Jane Austen's Lifelong Health Problems And
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August 8, 2003
Jane Austen Society of North America Vancouver Region Newsletter No. 131 October, 2017 Muse & Musings “The company of clever, well-informed people, who have a great deal of conversation” June 17th Meeting Sue Trusler introduced a new novel that has resonated with her, Margaret Drabble's The Dark Flood Rises, an Books and Berries apocalyptic novel about old age. Books and Berries is our annual members’ book review meeting. Here is a list of the books we shared: And my trifle with “whipt syllabub” was a “receipt” from the newly published Dining with Jane Austen by JASNA Laureen McMahon brought What Regency Women did for Life-member Julienne Gehrer. My copy arrived today and us by Rachel Knowles with the legacies of 12 women who I am impressed, flipping through pages packed with full- were contemporaries of Jane. colour photos. I can't wait to share it with everyone. Mary Atkins suggested two titles: a P&P sequel entitled Our book sale raised $118! Thank you Iris Dayson and An Enduring Love by Sophie Turner, with a good number Donna Ornstein for organizing, and everyone for opening of real events to satisfy the history buffs; and A Jane your pocketbooks and library shelves to give a new home Austen Education (because we all do have much to learn to a few gently-used books. from reading Jane) as compiled by now-enlightened “Jane's Bountiful Basket” went to Janice Sexton, William Deresiewicz. introduced by Donna. We hope to see Janice again in our Iris Dayson presented Textiles: The Whole Story by fall meetings! Beverly Gordon. -
INTRODUCTION: DID JANE AUSTEN REALLY MEAN THAT? 1. the Novels Oj}Ane Austen, Edited by R
NOTES INTRODUCTION: DID JANE AUSTEN REALLY MEAN THAT? 1. The Novels oj}ane Austen, edited by R. W. Chapman. Further references from Austen's novels are to this edition and are included in the text. 2. Claudia Johnson forged a new direction for Austen studies in Jane Austen: WrJmen, Politics, and the Novel. I am deeply indebted to her work as weil as to that of William H. Galperin, The Historical Austen, Deidre Shauna Lynch, The Economy of Character: Novels, Market Culture, and the Business ofInner Meaning, and Mary Ann O'Farrell, Telling Complexions: The Nineteenth-Century English Novel and the Blush. That said, different concerns do shape my project. O'Farreil and I share a central focus on the body in Austen, though we tend to move in dissimilar directions about the kind of somatic work this novelist performs; while O'Farrell commits herself to an understanding of the blush as an expression of pleasure, she also analyzes it in su btle Foucauldian terms as a regulatory device. Lynch's book places Austen at the capstone of her ambitious study of the relationship between the novel's development and economic change; in this context, she demon strates how the kind of "characters" associated with the novel (individ uals with depth) emerge as a way for people to accommodate themselves to a new and commercialized world. I share with her an interest in the play between surface and depth in characters, and my focus on material objects opens an avenue, I hope, for further explo ration of how Austen uses things to foster a sense of inwardness for the characters in her fiction. -
Jane Austen's Reading
Jane Austen’s Reading: The Chawton Years Gillian Dow and Katie Halsey Of all the diversions of life, there is none so proper to fill up its empty spaces as the reading of useful and entertaining authors. Spectator 93 (16 June, 1711) Introduction to Jane Austen’s Reading The earliest description of Jane Austen‘s reading is Henry Austen‘s account in the ‗Biographical Notice of the Author‘ in the first edition of Northanger Abbey, published posthumously in December 1817. James Edward Austen-Leigh‘s Memoir of his aunt (1870) also describes her reading, drawing on the information in the ‗Biographical Notice‘. Henry and Edward focus firmly on authors considered in the nineteenth century to be ‗useful and entertaining‘. They both agree that she loved the works of Samuel Johnson, William Cowper, George Crabbe and Samuel Richardson, in particular Richardson‘s Sir Charles Grandison (1753-4). Henry Austen tells of her early infatuation with ‗Gilpin on the Picturesque‘, writing also that ‗her reading was very extensive in history and belles letters‘, and that she was ‗intimately acquainted with the merits and defects of the best essays and novels in the English language‘ (‗Biographical Notice‘, 330). James Edward suggests that what Henry had called ‗extensive‘ reading in history was actually ‗the old guides – Goldsmith, Hume and Robertson‘. He briefly alludes to her admiration of Sir Walter Scott‘s poetry and Waverley (1814), and quotes her joking determination to read no novels but Maria Edgeworth‘s, her relatives‘ and her own. James Edward then turns from Austen‘s reading: ‗It was not, however, what she knew, but what she was, that distinguished her from others‘ (Austen-Leigh, 78-80). -
