DOCSLIB.ORG

Contributors

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Contributors Contributors Juliet Archer writes modern versions of Jane Austen novels. She was born and bred in North-East England and now lives in Hertfordshire, Pride and Prejudice country. Unlike Anne Elliot in Persuasion, she resisted well-meant advice and married young, before graduating from the University of Nottingham with a First in French and Russian. She currently combines writing with a day job, running a project manage- ment company with her husband. Sarah Artt is a lecturer in English and Film at Edinburgh Napier University, United Kingdom. She holds degrees from Brock, McGill, and Queen Margaret Universities. Her research interests include adaptations and transnational cinemas, with the occasional foray into popular television. Her teaching interests center around science fic- tion literature and cinema, contemporary Hollywood cinema, wom- en’s writing and filmmaking, and narrative structure in fiction and film. Her previous publications have dealt with cult cinema as well as classic screen adaptations, and have appeared in edited collections with Palgrave and Continuum and in the Journal of Adaptation in Film and Performance . Elise Barker is a fifth-year PhD student in English Literature and the Teaching of English at Idaho State University. She received her BA in English from Bethany College in 2003 and her MA in English with an emphasis on Language, Composition, and Rhetoric from Kansas State University in 2006. Her current interests revolve around the intersection of literature and popular culture. Richard Berger is associate professor, director of the Centre for Excellence in Media Practice (CEMP), and head of Postgraduate Research at the Media School, Bournemouth University, UK. He is founding editor of The Media Education Research Journal . Richard’s research is generally focused on adaptation, literacy, and pedagogy. He is particularly interested in the relationship that exists between different media, and the texts that are produced as a result. More recently, Richard has conducted research for the BBC Trust and the Arts and Humanities Research Council, and is now looking at how social media allows participants to write and create their own texts based on previously existing material. 284 Contributors Marina Cano-L ó pez has recently completed her PhD thesis on the afterlife of Austen’s The Watsons at the University of St Andrews (Scotland). She is also the co-organizer of the Conference “200 Years of Sense and Sensibility” (2011), and the coeditor of the eponymous Special Issue in Persuasions On-Line (2012). She has published widely about literature by female authors, Austen in particular. Selected titles include: “Looking Back in Desire; or How Jane Austen Rewrites Chick Lit in Alexandra Potter’s Me and Mr. Darcy” ( Persuasions On-Line 2010) and “This is a Feminist Novel: The Paradox of Female Passivity in Elizabeth Gaskell’s Ruth” (The Gaskell Journal 2012). Edward H. Carpenter is a Marine officer, businessman, athlete, and world traveler. He likes rugby, reading, scuba diving, and volunteer teaching. He often finds inspiration for writing in his travels, which have taken him to Afghanistan, Saudia Arabia, Japan, Indonesia, Vietnam, Laos, Australia, and beyond. James P. Carson is the William P. Rice Professor of English at Kenyon College. The author of Populism, Gender, and Sympathy in the Romantic Novel (Palgrave Macmillan, 2010), he has also published many articles on eighteenth-century and Romantic novelists. Sheryl Cornett teaches English at North Carolina State University in Raleigh. Her recent poems, stories, and essays appear in the North Carolina Literary Review, Image, Pembroke Magazine, and Mars Hill Review among other journals, magazines, and anthologies. She holds degrees from University of North Carolina—Chapel Hill, Miami University, and an MFA in Fiction from Seattle Pacific University. Robert G. Dryden is an associate professor of English at University of Hartford’s Hillyer College, where he teaches a variety of fresh- man and sophomore literature and writing courses. His most recent publication is Jane Austen for Beginners (part of the For Beginners Books series). He has also published three articles on Austen’s naval characters. “ ‘Luck be a Lady Tonight’: Jane Austen’s Precarious Idealization of Naval Heroes in Persuasion ” and “Did Jane Know Jack Tar: Assessing the Significance of Austen’s Other Navy” can both be found in the journal 1650–1850: Ideas, Aesthetics, and Inquiries in the Early Modern Era . His article “Reading and Teaching Our Way Out of Jane Austen Novels (Naval Options)” can be found in Persuasions: The Jane Austen Journal .” Dr Serena Formica is an associate lecturer in Film Studies at the University of Derby. Serena is the author of “Peter Weir. A Creative Contributors 285 Journey from Australia to Hollywood” (Intellect Books, 2012). Her main research interests are Australian Cinema, transnational cinema, production contexts, and adaptations. Serena is currently research- ing representations of Agatha Christie’s character Hercule Poirot in Japanese