DOCSLIB.ORG

EMMA Book, Music & Lyrics by Paul Gordon Directed by Robert Kelley

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EMMA Book, Music & Lyrics by Paul Gordon Directed by Robert Kelley 2008—2009 SEASON EMMA Book, Music & Lyrics by Paul Gordon Directed by Robert Kelley CONTENTS 2 The 411 3 A/S/L 4 FYI 5 HTH & RMAI 6 F2F 7 B4U 10 IRL 11 RBTL 12 SWDYT? MISSOURI ARTS COUNCIL At The Rep, we know MIHYAP: Top Ten Ways to that life moves fast— Stay Connected at The Rep okay, really fast. 10. TBA Ushers will seat your school or class as a group, But we also know so even if you are dying to mingle with the group from the that some things all girls school that just walked in the door, stick with your are worth slowing friends until you have been shown your section in the theatre. down for. We believe that live theatre is one of those pit stops worth making and are excited that you are 9. SITD The house lights will dim immediately before the performance begins and then go dark. Fight off that oh-so- going to stop by for a show. To help you get the most bang immature urge to whisper, giggle like a grade schooler or yell for your buck, we have put together WU? @ THE REP—an at this time and during any other blackouts in the show. IM guide that will give you everything you need to know to get at the top of your theatergoing game—fast. You’ll find 8. SED Before the performance begins, turn off all cell character descriptions (A/S/L), a plot summary (FYI), phones, pagers, beepers and watch alarms. If you need to biographical information (F2F), historical context (B4U), text, talk or dial back during intermission, please make sure and other bits and pieces (HTH). Most importantly, we’ll to click off before the show resumes. have some ideas about what this all means IRL, anyway. 7. TMI Not to sound like your mom, but “if you need to go now, you needed to go then.” Leaving the theatre during the performance is disruptive, so take care of any personal needs before the show starts. 6. RTM When you arrive at the theatre, read the production program. It’s like a deluxe version of liner notes and a free souvenir, all in one. 5. P-ZA? NW! Though your ability to eat ten slices at one sitting may impress your friends, no one wants to listen to The Teacher’s you chew, slurp or smack, so please leave all food, drink and Lounge gum outside the theatre. In an effort to make our 4. TLK-2U-L8R We know that you will be dying to discuss educational materials more what you see onstage with your friends, but please wait until intermission. Any talking—even whispering—is very accessible to students and easier for distracting for both the actors onstage and the audience educators to incorporate into the seated around you. classroom, our study guide is written in a student-oriented format. We hope that you will circulate this guide among 3. LOL Without you, we really wouldn’t have a show. It’s your students in the weeks preceding your visit to The your job to laugh when a scene is funny or maybe even shed Rep, encouraging them to browse it before and after a tear or two in a tender moment. However, since you are not class and as time allows, using it as a launch point for the audience at The Jerry Springer Show please refrain from inappropriate responses such as talking, whistling, making both pre- and post-performance discussions.You may also catcalls or singing along with the performers. want to visit our website, www.repstl.org, for additional information including educational games, activity 2. SOP While it’s great that you want a celeb picture of suggestions and behind-the-scenes information. Any your day at The Rep, the theatre is off-limits to the paparazzi. materials, either from this guide or from our website may Flash photography interrupts the performance and along with be reproduced for use in the classroom. As always, we videorecording is prohibited by Actors’ Equity rules. You can appreciate your making live theatre a sneak a peek at production photos on our website, www.repstl.org. part of your classroom experience and welcome your feedback and 1. LLTA Let the actors know that you respect their work by questions. remaining for the curtain call at the end of the performance. Show your appreciation through applause. Show Me Standards: CA 2, 3, 5, 6; FA 2, 3, 4, 5; SS 2, 3, 6 and Illinois Learning Standards: 1, 2, 5, 14, 15, 16, 18, 25, 27. A self-proclaimed matchmaker, A kindhearted but poor soul who loves the EMMA WOODHOUSE is a clever and company of friends and family, MISS BATES competent young woman bent on finding the happily