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Keywords: Jane AustenClose
Nineteenth-Century Literature (2016) 70 (4): 427–447.
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 (2015) 70 (3): 336–362.
Published: 01 December 2015
...Gregory Tate Gregory Tate, “Austen’s Literary Alembic: Sanditon , Medicine, and the Science of the Novel” (pp. 336–362) This essay examines the representation of science in Jane Austen’s unfinished novel Sanditon . It argues that this text, written in the months before Austen’s death in 1817...
Nineteenth-Century Literature (2009) 64 (1): 1–15.
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 (2008) 63 (2): 145–169.
Published: 01 September 2008
... reaction to the General's timekeeping dictums and, finally, an important register of the emotional toll that the General's improvement practices have wrought. 2008 by The Regents of the University of California 2008 Jane Austen Northanger Abbey General Tilney time-discipline chronometry...
Nineteenth-Century Literature (2007) 62 (3): 303–338.
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...