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Art and Artifact in Austen
Anna Battigelli
University of Delaware Press, 2020
Jane Austen distinguished herself with genius in literature, but she was immersed in all of the arts. Austen loved dancing, played the piano proficiently, meticulously transcribed piano scores, attended concerts and art exhibits, read broadly, wrote poems, sat for portraits by her sister Cassandra, and performed in theatricals. For her, art functioned as a social bond, solidifying her engagement with community and offering order. And yet Austen’s hold on readers’ imaginations owes a debt to the omnipresent threat of disorder that often stems—ironically—from her characters’ socially disruptive artistic sensibilities and skill. Drawing from a wealth of recent historicist and materialist Austen scholarship, this timely work explores Austen’s ironic use of art and artifact to probe selfhood, alienation, isolation, and community in ways that defy simple labels and acknowledge the complexity of Austen’s thought.

Published by University of Delaware Press. Distributed worldwide by Rutgers University Press.
 
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Austentatious
The Evolving World of Jane Austen Fans
Holly Luetkenhaus and Zoe Weinstein
University of Iowa Press, 2019
The amount of fan-generated content about Jane Austen and her novels has long surpassed the author’s original canon. Adaptations like Clueless, Pride and Prejudice and Zombies, Jane Austen’s Fight Club, and The Lizzie Bennet Diaries have given Austen fans priceless opportunities to enjoy the classic texts anew, and continue to bring new and younger fans into the fold. Now, through online culture, the amount and type of fan-created works has exponentially multiplied in recent years. Fans write stories, create art, make videos, and craft memes, all in homage to one of the most celebrated authors of all time.

This book explores online fan spaces in search of “Janeites” all over the world to discover what fans are making, how fans are sharing their work, and why it matters that so many women and nonbinary individuals find a haven not only in Jane Austen, but also in Jane Austen fandom. In relatable chapters based on firsthand experience, the authors explore how Austen fandom has and continues to build communities around women, people of color, and the LGBTQ+ community. Whether Janeites are shrewdly picking up on the latent sexual tension between women in Emma or casting people of color in leading roles, Luetkenhaus and Weinstein argue that Austen fans are particularly adept at marrying fantasy and feminism.
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Comic Faith
The Great Tradition from Austen to Joyce
Robert M. Polhemus
University of Chicago Press, 1980
"Polhemus sketches several distinctions between nineteenth- and twentieth-century novelists and concludes that what most characterizes the nineteenth century, from the perspective of the twentieth, is the tendency in its comic fiction to criticize and to undermine the dogma and institutions of religion and to put faith instead of the existence of the comic perspective. Comic Faith is a virtuoso performance of impressive stature; I suspect the book will be influential for many years to come."—John Halperin, Modern Fiction Studies
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Constancy and the Ethics of Jane Austen's 'Mansfield Park'
Joyce Kerr Tarpley
Catholic University of America Press, 2010
Constancy and the Ethics of Jane Austen's Mansfield Park offers a rigorous philosophical examination of the novel, the first book-length, close reading to do so.
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The Daily Jane Austen
A Year of Quotes
Jane Austen
University of Chicago Press, 2019
It is a truth universally acknowledged that Jane Austen is eminently, delightfully, and delectably quotable. This truth goes far beyond the first line of Pride and Prejudice, which has muscled out many other excellent sentences. So many gems of wit and wisdom from her novels deserve to be better known, from Northanger Abbey on its lovable, naive heroine—“if adventures will not befal a young lady in her own village, she must seek them abroad”—to Persuasion’s moving lines of love from its regret-filled hero: “You pierce my soul. I am half agony, half hope. Tell me not that I am too late.”
 
