Jane Austen

"Pride and Prejudice"

by Ana-Karina Schneider

"Sense and Sensibility"

by Ana-Karina Schneider

Austen and enclosure

by Helena Kelly

Published in Persuasions Online, v. 30, no. 2 (Spring 2010)

Mansfield Park reconsidered: pheasants, game laws, and the hidden critique of slavery

by Helena Kelly

Wicked Women: The Menace Lurking Behind Female Independence

by Margarita Carretero González

Co-authored with María Elena Rodríguez-Martín, published in the book Something Wicked This Way Comes. Essays on Evil and Human Wickedness. Eds. Colette Balmain and Lois Drawmer. Amsterdam & New York: Rodopi, 2009.

Loose reading, Sedgwick, Austen and critical practice - edited version

by Vincent Quinn

This is an edited version of a published paper. The full version is in 'Textual Practice' 14:2 - if you want to quote from my work, please cite the full paper, not this version

Jane Austen, queer theory and the return of the author - edited version

by Vincent Quinn

This is an edited version of a published paper. The full version is in the Spring 2007 issue of 'Women: A Cultural Review' - if you want to quote from my work, please cite the full paper, not this version.

The Innocent Diversion on Screen: The Narrative Function Of Film Music in Adaptations Based on the Works of Jane Austen

by Joy Doan

“Is she queer?”: Fanny Price’s Protest Against Sublime and Beautiful Heteronormativity

by Emily Snow

Lost in Adaptation: Lost in Austen as transdiscursive text

by Douglas McNaughton

Paper presented at 4th Annual Association for Adaptation Studies conference, London, September 24-25 2009

Jane Austen wrote only six novels, but they are adapted again and again for television and cinema. Lost in Austen... more Jane Austen wrote only six novels, but they are adapted again and again for television and cinema. Lost in Austen (ITV) took the plot and settings of Pride and Prejudice and dropped Amanda Price, an Austen fan, into the diegesis of the novel, disrupting the narrative and interrogating the conventions of Austen adaptations. This essay argues that the Lost in Austen model opens up any original work to Foucault’s “transdiscursive position”, enabling an infinite variety of adaptations of the same work without regard for the usual concerns of fidelity.

It also considers subjectivity in the adaptation, arguing that Amanda is both a character in Pride and Prejudice and a character in Lost in Austen, and a Pride and Prejudice reader and viewer and a Lost in Austen viewer, allowing exploration of multiple and simultaneous layers of subjectivity. It also argues that Lost in Austen’s key moments rely on viewers’ understanding of Pride and Prejudice by explicitly referencing the 1995 BBC version with Colin Firth, and argues that this was not an adaptation aimed at readers of Austen’s novels, but at viewers of the BBC Austen. Furthermore, it considers the ramifications of the now iconic ‘Colin Firth’s wet shirt’ moment from the BBC version. It also investigates how Lost in Austen operates as a site of resistance of the tropes of televised costume drama – in providing its audience with the spectacular visual pleasures of Austen adaptations, but denying them the pleasures of fidelity to the literary source, Lost in Austen operates simultaneously as a celebration and a critique of the conventions of the genre.

Once Bitten, Twice Shy: On Jane Eyre Becoming Jane Slayre

by Emily Goldsher-Diamond

Originally published on Vol. 1 Brooklyn in March, 2011

Jane Slayre is not the only book of this kind to have been published recently; there also exists Pride and Prejudice... more Jane Slayre is not the only book of this kind to have been published recently; there also exists Pride and Prejudice and Zombies, Little Vampire Women, and Sense and Sensibility and Sea Monsters, among others.  Not all are written by Browning Erwin, and Pride and Prejudice and Zombies has by far been the most commercially successful of this new genre; however, it seems somehow that Jane Slayre, by merely existing, commits the greatest offense.  Unlike the monsterized lighter works of Jane Austen and Louisa May Alcott, Jane Eyre need not be altered to be dark and horrible.

(2008). Teaching English literature and linguistics using corpus stylistic methods. In: Zappavigna, M. & C. Cloran (eds). Proceedings ASFLA Congress 2007.

by Monika Bednarek

Persuasion by Jane Austen, Radio Dramatization by Michelene Wandor (2011)

by Laurence Raw

A review of a 1987 radio adaptation of Jane Austen's novel, that focuses particularly on Anne Elliot's character development, and the way she emerges free from the narrator's controlling power.

Willoughby's Apology

by Charles Durning Carroll

This paper provides a comparative analysis of apologies by two male characters in Jane Austen's Sense and Sensibility This paper provides a comparative analysis of apologies by two male characters in Jane Austen's Sense and Sensibility

Jane, Meet Charles: Literature, Evolution, and Human Nature

by Brian Boyd

BB's first foray into evolutionary literary criticism, with summary of evolutionary psychology as I understood it in... more BB's first foray into evolutionary literary criticism, with summary of evolutionary psychology as I understood it in 1997 (decidedly superseded by more recent work, in On the Origin of Stories 2009 and after), and an account of Austen's development of free indirect discourse as a product of Theory of Mind and the particularly heavy demands placed on it during "mate selection" or choosing marriage partners. Mansfield Park is the main example discussed.

"Unanswerable Gallantry and Thick-Headed Nonsense: Rereading Box Hill." Romantic Circles: Praxis. Re-reading Box Hill: The Practice of Reading the Practice of Everyday Life. Feb. 2000. Ed. William Galperin.

by Michael Gamer

Jane Austen in Bath: Walking Tours of the Writer's City

by KATHARINE REEVE

Published 2006 by Little Bookroom, NY/ Frances Lincoln, London

Jane Austen's years in Bath are conventionally thought to be her most miserable and unproductive. Incorporating new... more Jane Austen's years in Bath are conventionally thought to be her most miserable and unproductive. Incorporating new research with a readable walks based narrative, this book challenges this notion.

Going from Extremes: Mansfield Park as a Revision of Clarissa

by Kathleen E. Urda

Published in Persuasions On-Line, Vol, 30, No. 1 (Winter 2009)

Playing With Jane Austen: Gender Identity and the Narrowing of Interpretation

by Elise Barker

Darcy and Emma: Austen’s ironic meditation on gender

by Karenleigh A. Overmann

Overmann, Leee. (2009). Darcy and Emma: Jane Austen’s ironic meditation on gender. Persuasions: The Jane Austen Journal, 31, 222–235.

The central characters and plot lines of Emma are essentially those of Pride and Prejudice, retold from Darcy’s point... more The central characters and plot lines of Emma are essentially those of Pride and Prejudice, retold from Darcy’s point of view and with the genders of the characters reversed (men become women, women men). This whimsical antecedent accounts for why Emma may strike contemporary readers as uncommonly modern for an Austen heroine: She takes a lot of male privilege to herself, something that would have made her anomalous in her own day. The works of four writers and the reasons they likely influenced this gendered topsy-turvey are examined: Richardson, Fielding, Shakespeare, and the Reverend Fordyce.