cares for her mother (MRS. BATES) perfect mates for all those around her. and for her niece, Jane Fairfax. GEORGE KNIGHTLEY, Emma’s close Looking for love in all the wrong places friend and neighbor, is skeptical of Emma’s (or at least as guided by Emma), poor young meddling in the affairs of others. He watches HARRIET SMITH bounces from suitor to Emma’s every move, judging her actions with suitor. his moral superiority. One of Miss Smith’s attempts at marriage, As the play opens, Emma loses her dear PHILIP ELTON is the attractive new vicar companion and governess MRS. WESTON in town. to marriage. Though Emma is sad to see When Mr. Elton runs off to get married, Mrs. Weston go, she revels in the fact that he finds a match in AUGUSTA ELTON, an she made the match between Mr. and Mrs. arrogant, loud-mouthed matron who feels it Weston. is her duty to inform those around her. As handsome as he is mysterious, A mild-mannered man of little wealth FRANK CHURCHILL is the only man that and standing, ROBERT MARTIN courts Emma could ever imagine marrying. Miss Smith even after she rejects him. Equally mysterious and attractive, Through it all, Emma’s affluent but anxious JANE FAIRFAX arrives about the same father HENRY WOODHOUSE fears being time as Frank Churchill, quickly gaining the left alone by his daughters. admiration of George Knightley. MR. WESTON, a good-natured and optimistic man, is the father of Frank Churchill (a child from his previous marriage). 3 AS THE PLAY BEGINS, Mrs. Weston is A mysterious gift (a pianoforte) seems leaving the Woodhouse household to marry to solidify Mrs. Weston’s intuition, Mr. Weston, a match of Emma’s design. though Emma cautions her not to play so Inspired by this success, Emma believes it irresponsibly with such a pairing. There’s is her purpose in life to go out and find something about Miss Fairfax that Emma just matches for all those around her, starting doesn’t like, though she can’t seem to put with her new friend, Harriet Smith. She her finger on it. immediately sets to scheming on pairing Miss THOUGH ENCHANTING in the beginning, Smith with the young, attractive new vicar Churchill seems to lose his luster for Emma in town, Mr. Elton. Mr. Knightley, Emma’s very quickly. When he leaves town to care close friend and neighbor, disapproves of her for his sick aunt, Emma finds that absence meddling, asserting that she was only lucky makes her heart go yonder. All the while, with the Weston match. Robert Martin continues to attempt to woo HAPPY TO RISE to the challenge, Emma Miss Smith, in spite of Emma’s continued seems to successfully match Mr. Elton and misgivings with the man. Late one night at Miss Smith. Meanwhile, rumors start to fly a ball, Knightley rescues Miss Smith from that both Frank Churchill (son of Mr. Weston severe humiliation at the hands of Mr. Elton, by a previous marriage) and Jane Fairfax setting Miss Smith in pursuit of Knightley. (niece of the charming Miss Bates) will be Later that night, he realizes his affections blowing into town soon. Intrigued by the for Emma, and longs privately for her to mythical pair, Emma is sure that the only reciprocate his feelings. man she’d ever marry would be Churchill, if RETURNING HOME, Churchill finds Miss only she could finally meet him. Smith forlorn on the side of the road and TROUBLE QUICKLY ARISES in the saves her from certain doom. When Miss supposed paradise between Mr. Elton and Smith confronts Emma about pursuing Miss Smith, as another suitor (Robert Martin) the man who rescued her, Emma sees an proposes to Miss Smith. Under Emma’s opportunity to match her up with Churchill. advice, Miss Smith rejects Mr. Martin, as Not knowing that Miss Smith is referring to she looks forward to better prospects in Knightley, Emma encourages Miss Smith to Mr. Elton. When Knightley catches wind pursue her savior. Later, at a picnic, Emma of Emma’s advice, he severely admonishes shuns Miss Bates, sending Knightley off her, stating she has no business to prevent into a fury against Emma. Emma quickly the happiness of Mr. Martin and Miss Smith realizes her mistake, and that all this time together. Unfortunately, Knightley is correct she has loved her good friend Knightley! It’s in chastising Emma, as Mr. Elton reveals his only then that Miss Smith reveals her true true affections are for Emma not Miss Smith. pursuit, also Knightley. When Emma rejects him, Mr. Elton flees the FOR BETTER or for worse, Knightley city for other prospects, leaving behind a suddenly leaves town for his brother’s house bewildered Emma and a heartbroken Miss in London.