animation and British Television. Val Horniman has a 1967 Masters degree in education and a 1979 postgraduate diploma in teaching English to speakers of other lan- guages. She later completed a Masters so that she could study Chinese history. Like her mentor, Professor Hou, she identified with the 1930 Lu Xu maxim that good literature springs from the heart, and always refuses orders from outside. In Chengdu in 1981, she marveled at the way her senior students began to enjoy English literature in a more scholarly way, as a creative art; to see them glimpse their potential to widen their horizons to other ways of interpreting the world—to see them excited by it! Her experience and Hou’s encouragement proved invaluable when teaching English literature with Western thought and culture in universities haunted by the shadow of Tiananmen. Again and again, the responses of students inspired her to teach it here. Kenneth Longden is a Fellow of the Higher Education Academy and a qualified Higher Education tutor/lecturer and academic in media, critical, and creative arts. His research is in Narrative (MA), Popular Fictions, and Visual Culture. He is a published author on German film and has been a peer reviewer for the Directory of World Cinema. He has been a member of the academic staff at Liverpool John Moores University, teaching across arts and media, and in 2011, he moved to the University of Winchester to study for an MPhil/PhD. Janet McCabe is a lecturer in Media and Creative Industries at Birkbeck, University of London. She edits Critical Studies in Television and has written widely on feminism and television. She has coedited several collections, including Quality TV: Contemporary American TV and Beyond (2007) and Reading Sex and the City (2004), and her latest works are The West Wing (2012) as well as TV’s Betty Goes Global: From Telenovela to International Brand (2012; coed- ited with Kim Akass). Juliet McMaster is the author of books on Thackeray, Trollope, Dickens, Jane Austen, and the eighteenth-century novels. Coeditor with Edward Copeland of The Cambridge Companion to Jane Austen , she is also the editor–illustrator of Austen’s The Beautifull Cassandra , and the founder of the Juvenilia Press. She is a distin- guished University Professor Emeritus at the University of Alberta. 286 Contributors Laurence Raw teaches in the Department of English at Baskent University, Ankara, Turkey. His recent publications include Adaptation, Translation and Transformation (2012), and Adaptation and Learning (with Tony Gurr) (2013). He is also the editor-in-chief of the Journals of American Studies in Turkey and runs a blog on Radio Drama Reviews . Jeremy Strong is the head of Higher Education at Writtle College, Essex, United Kingdom. He has published on novel-to-film in Literature/Film Quarterly and Adaptation and is editor, with Drs Garin Dowd and Lesley Stevenson, of Genre Matters: Essays in Theory and Criticism (Intellect, 2006). He has edited Educated Tastes: Food, Drink, and Connoisseur Culture for the University of Nebraska Press (2011). He is also the chair of the Association of Adaptation Studies. Anette Svensson holds a postdoctoral position in Language Education at the Department of Language Studies at Umeå University in Sweden. She completed her doctoral thesis, “A Translation of Worlds: Aspects of Cultural Translation and Australian Migration Literature,” com- bining the two research fields translation studies and migration litera- ture in 2010. Her postdoctoral research project focuses on teaching and learning literature at upper-secondary level with a particular focus on the use of multimodal fictional texts. Although not a current research area, Svensson is a serious Jane Austen fan and wishes to continue to focus on Austen and her text worlds in her future research projects. Rana Tekcan is an assistant professor of English at İ stanbul Bilgi University, Turkey. She is the author of The Biographer and the Subject: A Study on Biographical Distance (2010). She has edited Turkish translations of Pride and Prejudice , Anthony and Cleopatra , Macbeth , and Julius Caesar , and translated Vladimir Nabokov’s The Luzhin Defense and Charles and Mary Lamb’s Tales from Shakespeare into Turkish. Harish Trivedi is a professor of English, University of Delhi, and has been a visiting professor at the universities of Chicago and London. He is the author of Colonial Transactions: English Literature and India (Calcutta, 1993; Manchester, 1995), and has coedited The Nation across the World: Postcolonial Literary Representations (New Delhi, 2007), Literature and Nation: Britain and India 1800– 1990 (London, 2000), Post-colonial Translation: Theory and Practice (London, 1999), and Interrogating Post-colonialism: Theory, Text and Contributors 287 Context (Shimla, 1996; rpt. 2000). He guest-edited a special issue of New Comparison (UK) on “Comparative Literature in India” (Spring 1997), and coedited an issue of the postcolonial journal Wasafiri with “Focus on Translation” (London, Winter 2003). Lucile Trunel , “Conservateur en chef” at the French National Library, is now head of the Educational Department of the BnF .
