The Persistence of Austen in the 21St Century: a Reception History of the Lizzie Bennet Diaries
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Sanditon Scripted by Emmy® Award Winner Andrew Davies Premiering on MASTERPIECE on PBS January 12, 2020
Jane Austen’s Final Unfinished Work—Finished! Sanditon Scripted by Emmy® Award Winner Andrew Davies Premiering on MASTERPIECE on PBS January 12, 2020 Jane Austen was chronically ill with a mysterious disease in early 1817, when she turned her thoughts to a happier subject. She started work on a witty and delightful novel set in a seaside town. She never finished it. Now, noted screenwriter Andrew Davies (Pride and Prejudice, Les Misérables, Primetime Emmy® winner for Little Dorrit) picks up Austen’s plot and takes it in a glorious and satisfying direction, on Sanditon. Produced by Red Planet Pictures, the eight-hour series will premiere on MASTERPIECE on PBS on Sunday, January 12, 2020 at 9pm ET. MASTERPIECE’s bold and lavish adaptation of Jane Austen’s final work stars Rose Williams (Curfew) as Austen’s lively but levelheaded heroine, Charlotte Heywood; Theo James (Divergent) as the humorous, charming (and slightly wild!) Sidney Parker; Anne Reid (Years and Years) as the forthright grande dame of Sanditon, Lady Denham; Kris Marshall (Love Actually) as Sanditon’s compulsively enterprising promoter, Tom Parker; and Crystal Clarke (Ordeal by Innocence) as the mysterious West Indian heiress, Miss Lambe. Also appearing are Kate Ashfield (Secrets and Lies) as Tom’s stalwart spouse, Mary; Jack Fox (Riviera) as the fortune hunter Sir Edward Denham; Charlotte Spencer (Watership Down) as Sir Edward’s scheming sister, Esther; and Lily Sacofsky (Bancroft) as the enigmatic and elegant Clara Brereton. With four acclaimed Austen adaptations to his credit (Pride and Prejudice, Sense and Sensibility, Northanger Abbey and Emma), plus the Pride and Prejudice modernization Bridget Jones’s Diary, Andrew Davies is no stranger to Jane Austen’s story strategies— which makes him the perfect candidate to channel the creative spirit of one of the world’s most amusing and penetrating novelists. -
Myth, Metatext, Continuity and Cataclysm in Dc Comics’ Crisis on Infinite Earths
WORLDS WILL LIVE, WORLDS WILL DIE: MYTH, METATEXT, CONTINUITY AND CATACLYSM IN DC COMICS’ CRISIS ON INFINITE EARTHS Adam C. Murdough A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2006 Committee: Angela Nelson, Advisor Marilyn Motz Jeremy Wallach ii ABSTRACT Angela Nelson, Advisor In 1985-86, DC Comics launched an extensive campaign to revamp and revise its most important superhero characters for a new era. In many cases, this involved streamlining, retouching, or completely overhauling the characters’ fictional back-stories, while similarly renovating the shared fictional context in which their adventures take place, “the DC Universe.” To accomplish this act of revisionist history, DC resorted to a text-based performative gesture, Crisis on Infinite Earths. This thesis analyzes the impact of this singular text and the phenomena it inspired on the comic-book industry and the DC Comics fan community. The first chapter explains the nature and importance of the convention of “continuity” (i.e., intertextual diegetic storytelling, unfolding progressively over time) in superhero comics, identifying superhero fans’ attachment to continuity as a source of reading pleasure and cultural expressivity as the key factor informing the creation of the Crisis on Infinite Earths text. The second chapter consists of an eschatological reading of the text itself, in which it is argued that Crisis on Infinite Earths combines self-reflexive metafiction with the ideologically inflected symbolic language of apocalypse myth to provide DC Comics fans with a textual "rite of transition," to win their acceptance for DC’s mid-1980s project of self- rehistoricization and renewal. -
Pride and Prejudice, by Jane Austen