Devoney Looser, a.k.a. Stone Cold Jane Austen, has drawn 378 genuine, Austen-authored passages from across the canon, resulting in an anthology that is compulsively readable and repeatable. Whether you approach the collection on a one-a-day model or in a satisfying binge read, you will emerge wiser about Austen, if not about life. The Daily Jane Austen will amuse and inspire skeptical beginners, Janeite experts, and every reader in between by showcasing some of the greatest sentences ever crafted in the history of fiction.
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Equivocal Beings
Politics, Gender, and Sentimentality in the 1790s--Wollstonecraft, Radcliffe, Burney, Austen
Claudia L. Johnson
University of Chicago Press, 1995
In the wake of the French Revolution, Edmund Burke argued that civil order depended upon nurturing the sensibility of men—upon the masculine cultivation of traditionally feminine qualities such as sentiment, tenderness, veneration, awe, gratitude, and even prejudice. Writers as diverse as Sterne, Goldsmith, Burke, and Rousseau were politically motivated to represent authority figures as men of feeling, but denied women comparable authority by representing their feelings as inferior, pathological, or criminal. Focusing on Mary Wollstonecraft, Ann Radcliffe, Frances Burney, and Jane Austen, whose popular works culminate and assail this tradition, Claudia L. Johnson examines the legacy male sentimentality left for women of various political persuasions.

Demonstrating the interrelationships among politics, gender, and feeling in the fiction of this period, Johnson provides detailed readings of Wollstonecraft, Radcliffe, and Burney, and treats the qualities that were once thought to mar their work—grotesqueness, strain, and excess—as indices of ideological conflict and as strategies of representation during a period of profound political conflict. She maintains that the reactionary reassertion of male sentimentality as a political duty displaced customary gender roles, rendering women, in Wollstonecraft's words, "equivocal beings."
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Imagining Minds
The Neuro-Aesthetics of Austen, Eliot, and Hardy
Kay Young
The Ohio State University Press, 2010
Jane Austen, George Eliot, and Thomas Hardy—three great masters of the English novel—are three remarkable imagining minds. As readers of their novels, we feel ourselves to be in contact with their authorial minds and conjure the minds they create spread across the pages of their narrative worlds. In the way that we believe in and hold in mind the idea that other human beings have minds of their own do we as readers of the novel believe we are in the presence of these other minds. But how?
 
Imagining Minds explores how the novels of Austen, Eliot, and Hardy create the felt-quality of their authoring minds and of the minds they author by bringing their writing in relation to cognitive neuroscience accounts of the mind-brain, especially of William James and Antonio Damasio. It is in that relational space between the novels and theories of mind-brain that Kay Young works through her fundamental claim: the novel writes about the nature of mind, narrates it at work, and stimulates us to know deepened experiences of consciousness in its touching of our reading minds. 
 
While, in addition to James and Damasio, Young draws on a range of theories of mind-brain generated by current research in philosophy, neuroscience, cognitive science, psychology, psychiatry, and psychoanalysis to help her understand the novel’s imagining of mind, her claim is that those disciplines cannot themselves perform the more fully integrated because embodied and emotionally stimulating mind work of thenovel—mind work that prompts us as their readers to better know our own minds.
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Jane Austen
Tony Tanner
Harvard University Press, 1986

Devoted fans and scholars of Jane Austen—as well as skeptics—will rejoice at Tony Tanner’s superb book on the incomparable novelist. Distilling twenty years of thinking and writing about Austen, Tanner treats in fresh and illuminating ways the questions that have always occupied her most perceptive critics. How can we reconcile the limited social world of her novels with the largeness of her vision? How does she deal with depicting a once-stable society that was changing alarmingly during her lifetime? How does she express and control the sexuality and violence beneath the well-mannered surface of her milieu? How does she resolve the problems of communication among characters pinioned by social reticences?

Tanner guides us through Austen’s novels from relatively sunny early works to the darker, more pessimistic Persuasion and fragmentary Sanditon—a journey that takes her from acceptance of a society maintained by landed property, family, money, and strict propriety through an insistence on the need for authentication of these values to a final skepticism and even rejection. In showing her progress from a parochial optimism to an ability to encompass her whole society, Tanner renews our sense of Jane Austen as one of the great novelists, confirming both her local and abiding relevance.

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Jane Austen
A Companion
Ross, Josephine
Rutgers University Press, 2003
The only best-selling authors in Jane Austen's league in the English language today are Shakespeare and Dickens. In the twenty-first century her boundless appeal continues to grow following the enormously successful television and film adaptations of Mansfield Park, Pride and Prejudice, Emma, Persuasion, and Sense and Sensibility.

