: "I like her appearance. … She looks sickly and cross.—Yes, she will do for him very well. She will make him a proper wife."1 The "sickly and cross" woman is Anne de Bourgh, cousin of Darcy and daughter of the overbearing Lady Catherine de Bourgh. In the context of Pride and Prejudice's primary marriage plot, Anne is Elizabeth's most direct structural foil: both are imagined as potential future wives for Darcy. Yet Anne is not a real obstacle to Elizabeth's ultimate success; she exists in the narrative primarily to delineate the difference between the marriage of interest (in which Darcy marries Anne to consolidate his wealth) and the companionate marriage, or marriage for love (in which Darcy and Elizabeth enter into a partnership based on mutual esteem and compatible personalities). The novel's critique of aristocratic greed and the marriage of interest is figured through Anne's under-defined illness; her elitism and her illness are conflated, as though "sickly" and "cross" are synonymous. This essay concerns the roles of sickness and health in the construction of Pride and Prejudice's heterosexual marriage plot. My title pays homage to Marilyn Farwell's work of queer feminist narratology, Heterosexual Plots and Lesbian Narratives, in which Farwell argues that normative narrative [End Page 313] structure "encode[s] heterosexuality … in its very mechanics."2 I will suggest that the mechanics of Austen's most influential marriage plot operate by deploying an idealized femininity that is essentially healthy and by defining ill femininity as narratively unviable. We are generally accustomed to a gendered ideology that understands dependency, passivity, and femininity to be interlocking terms that are set against self-sufficiency, agency, and masculinity. It is not, therefore, surprising that a propensity towards illness has often been conceived of as a feminine trait. Symptoms of specific illnesses, like consumption, intersect with norms of feminine beauty, and sentimental literature often represents acute or fatal illness in the wake of trauma as indicative of feminine virtue.3 However, by the end of the eighteenth century, feminist critiques of sentimental femininity were becoming prevalent, and these critiques were often framed in terms of illness and illness's effect on companionate heterosexuality. Mary Wollstonecraft, for example, indicted a system of sentimental education designed to keep upper-class white women weak, beautiful, and essentially ill. In A Vindication of the Rights of Woman (1792), Wollstonecraft argues that due to "inattention to health during infancy … dependence of body naturally produces dependence of mind; and how can she be a good wife or mother, the greater part of whose time is employed to guard against or endure sickliness?"4 Wollstonecraft and Austen are often cast as political foils, but Pride and Prejudice manifests Vindication's pathologizing strategy to critique sentimental, aristocratic femininity, with the result that it paints healthy and resilient femininity as essential to the companionate marriage plot. All of Austen's novels are invested in exploring the lines between health and illness, and between illness and character flaw.5 I focus on Pride and Prejudice in this essay because the relationship between the healthy heroine and the ill foil is so stark and so central to the plot itself and because it is perhaps the most influential of Austen's novels, insofar as it provided both plot and character types that have become ubiquitous in Anglo-American culture. If we accept that Pride and Prejudice has had an outsized role in the replication of what we now call the romantic comedy, the fact that Austen understood narrative structure through the lens of health and illness matters. While Austen's novels do not evince uncomplicated relationships to their own marriage plots, it is the narrative and characterological structures—often flattened out or simplified—that have made their way through the centuries in many forms. These structures have impacted our modern assumptions about the role of health and wellness in happy...

제인 오스틴의 (오만과 편견) 각색 영화 분석 - (신부와 편견 (2004))을 중심으로

이 글은 제인 오스틴의 영국소설 <오만과 편견>과 각색 영화 <신부와 편견>(2004)을 여성주의적 관점에 서 비교 분석했다. <오만과 편견>은 작가 당대의 남성 주도 문단 현실에도 불구하고 아이러니 등의 간접 적 표현기법을 사용하여 가부장적 사회와 이로 인한 여성의 종속적 현실을 드러냄으로써 진보적 가치를 지닌다. <신부와 편견>에도 가부장적 사회에서 비롯되는 여성의 현실, 민족주의 등 제반 문제의식이 제 기되기는 하나, 볼리우드 풍의 영화 기교 및 근대적 여성주의 인식으로 인해, 작품은 인도 전통사회로부 터 유래하는 여성 현실에 대한 진지한 문제의식을 보여주지 못하고 있다. 이뿐만 아니라 <신부와 편견> 은 원전과는 달리 낭만적 사랑과 영적 결합의 숭고한 의미를 더 강화하는 효과를 가져왔다. 이에 대해 이 글은 여성주의 사회학자 에바 일루즈의 사랑에 대한 관점을 활용하여 서사와 주요 캐릭터를 중심으로 분석함으로써 작품이 현대의 낭만적 사랑의 판타지를 강화하고 있음을 밝혔다. 일루즈에 의하면 이러한 영화 상품의 이야기 전개와 이미지는 사랑에 관한 판타지를 심어주어 일정 틀을 자극하고 고무하는 상상 력의 제도화를 이루게 한다. 이로써 수용자들은 개인의 감정 충족을 상품 소비로 유도하는 소비문화에 빠지게 되어 특정 감정을 주문받는 소비 노예가 되므로 사랑의 진정한 본질을 인식하지 못하게 된다.