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]
  • The Discrimination of Jane Austen in Miss Austen Regrets Film by Using Liberal Feminism
    THE DISCRIMINATION OF JANE AUSTEN IN MISS AUSTEN REGRETS FILM BY USING LIBERAL FEMINISM Lala Nurbaiti Fadlah NIM: 204026002781 ENGLISH LETTER DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2010 THE DISCRIMINATION OF JANE AUSTEN IN MISS AUSTEN REGRETS FILM BY USING LIBERAL FEMINISM A Thesis Submitted to Letters and Humanities Faculty In Partial fulfillment of the Requirements for The Degree of Letters Scholar Lala Nurbaiti Fadlah NIM: 204026002781 ENGLISH LETTER DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2010 APPROVEMENT THE DISCRIMINATION OF JANE AUSTEN IN MISS AUSTEN REGRETS FILM BY USING LIBERAL FEMINISM A Thesis Submitted to Letters and Humanities Faculty In Partial fulfillment of the Requirements for The Degree of Letters Scholar Lala Nurbaiti Fadlah NIM. 204026002781 Approved by: Advisor Elve Oktafiyani M.Hum NIP 197810032001122002 ENGLISH LETTER DEPARTMENT ADAB AND HUMANITIES FACULTY STATE ISLAMIC UNIVERSITY SYARIF HIDAYATULLAH JAKARTA 2010 ABSTRACT Lala Nurbaiti Fadlah, the Discrimination of Jane Austen in Miss. Austen Regrets Film by Using Liberal Feminism. Skripsi. Jakarta: Adab and Humanities Faculty, UIN Syarif Hidayatullah, July 2010. The research discusses Jane Austen as the main character and tells about her life since she was a single until someone proposed her and became the writer. The research studied the discrimination of Jane Austen by using liberal feminism theory as the unit analysis. Moreover, the theory is feminism and liberal feminism at the theoretical framework of the research. The method of the research is descriptive qualitative, which tries to explain about the correlation between the discrimination Jane Austen and its influence to the literary work produced.
    [Show full text]
  • (De)Constructing Jane: Converting Austen in Film Responses Karen Gevirtz, Seton Hall University
    Seton Hall University From the SelectedWorks of Karen Bloom Gevirtz Winter 2010 (De)Constructing Jane: Converting Austen in Film Responses Karen Gevirtz, Seton Hall University Available at: https://works.bepress.com/karen_gevirtz/3/ Karen B. Gevirtz PERSUASIONS ON-LINE V.31, NO.1 (Winter 2010) (De)Constructing Jane: Converting “Austen” in Film Responses KAREN B. GEVIRTZ Karen B. Gevirtz (email: [email protected]) is an Assistant Professor of English at Seton Hall University. She is the author of Life After Death: Widows and the English Novel, Defoe to Austen (University of Delaware Press, 2005) and articles on eighteenth-century women novelists. YOU SORT OF FEEL LIKE YOU OWN HER,” Keira Knightley says of Jane Austen in an interview, adding, “And I’m sure everybody feels the same way” (“Jane Austen”). Certainly if the last two decades are any indication, just about “everybody” does feel a claim or connection not just to the works but to Austen herself. Suzanne R. Pucci and James Thompson describe an explosion of Austen-related materials in an impressive array of media, from traditional print to cyberspace, during the end of the twentieth and the beginning of the twenty-first century (1). Phases appear within this effusion, however, particularly in film responses to her work. In the 1990s, films were occupied with the novels themselves. Gradually, however, film responses have shifted their focus so that by the end of the first decade of the new millennium, a large number of Austen films present the novels not as the result of brilliant literary endeavor, but as the inevitably limited product of a historically-bound being, Austen the woman.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 21 August 2018 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Wootton, S. (2018) 'Revisiting Jane Austen as a romantic author in literary biopics.', Women's writing., 25 (4). pp. 536-548. Further information on publisher's website: https://doi.org/10.1080/09699082.2018.1510940 Publisher's copyright statement: This is an Accepted Manuscript of an article published by Taylor Francis in Women's writing on 08 Oct 2018, available online: http://www.tandfonline.com/10.1080/09699082.2018.1510940. Additional information: Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in DRO • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Peer-reviewed article accepted for publication by Taylor & Francis for Women’s Writing, 25:4, in August 2018 Sarah Wootton Abstract: This essay seeks to establish whether portrayals of Jane Austen on screen serve to reaffirm a sense of the author’s neoconservative heritage, or whether an alternative and more challenging model of female authorship is visible.
