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International audience; This article traces the journey of chick-lit from its emergence in North America and Europe in the 1990s to the present, from the perspective of women's literature, femininity, emotions, sexual freedoms, and feminisms. The article, which analyzes the criticisms brought to chick-lit by questioning the historical positions of chick-lit in women's literature and women's literature in “Literature” as defined by men, thus discusses why and how chick-lit was underestimated as a “genre literature”. It then places these criticisms in the socio-economic context in which the feminist movement, the sexual revolution, consumer society, and popular culture are on the rise, examining the transformation of chick-lit into a guide helping womento adapt to “new” emotional, sexual, and social norms. The article embodies these analyzes through the novel Bridget Jones’s Diary (1996), considered to be the pioneer of chick-lit, and aims to propose a framework for how urban, economically independent, 20-30-year-old women manage love, work, friendship and family relationships in the given context.; Bu makale “piliç edebiyatı” veya “çıtır edebiyatı” olarak bilinen chick-lit’in 1990’lı yıllarda Kuzey Amerika ve Avrupa’da ortaya çıkışından günümüze kadarki yolculuğuna kadın yazını, kadınlık deneyimleri, duygular, cinsel özgürlükler ve feminizmler perspektifinden bakıyor. Chick-lit’in kadın edebiyatı, kadın edebiyatınınsa erkeklerce tanımlanan “Edebiyat” içinde tarihsel olarak konumlandırıldığı yeri sorgulayarak chick-lit’e getirilen eleştirileri analiz eden makale, böylece chick-lit’in bir “tür edebiyatı” olarak neden ve nasıl küçümsendiğini tartışıyor. Ardından bu eleştirileri feminist hareketin, cinsel devrimin, tüketim toplumunun ve popüler kültürün yükselişe geçtiği sosyoekonomik bağlam içine yerleştirerek chick-lit’in nasıl “yeni” duygusal, cinsel ve toplumsal normlara ayak uydurmak konusunda kadınlara kılavuzluk eden bir rehbere dönüştüğünü inceliyor. Makale bu incelemeleri, chick-lit’in öncüsü sayılan Bridget Jones’un Günlüğü (1996) romanı üzerinden somutlaştırmayı ve kentli, ekonomik olarak bağımsız, 20-30’lu yaşlarındaki kadınların aşk, iş, arkadaşlık ve aile ilişkilerini nasıl yönettiğine dair bir çerçeve önermeyi hedefliyor.

This paper deals with the concepts of beauty in Helen Fielding’s Bridget Jones’s Diary as the main character Bridget Jones obsesses over beauty and looks throughout most of the novel. Bridget, however, is not the only character who is concerned about her outer appearance. Many other characters, such as her mother, her friends, and even some love interests, show concern about her semblance, especially when it could make or break the status of Bridget’s love life. Throughout the novel, Bridget keeps track of her weight and intake of calories per day. Although some days seem to be rather successful, the results quickly crumble as Bridget experiences another misfortune in her row of unfortunate events. On the other hand, Bridget’s determination to get in shape is questionable as she puts almost no effort into maintaining her diet, when and if she even has one. She never mentions exercising and she never restrains herself from enjoying a calorie packed meal. Another concern is that she is struggling to make her outer appearance look presentable only because she is trying to find a suitor as her family and friends constantly remind her that the clock is ticking and that she is getting old. Yet, nobody is concerned about the amount of stress Bridget is experiencing, which is visibly shown in her smoking habit that she also keeps track of. The concept(s) of beauty in Fielding’s novel will thus be analysed through the comparison of what the experts in the fields of diet, nutrition, and exercise find healthy and what Bridget considers as healthy. Bridget’s thoughts, actions, and behaviour as well as her friends’ and family’s will be utilized to demonstrate how brittle one’s self-image really is and how easy it is to head in an unwanted direction.