Pride and Prejudice Jane Austen The Harvard Classics Shelf of Fiction, Vol. III, Part 2. Selected by Charles William Eliot Copyright © 2001 Bartleby.com, Inc. Bibliographic Record Contents Biographical Note Criticisms and Interpretations I. By Sir Walter Scott II. By Lord Macaulay III. By W. F. Pollock IV. By Anne Thackeray Ritchie V. By Goldwin Smith VI. By F. W. Cornish List of Characters Chapter I Chapter II Chapter III Chapter IV Chapter V Chapter VI Chapter VII Chapter VIII Chapter IX Chapter X Chapter XI Chapter XII Chapter XIII Chapter XIV Chapter XV Chapter XVI Chapter XVII Chapter XVIII Chapter XIX Chapter XX Chapter XXI Chapter XXII Chapter XXIII Chapter XXIV Chapter XXV Chapter XXVI Chapter XXVII Chapter XXVIII Chapter XXIX Chapter XXX Chapter XXXI Chapter XXXII Chapter XXXIII Chapter XXXIV Chapter XXXV Chapter XXXVI Chapter XXXVII Chapter XXXVIII Chapter XXXIX Chapter XL Chapter XLI Chapter XLII Chapter XLIII Chapter XLIV Chapter XLV Chapter XLVI Chapter XLVII Chapter XLVII Chapter XLIX Chapter L Chapter LI Chapter LII Chapter LIII Chapter LIV Chapter LV Chapter LVI Chapter LVII Chapter LVIII Chapter LIX Chapter LX Chapter LXI Biographical Note THE IMPRESSION of the condition of the Church of England in the eighteenth century which is conveyed by the character and writings of Laurence Sterne receives some necessary modification from a study of the life and works of Jane Austen. Her father, the Reverend George Austen, held the two rectories of Deane and Steventon in Hampshire, having been appointed to them by the favor of a cousin and an uncle. He thus belonged to the gentry, and it seems likely that he entered the church more as a profession than a vocation. -
The Lizzie Bennet Diaries" Transcends Traditional Reader Response
University of Northern Iowa UNI ScholarWorks Honors Program Theses Honors Program 2013 Opportunity for engagement : how viewing "The Lizzie Bennet diaries" transcends traditional reader response Molly Hayes University of Northern Iowa Let us know how access to this document benefits ouy Copyright © 2014 Molly Hayes Follow this and additional works at: https://scholarworks.uni.edu/hpt Part of the Film and Media Studies Commons, and the Reading and Language Commons Recommended Citation Hayes, Molly, "Opportunity for engagement : how viewing "The Lizzie Bennet diaries" transcends traditional reader response" (2013). Honors Program Theses. 153. https://scholarworks.uni.edu/hpt/153 This Open Access Honors Program Thesis is brought to you for free and open access by the Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. University of Northern Iowa UNI ScholarWorks Honors Program Theses University Honors Program 2013 Opportunity for engagement: how viewing "The Lizzie Bennet Diaries" transcends traditional reader response Molly Hayes Copyright 2014 - Molly Hayes Follow this and additional works at: http://scholarworks.uni.edu/hpt This Open Access Honors Program Thesis is brought to you for free and open access by the University Honors Program at UNI ScholarWorks. It has been accepted for inclusion in Honors Program Theses by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. OPPORTUNITY FOR ENGAGEMENT: HOW VIEWING “THE LIZZIE BENNET DIARIES” TRANSCENDS TRADITIONAL READER RESPONSE A Thesis Submitted in Partial Fulfillment of the Requirements for the Designation University Honors with Distinction Molly Hayes University of Northern Iowa December 2013 Hayes 2 For hundreds of years, publishers have worked to understand the relationship between a reader and a text. -
Emma Approved Transmedia, Social Media Platforms and Interactive Storytelling
Emma Approved: transmedia, social media platforms and interactive storytelling V CONGRESO INTERNACIONAL COMUNICACIÓN Y PENSAMIENTO SIMPOSIO 11. Nuevos escenarios para la ficción audiovisual: de la “caja tonta” a la multipantalla Ana Ávila Bohórquez Giovanni Ciofalo Universidad Complutense de Sapienza Università di Roma Madrid [email protected] [email protected] Silvia Leonzi Fabio Ciammella Sapienza Università di Roma Sapienza Università di Roma [email protected] [email protected] Emma Approved: transmedia, social media platforms and interactive storytelling • Pregunta de investigación: Cómo se utilizan las plataformas de medios sociales para la creación de proyectos de narrativa transmedial de bajo presupuesto • Objeto de estudio: Emma Approved (YouTube, 2013-2014) • 72 episodios (+ contenido extra) • Pemberley Digital, en asociación con Kin Community • Creador: Bernie Su • Basado en novela Emma , de Jane Austen Mundo transmedial (Transmedia world) • Antecedentes : • Storyworld de Jane Austen • Storyworld de Pemberley Digital – The Lizzie Bennet Diaries (2012- 2013) • Crossover (Wolf, 2012) – Caroline Lee • Elementos • Mythos: trasfondo (backstory), personajes, conflictos • Topos: escenarios • Ethos: ética y moralidad Plataformas narrativas Canal de YouTube de Pemberley Digital YouTube • Canales complementarios • Emma Woodhouse • Q&A vídeos • Harriet’s Music Club • Otros • Harriet’s Application Vídeo • Martin’s Crane Video • Pemberley Digital 2 • Contenido extra: tomas falsas, castings, cámara oculta Blog – -
