Jane Austen’s Pride and Prejudice has been a widely read and studied novel and has been known to serve as a suitable model for the research of different topics. A special emphasis has been placed on the way Austen portrays her characters’ speech and thoughts. To her, dialogue is described as the most appropriate means in order to achieve a preferably close approach to reality.
Due to the fact that Austen strived after combining a realistic depiction of her characters and their surroundings with psychological depth, she had to find gradations of the ordinary dialogue between the characters. Utterances could be regarded as important or less important, a character could appear more strongly than another in the course of the story or whole scenes could excel others in their prominence.
In order to be able to illustrate the different emphasis and to present these contrasts comprehensibly to the reader, the dialogue in Pride and Prejudice is expanded with direct and indirect versions of speech. The same applies to the portrayal of characters’ thoughts, which accounts for a dominant part of the novel. By alternating between the various possibilities to depict speech and thought, thus putting emphasis on certain situations, it was possible for Austen to insert her own views on specific circumstances and characters.
Nevertheless, direct speech is the prevailing method to display the characters’ utterances since it is the nearest and most dramatic manner. The vivacity of the characters’ persona, their feelings and different tempers are perceptible through their dialogues and provide a narration that is as realistic as possible.
In the following, the different versions of speech and thought presented will be analysed in terms of their occurrence in the novel, their importance and their meaning to the narrator and the reader, as well as exemplified on the basis of selected passages. This can be achieved after giving a detailed description of the terms.
Furthermore, the analysis will proceed to a brief, but close investigation of how speech and thought are dealt with in the most recent film adaptation of Pride and Prejudice. (...)
Table of Contents
1. Speech and thought presentation in the novel
1.1 Categorization of speech presentation
1.1.1 Direct Speech
1.1.2 Indirect Speech
1.1.3 Free Indirect Speech
1.1.4 Summary of speech presentation in a graphic model
1.2 Categorization of thought presentation
1.2.1 Direct Thought
1.2.2 Free Indirect Thought
1.2.3 Comparison of speech and thought presentation in a graphic model
2. Analysis of speech and thought presentation in the novel Pride and Prejudice
2.1 Speech presentation
2.1.1 Direct Speech
2.1.1.1 Characterisation through dialogue
2.1.2 Indirect Speech
2.1.3. Free Indirect Speech
2.2 Thought presentation
2.2.1 Direct Thought
2.2.2 Free Indirect Thought
2.2.3 Letters
3. Speech and thought presented in Joe Wright’s film adaptation of Pride and Prejudice (2005)
3.1 Speech presentation
3.2 Thought presentation
Research Objectives & Topics
This thesis examines the various linguistic and narrative techniques used by Jane Austen to represent speech and thought in her novel "Pride and Prejudice" and analyzes how these techniques are adapted or transformed in Joe Wright’s 2005 film adaptation. The central research question focuses on how different modes of speech and thought presentation influence characterization, narrative irony, and the reader's/viewer's perspective.
- Linguistic categorization of direct, indirect, and free indirect discourse
- Austen's use of irony through varied speech and thought representation
- The role of letters as a hybrid form of thought and speech presentation
- Cinematic translation of interior psychological states into visual language
- The impact of camera perspective on character subjectivity in the 2005 adaptation
Excerpt from the Book
2.1.1 Direct Speech
As it was previously mentioned that DS is the most vivid form of speech presentation, it is not surprising that Austen wrote the novel to a degree of 47% (compare: Bühler 84) in the direct form, the reason being that the story is based on the relationships between people. Especially dialogue scenes are most suitable to demonstrate the vividness and originality of speech acts. “Austen’s descriptions of her characters’ physical attributes tend to be minimal; instead she allows their moral characters to be revealed through their words.” (Todd 28) Mrs. Bennet, whose anticipation to see her daughter Elizabeth married has been frustrated by Elizabeth’s denial of Mr. Collin’s proposal, addresses her unsympathetic husband:
"Oh! Mr. Bennet, you are wanted immediately; we are all in an uproar. You must come and make Lizzy marry Mr. Collins, for she vows she will not have him, and if you do not make haste he will change his mind and not have her."
Mr. Bennet raised his eyes from his book as she entered, and fixed them on her face with a calm unconcern which was not in the least altered by her communication.
"I have not the pleasure of understanding you," said he, when she had finished her speech. "Of what are you talking?"
"Of Mr. Collins and Lizzy. Lizzy declares she will not have Mr. Collins, and Mr. Collins begins to say that he will not have Lizzy."
Summary of Chapters
1. Speech and thought presentation in the novel: Provides a theoretical framework by categorizing and defining various narrative modes of speech (Direct, Indirect, Free Indirect) and thought presentation.
2. Analysis of speech and thought presentation in the novel Pride and Prejudice: Applies the theoretical definitions to the novel, examining how Austen utilizes these specific modes to characterize figures like Elizabeth and Mr. Bennet and to convey irony.
3. Speech and thought presented in Joe Wright’s film adaptation of Pride and Prejudice (2005): Investigates the challenges of transcribing literary techniques into a visual medium, focusing on camera work and voice-over to represent interiority.
Keywords
Pride and Prejudice, Jane Austen, Joe Wright, Direct Speech, Indirect Speech, Free Indirect Speech, Direct Thought, Free Indirect Thought, Narration, Adaptation, Characterization, Irony, Film Adaptation, Subjectivity, Literary Theory
Frequently Asked Questions
What is the primary focus of this research?
The work investigates the linguistic and narrative strategies used by Jane Austen to represent speech and thought in her novel "Pride and Prejudice" and how these are translated into the medium of film.
What are the central themes discussed?
Key themes include the categorization of speech/thought presentation, the creation of irony, the structural importance of character interiority, and the technical difficulties of cinematic adaptation.
What is the main objective of the thesis?
The objective is to analyze the function of different narrative modes in shaping character perception and to assess how Joe Wright’s film adaptation manages to preserve these effects visually.
Which methodology is applied?
The thesis employs a comparative analysis based on stylistic and narrative theories (specifically referencing Leech and Short) to categorize textual examples and contrast them with filmic techniques.
What does the main body cover?
It covers a detailed analysis of speech and thought modes within the novel, followed by a separate analysis of how these are visually or technically represented in the 2005 film adaptation.
Which terms characterize this research?
The research is characterized by terms such as Direct/Indirect Speech, Free Indirect Speech, Free Indirect Thought, adaptation, narrative voice, and cinematic subjectivity.
How does the novel handle letters as a form of communication?
The author argues that letters function as a special case of Direct Thought, allowing characters to express their private reflections and intentions while addressing a specific individual.
How does the film represent Elizabeth's internal thoughts without voice-overs?
Joe Wright primarily uses cinematic techniques like close-ups, specific camera angles, and visual symbolism to illustrate Elizabeth's internal emotional states instead of traditional voice-overs.
What conclusion is drawn about the comparison between the novel and the film?
The conclusion suggests that while the film successfully captures the psyche of the characters, the media are too different to relate their techniques directly; each is best examined independently.
- Quote paper
- Reni Ernst (Author), 2007, The Presentation of Speech and Thought in Jane Austen’s "Pride and Prejudice" and in Joe Wright’s Film Adaptation, Munich, GRIN Verlag, https://www.grin.com/document/85409
