Northanger Abbey

For Jane Austen's heroines, a ball is a rare chance to mingle with the opposite sex. Austen, by incorporating many nations moving and the traditions related with it into her books, accomplishes three sorts of impacts: first, in reflecting reasonably the exercises and estimations of her country upper-class subculture, she empowers the reader to feel comfortable in her fiction; second, the move set, which unites such a significant number of and such changed individuals, accommodates Austen chances to move plot components, typically ones including affection, romance, and marriage game plans; third, the move setting gives various chances to her to characterize and accentuate the individual characteristics of a portion of her characters. A comprehension of the traditions and traditions of nation move and the eighteenth-century dance hall can open up subtleties of implications that would be lost to the uninitiated reader.

This BA Thesis explores the relationship between Nature and the Gothic Novel. In particular, it tries to show how many features of the genre, such as the supernatural and the instillment of fear, are achieved and conveyed to the reader through the help of the natural setting. This thesis takes into account four novels: Walpole's Castle of Otranto, Radcliffe's The Mysteries of Udolpho, Brontë's Wuthering Heights and Austen's Northanger Abbey.

Most critical appreciations of Jane Austen's Northanger Abbey (1817) are typically concentrated upon the author's parody and subtle criticism of contemporary popularity of Gothic fiction in Britain. Austen's attack on English Gothic writers in the novel is based on her explicit conviction about the appropriateness of southern, Catholic Europe as setting for unnatural horrors, and the corresponding inappropriateness of a Protestant England and the English social reality of her age as settings for this mode of fiction writing. Notwithstanding the inappropriateness and prejudiced nature of this assumption, the historicity of Northanger Abbey does not stem only from its communication with contemporary fiction writing practice. In view of Austen's deliberate emphasis on certain codes of behavior, social values, tropes, and concepts, her Gothic parody can also be read as the expression of a nationalistically idealized and " imagined community " of the English middle-class, fuelled by the socio-cultural context of the French Revolution and the Napoleonic Wars. Accordingly, this paper will discuss how Austen constructs, sometimes at the expense of distorting facts, a Protestant middle-class English " Self " as opposed to an alien, Catholic, European " Other " by conflating her theory of fiction writing and her " simulation " of English national identity in Northanger Abbey.

In 1870, Jane Austen’s nephew, the Reverend James-Edward Austen-Leigh, (1798-1874), published A Memoir of Jane Austen. The recollections of literary life, although sparkling from the pen of Austen-Leigh, left no dramatic indications of Jane Austen’s personal life. (Jane’s Letters ix).

In this paper I will shed light on the very essence and characteristics of the gothic novel, in the perspective of Horace Walpole’s ‘The Castle of Otranto’ (1765) and Jane Austen’s ‘Northanger Abbey’ (1818). The Gothic novel primarily, is born in such a world which praises rationality and morality.

Reading the fiction of Jane Austen in relation to the environment, and nineteenth-century theories of landscape design and garden improvement, I argue that heroines such as Elizabeth Bennet ("Pride and Prejudice"), Catherine Morland ("Northanger Abbey") and Fanny Price ("Mansfield Park")  challenge traditionally patriarchal notions of proper, English, ladylike behavior through their contact with dirt, grounds, and gardens.

The architectural historian Nikolaus Pevsner (1902-1983) published in 1968 a groundbreaking article about Jane Austen's use of locations in her novels.  This paper, presented to the Jane Austen Society of Australia's March 2016 Day Conference on Northanger Abbey (and appearing in the June 2016 issue of the JASA journal Sensibilities) explores Pevsner's views of Englishness, Austen, the Picturesque, and the architecture of Bath.