Marriage, Courtship and Aristotle's Spouidaia in Jane Austen's Pride and Prejudice

For Aristotle, seriousness is one of the loftiest qualities a human can acquire, requiring a level of refined practical judgment that rules an individual in private and public life. While Aristotle’s Politics is not known for its praise for the role of women’s rationality in society, he argues in this text that women can develop the sort of judgment to be serious, and that through this quality they play an important role in the regime, particularly through the experience of married life, for “it can be argued that even within her restricted domestic sphere the woman demonstrates considerably more virtue than Aristotle's official doctrine allows” . If romantic love is an important part of the human experience, and marriage is one manifestation of romantic love, understanding the ways that the human personality develops within the experiences of courtship and marriage is an important task. Moreover, understanding the ways that social structures can promote, or impede, the fostering of romantic love, is necessary to consider, especially if we take Aristotle’s insight into the importance of marriage to regimes seriously.

Flouting of Cooperative Principle in Jane Austen's Pride and Prejudice

The present paper investigates the theory of implicatures and how H. P. Grice developed it. It sets out Grice's Cooperative Principle and describes the four conversational maxims that he believed were necessary for efficient communication. It also looks at implicature triggers and the deviation from the Cooperative Principle with reference to the ‘flouting’ of Quantity maxim by the various characters in the novel Pride and Prejudice. Examples of flouting the maxim of Quantity have also been put under spotlight and analysis.

Genius

Genius

Genius

Genius

Edith Wharton in Washington, 2–4 June 2016

Edith Wharton in Washington, 2–4 June 2016

Wit and Vivacity in Jane Austen's PRIDE AND PREJUDICE

The main problem of this research is to prove wit and vivacity in Jane Austen’s in Pride and Prejudice. To solve the problem the researcher applies structuralism approach in this study. This approach is used in order to find the wit and vivacity through character’s traits. They are physical trait, social trait and psychological trait. Â

The Feminist and Orientalist Perspective in Gurindher Chadha's Bride and Prejudice

This article discusses a movie by Gurindher Chandha's Bride and Prejudice which is an adaptation of Jane Austen's Pride and Prejudice. The movie, despite being a mainstream one, contains critiques about patriarchy in Indian society and is against Western's orientalist notion about India. For these reasons, this article is trying to unfold how feminism and orientalism are presented in the movie.

Speech, Writing, and Allegory in Jane Austen's Pride and Prejudice

Jane Austen’s Pride and Prejudice opposes Darcy, a character closely associated with writing, to Wickham, one associated with speech. Elizabeth Bennet’s early prejudice in favor of Wickham and against Darcy—by extension, in favor of speech and against writing—is, among other things, an example of what Jacques Derrida calls phonocentrism. Her prejudice is as much a literary necessity as a moral defect, since Austen has ensnared her in a phonocentric allegory. After the unfolding of Darcy’s letter, the novel complicates the allegory, empowering Elizabeth, who, in her final argument with Lady de Bourgh, triumphantly exploits the fact that speech can function like writing. The novel does not replace phonocentrism with its opposite, a prejudice in favor of writing; rather, it shows how both speech and what we commonly call writing depend upon arche-writing. The novel stages its own retroactive detachment from the media prejudice it exploits.

Pride and protein

In Jane Austen's Pride and Prejudice, members of the Bennet family are either sensible or silly, and males are under-represented. This study searches for an underlying medical diagnosis that explains these features. Very retrospective literature review. Mrs Bennet, her five daughters (Jane, Elizabeth, Mary, Kitty and Lydia), her brother (Mr Gardiner) and her sister (Mrs Phillips). Family tree and associated phenotypes The author read Pride and Prejudice. A Bennet family tree was constructed. The number of male and female descendants was analysed using a binomial model. For each character, evidence of behaviour was collected, and members of the Bennet family were categorised as either sensible or silly. Males are under-represented in Mrs Bennet's family. Assuming an equal probability of male or female offspring, this reaches statistical significance (binomial model, P = 0.03). Approximately 50% of females in the family are silly. Silly behaviour is more prevalent during social gatherings. The family tree suggests an X-linked genetic disorder, fatal in utero or in early life to affected males, explaining the paucity of male offspring. Female carriers survive, but with cognitive difficulties, explaining the approximate 50-50 distribution of sensible and silly females in the family. The exacerbation of silliness during social gatherings may suggest an effect of protein intake, raising suspicions of a disorder of protein metabolism. Ornithine transcarbamylase deficiency is one such condition. Unfortunately, there remain significant challenges in performing genetic testing on fictional characters, so definitive evidence remains elusive. Jane and Elizabeth Bennet do not show signs of the disorder. However, carriers may be asymptomatic; they should be offered genetic counselling before Bingley or Darcy offspring are considered.