This illuminating, entertaining, up-to-date companion is the only general guide to Jane Austen, her work, and her world. Josephine Ross explores the literary scene during the time Austen's works first appeared: the books considered classics then, the "horrid novels" and romances, and the grasping publishers. She looks at the architecture and décor of Austen's era that made up "the profusion and elegance of modern taste." Regency houses for instance, Chippendale furniture, and "picturesque scenery." On a smaller scale she answers questions that may baffle modern readers. What, for example, was "hartshorn"? How did Lizzy Bennet "let down" her gown to hide her muddy petticoat? Ross shows us the fashions, and the subtle ways Jane Austen used clothes to express character. Courtship, marriage, adultery, class and "rank," mundane tasks of ordinary life, all appear, as does the wider political and military world.

This book will add depth to all readers' enjoyment of Jane Austen, whether confirmed addicts or newcomers wanting to learn about one of the world's most popular and enduring writers.
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Jane Austen and Comedy
Erin Goss
Bucknell University Press, 2019
Jane Austen and Comedy takes for granted two related notions. First, Jane Austen’s books are funny; they induce laughter, and that laughter is worth attending to for a variety of reasons. Second, Jane Austen’s books are comedies, understandable both through the generic form that ends in marriage after the potential hilarity of romantic adversity and through a more general promise of wish fulfillment. In bringing together Austen and comedy, which are both often dismissed as superfluous or irrelevant to a contemporary world, this collection of essays directs attention to the ways we laugh, the ways that Austen may make us do so, and the ways that our laughter is conditioned by the form in which Austen writes: comedy. Jane Austen and Comedy invites reflection not only on her inclusion of laughter and humor, the comic, jokes, wit, and all the other topics that can so readily be grouped under the broad umbrella that is comedy, but also on the idea or form of comedy itself, and on the way that this form may govern our thinking about many things outside the realm of Austen’s work.  

Published by Bucknell University Press. Distributed worldwide by Rutgers University Press.
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Jane Austen
Illustrated Quotations
Edited by the Bodleian Library
Bodleian Library Publishing, 2017
“Next week I shall begin my operations on my hat, on which you know my principal hopes of happiness depend.”—from a letter to Cassandra, October 27, 1798
 
“You express so little anxiety about my being murdered under Ash Park Copse by Mrs. Hulbert’s servant, that I have a great mind not to tell you whether I was or not.”—from a letter to Cassandra, January 8, 1799
 
“Single women have a dreadful propensity for being poor, which is one very strong argument in favour of matrimony.”—from a letter to Fanny Knight, March 13, 1817
 
Much loved for the romantic plot lines and wryly amusing social commentary that spring from the pages of Pride and Prejudice, Mansfield Park, Emma, and her other novels Jane Austen was also a prolific letter writer and penned missives on many subjects. To her sister Cassandra she wrote with candid humor about the effects of the Peninsular War (“How horrible it is to have so many people killed! And what a blessing that one cares for none of them!”), about her dislike of parties and social obligations (“We are to have a tiny party here tonight. I hate tiny parties, they force one into constant exertion.”), and about her impressions of London (“Here I am once more in this scene of dissipation and vice, and I begin to find already my morals corrupted.”). Austen’s characters likewise offer commentary on topics like moral character, gender inequality, ageing, and the disappointments of marriage. In Pride and Prejudice, for example, Charlotte Lucas cautions Elizabeth Bennet, “It is better to know as little as possible of the defects of the person with whom you are about to pass your life.”
Drawing together fifty quotations from Jane Austen’s letters and novels with illustrations that illuminate everyday aspects of life in the Georgian era, this beautifully produced volume will make the perfect gift for Janeites.
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Jane Austen
The Chawton Letters
Edited by Kathryn Sutherland
Bodleian Library Publishing, 2017
The life of Jane Austen has fascinated the millions of readers around the world who cherish her work. A new collection presents an intimate portrait of Austen in her own words, showing the many details of her life that found echoes in her fiction, especially her keen observations of the “little matters”—the routines of reading, dining and taking tea, paying visits to family and friends, and walking to the shops or to send the post.
            Brilliantly edited by Kathryn Sutherland, Jane Austen: The Chawton Letters uses Austen’s letters drawn from the collection held at Jane Austen’s House Museum at her former home in Chawton, Hampshire, to tell her life story. At age twenty-five, Austen left her first home, Steventon, Hampshire, for Bath. In 1809, she moved to Chawton, which was to be her home for the remainder of her short life. In her correspondence, we discover Austen’s relish for her regular visits to the shops and theaters of London, as well as the quieter routines of village life. We learn of her anxieties about the publication of Pride and Prejudice, her care in planning Mansfield Park, and her hilarious negotiations over the publication of Emma.  (To her sister, Cassandra, Austen calls her publisher John Murray, “a Rogue, of course, but a civil one.”) Throughout, the Chawton letters testify to Jane’s close ties with her family, especially her sister, and the most moving letter is written by Cassandra just days after Jane’s death. The collection also reproduces pages from the letters in Austen’s own distinctive hand.
            This collection makes a delightful modern-day keepsake from one of the world’s best-loved writers on the two-hundredth anniversary of her death.
 