To describe Northanger Abbey as a 'parody' of the Gothic novels is to simplify the novel's complex relationship with the Gothic and its characteristic themes. Northanger Abbey is generally known as a parody of the gothic novel and in particular of Ann Radcliffe's The Mysteries of Udolpho. Indeed, through the character of the young Catherine Morland, Jane Austen parodies the absurdity of the gothic conventions and their impact on readers who cannot dissociate reality and fiction. However it is necessary to go farther in this simple and incomplete analysis as, on an ideological point of view, the novel does not go against the ideas conveyed in 18 th century gothic novels. To explain why Northanger Abbey is called a parody of a gothic novel, it is first necessary to give a definition and a context of the Gothic novel in the 18 th century romantic period. The romantic period was characterized by a taste for the uncertain due to the Romantic writers and their interest of the individual as he really is, the human psyche and its extreme. There was also a source of inspiration in social and political causes such as the French Revolution and the War of Independence in the United States. Romantic writers often fought for social progress and individual freedom as expressed by William Godwin and Mary Wollstonecraft. Gothic novels came out in Great Britain between 1764 and 1820 and had an incredible success. They were often called « romances » at the time as they did not fulfil Samuel Johnson's definition of the novel : being realistic and serving a moral purpose. They were also very popular among women and thus classified as an inferior form of literature. A good gothic novel had to have these recurring ingredients :-A pure, innocent, beautiful, gifted heroine.-A gothic Villain, an older man who persecutes the heroine-A remote Caste or Abbey (one of the reasons for Catherine's fantasies) where the persecution takes place-Ghosts, superstition, secrets, mysteries, half forgotten murders, rapes... Now it is possible to show that these very repetitive and exagerated aspects made the Gothic genre very easy to parody. Indeed, Jane Austen makes fun of these aspects of the gothic. Jane Austen does not parody the ideas conveyed in gothic novels, indeed she even supports them. What she felt bound to parody in Mrs Raddcliffe's novels was the incredibly unrealistic way in which they were conveyed, the highly unsubtle gothic conventions.1 For example Catherine immediately associates the gothic architecture of the Abbey to terror stories and hopes to live the experience of a gothic heroine but is disappointed when she realizes the building and the way it is furnished and decorated are actually quite modern.(Vol II, Chapter Six) She also hopes to find an old manuscript in a cabinet that might reveal some hidden secrets but to discover that they are only laundry bills (Vol II,Chapter Seven). The most important example of the absurdity of certain gothic novels' aspects and their impact on Catherine is in Vol II, Chapter Nine when Henry Tilney scolds her for thinking that his father murdered his wife. The reader can't help but see the ridiculous position in which Catherine is being caught in and the incongruity of all the features of the gothic novel that lead the young woman to such fantasies. Jane Austen also uses irony by often using the term 'heroine' to describe Catherine and then shows the reader that unlike a gothic heroine she is physically and morally plain and that nothing similar to

The research paper focused on revealing the individual writing style of Jane Austen based on the novel Northanger Abbey and interpretations of its various adaptations. The purpose of the article is to prove that the individual author's style can be reconstructed due to different stylistic devices that help the reader to understand the message of a literary work more profoundly and take into account in the process of film adaptations. An author's style is characterized by numerous factors including spelling, word choices, sentence structures, punctuation, use of literary stylistic devices (irony, metaphors, rhyme, etc.) and organization of ideas, narration structure, and overall tone of the narration. The main analytic procedures used in the research are keyness, collocation, and cluster. The authors also define that the novel under analysis is a parody of Gothic fiction. The author ruined the conventions of eighteenth-century novels by making her heroine fall in love with the character before he has a serious thought of her and exposing the heroine's romantic fears and curiosities as groundless. The article deals with adaptation as an integral part of the concept of intersemiotic translation. It is possible to say that adaptation is an attempt to translate the content of the adapted material into its screening; intersemiotic translation focuses on the analysis and interpretation of semiotic codes in the scope of adapted material. Seven basic operations used to differentiate the range of adaptation are substitution,