Load more

Recommended publications
  • Play Guide Table of Contents
    PLAY GUIDE TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 SONG LIST 3 MEET THE CHARACTERS 4 MEET THE CREATORS: PAUL GORDON AND JANE AUSTEN 5 INTERVIEW WITH PAUL GORDON 7 THE NOVEL IN THE MUSIC 9 POLLOCK’S TOY THEATRES 11 LITERARY CATEGORIZATION OF AUSTEN 12 LITERARY TIMELINE 13 THE AUSTEN INDUSTRY 14 AUSTEN IN POPULAR CULTURE 15 FEMINISM IN EMMA 16 THE EMMA DEDICATION 18 HISTORICAL CONTEXT 18 HISTORICAL TIMELINE 22 DISCUSSION QUESTIONS AND ACTIVITIES 23 Jane Austen’s Emma Play Guide written and compiled by Katherine Monberg, Literary Assistant, and R Elisabeth Burton, Artistic Intern Discussion questions and activities provided by April Jackson, Associate Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS JPMorgan Chase The Marshall Foundation Arizona Commission on the Arts John and Helen Murphy Foundation The Maurice and Meta Gross Bank of America Foundation National Endowment for the Arts Foundation Blue Cross Blue Shield Arizona Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Boeing PICOR Charitable Foundation The Stocker Foundation City Of Glendale Rosemont Copper The William L and Ruth T Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company
    [Show full text]
  • Celebrating 200 Years of Jane Austen at Sharon Public Library
    Sharon Public Library (781) 784-1578 www.sharonpubliclibrary.org Celebrating 200 Years of Jane Austen at Sharon Public Library Austen’s Works The Novels of Jane Austen, Volumes Sanditon 1-5 Fic Austen, Jane Fic Austen, Jane Sense and Sensibility Mansfield Park Fic Austen, Jane Fic Austen, Jane Jane Austen’s Pride & Prejudice: The Persuasion Graphic Novel by Laurence Sach Fic Austen, Jane GN Austen, Jane Pride and Prejudice Sense and Sensibility Fic Austen, Jane New YA GN King, Stacy Sense Inspired by Austen The Mysterious Death of Miss Jane The Jane Austen Book Club Austen Fic Fowler, Karen Fic Ashford, Lindsay (Mystery) Austentatious Longbourn Fic Goodnight, Alyssa Fic Baker, Jo Midnight in Austenland Jane and the Unpleasantness at Fic Hale, Shannon Scargrove Manor Fic Barron, Stephanie (Mystery) Arsenic with Austen Fic Hyde, Katherine (Mystery) Jane Austen in Boca Fic Cohen, Paula Death Comes to Pemberley Fic James, P.D. (Mystery) Jane Austen in Scarsdale: or Love, Death, and the SATs The Missing Manuscript of Jane Fic Cohen, Paula Austen Fic James, Syrie Definitely Not Mr. Darcy Fic Doornebos, Karen Shades of Milk and Honey Fic Kowal, Mary Sharon Public Library (781) 784-1578 www.sharonpubliclibrary.org First Impressions Love & Friendship: In Which Jane Fic Lovett, Charlie Austen’s Lady Susan Vernon is Entirely Vindicated Emma: A Modern Retelling Fic Stillman, Whit Fic McCall Smith, Alexander Sense and Sensibility and Sea The Independence of Miss Mary Monsters Bennet Fic Winters, Ben Fic McCullough, Colleen The Jane Austen Project The
    [Show full text]
  • 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.
    [Show full text]
  • Miramax Films Presents
    Another FREE educational program from YOUNG MINDS INSPIRED Dear Educator: As you know, summer reading is crucial to the continuity of student learning. It’s also important that activities accompany- ing summer reading be fun and stimulating. To help you and your students achieve sum- mer learning goals, the curriculum specialists at Young Minds Inspired (YMI), in cooperation with Miramax Films, are pleased to provide you with this study guide and summer reading activities for Becoming Jane— a timeless romantic comedy imaginatively based on the life of the one of the most influential and revered novelists of the early 19th century,Jane Austen. At the start of the movie, we are intro- duced to the young novelist on the eve of her introduction to the dashing Irish attorney Tom Lefroy. The film spins them into an invented tale of personal passion, family obligations, humor and social complications that also are central themes of the author’s literary work, clearly suggesting that in the case of Jane Austen,“art imitates life.” Renowned for their social commen- tary,biting wit, and enthralling romance, Jane Austen’s novels are widely read classics known the world over. Now fans everywhere will have a chance to discover the woman behind the pen when Becoming Jane opens in August 2007.This film provides a uniquely engaging introduction to Austen’s novels for new readers, a revealing back-story for cur- rent fans, and can help you motivate your students to include Jane Austen’s novels in their summer reading. The activities in this study guide are designed to help you launch your summer reading program in class, and can be included in your summer reading assignment packet as well.
