Mansfield Park and Persuasion
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Commissioned Orchestral Version of Jonathan Dove’S Mansfield Park, Commemorating the 200Th Anniversary of the Death of Jane Austen
The Grange Festival announces the world premiere of a specially- commissioned orchestral version of Jonathan Dove’s Mansfield Park, commemorating the 200th anniversary of the death of Jane Austen Saturday 16 and Sunday 17 September 2017 The Grange Festival’s Artistic Director Michael Chance is delighted to announce the world premiere staging of a new orchestral version of Mansfield Park, the critically-acclaimed chamber opera by composer Jonathan Dove and librettist Alasdair Middleton, in September 2017. This production of Mansfield Park puts down a firm marker for The Grange Festival’s desire to extend its work outside the festival season. The Grange Festival’s inaugural summer season, 7 June-9 July 2017, includes brand new productions of Monteverdi’s Il ritorno d'Ulisse in patria, Bizet’s Carmen, Britten’s Albert Herring, as well as a performance of Verdi’s Requiem and an evening devoted to the music of Rodgers & Hammerstein and Rodgers & Hart with the John Wilson Orchestra. Mansfield Park, in September, is a welcome addition to the year, and the first world premiere of specially-commissioned work to take place at The Grange. This newly-orchestrated version of Mansfield Park was commissioned from Jonathan Dove by The Grange Festival to celebrate the serendipity of two significant milestones for Hampshire occurring in 2017: the 200th anniversary of the death of Austen, and the inaugural season of The Grange Festival in the heart of the county with what promises to be a highly entertaining musical staging of one of her best-loved novels. Mansfield Park was originally written by Jonathan Dove to a libretto by Alasdair Middleton based on the novel by Jane Austen for a cast of ten singers with four hands at a single piano. -
ICV20 Tomlinson.Pub
The virtual battle: Flags in Georgian marine paintings Barbara Tomlinson Abstract The 18th century saw the development of an English school of marine painting following the example of the Dutch in the previous century. When representing naval battles, artists needed to handle numerous technical details including the depiction of British squadronal colours, distin- guishing flags and signal flags. This paper examines selected actions painted by Samuel Scott (1701/2-1772), Nicholas Pocock (1741-1821), Thomas Whitcombe (c.1752-1827) and William Anderson (1757-1837) and ask - how accurate were these artists, how did they research their paintings, how did they display flags for dramatic effect and who was their intended audience? The resources of the National Maritime Museum’s collections used to illustrate this subject in- clude prints, drawings and documents. The British maritime victories of the sailing navy era were immortalized by contemporary artists. Originally a Dutch genre, by the middle of the 18th century, marine pictures were also produced by British painters who specialised in these scenes. I would like to consider the relationship between the reality and the representation with particular reference to the way the artist shows British flags, concentrating on some of the less well-known battles. One painter who took considerable pains to include accurate detail was Nicholas Po- cock. A sketchbook survives compiled by Pocock during the Battle of the Glorious 1st of June when he was able to observe the action directly from the frigate Pegasus. These small and indistinct views remind us that in contrast to the way vessels are shown in marine paintings, in reality, everything would have been much more spread out and much further away. -
The Surprising Consistency of Fanny Price
Clemson University TigerPrints All Theses Theses 5-2019 "I Was Quiet, But I Was Not Blind": The urS prising Consistency of Fanny Price Blake Elizabeth Bowens Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Bowens, Blake Elizabeth, ""I Was Quiet, But I Was Not Blind": The urS prising Consistency of Fanny Price" (2019). All Theses. 3081. https://tigerprints.clemson.edu/all_theses/3081 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. “I WAS QUIET, BUT I WAS NOT BLIND”: THE SURPRISING CONSISTENCY OF FANNY PRICE ——————————————————————————————————— A Thesis Presented to the Graduate School of Clemson University ——————————————————————————————————— In Partial Fulfillment of the Requirements for the Degree Master of Arts English ——————————————————————————————————— by Blake Elizabeth Bowens May 2019 ——————————————————————————————————— Accepted by: Dr. Erin Goss, Committee Chair Dr. Kim Manganelli Dr. David Coombs ABSTRACT Mansfield Park’s Fanny is not the heroine most readers expect to encounter in a Jane Austen novel. Unlike the heroines of Pride and Prejudice, or Emma, for example, she does not have to undergo any period of being wrong, and she does not have to change in order for her position to be accepted. In the midst of conversations about Fanny as a model of perfect conduct book activity, exemplary Christian morals, or Regency era femininity, readers and scholars often focus on whether or not Fanny exists as a perfect and consistent heroine, providing very strong and polarizing opinions on either side. -