The Entailment in Jane Austen's Pride and Prejudice , 41 Ga
Digital Commons @ Georgia Law Scholarly Works Faculty Scholarship 1-1-2013 A Funhouse Mirror of Law: The nE tailment in Jane Austen's Pride and Prejudice Peter A. Appel University of Georgia, [email protected] Repository Citation Peter A. Appel, A Funhouse Mirror of Law: The Entailment in Jane Austen's Pride and Prejudice , 41 Ga. J. Int'l & Comp. L. 609 (2013), Available at: https://digitalcommons.law.uga.edu/fac_artchop/959 This Article is brought to you for free and open access by the Faculty Scholarship at Digital Commons @ Georgia Law. It has been accepted for inclusion in Scholarly Works by an authorized administrator of Digital Commons @ Georgia Law. Please share how you have benefited from this access For more information, please contact [email protected]. A FUNHOUSE MIRROR OF LAW: THE ENTAILMENT IN JANE AUSTEN'S PRIDE AND PREJUDICE Peter A. Apper I. INTRODUCTION The relationship between a society and its law is inexact. Despite repeated claims that law mirrors societal norms and values, no scholar has punctured that balloon of an idea better than Alan Watson. In his groundbreaking Legal Transplants' and many subsequent works, Alan has demonstrated the many disjunctures between law and society.2 Alan has devoted a large part of his impressive corpus of scholarship on legal development to expand on this idea, and he has convincingly demonstrated that legal development often occurs through borrowing and accident as much as deliberate societal decision. For example, Alan has painstakingly traced how the dictates and opinions of the ancient Roman jurists, who were pagans, were incorporated into Justinian's Digest, which was produced by a committee at the direction of a Christian emperor living in Byzantium. -
Rose Marie: I Don't Love You Ron Smith, Thompson Rivers University, Canada
Rose Marie: I Don't Love You Ron Smith, Thompson Rivers University, Canada Pierre Berton, in his book Hollywood's Canada, challenges the Hollywood image of Canada, particularly the Canadian frontier. Berton states: And if Canadians continue to hold the belief that there is no such thing as a national identity – and who can deny that many hold it? – it is because the movies have frequently blurred, distorted, and hidden that identity under a celluloid mountain of misconceptions. (Berton, 1975: 12) Berton's queries about film images seem to suggest that without a clear understanding of history, we might be subject to the dreams and imaginations of others. In Berton's case, "the others" are Hollywood producers and directors. Geoff Pevere and Greig Dymond state that Americans have made many more Mountie movies than Canadians have, noting that "the inadvertent or intentional kitsch value of these is almost always rooted in the image of the Mountie's impossible purity or sense of duty." (Pevere and Dymond, 1996: 183) Michael Dawson, in That Nice Red Coat Goes To My Head Like Champagne: Gender, Antimodernism and the Mountie Image, points out that "Mounted Policemen appeared as central characters in over 250 feature films." (Dawson, 1997) Pierre Berton notes that by the early 1920s Hollywood had made 188 Mountie movies, forty-eight of them in the feature length mode that had become popular after 1914 (Berton, 1975: 112). Dawson adds that by the 1930s and 1940s "the film industry produced a body of work that consolidated the fictional Mountie position as both a mythic hero and commercial success." (Dawson, 1997) Rose Marie (1936) continued a theme that was associated with love and duty, but which had very little to do with "true story claims" about the Mounted Police. -
Adaptations of Austen: How Does Multimedia Impact Our Ability to Read Between the Lines of Pride and Prejudice and Emma?