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Jane Austen
Women, Politics, and the Novel
Claudia L. Johnson
University of Chicago Press, 1988
"The best (and the best written) book about Austen that has appeared in the last three decades."—Nina Auerbach, Journal of English and Germanic Philology

"By looking at the ways in which Austen domesticates the gothic in Northanger Abbey, examines the conventions of male inheritance and its negative impact on attempts to define the family as a site of care and generosity in Sense and Sensibility, makes claims for the desirability of 'personal happiness as a liberating moral category' in Pride and Prejudice, validates the rights of female authority in Emma, and stresses the benefits of female independence in Persuasion, Johnson offers an original and persuasive reassessment of Jane Austen's thought."—Kate Fullbrook, Times Higher Education Supplement
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Jane Austen
Writer in the World
Edited by Kathryn Sutherland
Bodleian Library Publishing, 2017
The life of Jane Austen has fascinated the millions of readers around the world who cherish her work. A new collection presents an intimate portrait of Austen through her personal possessions, showing the many details of her life that found echoes in her fiction, especially her keen observations of the “little matters”—the routines of reading, dining and taking tea, paying visits to family and friends, and walking to the shops or to send the post.
           
Brilliantly edited by Kathryn Sutherland, Jane Austen: Writer in the World offers a life story told through the author's personal possessions. In her teenage notebooks, literary jokes give a glimpse of her family’s shared love of reading and satire, which can be seen in the subtler humor of Austen’s published work. Pieces from Austen’s hand-copied collection of sheet music reveal how music was used to create networks far more intricate than the simple pleasures of home recital. A beautiful brown silk pelisse-coat, together with lively letters between Austen and Cassandra, give insight into her views on fashion. All feature in this lavishly illustrated collection, along with homemade booklets in which she composed her novels, portraits made of Austen during her lifetime, and much more. Also included are objects associated with the era in which Austen lived: newspaper articles, naval logbooks, and contemporary political cartoons, shedding light on Austen’s wider social and political worlds.
           
This collection makes a delightful modern-day keepsake from one of the world’s best-loved writers on the two-hundredth anniversary of her death.
 
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Jane Austen's Cults and Cultures
Claudia L. Johnson
University of Chicago Press, 2012

Jane Austen completed only six novels, but enduring passion for the author and her works has driven fans to read these books repeatedly, in book clubs or solo, while also inspiring countless film adaptations, sequels, and even spoofs involving zombies and sea monsters. Austen’s lasting appeal to both popular and elite audiences has lifted her to legendary status. In Jane Austen’s Cults and Cultures, Claudia L. Johnson shows how Jane Austen became “Jane Austen,” a figure intensely—sometimes even wildly—venerated, and often for markedly different reasons.

Johnson begins by exploring the most important monuments and portraits of Austen, considering how these artifacts point to an author who is invisible and yet whose image is inseparable from the characters and fictional worlds she created. She then passes through the four critical phases of Austen’s reception—the Victorian era, the First and Second World Wars, and the establishment of the Austen House and Museum in 1949—and ponders what the adoration of Austen has meant to readers over the past two centuries. For her fans, the very concept of “Jane Austen” encapsulates powerful ideas and feelings about history, class, manners, intimacy, language, and the everyday. By respecting the intelligence of past commentary about Austen, Johnson shows, we are able to revisit her work and unearth fresh insights and new critical possibilities.
 
An insightful look at how and why readers have cherished one of our most beloved authors, Jane Austen’s Cults and Cultures will be a valuable addition to the library of any fan of the divine Jane.
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Jane Austen's Names
Riddles, Persons, Places
Margaret Doody
University of Chicago Press, 2015
In Jane Austen’s works, a name is never just a name. In fact, the names Austen gives her characters and places are as rich in subtle meaning as her prose itself. Wiltshire, for example, the home county of Catherine Morland in Northanger Abbey, is a clue that this heroine is not as stupid as she seems: according to legend, cunning Wiltshire residents caught hiding contraband in a pond capitalized on a reputation for ignorance by claiming they were digging up a “big cheese”—the moon’s reflection on the water’s surface. It worked.

