Sense and Sensibility Teacher Guide
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"Knit Your Own Stuff"; Or, Finishing Offjane Austen
Terry: "Knit Tour Oun Stuff ' 1.1 "Knit Your Own Stuff"; or, Finishing OffJane Austen JUDITH TERRY Faculty of Education, University of Victoria, Victoria, BC I'm sure you are wondering how this talk came by its title. As I set about explaining, I do want to assure you that, unlikely as it seems, I am on the way to Stanton Parsonage. I shall take a rather roundabout route, bythe back lanes, but I shall end up at the Watsons' front door. I start out from the home ofJoan Austen-Leigh. That was where I once not held Jane's housewife, where, for a sudden startled moment, looking so much at the housewife as the minute size of the needle inside it, I had a very intense sensation of knowing Jane, glimpsing the Jane we do not know. It was Jane de-familiarized-Jane sewing, not Jane writing- although the question that was passing through my mind might have referred to either: how did she do it? I don't Pretend this experience is unique-although it was peculiarly female. We all have these moments. Mini remained with me, and had some part, I am sure, in my later desire, decision, to write Miss Abigail's Part or Version E Diuersion, which in a way reflects thatjuxtaposition ofthe needle and the pen, since it is the other side ofJane too, the story of Mansfield Park from the servant's point of view, the underside of that large household, the side you don't see. This kind of literary inbreeding is not new-oneJaneite friend ofmine has pleasant memories of Pemberley Shades, which follows the fortunes of Ltzzy andDarcy after they are married-but it is especially popular these days and has reached new heights of sophistication. -
Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen)
Not Said But Shown 432 17. Marianne Dashwood and Charlotte Lucas (The Christian Ideal of Marriage in Jane Austen) ----- Marianne Dashwood at seventeen believes in “wholeheartedness.” One should cultivate right feelings as far as one possibly can, and express them frankly and to the full; and all with whom one can relate properly must do the same. One’s feelings should be intense, and the expression of them should be enthusiastic and eloquent. Towards those whose feelings are right, but who cannot achieve this freedom of expression, one must be charitable; but one should avoid all whose thought and behavior is governed by convention. Following convention corrupts one’s “sensibility,” so that one can no longer tell what the truth of natural feeling is. Thus, when Edward Ferrars and Marianne’s sister Elinor become mutually attached, Marianne approves of Edward — and she certainly agrees with her mother, who says, “I have never yet known what it was to separate esteem and love” (SS, I, iii, 16). But she cannot imagine how Elinor can be in love with Edward, because he lacks true “sensibility.” “Edward is very amiable, and I love him tenderly. But . his figure is not striking . His eyes want all that spirit, that fire, which at once announce virtue and intelligence . he has no real taste . I could not be happy with a man whose taste did not in every point coincide with my own . how spiritless, how tame was Edward’s manner in reading to us last night! . it would have broke my heart had I loved him, to hear him read with so little sensibility” (17-8). -
Love and Freindship [I.E. Friendship] : and Other Early Works
FREINDSHIP OTHER, EAKIX'WORKS m. JANE 'AUSTEN V \ LOVE AND FREINDSHIP Reproduction, about half size, from a page of the ORIGINAL MANUSCRIPT LOVE & FREINDSHIP AND OTHER EARLY WORKS NOW FIRST PVBLISHED FROM THE ORIGINAL MS. BY JANE A USTEN WITH A PREFACE BY G. K. CHESTERTON NEW YORK FREDERICK A. STOKES COMPANY PUBLISHERS Copyright, 1922, ly J. R. SANDERS A II Rights Reserved Printed in the United States of America To Madame la Comtesse DE FEVILLIDE this Novel is inscribed by her obliged Humble Servant THE AUTHOR. "Deceived in Frefeidship and Betrayed in Love' PREFACE a recent newspaper controversy about the INconventional silliness and sameness of all the human generations previous to our own, some- body said that in the world of Jane Austen a lady was expected to faint when she received a pro- posal. To those who happen to have read any of the works of Jane Austen, the connection of ideas will appear slightly comic. Elizabeth Bennett, for instance, received two proposals from two very confident and even masterful ad- mirers; and she certainly did not faint. It would be nearer the truth to say that they did. But in any case it may be amusing to those who are thus amused, and perhaps even instructive to those who thus need to be instructed, to know that the earliest work of Jane Austen, here published for the first time, might be called a satire on the fable of the fainting lady. "Beware of fainting fits ... though at times they may be refresh- ing and agreable yet believe me they will in the end, if too often repeated and at improper sea- sons, prove destructive to your Constitution." Such were the words of the expiring Sophia to the afflicted Laura; and there are modern critics vii PREFACE capable of adducing them as a proof that all soci- ety was in a swoon in the first decade of the nine- teenth century. -