A generation separates Dr. John Gregory’s book of conduct to young women, A Father’s Legacy to His Daughters (1774), from Mary Wollstonecraft’s proto-feminist rebuttal, A Vindication of the Rights of Woman (1792). Within that time, Jane Austen is twice born: first as a baby (1775), next as a writer (her Juvenilia, around 1792-93).  In 1809, her seventeenth year as a writer, Austen fails to win the publication of Susan, the book that would become Northanger Abbey. The following year Thomas Egerton publishes Sense and Sensibility.  In a real sense, Austen comes of age upon her eighteenth year as a professional writer just as her unlikely heroine, Catherine does at eighteen, as a married woman having weathered duplicity and the mechanations of the socio-economics of early nineteenth century women, in general, and the women of the gentry, specifically.  For Austen the writer, the duplicity came in the form of Crosbie & Company’s ambivalent purchase of Susan which implied a promise of publication and the subsequent change of heart, reminiscent of Isabella Thorpe’s turns in courtship within the pages of the eventual Northanger Abbey; the mechanations of achieving book publication being akin to a dance, like the balls in Bath, insofar as dance allowed the necessary intimacies that form matches.  In publishing, the match was between writer and a “New Publisher” (for NA and Persuasion, it would be John Murray instead of Egerton).  In the romance, the match is the inevitable one between heroine and hero—but the embodiment of those tropes are radically different: Catherine Morland, the former infant that “no one…would have supposed her…to be an heroine” and Henry Tilney as “New Man,” an answer to Wollstonecraft’s plea for the nullification of “gothic manners” and a usurpation of “a more reasonable and affectionate mode of conduct” with regard to societal courtship.

NORTHANGER MANASTIRI 19.yüzyılın önemli kadın yazarlarından biri olan Jane Austen, Norhanger Manastırı'nı 1802 yılında yazmıştır ve roman 1818 yılında, yazarın ölümünden sonra yayınlanmıştır. Northanger Manastırı, bir aile dostunun yanında Bath'a giden ve hayatı değişen Catherine Morland adında genç bir "kadın kahramanın" öyküsünü anlatır. Roman iki bölümden oluşur: İlk bölüm Catherine Morland'ın masumiyet çağıdır ve ikinci bölüm ise olgunlaşma dönemidir denilebilir. Birinci bölümde Catherine Morland'ın hayatının ilk dönemleri, Bath'a gidişi, oradaki arkadaşlık ilişkileri anlatılırken ikinci bölümde ise sevdiği adamın babası tarafından Northanger Manastırı'na davet edilişi ve oradaki tecrübeleri anlatılır. Jane Austen'ın bu eseri 19.yüzyıl İngiltere'sinin sosyal yaşamını görmek ve kadının durumunu analiz edebilmek açısından önemlidir. Northanger Manastırı'nda kadınların konumu, erkek egemen düzen ve evlilik kurumu 19.yüzyıl İngiltere'sinde kadının konumu ikincil pozisyondaydı. Aldıkları eğitim tamamen ezbere dayalı bir eğitimdi. Bu dönemde kadınlar için basmakalıp bir tip vardı. Roman kahramanı Catherine Morland bu basmakalıp kadın modelinden tamamen farklı, sıra dışı bir karakterdir. Jane Austen, romanın daha ilk cümlesinden bu farklılığı dile getirmiştir. Roman "Catherine Morland'ı çocukluğunda gören hiç kimse onun kahraman olmak için doğduğunu düşünmezdi." (Austen 5) olarak başlar. Daha sonraki bölümlerde dönemin kadınlarından ve genç kızlarından beklenen hiçbir rolü kabul etmeyişi tasvir edilir çünkü Catherine temizliğe önem vermez, kırlarda koşmayı, doğayla iç içe olmayı sever. Her genç kızın ezbere bildiği şiiri ezberlemekte güçlük çeker. Kısacası toplumun kadından beklediği rolleri kabul etmek ve o basmakalıp tipe bürünmek istemez. Bu durum 15 yaşında son bulur. Catherine yavaş yavaş kadınlığının farkına varır. Bir "hanımefendi"ye dönüşür. Görünümüne ve hareketlerine özen göstermeye başlar. Her zaman okumaktan zevk aldığı roman karakterlerinden biri haline gelir ve beklentileri de bu yönde şekillenir. Ailenin yakın dostu olan Bayan Allen ile birlikte Bath'a yolculuk yapar. Bu yolculuk onun için yeni bir başlangıçtır. Hayatının bu döneminde Catherine çeşitli sebeplerle birçok insanla tanışır. Tanıştığı bu kişilerden biri de Isabella Thorpe'dur. Isabella, Catherine'in tam aksine bir "hanımefendi"dir. Uysal, kibar ve erkekleri etkileyen bir güzelliğe sahip olan bir kadındır Isabella. Catherine, Isabella'yla olan arkadaşlığında nasıl konuşması gerektiği gibi birçok konuda yeni şey öğrenir. Fakat toplumun beklentilerini karşılayan bir karakter olan Isabella'nın bu tavrı Catherine için ilginçtir. Aynı Ergin 1