    [Show full text]
  • Download This PDF File
    Sydney Studies Becoming Jane Becoming Jane: Adapting Female Authority DYALAN GOVENDER Sarah Williams, Kevin Hood, and Julian Jarrold's Becoming Jane (2006)1 can be described as both a biopic and an adaptation. Its title refers to Jon Spence's biography, Becoming Jane Austen (2003), and it brings to the screen both Spence's text and Jane Austen's authorial persona. In this paper I wish to explore how some of the alterations made, as text becomes film, are mediated by the film's structure. Of particular interest is the film's characterisation of Jane Austen's family relations and the way in which it reflects the film's approach to her gender and authority. While the familial influences found in Spence's text are displaced by the film's focus on romance, the film also carefully enacts the characters' individual gazes so as to express Jane's authority in relation to patriarchy. 'Becoming Jane' as adaptation. Film biopics and adaptations share a common set of relations between text and source. Both distil and dramatise their sources—a life and a source text respectively. It is not so much a question of treating Becoming Jane as either a biopic or an adaptation, it is simply a matter of what light Spence's text can throw on the film. This approach is informed by Marie- Claire Ropars' view of adaptation studies, which argues for the necessity of evaluating cinematic adaptations, not in terms of their fidelity, or even (as in [George] Bluestone's analysis) in terms of how the cinematic adaptation functions as an autonomous work of 1 Becoming Jane (2006), Miramax Films, dir.
    [Show full text]
  • Jane Austen's Pride and Prejudice 1. the Author
    INDEX Abstract p. 3 Introduction p. 4 1. About this Study p. 4 2. About Adaptations p. 5 Part I – Jane Austen’s Pride and Prejudice p. 9 1. The Author: Jane Austen (1775-1817) p. 9 1.1. Life and Education p. 9 1.2. Historical and Cultural Context p. 12 1.3. Works, Themes and Style p. 15 1.4. Fame and Fortune p. 19 2. The Novel: Pride and Prejudice (1813) p. 24 2.1. Plot p. 25 2.2. Characters p. 27 2.3. Time and Space p. 35 2.4. Major Themes p. 36 2.5. Critical and Contemporary Reception p. 41 Part II – Pride and Prejudice on Screen p. 44 1. Pride and Prejudice (1940) p. 47 1.1. Synopsis p. 48 1.2. First Scenes p. 50 1.3. Main Cast p. 51 1.4. Text and Adaptation p. 53 1.5. Costumes p. 62 2. Pride and Prejudice (1995) p. 65 2.1. Synopsis p. 67 1 2.2. First Scenes p. 70 2.3. Main Cast p. 72 2.4. Text and Adaptation p. 75 2.5. Historical Accuracy p. 82 3. Pride and Prejudice (2005) p. 86 3.1. Synopsis p. 87 3.2. First Scenes p. 90 3.3. Main Cast p. 92 3.4. Text and Adaptation p. 93 3.5. Costumes, Music and Technique p. 106 4. Loose adaptations p. 109 4.1. Bridget Jones’s Diary (2001) p. 110 4.2. Bride and Prejudice (2004) p. 113 4.3. Lost in Austen (2008) p. 116 Conclusions p.
    [Show full text]
  • 1775 on 16 December, Jane Austen, the Seventh of Eight Children Of
    Chronology 1775 On 16 December, Jane Austen, the 1803 Austen sells copyright for Northanger Abbey 1940 The Jane Austen Society is founded in seventh of eight children of George (then titled “Susan”) to Benjamin Crosby, England. and Cassandra Austen, is born in a London publisher, for £10. He never The first Austen film,Pride and Prejudice, Steventon, England. published it. starring Greer Garson and Laurence Olivier, is released. 1778 James Gillray is admitted to the Royal 1804 Austen starts drafting The Watsons, an Academy to study engraving. His tenure unfinished novel. 1979 The Jane Austen Society of North America overlaps that of William Blake. is founded. The majority of Gillray’s satirical engravings 1805 Austen’s father dies. appeared between 1793 and 1810. 1995 Colin Firth plays Mr. Darcy in the 1809 Austen settles at Chawton Cottage on her BBC/A&E film version ofPride and Prejudice. 1783 Austen’s brother Edward is formally brother Edward’s estate. Ang Lee’s film of Sense and Sensibility is adopted by Mr. and Mrs. Thomas Knight, nominated for an Oscar for best picture; wealthy distant cousins. 1811 Sense and Sensibility published. Emma Thompson wins an Oscar for best George iii declared insane, the prince of adapted screenplay. 1793 French Revolutionary War with England Wales (future George iv) becomes begins; France and England are at war prince regent. 2007 Becoming Jane, the first feature film inspired by almost continuously until the Battle of Austen’s life and letters, is released. Waterloo in 1815. 1813 Pride and Prejudice published. 2009 Later Manuscripts, the ninth and final volume 1794 The husband of Austen’s cousin Eliza is 1814 Mansfield Park published.