Reading Austen's Lady Susan As Tory Secret History
Document generated on 09/26/2021 10:23 a.m. Lumen Selected Proceedings from the Canadian Society for Eighteenth-Century Studies Travaux choisis de la Société canadienne d'étude du dix-huitième siècle Reading Austen’s Lady Susan as Tory Secret History Rachel Carnell Volume 32, 2013 URI: https://id.erudit.org/iderudit/1015480ar DOI: https://doi.org/10.7202/1015480ar See table of contents Publisher(s) Canadian Society for Eighteenth-Century Studies / Société canadienne d'étude du dix-huitième siècle ISSN 1209-3696 (print) 1927-8284 (digital) Explore this journal Cite this article Carnell, R. (2013). Reading Austen’s Lady Susan as Tory Secret History. Lumen, 32, 1–16. https://doi.org/10.7202/1015480ar All Rights Reserved © Canadian Society for Eighteenth-Century Studies / Société This document is protected by copyright law. Use of the services of Érudit canadienne d'étude du dix-huitième siècle, 2013 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Reading Austen’s Lady Susan as Tory Secret History Rachel Carnell Cleveland State University Anne Elliot famously observes to Captain Harville in Jane Austen’s Persuasion that men have the advantage over women in having written the -
Sense and Sensibility Study Guide Is Aimed at Students of A’ Level Film and Communication and English
TEACHERS’ NOTES The Sense and Sensibility study guide is aimed at students of A’ Level Film and Communication and English. It may also be suitable for some students of GCSE Media Studies and English. SYNOPSIS When Henry Dashwood dies unexpectedly, his estate must pass by law to his son from his first marriage, John and wife Fanny. But these circumstances leave Mr. Dashwood’s current wife and daughters Elinor, Marianne and Margaret, without a home and barely enough money to live on. ©Film Education 1 As Elinor and Marianne struggle to find romantic fulfilment in a society obsessed with financial and social status, they must learn to mix sense with sensibility in their dealings with both money and men. Based on Jane Austen’s first novel, Sense and Sensibility marks the first big-screen adaptation of this classic romantic comedy. Directed by Ang Lee. Certificate: U. Running rime: 135 mins. INTRODUCTION “Jane Austen? Aren’t her novels just old-fashioned romantic stories about love amongst the rich and lazy?” To many people, including students of English Literature, there is a problem penetrating the ‘Mills and Boon’ romantic veneer of Jane Austen's plots to find the subtle analysis of social and moral behaviour that teachers and critics claim is beneath the surface. Even after studying her novels, many students find Austen’s world remote and perhaps rather trivial. READING NOVELS - READING FILMS - READING TEXTS The fact n that there are many film and television adaptations of Jane Austen's novels and this itself is a mark of her popularity as well as her skill as a writer. -
Female Psyche and Empowerment of Jane Austen and Lakshmi's Select
International Journal of Research (IJR) Vol-1, Issue-9 October 2014 ISSN 2348-6848 Female Psyche and Empowerment o f Jane Austen and Lakshmi’s Select Novels Dr. V. Asokkumar, M.A., M.Phil, Ph.D., Associate Professor of English, E.R.K.Arts & Science College, Erumaiyampatti – 636 905 Pappireddipatti (Tk), Dharmapuri (Dt) INDIA. Email: [email protected] ABSTRACT cultures. A nostalgic representative of the th This article aims at analyzing the classical 18 century, Jane Austen was occidental and oriental works of literary poised more in reason rather than art with special reference to the select emotion. Jane Austen wrote about what novels of Jane Austen and Lakshmi. she had experienced in her life. Hers is a Women novelists have a strong foundation world of the country middle class people. of social awareness and concentration on She deals with various aspects of love and family welfare. This article interprets Jane marriage and views them calmly and Austen’s three novels - Sense and dispassionately. She distrusts emotion and Sensibility Pride and Prejudice and describes it only by implication. Mansfield park and two of Lakshmi’s Lakshmi from Tamilnadu is a novels - Penn Manam and Oru Kaveriyai strong flavour of Tamil literature and Pola. This study except the first and the culture in her novels. She has a strong last are significantly titled implying the perception regarding the treatment of different strategies of female predicaments women in the Tamil society and is very amidst which Jane Austen and Lakshmi bold in portraying their emotions have set afloat their women characters kaleidoscopically. -
“—A Very Elegant Looking Instrument—” Musical Symbols And