Looking for Comfort: Heroines, Readers, And
LOOKING FOR COMFORT: HEROINES, READERS, AND JANE AUSTEN’S NOVELS A Dissertation by AMANDA E. HIMES Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2006 Major Subject: English © 2006 AMANDA E. HIMES ALL RIGHTS RESERVED LOOKING FOR COMFORT: HEROINES, READERS, AND JANE AUSTEN’S NOVELS A Dissertation by AMANDA E. HIMES Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Approved by: Chair of Committee, Mary Ann O’Farrell Committee Members, Lynne Vallone Susan Egenolf Melanie Hawthorne Head of Department, Paul Parrish December 2006 Major Subject: English iii ABSTRACT Looking for Comfort: Heroines, Readers, and Jane Austen’s Novels. (December 2006) Amanda E. Himes, B.A., East Texas Baptist University; M.A., Baylor University Chair of Advisory Committee: Dr. Mary Ann O’Farrell Comfort—with its various connotations of physical ease, wealth, independence, and service—is an important concept to Jane Austen, who uses comfort in her novels to both affirm and challenge accepted women’s roles and status in her culture. In the late eighteenth century, new ideas of physical comfort emerged out of luxury along with a growing middle class, to become something both English people and foreigners identified with English culture. The perceived ability of the English to comfort well gave them a reason for national pride during a time of great anxieties about France’s cultural and military might, and Austen participates in her culture’s struggle to define itself against France. -
The Watchers of Sanditon
The Watchers of Sanditon JULIET McMASTER Department of English, University of Alberta, Edmonron, AB T6G 2E5 I want to begin with that "close, misty morng" when Charlotte Heywood sallies forth from Trafalgar House with docile Mrs. Parker and little Susan to walk to Sanditon House, on their visit to Lady Denham. When they reached the brow of the Hill, they could not for some time make out what sort of Carriage it was, which they saw coming up. It appeared at different moments to be every-thing from the Gig to the Pheaton,-from one horse to 4; &just as they were concluding in favour of a Tandem, little Mary's young eyes distinguished the Coach- man & she eagerly called out, "T'is Uncle Sidney Mama, it is indeed." And so it proved. (Sanditon 425)' It's a bird! It's a plane! It's SIDNEy pARKER!-who is probably destined to be the hero of Sanditon.But seeing the hero is not easy: not for the heroine, and not for us readers either, who must rely on the heroine's young eyes to distinguish his identity and his place in the large pattern of events and characters that make up the novel. Jane Austen plays with that trope of identifying the hero elsewhere in her novels .In Sense and Sensibility, when Elinor and Marianne are out walking, they discem a man on horseback riding towards them. In a few minutes they could distinguish him to be a gentleman; and in a moment afterwards Marianne rapturously exclaimed, "It is he; it is indeed;-I know it is!" (SS 86), But she is "mistaken": it is Edward Ferrars, not Willoughby. -
A Love That Lasts: Jane Austen╎s Argument for a Marriage Based On
Running head: A LOVE THAT LASTS 1 A Love That Lasts: Jane Austen’s Argument for a Marriage Based on Love in Pride and Prejudice Katlin Berry A Senior Thesis submitted in partial fulfillment of the requirements for graduation in the Honors Program Liberty University Spring 2014 A LOVE THAT LASTS 2 Acceptance of Senior Honors Thesis This Senior Honors Thesis is accepted in partial fulfillment of the requirements for graduation from the Honors Program of Liberty University. ______________________________ Brenda Ayres, Ph.D. Thesis Chair ______________________________ Karen Swallow Prior, Ph.D. Committee Member ______________________________ Brittany Meng, M.A. Committee Member ______________________________ James H. Nutter, D.A. Honors Director ______________________________ Date A LOVE THAT LASTS 3 Abstract During the period of Regency England, a woman’s life was planned for her before she was born, and her place in society was defined by her marital status. Before she was married, she was her father’s daughter with a slim possibility of inheriting property. After she was married, legally she did not exist; she was subsumed into her husband with absolutely no legal, political, or financial rights. She was someone’s wife; that is, if she was fortunate enough to marry because spinsters had very few opportunities to earn enough money to live on alone. Therefore, it was imperative that women marry. It often did not matter what a man may look like or how he acted; however, it was essential that he be a man of equal or more wealth. Rather than marrying for love, women sought husbands as means for financial security. -
Legal Issues in Austen's Life and Novels