    [Show full text]
  • Jane Austen and Transmedia Narratives Analysis of the Cate Morland Chronicles
    Master in English Literature and Linguistics Jane Austen and Transmedia Narratives Analysis of The Cate Morland Chronicles MA Thesis Author: María Heredia Torres Supervisor: María Elena Rodríguez Martín Granada, September 2018 Heredia 1 Table of contents Abstract 2 1. Introduction 3 2. Theoretical framework 5 2.1. Fidelity and narratological approaches 6 2.2. Beyond fidelity and narratology: Review of recent adaptation theories 8 2.3. Transmedia storytelling 12 3. Adaptation of Jane Austen‟s works 18 3.1. Adaptations of Jane Austen‟s novels 20 3.1.1. From the1940s to the 1980s: The first adaptations 20 3.1.2. The 1990s: Austenmania 22 3.1.3. The 2000s and 2010s: Adaptations in the twenty-first century 24 3.2. Adaptations of Northanger Abbey 27 3.3. Fan phenomenon and web series 29 3.3.1. The Lizzie Bennet Diaries as precedent 31 4. Analysis of The Cate Morland Chronicles 33 4.1. Adaptation and modernisation problems: Extra-cinematic factors 34 4.1.1. Filters related to time 35 4.1.2. Filters related to place and culture 38 4.1.3. Influences and intertextuality 39 4.2. Transmedia analysis 44 4.2.1. The Cate Morland Chronicles and transmedia 44 4.2.2. Transmedia and fandom 51 5. Conclusion 55 References 59 Appendix 1 72 Appendix 2 76 Heredia 2 Jane Austen and Transmedia Narratives Analysis of The Cate Morland Chronicles ABSTRACT The main aim of my MA thesis is to analyse The Cate Morland Chronicles (2016), a web series based on Jane Austen‟s novel Northanger Abbey (1818), and to explore how transmedia storytelling is used to adapt and modernise a classic novel.
    [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]
  • 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]
  • JANE AUSTEN's PRIDE and PREJUDICE on FILM by Katherine
    PROFIT AND PRODUCTION: JANE AUSTEN’S PRIDE AND PREJUDICE ON FILM by Katherine Eva Baresay Hon. B.A., University of Toronto, 2006 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in The Faculty of Graduate Studies (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2008 © Katherine Eva Barcsay, 2008 11 Abstract Adaptation from literature to film has always been a much criticized enterprise, with fidelity criticism, or an attempt to discredit fidelity criticism, often driving the critical discussion. However, this type of thinking is somewhat limited, becoming circular and going nowhere productive. Instead, taking into account what has come before, this thesis attempts to settle on a method of examination that moves away from fidelity criticism and towards an approach that aligns itself with cultural studies. Adaptations, then, can be seen as products of the historical, cultural, political and general socio-economic framework out of which they emerge, owing perhaps more to their context of production than to their source material. In order to provide a case study that reflects this idea, this paper looks to an author who has been adapted on multiple occasions, Jane Austen, and examines her as a cultural construct. Looking at Austen’s most popular novel, Pride and Prejudice, and using Robert Z. Leonard’s Pride and Prejudice (1940), Cyril Coke’s Jane Austen ‘s Pride and Prejudice (1980), Simon Langton’s Pride and Prejudice (1995), Andrew Black’s Pride and Prejudice: A Latter Day Comedy (2003), Gurinder Chadha’s Bride and Prejudice (2004) and Joe Wright’s Pride & Prejudice (2005), the thesis argues that the appeal of Austen is a result of her cult status and economic viability, and also the malleability of her text, which allows filmmakers to use it in a number of different contexts, while still embodying the source material.