('-a very elegant looking instrumgnl-"' Musical Symbols and Substance in Films of Jane Austen's Novels KATHRYN L. SHANKS LIBIN Department of Music, Vassar College, Poughkeepsie, NY 12604-0018 The recent flowering of Jane Austen novels on television and film raises fascinating issues of interpretation and authenticity. Great efforts have been made to recreate believable nineteenth-century backgrounds; the houses, furniture, costumes, jewelry, and so forth all show scrupulous historical research and attention to detail. origi- nal musical instruments have likewise been featured in these new visual versions of Jane Austen's texts. However, it is relatively easy to flt an attractive old instrument into its period setting; finding the right tone with the music itself is'a much more complicated problem, und fe* of the film makers involved with Austen's works have demonstrated perfect pitch in this matter. For the problem consists not simply of finding the right musical symbols: the proper instru- ments, or sound, or representative pieces of music that Jane Austen might have known; but of grappling, as well, with the musical substance ofher novels. In certain instances music is an essential plot device; and musical performance reveals key aspects of personality in many of her characters. Jane Austen herself faithfully practiced the piano, and copied out music into notebooks for her own use. Indeed, her music notebooks show that she was an accomplished musician, possessing a firm grasp of the rules and implications of musical notation and, not iurpiisingly, an elegant copyist's hand.' The mere existence of these notibooks, which represent countless hours of devoted labor as well as pleasure, shows the central role that music played in Austen's own life. -
Jane Austen: the French Connection 107 with Footnotes on Every Page
Jane Austen: t The French Connection :Li JOAN AUSTEN-LEIGH Joan Austen-Leigh is the co-founder, with Jack Grey and Henry Burke, of the Jane Austen Society of North America. For nineteen years, she edited this journal. Mr. Austen was once asked by a neighbor, a man of many acres, whether Paris was in France or France was in Paris. I cannot help but feel that I have almost as little right as that shamefully clueless squire to be addressing the subject of Jane Austen and the French Connection. Now, having delivered myself of that disclaimer, the first aspect of this subject that interests me, especially as I am deficient in that respect myself, is, how well did Jane Austen speak French? If she were here with us today, would she be quite at ease in Quebec City, choos- ing some gloves or purchasing a sponge cake? First, it’s time for a brief history lesson from your impartial, unprejudiced, and, until beginning to work on this paper, abysmally ignorant historian. I have now informed myself that sixteen years before Jane Austen was born, on September 13, 1759, Wolfe defeated Montcalm. The battle lasted one hour, and the history of Canada was forever changed. It has been estimated that there were, then, approximately sev- enty thousand French settlers. Today, in a Canadian population of about twenty-nine million, more than four million speak French only. Why do I tell you these things? Because the French, as a nation, have always been protective of their language and culture, and I have 106 PERSUASIONS No. -
Introduction
INTRODUCTION Jane Austen: An influential woman Thanks to her sharp wit and strong female characters, Jane Austen’s literature is still utterly relevant. Author Claire Harman asks – is she the most influential woman of the past 200 years? In 1811, a 35- year-old Hampshire spinster had her first book published anonymously: Sense And Sensibility, By A Lady. It got two brief, polite reviews, sold 500 copies and was swiftly forgotten. But 200 years later, everyone knows Jane Austen. She’s not just a writer, she’s a cult, a brand and a cultural touchstone. This marked the transition from obscurity to being one of this century and last’s most influential literary figures. It’s hard to believe her six short novels – yes, it really is just six – are still bought in their millions (because her work is out of copyright, there is no accurate estimate of how many). Austen’s influence and literary pulling-power can’t be over-estimated. She’s reached millions of people all over the world, not simply through the number of languages she’s been translated into (35 at the last count), but because there’s something in her work that readers connect with instantly. We read her because we feel she understands us – despite being born over two centuries ago. In many ways, her books are more in tune with our times and tastes than her own. In the first review she ever received, she was taken to task for a ‘want of newness’, but her books now seem markedly more original than anything else of the period. -
A British Homecoming: Growing up Alongside Austen, Dickens, and Dahl