Adaptations of Austen: How Does Multimedia Impact Our Ability to Read Between the Lines of Pride and Prejudice and Emma? Presented to the S. Daniel Abraham Honors Program in Partial Fulfillment of the Requirements for Completion of the Program Stern College for Women Yeshiva University May 6, 2020 Elka Basya Wiesenberg Mentor: Dr. Nora Nachumi, English Introduction “We’ve all seen it at least once,” says Devoney Looser, in The Making of Jane Austen, “A purist complains that Jane Austen’s fiction is being cheapened or even destroyed by film and television adaptations, [and by] vlogs” (13).1 Some readers of Austen feel that onscreen adaptations are ruining the novels. The characters, the story, the novels do not necessarily translate the way these readers imagined them, and this makes these adaptations undesirable to them, not giving them the experience that they want. Are these purists correct? Are modern adaptations destroying the authentic experience of a Jane Austen novel? Or is there something to be gained from a multimedia adaptation of Austen’s works? To begin to understand these questions, we must explore others. First, we must understand: What is the experience of an Austen novel? Second, we must discuss: How is this experience translated into a screen adaptation? What is different? These are questions that this paper will answer in order to understand the above complaints and prove them partially right-- and partially wrong. An Austen novel’s appeal lies heavily in its narrative voice, its narrator and style, as will be discussed, and this is what we will consider the Austen experience. -
Jane Austen's Legacy: Anna Austen Lefroy's Manuscript of Sanditon
Jane Austen's Legacy: Anna Austen Lefroy's Manuscript of Sanditon MARY GAITHER MARSHALL 357 W. GroveLombard, Street, IllinoisLombard, IL 60148 Jane Anna Austen Lefroy, Jane Austen's "literary niece," was the first to attempt a continuation of Jane Austen's incomplete Sanditon, although her work was the last to be published, almost 150 years later. The existence of Lefroy's manuscript was virtually unknown until it appeared at auction asLot266 in the December 13,1977,sale at Sotheby Parke Bernet. Dr. James M. W. Borg, a bookseller, publisher, and independent scholar, was the successful bidder (and current owner). In 1982, knowing of my interest in Jane Austen and my previous Austen publications, he inquired if I would be willing to edit the Lefroy manuscript for publication by his Chiron Press. I agreed and soon began transcribing the heavily revised manuscript. With the growing interest in Lefroy's manuscript (as seen in Le Faye's article and those published here by Peter Sabor and Kathleen James-Cavan), perhaps a description of the manuscript would be valuable because only Dr. Borg and I have worked with the original document. Anna Lefroy's manuscript consists of 113 handwritten pages on wove writing paper. Fifty-four leaves are divided into three gatherings and hand stitched with thread. The remaining 21 leaves, consisting of a plot revolving about Clara Brereton, are loose fold- ings. Although Lefroy's continuation of Sanditon is incomplete, her manuscript is approximately the same length as Austen's fragment and therefore doubles the length of the novel. Notes in blue, orange, and red pencil, with numbers indicating word counts and with "1st edition-23 lines- 160/words per page" on the last leaf, indicate that Lefroy had thoughts of publishing the work. -
Normal People Need Both Classics and Trash” G.B
“All normal people need both classics and trash” G.B. Shaw A case study on possible criteria of high literature using Jane Austen’s Pride and Prejudice and Helen Fielding’s Bridget Jones’s Diary. Mette Bekkering 3015114 12 August 2010 MA Thesis Western Literature & Culture, Utrecht University Supervised by Paul Franssen 2 Table of Contents 1. Introduction................................................................................................................3 2. Chapter One: Round and Flat Characters..................................................................12 3. Chapter Two: Morality..............................................................................................28 