This research makes a theoretical and analytical study of the film Bridget Jones's Diary and of the book Pride and Prejudice, with the purpose of a descriptiveinterpretative movement in which the intertextual relations between two distinct textual compositions are studied. For this, the concepts relating to the notion of text are reviewed and new ways of producing sense are pointed, considering the multimodal aspects of the filmic text. Thus, this study demonstrates the possibility of observing the intertextuality between different nature texts. The intertextual relationship between the film and the book are analyzed, to verify which elements present in the film allow the viewer and the reader to associate the works, examining their similarities and differences. In the light of theories of text and contributions of literary theory as well as the ones related to film language, it is possible to note, from the narrative operators, the meaning effects achieved, in which similarities are kept as to the fable, the plot, the characters, the narrator, the focus, the time and the space. However, when the focus is back to the leading figures of the analyzed texts, the meaning effect is another. The contemporary woman, represented by Bridget Jones, is an identity in crisis facing the conflicts of her time, and the comic treatment of her characteristics and actions puts her away from the romantic heroine Elizabeth Bennet. Hence, the composition of the woman character in Bridget Jones?s diary is no longer the same as the one of Pride and Prejudice - making the film to be characterized as a book parody - but, in essence, still carries the desire of finding the ideal man Esta pesquisa realiza um estudo teórico-analítico do filme O diário de Bridget Jones e do livro Orgulho e Preconceito, visando a um movimento descritivo-interpretativo em que se trabalham as relações intertextuais entre duas composições textuais distintas. Para isso, reveem-se os conceitos referentes à noção de texto e aponta-se para novas formas de produzir sentido, considerando os aspectos multimodais do texto fílmico. Desse modo, este trabalho assinala para a possibilidade de se observar a intertextualidade entre textos de naturezas diferentes. Trata-se de analisar as relações intertextuais entre o filme e o livro, para observar quais elementos presentes no filme permitem ao espectador e leitor associar as obras, examinando-se suas semelhanças e diferenças. À luz das teorias do texto e de contribuições da teoria literária, bem como da linguagem cinematográfica, são possíveis notar, a partir dos operadores da narrativa, os efeitos de sentidos alcançados, em que semelhanças são mantidas quanto à fábula, à trama, às personagens, ao narrador, à focalização, ao tempo e ao espaço. No entanto, quando o foco volta-se para as protagonistas dos textos analisados, o efeito de sentido é outro. A mulher contemporânea, representada por Bridget Jones, é uma identidade em crise que vive os conflitos de sua época, e o tratamento cômico de suas características e ações a afasta da heroína romântica Elizabeth Bennet. Dessa forma, a composição da personagem mulher em O diário de Bridget Jones já não é a mesma de Orgulho e Preconceito-fazendo com que o filme se caracterize como uma paródia do livro-porém, em sua essência, carrega ainda o desejo de encontrar o homem ideal 185 f

New Voices in Translation Studies, 7, 1,

Denna uppsats syfte är en tematisk jämförelse mellan Johanna Nilssons Rebell med frusna fötter och Helen Fieldings Bridget Jones’s Diary beträffande huvudkaraktärerna för att komma fram till hur felplacerad Stella Björk skulle vara i en chick lit-berättelse. Jag använder Bridget som representativ för en typisk huvudkaraktär i chick lit då det är vid publiceringen av Bridget Jones’s Diary forskarna anser att chick lit föddes. Vid en tematisk jämförelse mellan Stella och Bridget där miljö- och karaktärsbeskrivning och även karaktärsutveckling avhandlas blir resultatet att dessa två fiktiva kvinnor är lika på många sätt men det finns skillnader. Karaktärernas komplexitet är en stor skillnad, då Stella är en mer komplex karaktär än Bridget. De funderar mycket båda två men över olika ämnen. En sista stor skillnad är att Bridget tänker på hur hennes egen kropp ser ut medan Stella funderar mer över hur hemska andra människors kroppsliga ideal är.

Although two hundred years separate Jane Austen and Helen Fielding and, subsequently, also their portrayals of society, the similarities outweigh the differences. When juxtaposing Pride and Prejudice and Bridget Jones’s Diary in the light of feminism it is evident that both books provide clear examples of the prevailing situation of women in each time and place. The aspects of the study, which are especially important today, show both the development and some degree of stagnation of women’s rights and identities.