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Nineteenth-Century Literature. 2016; 704427–447 doi: https://doi.org/10.1525/ncl.2016.70.4.427
Published: 01 March 2016
...Meaghan Malone Meaghan Malone, “Jane Austen’s Balls: Emma ’s Dance of Masculinity” (pp. 427–447) Jane Austen’s scenes of dance are at the narrative heart of each of her novels, places where heroine and hero meet and flirt according to rigid prescriptions for chaste courtship. In this essay, I argue...
Nineteenth-Century Literature. 2009; 6411–15 doi: https://doi.org/10.1525/ncl.2009.64.1.1
Published: 01 June 2009
...Rachel Provenzano Oberman The question of whose voice is speaking, the narrator's or the heroine's, is central in Jane Austen's Emma (1814), for although the two voices sound similar at points, the story that the heroine tells is but an incomplete part of the narrator's larger story. While Emma...
Nineteenth-Century Literature. 2007; 623303–338 doi: https://doi.org/10.1525/ncl.2007.62.3.303
Published: 01 December 2007
...Janine Barchas Jane Austen uses the word ““very”” in Emma (1815) at a surprisingly high frequency, one that significantly outpaces its appearance in her other novels as well as in the works of her contemporaries. This essay resists dismissing this smallish word as a nugatory accidental and explores...