Claudia Dantoin, Undergraduate A British Homecoming: Growing Up Alongside Austen, Dickens, and Dahl On a spelling test in primary school, I was marked incorrect on one word: Color. That little word, to which I added the needed letter “u” highlights much of my character and growth as a book collector. As a young girl, home, for me, was always one of two places. The first was my own sanctuary, the family house, nestled amongst the rolling hills and red-barned landscapes of a small Wisconsin town. The second was amongst books, be they at the library or the local bookshop whose bespeckled shopkeepers knew me by name. However, such books magically shared one common point of origin. From the tender age of seven when I first picked up a Roald Dahl novel, I knew that I had found my ink and paper kin in a tiny island nation over 3,000 miles away: Britain. Amongst books, I sought out the avenues available for a magical trip across the pond. Into the rabbit hole. Through the looking glass. By means of the great glass elevator. All of these delightful inventions of the classic British authors enthralled me. Perhaps growing up with four siblings in the house made life a bit of a tornado of activity. From the chaos of everyday life, I would find peace in the rolling hillsides of Surrey and the perpetual magic of London. Through my British books I could find a world where Sherlock always solved the crime, tea arrived promptly at 4 pm on the nose, and small boys could change the mind of stodgy Lord Fauntleroys. -
Spring 2013 Course Descriptions
Spring 2013 English Course Offerings SPECIAL TOPICS COURSES ENGL 190: Harry Potter Section 1: M 4:00-6:45 Dr. Ward ENGL 190: Detective Fiction Section 2: MWF 11:00-11:50 Prof. Baker From Sherlock Holmes to Harry Hole, Sullivan’s Island to Stockholm, soft-spoken to hard-boiled, fictional detectives and their stories enjoy an enduring and seemingly universal appeal. This course examines the history, conventions, and surprising variety of the detective fiction genre. Authors covered include (tentatively): Edgar Allan Poe, Sir Arthur Conan Doyle, Agatha Christie, Dorothy Sayers, Raymond Chandler, Walter Moseley, Ruth Rendell, Elmore Leonard, Ian Rankin, Sue Grafton, Sara Parestky, Jo Nesbo. ENGL 190: Engaging Charleston Section 3: TR 10:50-12:05 Dr. Kelly How is it that we manage to live side by side with total strangers? Did you ever wonder why we’re not strangling each other all the time? These courses combine the study of the two oldest and most complex of human technologies – politics and cities – to figure out how human beings organize themselves. Ride the buses, chart the neighborhoods, study the streets even as you learn the theories that underpin it all. You’ll learn to read in the concrete walls, roads and buildings the ideas of political thinkers from Plato to Hobbes to Marx and the present day. Three hundred and forty years old, the gem of a pre-modern feudal society, the African portal to North America, a nexus of the Atlantic World, Charleston cherished Enlightenment ideals even as it shackled the nation to slavery. In this class you’ll study Charleston’s structures, its people and history, alongside those who have struggled to find answers about justice, equality and freedom. -
The Death of Christian Culture
Memoriœ piœ patris carrissimi quoque et matris dulcissimœ hunc libellum filius indignus dedicat in cordibus Jesu et Mariœ. The Death of Christian Culture. Copyright © 2008 IHS Press. First published in 1978 by Arlington House in New Rochelle, New York. Preface, footnotes, typesetting, layout, and cover design copyright 2008 IHS Press. Content of the work is copyright Senior Family Ink. All rights reserved. Portions of chapter 2 originally appeared in University of Wyoming Publications 25(3), 1961; chapter 6 in Gary Tate, ed., Reflections on High School English (Tulsa, Okla.: University of Tulsa Press, 1966); and chapter 7 in the Journal of the Kansas Bar Association 39, Winter 1970. No portion of this work may be reproduced in any form or by any electronic or mechanical means, including information storage and retrieval systems, without permission in writing from the publisher, except by a reviewer who may quote brief passages in a review, or except in cases where rights to content reproduced herein is retained by its original author or other rights holder, and further reproduction is subject to permission otherwise granted thereby according to applicable agreements and laws. ISBN-13 (eBook): 978-1-932528-51-0 ISBN-10 (eBook): 1-932528-51-2 Library of Congress Cataloging-in-Publication Data Senior, John, 1923– The death of Christian culture / John Senior; foreword by Andrew Senior; introduction by David Allen White. p. cm. Originally published: New Rochelle, N.Y. : Arlington House, c1978. ISBN-13: 978-1-932528-51-0 1. Civilization, Christian. 2. Christianity–20th century. I. Title. BR115.C5S46 2008 261.5–dc22 2007039625 IHS Press is the only publisher dedicated exclusively to the social teachings of the Catholic Church.