Jane Austen and Literary Theory proceeds reveals how Austen anticipated the ideas of formidable literary thinkers of the twentieth-century, and will enable both her devotees and her detractors to appreciate her genius in unusual ways.
Jane Austen and Literary Theory proceeds reveals how Austen anticipated the ideas of formidable literary thinkers of the twentieth-century, and will enable both her devotees and her detractors to appreciate her genius in unusual ways.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
Produktdetails
Produktdetails
Routledge Studies in Nineteenth Century Literature
Shawn Normandin is an associate professor of English at Sungkyunkwan University, Seoul.
Inhaltsangabe
Introduction: Literary Theory and Austen Criticism Deconstruction, Francophobia, Austen Austen, Historicism, Theory Austen and the Play of the Signifier Chapter 1: "Evelyn" and the Impossibility of the Gift "Evelyn" and Derridean Gift Theory Literary Language and the Contradictions of the Gift Austen, Derrida, and Capitalism Chapter 2: Speech, Writing, and Allegory in Pride and Prejudice Phonocentrism: From Derrida to the Eighteenth Century and Beyond Phonocentrism in Pride and Prejudice Writing's Rehabilitation Dancing about Arche-Writing Chapter 3: Allegory, Symbol, and Irony in Mansfield Park Austen, Coleridge, Burke The Fall of Symbol and the Rise of Allegory Between Allegory and Irony: The Last Chapter Between Allegory and Symbol: Lovers' Vows Chapter 4: Emma's Parergonal Realism Kant, Derrida, and the Parergon Emma's "Schemes in the In-Betweens" Parergonal Lack Parergonal Verse/Parergonal Prose Confronting Front Matter Sex and Citationality Emma's Headers and Footers Horrors of Finery Framing "Nothing" Chapter 5: Austen's Unromantic Romantic Ironies From Comic to (German) Romantic Irony Theorizing Parabasis: Fichte, Schlegel, and de Man Parabasis of Parabasis in Emma Tracing Austen's Irony: "The History of England" Closing the Ironic Opening of Pride and Prejudice Mr. Bennet: Being Ironic Irony and the Sublime
Introduction: Literary Theory and Austen Criticism Deconstruction, Francophobia, Austen Austen, Historicism, Theory Austen and the Play of the Signifier Chapter 1: "Evelyn" and the Impossibility of the Gift "Evelyn" and Derridean Gift Theory Literary Language and the Contradictions of the Gift Austen, Derrida, and Capitalism Chapter 2: Speech, Writing, and Allegory in Pride and Prejudice Phonocentrism: From Derrida to the Eighteenth Century and Beyond Phonocentrism in Pride and Prejudice Writing's Rehabilitation Dancing about Arche-Writing Chapter 3: Allegory, Symbol, and Irony in Mansfield Park Austen, Coleridge, Burke The Fall of Symbol and the Rise of Allegory Between Allegory and Irony: The Last Chapter Between Allegory and Symbol: Lovers' Vows Chapter 4: Emma's Parergonal Realism Kant, Derrida, and the Parergon Emma's "Schemes in the In-Betweens" Parergonal Lack Parergonal Verse/Parergonal Prose Confronting Front Matter Sex and Citationality Emma's Headers and Footers Horrors of Finery Framing "Nothing" Chapter 5: Austen's Unromantic Romantic Ironies From Comic to (German) Romantic Irony Theorizing Parabasis: Fichte, Schlegel, and de Man Parabasis of Parabasis in Emma Tracing Austen's Irony: "The History of England" Closing the Ironic Opening of Pride and Prejudice Mr. Bennet: Being Ironic Irony and the Sublime
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