    [Show full text]
  • Becoming Jane Cover
    Discussion guide developed by Heartland Truly Moving Pictures to accompany Becoming Jane, a Truly Moving Picture Award-winning lm. A Truly Moving Picture Award winner is a lm that unlocks the vast potential of the human spirit and enables us to view stories that display courage, integrity and hope, taking entertainment to a higher level. www.TrulyMovingPictures.org One Film Can Heartland Truly Moving Pictures, a non-prot organization, recognizes and honors lms and lmmakers whose work explores the human journey by expressing hope and respect for the positive values of life. We believe that one lm can move us to laughter, to tears, or to make a dierence. Becoming Jane is a movie that demonstrates that One Film Can. Synopsis Becoming Jane is an imaginative romantic comedy in the spirit of Jane Austen, which places young Jane herself at the center of a witty, enchanting romance not unlike those that would later captivate millions in her celebrated works of literature. The lm spins the few known facts surrounding Austen’s real-life irtation with the Irish lawyer Tom Lefroy into a tale about the kind of personal passion and social complications that could have inspired Jane to become the ingenious and utterly timeless observer of human relationships that she soon did. The year is 1795 and young Jane Austen (Anne Hathaway) is a feisty 20-year-old and emerging writer who already sees a world beyond class and commerce, beyond pride and prejudice, and dreams of doing what was then nearly unthinkable – marrying for love. Naturally, her parents (Julie Walters and James Cromwell) are searching for a wealthy, well-appointed husband to assure their daughter’s future social standing.
    [Show full text]
  • Promise and Promiscuity: a New Musical by Jane Austen and Penny Ashton
    MEDIA RELEASE: For Immediate Release Penny Ashton presents… PROMISE AND PROMISCUITY: A NEW MUSICAL BY JANE AUSTEN AND PENNY ASHTON “PRIDE AND PREJUDICE GONE WILD IN THE BEST WAY” Rip it Up, Adelaide It is a truth universally acknowledged that a woman in possession of a theatre script...must be in want of an audience. Charmingly accomplished Penny Ashton (Hot Pink Bits/ Radio New Zealand) mashes up Beethoven, bonnets and big balls…with alacrity! Fresh from three years of huge global success where it has garnered numerous awards, sold-out houses and standing ovations from Edinburgh to Adelaide to Mosgiel, comes Miss Ashton’s theatrical triumph for its Wellington debut at the legendary Circa Theatre. A venue she feels very privileged to be welcomed into. Follow the fortunes of Miss Elspeth Slowtree as she battles literary snobbery, cousin Horatio's digestions and her mother's nerves, armed with a blushing countenance, excellent ukulele skills and being quite bright - you know… for a girl. One Kiwi tackles all of Austen's characters with song, dance and appalling cross-stitching. “…somewhere Jane is smiling.” !!!!! Edmonton Sun 2014 “…you’ll be delighted whether or not you know your Bennets from your Dashwoods.” !!!!! Canadian Broadcasting Corporation 2014 “… Pride and Prejudice gone wild in the best way.” !!!!! Rip It Up, Adelaide 2015 “…Razor-sharp wit.” !!!!! Three Weeks, Edinburgh 2015 “…a sparkling performer..” !!!! The Scotsman 2015 WINNER: BEST PERFORMANCE IN A COMEDY, AUCKLAND FRINGE / PATRON’S PICK, WINNIPEG FRINGE / BEST THEATRE WEEK THREE, ADELAIDE FRINGE Penny Ashton is NZ’s own global comedienne having performed over 500 solo shows all over the world.
