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Corpus Linguistics in Literary Analysis provides a theoretical introduction to corpus stylistics and also demonstrates its application by presenting corpus stylistic analyses of literary texts and corpora. The first part of the book addresses theoretical issues such as the relationship between subjectivity and objectivity in corpus linguistic analyses, criteria for the evaluation of results from corpus linguistic analyses and also discusses units of meaning in language.The second part of the book takes this theory and applies it to Northanger Abbey by Jane Austen and to two corpora consisting of 1) Austen's six novels and 2) texts that are contemporary with Austen. The analyses demonstrate the impact of various features of text on literary meanings and how corpus tools can extract new critical angles.This book will be a key read for upper level undergraduates and postgraduates working in corpus linguistics and in stylistics on linguistics and language studies courses.

Jane Austen's Literary Manuscripts remains the definitive account of the novelist's surviving papers. These date from 1787 to 1817, from the first beginning to the veyr end of her writing career. Their evidence considerably deepens our understanding of the imaginative process that stands behind the composition of the great novels. In Sanditon, the last work, we see the promise of a further and startling development in her art. The influence of her childhood reading and home life is considered in the first chapter, and a further new chapter examines Sir Charles Grandison, a work newly attributed to Jane Austen by Brian Southam in 1977. In an appendix, Southam discusses Mrs Leavis's theory concerning the relationship between Jane Austen's life and art, and between the juvenilia and the later novels.

Jane Austen's Literary Manuscripts remains the definitive account of the novelist's surviving papers. These date from 1787 to 1817, from the first beginning to the veyr end of her writing career. Their evidence considerably deepens our understanding of the imaginative process that stands behind the composition of the great novels. In Sanditon, the last work, we see the promise of a further and startling development in her art. The influence of her childhood reading and home life is considered in the first chapter, and a further new chapter examines Sir Charles Grandison, a work newly attributed to Jane Austen by Brian Southam in 1977. In an appendix, Southam discusses Mrs Leavis's theory concerning the relationship between Jane Austen's life and art, and between the juvenilia and the later novels.

Discover the links between characters in Jane Austen novels and real-life celebrities of the time. Winner of the CHOICE Outstanding Academic Title of the Choice ACRL In Matters of Fact in Jane Austen: History, Location, and Celebrity, Janine Barchas makes the bold assertion that Jane Austen's novels allude to actual high-profile politicians and contemporary celebrities as well as to famous historical figures and landed estates. Barchas is the first scholar to conduct extensive research into the names and locations in Austen's fiction by taking full advantage of the explosion of archival materials now available online. According to Barchas, Austen plays confidently with the tension between truth and invention that characterizes the realist novel. Of course, the argument that Austen deployed famous names presupposes an active celebrity culture during the Regency, a phenomenon recently accepted by scholars. The names Austen plucks from history for her protagonists (Dashwood, Wentworth, Woodhouse, Tilney, Fitzwilliam, and many more) were immensely famous in her day. She seems to bank upon this familiarity for interpretive effect, often upending associations with comic intent. Barchas re-situates Austen's work closer to the historical novels of her contemporary Sir Walter Scott and away from the domestic and biographical perspectives that until recently have dominated Austen studies. This forward-thinking and revealing investigation offers scholars and ardent fans of Jane Austen a wealth of historical facts, while shedding an interpretive light on a new aspect of the beloved writer's work.

This book presents Jane Austen as a radical innovator. It explores the nature of her confrontation with the popular novelists of her time, and demonstrates how her challenge to them transformed fiction. It is evident from letters and other sources, as well as the novels themselves, that the Austen family developed a strong scepticism about contemporary notions of the proper content and purpose of fiction. Austen's own writing can be seen as a conscious demonstration of these disagreements. In thus identifying her literary motivation, this book (moving away from the questions of ideology which have so dominated Austen studies in this century) offers a unifying critique of the novels and helps to explain their unequalled durability with the reading public.

Among the music Jane Austen copied into one of her manuscript books dating from the 1790s is a song titled \"Chanson Bearnoise\". This is by no means the only French song in Austen's vast music collection, but it is of particular interest: the words of this song also appear as an Appendix to the \"Justification de M. de Favras\" (Paris, 1791) because they had been adduced in evidence against the royalist Thomas Marquis de Favras Mahy, executed by the revolutionary government in February 1790 for high treason. The Austen family's links to France via her cousin, Eliza Comtesse de Feuillide, whose royalist husband was also executed in 1794 and who later married her brother Henry, are well known. However, the music in her collection provides an interesting new angle on her cultural and personal sympathies with France. Within a few pages of the Chanson Bearnoise, we find not only Stephen Storace's \"Captivity\", a song lamenting the suffering and dread of Marie Antoinette as she awaits her fate, but also the music and five verses of words of \"The Marseilles March\", an early version of the Marseillaise. In this paper, using her music collection as a starting point, I will consider the evidence for Austen's knowledge of French politics and culture, and her attitude to the turbulent events taking place across the Channel during her teens and early twenties.

Given C.S. Lewis's interest in Jane Austen's novels, it is possible that The Screwtape Letters may have been inspired by one of Austen's lesser-known works--namely Lady Susan. Lady Susan was written, like The Screwtape Letters, in epistolary style, in which various characters write letters to one other. The titular character Lady Susan is a beautiful, flirtatious widow who is also ruthless, conniving, selfish, manipulative and cunning. This \"Mistress of deceit\" seeks to control her daughter Frederica. She tries her best to control and manipulate Frederica into marrying the \"contemptibly weak\" Sir James. As in The Screwtape Letters, deception constitutes a major theme.

The equivocal relation to modernist modes of narration exhibited by Elizabeth Bowen’s fiction provides a unique vantage point for revising critical understanding of modernism’s place in the history of the novel. Readings of The Last September (1929), To the North (1933), The House in Paris (1935), and The Death of the Heart (1938) show how these works both exploit stream of consciousness techniques and foreground the aspects of emotional life those techniques are poorly calibrated to capture. This growing skepticism of modernist narration is notably accompanied by freer use of an explicitly philosophizing narrative voice, tacitly justified by the premise that the fullest depiction of a character’s feelings requires a working theory of emotional attachment. Bowen’s fiction ultimately helps us delineate the fundamental affordances—and limitations—of modernist forms for representing affect and emotion.

Within the space marked by the ellipses in the quotation above, those gathered at the Woodhouses' are regaled with seemingly every thought going through Miss Bates's head: we hear of her bonnet and spencer, of her needing to speak to Patty about the hindquarter of the suckling pig that the Woodhouses have sent, of Jane's offer to talk to Patty instead, of the Cole note arriving, then a profusion of thanks to the Woodhouses for the gift of the pork. In creating Miss Bates as an intelligent character beneath a silly façade, Austen points both to the way older single women in her society were stereotyped and dismissed and to the stratagems an older woman of limited means might adopt to survive. In volume 1 of the novel, Austen tries to educate us to distrust Emma's narrative voice by demonstrating, in obvious ways, Emma's misinterpretation of Mr. Elton's courtship aims. Because we as readers know that Mr. Elton is not interested in Emma's new friend, the illegitimate and dowerless Harriet Smith, the comedy-and anxiety-in volume 1 arises from Emma's blindness to what is really going on. To see this dimension of Miss Bates, however, means revisioning how to read this novel, employing a perspective that continually frames Emma not as a reliable source of information but as an obstacle to what is hiding in plain sight.