4. Chapter Three: Identification....................................................................................46 5. Conclusion.................................................................................................................60 Works Cited...................................................................................................................65 3 Introduction W.H. Auden once wrote: According to his powers each may give; Only on varied diet can we live. The pious fable and the dirty story Share in the total literary glory. (Hawkins, preface) In a world of great works of literature, literary works that are a little less great must also exist. The question then arises who decides between “good” and “bad” literature. Perhaps some works are not even considered “literature.” What qualities make a literary work certified as -
Summer 2019 Vol.21, No.3 Screenwriter Film | Television | Radio | Digital Media
CANADIAN CANADA $7 SUMMER 2019 VOL.21, NO.3 SCREENWRITER FILM | TELEVISION | RADIO | DIGITAL MEDIA A Rock Star in the Writers’ Room: Bringing Jann Arden to the small screen Crafting Canadian Horror Stories — and why we’re so good at it Celebrating the 23rd annual WGC Screenwriting Awards Emily Andras How she turned PM40011669 Wynonna Earp into a fan phenomenon Congratulations to Emily Andras of SPACE’s Wynonna Earp, Sarah Dodd of CTV’s Cardinal, and all of the other 2019 WGC Screenwriting Award winners. Proud to support Canada’s creative community. CANADIAN SCREENWRITER The journal of the Writers Guild of Canada Vol. 21 No. 3 Summer 2019 ISSN 1481-6253 Publication Mail Agreement Number 400-11669 Publisher Maureen Parker Editor Tom Villemaire [email protected] Contents Director of Communications Lana Castleman Cover Editorial Advisory Board There’s #NoChill When it Comes Michael Amo to Emily Andras’s Wynonna Earp 6 Michael MacLennan How 2019’s WGC Showrunner Award winner Emily Susin Nielsen Andras and her room built a fan and social media Simon Racioppa phenomenon — and why they’re itching to get back in Rachel Langer the saddle for Wynonna’s fourth season. President Dennis Heaton (Pacific) By Li Robbins Councillors Michael Amo (Atlantic) Features Mark Ellis (Central) What Would Jann Do? 12 Marsha Greene (Central) That’s exactly the question co-creators Leah Gauthier Alex Levine (Central) and Jennica Harper asked when it came time to craft a Anne-Marie Perrotta (Quebec) heightened (and hilarious) fictional version of Canadian Andrew Wreggitt (Western) icon Jann Arden’s life for the small screen. -
APPENDIX Elizabeth Bennet Was a Girl Who Comes from a Middle-Class
115 APPENDIX Appendix 1. Synopsis of J Pride and Prejudice (1813) Elizabeth Bennet was a girl who comes from a middle-class family. She was one of Bennet’s daughters. Actually, the Bennet had five unmarried daughters, namely Jane Bennet, Elizabeth Bennet, Lydia Bennet, Mary Bennet, and Catherine Bennet. Unfortunately, the Bennets did not have a son who would inherit their wealth and Longbourn. Regrettably, when Mr. Bennet died the Longbourn would become the property of his closest male relative, namely Mr. Collins. The only source of income was Mrs. Bennet’s legacy but it was not possible to meet all of the Bennet sisters’ needs. The Bennet social class did not allow them to do work, such as trading, servants, etc. Mr. Bennet just stayed at home or they often attend balls. Therefore, Mrs. Bennet tried to ensure that her daughter lived a decent life after the death of their father, which was by finding her five unmarried daughters a respectable husband. Elizabeth or Lizzy was her father's favorite daughter who had the intelligence, determination, and courage that distinguished her from the other Bennet’s sisters. Mrs. Bennet tended to be competitive in finding her daughter a husband. When she heard that Netherfield had been bought by a wealthy young man from north of England, namely Mr. Bingley, she asked her husband to visit their new neighbor and hoped to introduce her five daughters. During a ball held at Meryton, Mr. Bingley was attracted by Jane's charm. Apparently, Mr. Bingley did not come alone; he brought his best friend named Mr.