The understanding verbal irony in Jane Austen‘s novels has always been a challenge for literary theory and criticism; thus, innovative research provides effective materials of analysis that are based on the linguistic interpretations of novels. This work is centered upon studying irony as a Pragmatic phenomenon in relation to Politeness Theory. The objective of the research is to combine Pragmatics of Irony, Pragmatics of Politeness and Politeness in Irony theory so as to be used to analyze the novels, Pride and Prejudice, Mansfield Park, and Sense and Sensibility. As an initial step, irony is to be studied as a literary phenomenon in general and reflectively to the Pragmatic Principles and the Pragmatics of Politeness strategies. The first stage introduces innovative concepts which are the Relevance and Echoic of Positive/Negative Irony. Furthermore, the methodological procedures show a scope whereby
irony is extracted from the novels, categorized according to the concepts developed, analyzed and explained in relation to the theme of the novels. Finally, there is a discussion about the intention of the author with suggestions for further research.

Northanger Abbey, as other novels of Austen, investigates the theme of marriage as an economic issue and explains the outcomes of the marriage market. In this essay, I will briefly explain the 19th-century point of view on marriage while using two very different characters: Isabella Thorpe and Eleanor Tilney. The essay will compare these characters not only by their social positions and economic wellbeing but also by their different personalities such as Eleanor as kind and honest, and Isabella as manipulative and materialistic. Because of the unfaithful behaviors, throughout the novel, Isabella pays the results of her actions by becoming unmarried and alone while Eleanor is in a good position and married to a Viscount. I will talk about the reasons for the difference between Isabella’s and Eleanor’s situations at the end by their view of marriage and whether they identify marriage as a material thing or not. While Eleanor marries to a person she wants due to her position, naive behaviors and the high social status of her husband-in-future; Isabella is punished because of her unethical behaviors which are partly caused by the hierarchical system that allows economic and social progression through marriage.

https://digibug.ugr.es/handle/10481/53070  ///

The main aim of my MA thesis is to analyse The Cate Morland Chronicles (2016), a web series based on Jane Austen’s novel Northanger Abbey (1818), and to explore how transmedia storytelling is used to adapt and modernise a classic novel. In order to do this, different adaptation theories will be reviewed and transmedia storytelling will be introduced. Then, a review of adaptations of Jane Austen’s novels and, especially, of the adaptations of Northanger Abbey will be included. The fan phenomenon and Austenmania will be addressed as a as a possible cause of web series. Finally, the analysis will be carried out. Different transmedia storytelling approaches (Jenkins, Pratten, Scolari) will be applied to study the impact that different media (YouTube videos, blog entries and social network accounts) have had on the story. Moreover, extra-cinematic factors such as place and location (Cartmell and Whelehan, Cardwell, Stam) and the influence of other texts (Stam’s intertextual dialogism) will be studied too. Furthermore, the relation between viewers and the web series will also be analysed to discover how these new adaptations enable viewers to connect with the text. In conclusion, this MA thesis attempts to discover how transmedia narratives can go a step beyond traditional adaption and implement a new and completely different way of connecting with the text.