    [Show full text]
  • Sense and Sensibility Adapted for the Stage from Jane Austen's Novel by Joseph Hanreddy and JR Sullivan
    Sacramento Theatre Company Study Guide Sense and Sensibility Adapted for the stage from Jane Austen's novel by Joseph Hanreddy and JR Sullivan Study Guide Prepared: August 25, 2015 by William Myers Additional Contributor: Romyl Mabanta 1 Sacramento Theatre Company Mission Statement The Sacramento Theatre Company (STC) strives to be the leader in integrating professional theatre with theatre arts education. STC produces engaging professional theatre, provides exceptional theatre training, and uses theatre as a tool for educational engagement. Our History The theatre was originally formed as the Sacramento Civic Repertory Theatre in 1942, an ad hoc troupe formed to entertain locally-stationed troops during World War II. On October 18, 1949, the Sacramento Civic Repertory Theatre acquired a space of its own with the opening of the Eaglet Theatre, named in honor of the Eagle, a Gold Rush-era theatre built largely of canvas that had stood on the city’s riverfront in the 1850s. The Eaglet Theatre eventually became the Main Stage of the not-for-profit Sacramento Theatre Company, which evolved from a community theatre to professional theatre company in the 1980s. Now producing shows in three performance spaces, it is the oldest theatre company in Sacramento. After five decades of use, the Main Stage was renovated as part of the H Street Theatre Complex Project. Features now include an expanded and modernized lobby and a Cabaret Stage for special performances. The facility also added expanded dressing rooms, laundry capabilities, and other equipment allowing the transformation of these performance spaces, used nine months of the year by STC, into backstage and administration places for three months each summer to be used by California Musical Theatre for Music Circus.
    [Show full text]
  • Shades of Austen in Ian Mcewan's Atonement
    JASNA101-112.qxp:. 4/7/09 1:58 PM Page 101 y y Shades of Austen in Ian McEwan’s Atonement : u : JULIETTE WELLS Juliette Wells, an assistant professor of English at Man- hattanville College, is the author of several articles on Austen’s novels and her cultural legacy; she also co- edited The Brontës in the World of the Arts (2008). She is working on a book project about appropriations of Austen in contemporary popular culture. “Dear Miss Morland, consider the dreadful nature of the suspi - cions you have entertained. What have you been judging from? Remember the country and the age in which we live. Remember that we are English: that we are Christians. Consult your own un - derstanding, your own sense of the probable, your own observation of what is passing around you. Does our education prepare us for such atrocities? Do our laws connive at them? Could they be perpe - trated without being known in a country like this, where social and literary intercourse is on such a footing, where every man is sur - rounded by a neighbourhood of voluntary spies, and where roads and newspapers lay everything open? Dearest Miss Morland, what ideas have you been admitting?” They had reached the end of the gallery; and with tears of shame she ran o ff to her own room. (McEwan xi; NA 197-98) T Northanger Abbey reproduced above appears as the epi - graph to Ian McEwan’s 2001 novel Atonement .1 McEwan’s decision to feature this Austen quotation has several e ffects. First, it encourages his readers to apply Henry Tilney’s words to Atonement as well as to identify parallels be - tween this novel and Austen’s work more generally.
    [Show full text]
  • Diplomarbeit
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES DIPLOMARBEIT Titel der Diplomarbeit „Will and Jane in Love – Romanticizing the Author in Popular Cinema around the Millennium” Verfasserin Katrin Waldhart angestrebter akademischer Grad Magistra der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 343 Studienrichtung lt. Studienblatt: Anglistik und Amerikanistik Betreuerin: Ao. Univ.-Prof. Dr. Monika Seidl Für Gabriele, Christoph und Nicole Danksagung An dieser Stelle möcht ich mich gerne bei jenen bedanken, die mich bei dem Entstehungsprozess dieser Diplomarbeit beigleitet und unterstützt haben. Ganz besonders bedanke ich mich bei meiner Betreuerin Univ.-Prof. Dr. Monika Seidl für ihre Unterstützung, ihre Geduld und ihre hilfreichen Vorschläge und Denkanstöße. Von ganzem Herzen danke ich außerdem meinen Eltern, ohne die mir weder die Fertigstellung dieser Arbeit noch mein Studium im Allgemeinen möglich gewesen wären. Ohne ihre stetige (seelische) Unterstützung hätte ich es nicht geschafft, dorthin zu kommen, wo ich jetzt bin. Table of Contents 1. Introduction 1 2. Giving the Author a Body – The Development of William Shakespeare and Jane Austen’s Embodiment 5 2.1. All the World as Stage for William Shakespeare’s Bodies 7 2.2. Everybody’s Dear Jane’s Bodies 14 3. Fact Versus Fiction – The ‘Real’ Versus the Romantic Author 20 3.1. The ‘Real’ Author 22 3.1.1. The History Myth 22 3.1.2. “Film as another kind of history” 26 3.2. The Romantic Author 30 3.2.1. “The very truth and nature of love” – An Attempt to Define ‘Romantic Love’ 30 3.2.2.
    [Show full text]