Titlebook: Austen‘s Unbecoming Conjunctions; Subversive Laughter, Jillian Heydt-Stevenson Book 2005 Palgrave Macmillan, a division of Nature America I

Withdrawal

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釋放

Making and Improving: Fallen Women, Masquerades, and Erotic Humor in , down her laughter, laughter that became . What was she laughing at? Of all the novels, this seems like the least funny and the most morally earnest work, a text in which self-discipline, restraint, and self-denial triumph.

avarice

Presbyopia

1968 as Event, Milieu, and Ideology down her laughter, laughter that became . What was she laughing at? Of all the novels, this seems like the least funny and the most morally earnest work, a text in which self-discipline, restraint, and self-denial triumph.

LEVY

Book 2005objects, and linguistic patterns by which this sexuality was expressed. Heydt-Stevenson demonstrates the subtle, vulgar, and humorous ways Austen uses human bodies, objects, and activities (fashion, jewelry, crafts, popular literature, travel and tourism, money, and courtship rituals) to convey sexu

DRILL

Introduction: Did Jane Austen Really Mean ,othes when I get to Longbourn; but I wish you would tell Sally to mend a great slit in my worked muslin gown, before they are packed up” (291–292).. In ., Thorpe congratulates himself on his masculine prowess by displacing it on to his carriage: “What do you think of my gig, Miss Morland? a neat one

賄賂

Bejeweling the Clandestine Body/Bawdy: The Miniature Spaces of ,sure: she offers “the chief points [of] his apology … and was carefully minute in every particular of speech and look, where minuteness could be safely indulged” (347–348). In a hyper-vaulted juncture of the symbolic and the literal, Marianne, seizing each microbic sign of Willoughby that Elinor off

obstinate

Obstacle

Fashioning the Body: Cross-Dressing, Dressing, Undressing, and Dressage in ,nd Sir Walter Elliot and his heir glitter with pretense. And . own Henry Tilney, Isabella, Mrs. Allen, and John Thorpe emanate inauthenticity as each, in their own fashion, acts in manipulative, hypocritical—and in a couple of cases—imbecilic ways. Their flimflammery provides comic relief; however,

欺騙世家

Making and Improving: Fallen Women, Masquerades, and Erotic Humor in ,ying nothing for a good while, and then would suddenly burst out laughing, jump up and run across the room to a table where pens and paper were lying, write something down, and then come back to the fire and go on quietly working as before” (Hill 202). Neglecting her “work,” Austen runs off to write