DePaul Journal of Art, Technology & Intellectual Property Law Volume 27 Issue 2 Spring 2017 Article 2 Reading Jane Austen through the Lens of the Law: Legal Issues in Austen's Life and Novels Maureen B. Collins Follow this and additional works at: https://via.library.depaul.edu/jatip Part of the Computer Law Commons, Cultural Heritage Law Commons, Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, Internet Law Commons, and the Science and Technology Law Commons Recommended Citation Maureen B. Collins, Reading Jane Austen through the Lens of the Law: Legal Issues in Austen's Life and Novels, 27 DePaul J. Art, Tech. & Intell. Prop. L. 115 (2019) Available at: https://via.library.depaul.edu/jatip/vol27/iss2/2 This Lead Article is brought to you for free and open access by the College of Law at Via Sapientiae. It has been accepted for inclusion in DePaul Journal of Art, Technology & Intellectual Property Law by an authorized editor of Via Sapientiae. For more information, please contact [email protected]. Collins: Reading Jane Austen through the Lens of the Law: Legal Issues in READING JANE AUSTEN THROUGH THE LENS OF THE LAW: LEGAL ISSUES IN AUSTEN'S LIFE AND NOVELS Maureen B. Collins I. INTRODUCTION Jane Austen is most closely associated with loves lost and found and vivid depictions of life in Regency England. Austen's heroines have served as role models for centuries to young women seeking to balance manners and moxie. Today, Austen's characters have achieved a popularity she could have never foreseen. There is an "Austen industry" of fan fiction, graphic novels, movies, BBC specials, and Austen ephemera. -
Heads and Arms and Legs Enough: Jane Austen and Sibling Dynamics
Heads and Arms and Legs Enough: Jane Austen and t Sibling Dynamics :Li KAY TORNEY SOUTER Kay Torney Souter is a Senior Lecturer in English at La Trobe University in Melbourne, Australia. She has a special interest in the relations between literary and psychoanalytic theory, especially Post-Kleinian Psychoanalysis, and in the representation of the body and family relations. How soon, the difference of temper in Children appears!—Jemima has a very irritable bad Temper (her Mother says so)—and Julia a very sweet one, always pleased & happy. —Jane Austen to Fanny Knight (13 March 1817) Jane Austen’s early correspondence frequently shows the young satirist in rollicking bad taste as she entertains her older sister with rude remarks about family resemblance in her acquaintance: the bad breath of all the Misses Debary (20-21 November 1800); the “fat girls with short noses” who “all prove to be Miss Atkinsons” (20-21 November 1800); the adulteress whose face “has the same defect of baldness as her sister’s, & her features not so handsome” (12-13 May 1801). When Austen describes her fictional fami- lies, however, the fun is toned down considerably. The famous advice given to her novel-writing young niece Anna, for example, that “3 or 4 Families in a Country Village is the very thing to work on” (9-18 September 1814), is sim- ple but forensically accurate. Emma, Austen’s work-in-progress at the time she wrote to Anna Austen, turns on the question of whether it is literally three or four families that drive the plot: the novel is apparently organized around the affairs of the Woodhouses, the Knightleys, the Westons—three families—but the grouping turns out to be four, including the Bateses when the mystery of Frank Churchill’s secret romance with Jane Fairfax is revealed. -
Jane Austen's Work As Popular Culture Phenomenon
Jane Austen's Work as Popular Culture Phenomenon Bartolović, Ana Master's thesis / Diplomski rad 2012 Degree Grantor / Ustanova koja je dodijelila akademski / stručni stupanj: Josip Juraj Strossmayer University of Osijek, Faculty of Humanities and Social Sciences / Sveučilište Josipa Jurja Strossmayera u Osijeku, Filozofski fakultet Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:142:699412 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-02 Repository / Repozitorij: FFOS-repository - Repository of the Faculty of Humanities and Social Sciences Osijek Sveučilište J. J. Strossmayera u Osijeku Filozofski fakultet Diplomski studij povijesti i engleskog jezika i književnosti Ana Bartolović Jane Austen's Work as Popular Culture Phenomenon Diplomski rad Mentor: doc. dr. sc. Biljana Oklopčić Osijek, 2012. Summary Jane Austen is considered to be one of the most brilliant British writers. Although she wrote only six novels, they are all highly praised and very popular. They are so popular that today one can find numerous film adaptations and fan fiction novels based on them. The first chapter deals with Austen, her life, family, relationships, and work. The second chapter is about her six novels, arranged here in the order in which they were published: Sense and Sensibility, Pride and Prejudice, Mansfield Park, Emma, Persuasion, and Northanger Abbey. The third chapter reviews every film adaptation based on each of the novels. The fourth chapter deals with numerous novels written in the 20th and 21st centuries that are sequels, prequels, variations, or adaptations of Austen’s novels. There is also an extensive list of all those novels divided into categories according to the title of the book on which they are based on. -