    [Show full text]
  • Abstract Jane Austen Uncensored
    ABSTRACT JANE AUSTEN UNCENSORED: A CRITICAL AND PEDAGOGICAL STUDY OF AUSTEN’S LETTERS FOR THE COLLEGE CLASSROOM Amanda Smothers, Ph.D. Department of English Northern Illinois University, 2016 William Baker and Lara Crowley, Co-Directors A vast amount of literary critical and scholarly work on Jane Austen’s writing, including her juvenilia, has been published. However, insufficient attention has been paid to her extant letters and their significance. This dissertation redresses the imbalance and is the first extensive critical, scholarly discussion of Jane Austen’s correspondence and their pedagogical applications. In order to rectify the disparity, this dissertation examines Jane Austen’s surviving letters to determine how to contextualize them historically and biographically and in relation to her fiction for college composition and undergraduate literature courses. Background information on letter writing in the eighteenth and early nineteenth century provides context for Austen’s letter writing, comparing her content and style to common practices. This study also investigates the world of Austen’s letters, focusing on historical and biographical context, and scrutinizing the letters as a source of information about middle-class Regency England; Austen’s family and social circles; and the author herself, including her personality, attitudes toward current events, views on works of literature, and references to her writing and publication processes. Moreover, Austen’s letters would be beneficial as a theoretical pedagogical tool for teaching not only the novels but the world of her novels through an examination of her letters. Throughout my dissertation, previous work on teaching Austen and teaching with letters (both as a teaching tool and as a writing method) is incorporated, analyzed, and adapted.
    [Show full text]
  • “The Certain Corrective”: Sanditon, Students and Strategies of Defamiliarization
    7/24/2018 “The certain corrective”: Sanditon, Students and Strategies of Defamiliarization Home › | Publications › | Persuasions On-Line › | Volume 38 No. 2 › | “The certain corrective”: Sanditon, Students and Strategies of Defamiliarization “The certain corrective”: Sanditon, Students and Strategies of Defamiliarization Print Email By Katie Halsey Katie Halsey (email: [email protected]) is Senior Lecturer in Eighteenth-Century Literature at the University of Stirling and Director of its Centre for Eighteenth-Century Studies. Her most recent publications include Shakespeare and Authority (2018; with Angus Vine) and a special issue of Textus (2017), “Subversive Jane Austen: From the Critic to the Reader.” Her monograph, Jane Austen and her Readers, 1786–1945, was published in 2012. Featured in Volume 38, No. 2 — Spring 2018 Teaching Jane Austen › Related Works Sanditon › n their introduction to the special issue of Persuasions On-Line dedicated to “Teaching Austen and her Contemporaries,” Bridget Draxler, Misty Krueger, and Susan Allen Ford suggest that, “although high school teachers and university professors the world over include Jane Austen’s ction in their I courses, the body of scholarship on teaching Austen is surprisingly small.” A year later, Emily Zarka and Devoney Looser identied more than sixty print and online sources related to the teaching of Austen written in the past fty years, among them four substantial books and the Persuasions On-Line special issue itself, but it is certainly true that when it comes to thinking
    [Show full text]
  • Book Review of Jane Austen's Pride and Prejudice Yudha Dwi
    Book Review of Jane Austen‘s Pride and Prejudice Yudha Dwi Hadi Saputra and Christina Resnitriwati English Department, Faculty of Humanity, Diponegoro University, Semarang 50275 Abstrak Pride and Prejudice karya Jane Austen merupakan salah satu karya terbaik sastra pada zaman itu hingga sekarang. Buku ini mengisahkan tentang cinta antara Elizabeth dan Darcy yang terpaksa terhalang oleh status social pada zaman itu, yaitu zaman Victorian. Zaman Victorian itu tersebut terdiri dari tiga golongan masyarakat, yaitu kelas atas ( upper class), kelas sedang ( middle class), dan kelas bawah ( lower class). Di Final Project ini akan mendiskusikan tentang tema : cinta ( Love ) dan kelas social ( social class), sudut pandang dari Elizabeth (point of view) dan kelebihan serta kekurangan ( strengthen and weakness) dari buku ini. Final project ini akan mencoba untuk menganalisisnya lebih dalam lagi. 1.1. Background of the Study give the example of human love and social class from different point of view Pride and Prejudice is a story created especially from Elizabeth , the main by Jane Austen. This book may character from this novel, who almost represent the author to explore her mind be a perfect person. in writing. Love is one of the reasons why the writer chooses this book. The 1.3. Jane Austen and Her Works story in Pride and Prejudice is the reflection of what happened to people in According to Becoming Jane Austen : the Victory age. A domination of the Alife and Biography of Jane Austen , landlord power could be a weapon to Jane Austen was born in Steventon, get what they want and as a protector England, in 1775, where she lived for too when they had a trouble.
    [Show full text]