“Fanny's Price” Is a Piece of Fan Fiction About Jane Austen's Mansfield Park. I Ch
Introduction to “Fanny’s Price” “Fanny’s Price” is a piece of fan fiction about Jane Austen’s Mansfield Park. I chose to write about Mansfield Park because while it interests me as a scholar, it is very unsatisfying to me as a reader. I was inspired to write this piece primarily by class discussion that led me to think of Fanny as sinister. One day, someone suggested that Fanny refuses to act in the play because she is always acting a part. I immediately thought that if Fanny was only acting righteous and timid, her real personality must be the opposite. On another day, Dr. Eberle mentioned a critical text accusing Fanny of being emotionally vampiric; immediately I thought of making her an actual vampire. When Frankenstein was brought up later, I realized that Fanny should be a vampire’s servant rather than a fully fledged vampire. She does not understand why Edmund prefers Mary, when he made her what she is. Because the film Mansfield Park makes Fanny essentially Jane Austen, it gives her power over all of the other characters and the plot. Watching it encouraged me to think of Fanny as manipulative. I find a reading of Fanny as a villain much more satisfying than my former reading of her as completely passive. I wrote “Fanny’s Price” in an alternate universe because that was the only way I could include real rather than metaphorical vampires. I wanted the vampires to be real because I feel that it raises the stakes for Mary, my heroine. I made Mary Crawford the heroine because of class discussion comparing her to Elizabeth Bennett. -
Fanny's Heart Desire Described in Jane Austen's
FANNY’S HEART DESIRE DESCRIBED IN JANE AUSTEN’S MANSFIELD PARK THESIS Presented in partial fulfillment of the requirements for the completion of Strata I Program of the English Language Department Specialized in Literature By: RIRIN HANDAYANI C11.2007.00841 FACULTY OF LANGUAGES AND LETTERS DIAN NUSWANTORO UNIVERSITY SEMARANG 2012 1 PAGE OF APPROVAL This thesis has been approved by Board of Examiners, Strata 1 Study Program of English Department, Faculty of Languages and Letters, Dian Nuswantoro University on February 21st 2012. Board of Examiners Chairperson The 1st Examiner Haryati Sulistyorini, S.S., M.Hum. R. Asmarani S.S., M.Hum. The 2nd Examiner as 2nd Adviser The 3rd Examiner Sarif Syamsu Rizal, S.S., M.Hum. Valentina Widya, S.S., M.Hum. Approved by Dean of Faculty of Languages and Letters Achmad Basari, S.S., M.Pd. 2 MOTTO I hope you live a life you’re proud of, but if you find that you’re not. I hope you have strength to start all over again. Benjamin Button All our knowledge begins with the senses, proceeds then to the understanding, and ends with reason. Immanuel Kant Imagination is stronger than knowledge; myth is more potent than history, dreams are more powerful than facts, hope always triumphs over experience, laughter is the cure for grief, love is stronger than death. Robert Fulghum 3 DEDICATION To : - My beloved parents and siblings - Rinchun 4 ACKNOWLEDGEMENT At this happiest moment, I wish a prayer to the almighty who has blessed me during the writing of this paper. I would like, furthermore, to express my sincere thanks to: 1. -
Report, Volume 3, Issue 1
Report West Point Undergraduate Historical Review Fall 2012 Volume 3, Issue 1 Report West Point Undergraduate Historical Review Volume 3, Issue 1 Fall 2012 Report West Point Undergraduate Historical Review Volume 3, Issue 1; Fall 2012 Editor-In-Chief Copyright and photocopying Tara C. Lacson © 2012 Department of History International History United States Military Academy West Point, New York 10996 Editors Josh L. Clevenger Acknowledgments Military History; Economics The Editorial Board would like to thank the Carl B. Rios faculty of the History Department for their International History submission recommendations, all the students who submitted papers, and Major Austen Boroff Gregory Tomlin for his extensive guidance International History and technical support. Without their help, Report would not have been possible. Erin A.T. Mauldin International History; Environmental Science About The Review Tyler Mazda Report is a non-profit publication produced Military History by undergraduate cadets at the United States Military Academy. It accepts and Sean M. McQuade encourages submissions from Economics; International Relations undergraduates year-round. Reproduction in whole or in part without written Sean D. Sutter permission is prohibited. Military History Evan C. Pardue On The Internet Military History http://www.westpoint.edu/history/SitePage Zachary W. Hoffman s/ report%20history%20journal.aspx French; Philosophy Francis John Ambrogio, III Disclaimer International History The contents of Report, including words, Alexander Molnar images, and opinions, are unofficial and Computer Sciences not to be considered as the official views of the United States Military Academy, the Hope Landsem United States Army, or the Department of Economics Defense. Readers accept and agree to this disclaimer in the use of any information obtained from Report. -