The Influence of Naval Captain Charles Austen's North American
y y The Influence of Naval Captain Charles Austen’s North : u : American Experiences on Persuasion and Mansfield Park SHEILA JOHNSON KINDRED Sheila Johnson Kindred teaches Philosophy at Saint Mary’s University in Halifax, Nova Scotia, Canada. As a member of the Nova Scotia chapter of JASNA and the Kent Branch of JAS she has lectured and published on Jane Austen in both North America and England, including a contribution to Jane Austen and the North Atlantic. T of Jane Austen’s naval characters sparkle with animation and authenticity. In Persuasion we meet Captain Frederick Wentworth , who has become very wealthy by the capture of naval prize and is known for his “great deal of intelligence, spirit and brilliancy” (26). In company is his sister , the good - humored Mrs. Croft, who makes a strong impression as the eminently practical naval wife of the likable Rear-Admiral Croft. In Mansfield Park Midshipman William Price delivers spirited narratives, which are “proof of . [his naval] knowledge, ener- gy, courage and cheerfulness” (236). These characterizations evince a surprising knowledge of sea -going life for someone who lived deep in the English countryside. So how did Jane Austen come by the information she needed to create these naval figures ? One of her most important sources was her brother Charles , who, as an officer in the British navy during the Napoleonic wars, was stationed in North America for over six years between 1805 and 1811. His naval expertise and ex - ploits cruising the Atlantic Ocean and capturing prize vessels, his love match to the beautiful young Fanny Palmer of Bermuda, and his social and professional life with “brother o fficers ” all find echoes in Persuasion and Mansfield Park . -
Books Owned by Jane Austen's Niece, Caroline, Donated to Chawton House Library
VOL.1 No .4, 2015 Inside this issUE Books owned by Jane Austen’s House of Lords Tea niece, Caroline, donated to Chawton House Library N APRIL THIS YEAR, a North American Friend of Chawton House Library, Sandra Visiting Fellow Alexis Pogorelskin enjoys IClark, came to visit us all the way from afternoon tea with Baroness Williams of Crosby. Texas, bearing gifts. And what special gifts they are! They include a first edition of Frances Burney’s Camilla (1796), and a great many Improved Visitor Experience books to enhance our secondary collection, and our holdings on the Gothic novel. They also included a small collection of books once belonging to Caroline Mary Craven Austen (1805-80). Here, Executive Director Gillian The reference to Jane Austen’s acting skills came Numbers Dow discusses the importance of just one of back to me when I examined the donation from triple as the volumes in this collection, and looks at Sandra Clark. Because one of the books is a book new display what it can tell us about women’s reading, of French plays, an 1813 edition of Stéphanie- cases arrive education for girls, and women’s lives in the Félicité de Genlis’s Théatre à l’usage des jeunes early nineteenth century. personnes. All of Caroline’s books now forming part of the Chawton House Library collection When Sandra Clark came with her generous are delightful material objects. And in the case donation, I was thrilled to see the volumes once of this one, it is of particular interest, since it belonging to Caroline Austen. -
Jane Austen: the Woman Behind Pride and Prejudice
Jane Austen: The Woman behind Pride and Prejudice Kristin Gregory November 17th, 2010 "Vanity and pride are different things, though the words are often used synonymously. A person may be proud without being vain. Pride relates more to our opinion of ourselves; vanity, to what we would have others think of us." - “Pride and Prejudice” Kristin Gregory 2 Table of Contents Table of Contents 2 Obituary 3 Jane’s Journal 4-5 A Letter from Cassandra 6-7 Bibliography 8-10 Cover Sheet for Invitation 11 Invitation to Students 12 Rubric 13 List of Authors 14 List of Genres 15 OBITUARY Kristin Gregory 3 end of 1786 at the age of 11. During this time it was believed that Austen began her writing which is housed in three books, Volume the First, Volume the Second and Volume the Third. These books hold her writing from 1786 to 1793. During her early years of writing she began drafts on her more famous works including First Impressions (Pride and Prejudice) and Elinor and Marianne (Sense and Sensibility). Her first book to be published was Sense and Sensibility in 1811 on October 30th, followed by Pride and Prejudice on January 28th, 1813, Mansfield Park on May 9th 1814, Emma in December of 1815, and Northanger Abbey and Persuasion in December of 1817 after her death. Jane Austen never married but still lived a comfortable life in which many AUSTEN, JANE, 41, of 8 College Street described her as having a sweet temper, Winchester, Hampshire, England died patience, hope and a quick wit. Austen was yesterday, July 18th, 1817.