Jane Austen And The Question Of Women S Education

This fascinating work illustrates how Jane Austen's novels treat questions raised by 18th and 19th century thinkers and writers concerning women's education. It points out that just as Jane Austen's novels are aesthetically superior to those of her didactic contemporaries, her thinking is far less doctrinaire than theirs. This study will increase every reader's enjoyment of the novels by illuminating their humor and it will also indicate why Austen must be considered a feminist. Those interested in British Romantics, Women's Studies, and the History of Education will find this book particularly valuable.

A comprehensive guide to Austen's works in the contexts of her contemporary world and present-day criticism.

The first novel of the author's maturity, Mansfield Park is complex, highly wrought, and experimental. It marks a transitional stage between the first two published novels, Sense and Sensibility and Pride and Prejudice, and Jane Austen's greatest achievements, Emma and Persuasion. It has been suggested that Mansfield Park is the writer's most autobiographical novel and that, in seeing through the eyes of Fanny Price, deemed the most moralising and judgemental of her heroines, we are seeing through the eyes of Austen herself. Though Fanny Price may be too virtuous for modern readers to take to their hearts, in Mrs Norris Austen creates one of her best, because most plausible, monsters; while in the estate of Mansfield Park itself we find some of the most fully realised descriptions of domestic interiors and exteriors in Austen's fiction. This Guide traces the response to Mansfield Park from the opinions of Jane Austen's contemporaries, through 19th century reviews and 20th century critical analyses, including deconstructionist, feminist, postcolonial and poststructuralist, to diverse 21st century approaches to the novel. Sandie Byrne selects the most useful and insightful of these responses and puts them in context, providing the reader with an essential and approachable introduction to the range of critical debate on this important novel.

Sheila Cordner traces a tradition of literary resistance to dominant pedagogies in nineteenth-century Britain, recovering an overlooked chapter in the history of thought about education. This book considers an influential group of writers - all excluded from Oxford and Cambridge because of their class or gender - who argue extensively for the value of learning outside of schools altogether. From just beyond the walls of elite universities, Jane Austen, Elizabeth Barrett Browning, Thomas Hardy, and George Gissing used their position as outsiders as well as their intimate knowledge of British universities through brothers, fathers, and friends, to satirize rote learning in schools for the working classes as well as the education offered by elite colleges. Cordner analyzes how predominant educational rhetoric, intended to celebrate England's progress while simultaneously controlling the spread of knowledge to the masses, gets recast not only by the four primary authors in this book but also by insiders of universities, who fault schools for their emphasis on memorization. Drawing upon working-men's club reports, student guides, educational pamphlets, and materials from the National Home Reading Union, as well as recent work on nineteenth-century theories of reading, Cordner unveils a broader cultural movement that embraced the freedom of learning on one's own.

This thesis investigates the various strands of the female education debate which emerge from eighteenth-century conduct books, women's magazines and the novels of Fanny Burney and Jane Austen. Across this body of work the main objective is to advise the middle-class woman about appropriate conduct in society. A surprising amount of consensus is shown to exist on this subject, even between conservative and radical writers. However, questions about gender equality placed conservative conduct-book writers and proto-feminists in ideologically opposed positions. In contrast, Burney, Austen and the authors of eighteenth-century magazines were unwilling either to demand gender equality or accept the inherent inferiority of the female sex. Taking a moderate stance in the female education debate, they either avoid extreme views or negotiate between them, often reaching contradictory conclusions. It will be argued, that the wide range of material and variety of opinions incorporated within these works, particularly the women's magazines, actively enabled the construction of a middle ground. This position was by no means stable and the parameters of what was considered acceptable and respectable for women were subject to continual modification. Central to the characterisation of the magazines as moderate works is the potential, built into the structure and integral to the content of these texts, for individual readers to resist meaning or interpret it in different ways. The novels portray the consequences of education through the integral detail of their heroines' lives. These works assume that domestic duties should be a priority for women, but they show that the education available to the female sex was inadequate for its purposes. Moderate writers are shown to adapt a variety of strategies in order to question the aims and objectives of female education without challenging the status quo.

A comprehensive look at the academic criticism of Jane Austen from her time down to the present. Among the most important English novelists, Jane Austen is unusual because she is esteemed not only by academics but by the reading public. Her novels continue to sell well, and films adapted from her works enjoy strong box-officesuccess. The trajectory of Austen criticism is intriguing, especially when one compares it to that of other nineteenth-century English writers. At least partly because she was a woman in the early nineteenth century, she was longneglected by critics, hardly considered a major figure in English literature until well into the twentieth century, a hundred years after her death. Yet consequently she did not suffer from the reaction against Victorianism thatdid so much to hurt the reputation of Dickens, Tennyson, Arnold, and others. How she rose to prominence among academic critics - and has retained her position through the constant shifting of academic and critical trends - is a story worth telling, as it suggests not only something about Austen's artistry but also about how changes in critical perspective can radically alter a writer's reputation. Laurence W. Mazzeno is President Emeritus of Alvernia University, Reading, Pennsylvania.

A guide to British women authors, their works, and the writing about them.