The Professional and Cultural Memory of Horatio Nelson During Britain's
“TRAFALGAR REFOUGHT”: THE PROFESSIONAL AND CULTURAL MEMORY OF HORATIO NELSON DURING BRITAIN’S NAVALIST ERA, 1880-1914 A Thesis by BRADLEY M. CESARIO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS December 2011 Major Subject: History “TRAFALGAR REFOUGHT”: THE PROFESSIONAL AND CULTURAL MEMORY OF HORATIO NELSON DURING BRITAIN’S NAVALIST ERA, 1880-1914 A Thesis By BRADLEY M. CESARIO Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, R.J.Q. Adams Committee Members, Adam Seipp James Hannah Head of Department, David Vaught December 2011 Major Subject: History iii ABSTRACT “Trafalgar Refought”: The Professional and Cultural Memory of Horatio Nelson During Britain’s Navalist Era, 1880-1914. (December 2011) Bradley M. Cesario, B.A., University of Illinois at Urbana-Champaign Chair of Advisory Committee: Dr. R.J.Q. Adams Horatio Lord Nelson, Britain’s most famous naval figure, revolutionized what victory meant to the British Royal Navy and the British populace at the turn of the nineteenth century. But his legacy continued after his death in 1805, and a century after his untimely passing Nelson meant as much or more to Britain than he did during his lifetime. This thesis utilizes primary sources from the British Royal Navy and the general British public to explore what the cultural memory of Horatio Nelson’s life and achievements meant to Britain throughout the Edwardian era and to the dawn of the First World War. -
“A Creditable Establishment”: the Irony of Economics in Jane Austen’S Mansfield Park
“A Creditable Establishment”: The Irony of Economics in Jane Austen’s Mansfield Park by Kandice Sharren Bachelor of Arts, University of Victoria, 2009 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS in the Department of English Kandice Sharren, 2011 University of Victoria All rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without the permission of the author. ii Supervisory Committee “A Creditable Establishment”: The Irony of Economics in Jane Austen’s Mansfield Park by Kandice Sharren Bachelor of Arts, University of Victoria, 2009 Supervisory Committee Dr. Robert Miles, Department of English Supervisor Dr. Gordon Fulton, Department of English Departmental Member Dr. Andrea McKenzie, Department of History Outside Member iii Abstract Supervisory Committee Dr. Robert Miles, Department of English Supervisor Dr. Gordon Fulton, Department of English Departmental Member Dr. Andrea McKenzie, Department of History Outside Member This thesis contextualises Austen’s novel within the issues of political economy contemporary to its publication, especially those associated with an emerging credit economy. It argues that the problem of determining the value of character is a central one and the source of much of the novel’s irony: the novel sets the narrator’s model of value against the models through which the various other characters understand value. Through language that represents character as the currency and as a commodity in a credit economy, Mansfield Park engages with the problems of value raised by an economy in flux. Austen uses this slipperiness of language to represent social interactions as a series of intricate economic transactions, revealing the irony of social exchanges and the expectations they engender, both within and without the context of courtship. -
Mansfield Park Character Descriptions
MANSFIELD PARK CHARACTER DESCRIPTIONS WOMEN’S ROLES Fanny Price: (able to play Young Adult) Full of spirit. Her circumstances force her to “be good," but she has strong opinions and a big imagination. She may come off as shy, but she’s smart and wants to learn everything. She has a strong moral compass which keeps her out of trouble and makes her trustworthy to others. Hopelessly in love with Edmund Bertram. Mary Crawford: (able to play Young Adult) Mary is witty and capable of being hollow and flippant, but not fundamentally bad natured. She is ambitious and clear eyed about the truths of the world and society. She guards her heart, but is a bit of a flirt who intends to marry well. (Sister to Henry Crawford, no blood connection to Fanny Price). Maria Bertram: (able to play Young Adult) Maria is an elegant, mannered, accomplished and fashionable young woman who knows she has to marry Mr. Rushford- but later falls hard for Henry. (Sister to Tom and Edmund, Fanny’s cousin) Mrs. Norris/Mrs. Price: (DOUBLES- able to play 40-65) MRS. NORRIS is bossy and condescending with those who have no power; she feels as if she's in charge of the world. She sucks up to anyone of higher status than herself. A somewhat vicious, indomitable battleship of a woman. MRS. PRICE is a working class woman from Portsmouth. She’s fundamentally forward-looking, but a lifetime of disappointments have worn her down. She’s developed a certain brusque, vaguely-cheerful emotional-remove to deal with it all. -
