A Revolution Almost Beyond Expression: Jane Austen's Persuasion

前表紙
University of Delaware Press, 2007 - 280 ページ
To praise Jane Austen's novels only as stylistic masterpieces is to strip them of the historical, cultural, and literary contexts that might otherwise illuminate them. By focusing primarily on the political, historical, satiric, actively intertextual, and deeply sexualized text of Persuasion, Jocelyn Harris seeks to reconcile the so-called insignificance of her content with her high canonical status, for Austen's interactions with real and imagined worlds prove her to be innovative, even revolutionary. This book answers common assertions that Austen's content is restricted; that being uneducated and a woman, she could only write unconsciously, realistically, and autobiographically of what she knew; that her national and sexual politics were reactionary; and that her novels serve mainly as havens from reality. Such ideas arose from literal readings of Austen's letters, the family's representation of her as a gentle, unlearned genius, and the assumption that she could not write about the Napoleonic Wars. Persuasion is, though, permeated with references to war as well as peace. Harris suggests that Persuasion may respond to Walter Scott's review of Emma, Austen's correspondence with Fanny Knight, hostile reviews of Frances Burney's The Wanderer, contemporary attacks on the novel, and her own defense of fiction in Northanger Abbey. Self-critical in revision, Austen calls on Byron, Shakespeare, Napoleon, and Cook to modify wartime constructions of English masculinity such as Southey's Nelson. Similarly, her critique of Scott's first three novels confirms that her attitude toward class and gender is far from reactionary. Persuasion reveals Austen's patriotism, her pioneering lyricism, and her hopes for sexual equality. Although like Turner she portrays Lyme as sublime and liminally open to change, she attacks Bath, a city shadowed by mortality and corruption, with a savage indignation characteristic of contemporary satire. Persuasion sketches a society founded on merit and distributive justice, its turn from woe to joy derived not so much from her own life as from the seasonal resurrections of Shakespeare's late tragicomedies, her religious beliefs, and the nation's mixed grief and jubilee after Waterloo. Harris draws on new information to argue that Austen is an outward looking, intertextually aware, and remarkably self-conscious author.
 

レビュー - レビューを書く

レビューが見つかりませんでした。

目次

Origins for Persuasion
20
The Reviser at Work MS Chapter 10 to Chapters XXI 1818
36
At the White Hart MS Chapter 11 to Chapter XII 1818
63
The History of Buonaparte
73
Domestic Virtues and National Importance
91
A Critique on Walter Scott
109
Prejudice on the Side of Ancestry
130
The Worth of Lyme
146
The White Glare of Bath
160
Meaning to Have Spring Again
188
A Thoughtless Gay Set
195
Notes
202
Bibliography
248
Index
267
著作権

他の版 - すべて表示

多く使われている語句

人気のある引用

21 ページ - Although our productions have afforded more extensive and unaffected pleasure than those of any other literary corporation in the world, no species of composition has been so much decried. From pride, ignorance, or fashion, our foes are almost as many as our readers; and while the abilities of the nine-hundredth abridger of the History of England...
21 ページ - Cecilia," or " Camilla," or " Belinda" ; or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humor, are conveyed to the world in the best chosen language.

著者について (2007)

Joceylyn Harris is professor emerita at University of Otago in Dunedin, New Zealand.
http://www.jocelynharris.co.nz/

書誌情報