In Defense of Patricia Rozema's Mansfield Park
In Defense of Patricia t Rozema’s Mansfield Park :Li DAVID MONAGHAN David Monaghan is Professor of English at Mount Saint Vincent University, Halifax, Nova Scotia. He is the author of Jane Austen: Structure and Social Vision and editor of two books of essays on Austen. His other books deal with John le Carré and the literature of the Falklands War. MANSFIELD PARK is the most controversial of all Jane Austen’s novels, mainly because readers are unable to agree in their assessment of the novel’s heroine, Fanny Price. In adapting the novel to the screen, Patricia Rozema adopts two positions that plunge her into the midst of this debate. First, as Alison Shea points out in the essay to which I am responding, she creates a heroine intended to correct the supposed inadequacies of Austen’s original, whom she judges to be “annoying,” “not fully drawn,” and “too slight and retiring and internal” (Herlevi). Second, she proposes that Mansfield Park is a novel about slavery, lesbianism, and incest. Not surprisingly, then, her film version of Mansfield Park has generated more heated discussion than any other adaptation of an Austen novel. At one extreme, Claudia Johnson describes the film as “an audacious and perceptive cinematic evocation of Jane Austen’s distinctively sharp yet forgiving vision” (10), while at the other John Wiltshire argues that “what the film represents is the marketing of a new ‘Jane Austen’ to a post-feminist audience now receptive to its reinvention of the novel” (135). It would be very difficult, in my view, to defend Rozema’s rather eccen- tric interpretation of Mansfield Park against the extremely effective critique offered by Ms. -
Jane Austen's Mansfield Park
Connotations Vol. 20.2-3 (2010/2011) “The road to happiness”: Jane Austen’s Mansfield Park*1 ANGELIKA ZIRKER At first glance, Jane Austen’s novels seem to be fairly similar: at the end, after many trials and tribulations, the heroine finds the husband who suits her perfectly, according to the plot structure of comedy.2 The obstacles she meets make her realize what she really wants in life, and she is eventually able to find happiness and fulfilment. But this configuration seems to undergo a characteristic variation in Mansfield Park (1814). At its centre, we find a heroine who is very consistent and does not need to change,3 and who also knows whom she loves and would like to marry from very early on in the novel, namely her cousin Edmund Bertram.4 But as Edmund falls in love with Mary Crawford, and Henry Crawford with Fanny, an alternative outcome suddenly seems possible despite the fact that, in Jane Austen’s works, it seems generally out of the question that a heroine marry a ‘minor’ character—both in the sense of character constellations within the novel and in the sense of moral inferiority. The possibility of Fanny marrying Henry Crawford is, at least for some time, not entirely excluded from the novel: at some point he begins to improve and to develop into a man that might eventually deserve Fanny.5 Mansfield Park therefore offers a plot structure that is seemingly paradoxical: it presents a heroine whose obvious constancy is juxtaposed with the suggestion of an alternative outcome that we do not find in any other of Jane Austen’s novels. -
MANSFIELD PARK by Jane Austen
MANSFIELD PARK by Jane Austen THE AUTHOR Jane Austen (1775-1817) was the seventh child and second daughter of an Anglican rector in a country parish in Hampshire, England. She had a happy childhood. She read widely, though she had little formal schooling, and she and her siblings delighted in writing and performing plays at home. At the age of twelve, she began to write parodies of popular literary works and set her hand to her first serious writing project when she was nineteen. That project was an epistolary novel called Lady Susan which, while not a work of genius, was good enough to encourage her to keep writing. Austen’s novels evolved through years of writing and rewriting. In 1795, she began a novel called Elinor and Marianne that was finally published in 1810 as Sense and Sensibility. She started writing First Impressions in 1796; it was initially rejected for publication, but later saw print in 1812 as Pride and Prejudice. She began work in 1799 on a novel called Susan (not to be confused with her initial effort), which was published posthumously in 1818 as Northanger Abbey. She wrote three other novels as well - Mansfield Park (1813), Emma (1815), and Persuasion (published posthumously in 1818). Her personal life was a happy but quiet one, consisting largely of her writing along with the kind of country amusements - balls, parties, and teas - described in her novels. The family struggled financially between the death of her father in 1805 and the publication of her first novel in 1810. She never married, though in her late twenties she received a proposal from a local aristocrat named Harris Bigg-Wither.