In Jane Austen’s Names, Margaret Doody offers a fascinating and comprehensive study of all the names of people and places—real and imaginary—in Austen’s fiction. Austen’s creative choice of names reveals not only her virtuosic talent for riddles and puns. Her names also pick up deep stories from English history, especially the various civil wars, and the blood-tinged differences that played out in the reign of Henry VIII, a period to which she often returns. Considering the major novels alongside unfinished works and juvenilia, Doody shows how Austen’s names signal class tensions as well as regional, ethnic, and religious differences. We gain a new understanding of Austen’s technique of creative anachronism, which plays with and against her skillfully deployed realism—in her books, the conflicts of the past swirl into the tensions of the present, transporting readers beyond the Regency.

Full of insight and surprises for even the most devoted Janeite, Jane Austen’s Names will revolutionize how we read Austen’s fiction.
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Jane Austen’s Novels
Social Change and Literary Form
Julia Prewitt Brown
Harvard University Press, 1979

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Kicking Ass in a Corset
Jane Austen’s 6 Principles for Living and Leading from the Inside Out
Andrea Kayne
University of Iowa Press, 2021
What can organizational leaders in business, education, government, and most any enterprise learn from an unemployed, unmarried woman who lived in patriarchal, misogynistic rural England more than 200 years ago? As it turns out, a great deal. In identifying the core virtues of Austen’s heroines—confidence, pragmatism, diligence, integrity, playfulness, and humility—Andrea Kayne uncovers the six principles of internally referenced leadership that, taken together, instruct women how to tap into a deep well-spring of personal agency and an internal locus of control no matter what is going on around them. Utilizing practical exercises, real-life case studies, and literary and leadership scholarship, Kicking Ass in a Corset maps out effective leadership that teaches readers how to tune out the external noise and listen to themselves so that they can truly live and lead from the inside out.
 
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Mansfield Park
An Annotated Edition
Jane Austen
Harvard University Press, 2016

Jane Austen’s most ambitious novel, Mansfield Park, has always generated debate. Austen herself noted that debate when she conducted a reader survey, recording her acquaintances’ mixed reviews in a booklet she entitled “Opinions of Mansfield Park.” Is this novel’s dutiful heroine, Fanny Price, admirable? Or is she (as Austen’s own mother asserted) “insipid”? Is Fanny actually the heroine, or does that title belong more properly to her rival, Mary Crawford? Does Fanny’s uncle, Sir Thomas Bertram, act as her benefactor, or as a domestic tyrant? In her notes and introduction to this final volume in Harvard’s celebrated annotated Austen series, Deidre Shauna Lynch outlines the critical disagreements Mansfield Park has sparked and suggests that Austen’s design in writing the novel was to highlight, not downplay, the conflicted feelings its plot and heroine can inspire.

Lynch also engages head-on with the novel’s experimentalism, its technical virtuosity, and its undiminished capacity, two centuries later, to disturb and to move. Annotations clarify the nuances of Austen’s language and explain the novel’s literary allusions and its engagements with topical controversies over West Indian slavery and the conduct of Britain’s war against France. The volume’s numerous illustrations enable readers to picture the world Mansfield Park’s characters inhabit, underscoring the novel’s close attention to setting and setting’s impact on character.

Mansfield Park: An Annotated Edition opens up facets of the novel for even devoted Janeites while extending an open hand to less experienced readers. It will be a welcome addition to the shelf of any library.

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Northanger Abbey
An Annotated Edition
Jane Austen
Harvard University Press, 2014

The star of Northanger Abbey is seventeen-year-old Catherine Morland, Jane Austen’s youngest and most impressionable heroine. Away from home for the first time, on a visit to Bath with family friends, Catherine, a passionate consumer of novels (especially of the gothic variety), encounters a world in which everything beckons as a readable text: not only books, but also conversations and behaviors, clothes, carriages, estates, and vistas. In her lively introduction to this newest volume in Harvard’s celebrated annotated Austen series, Susan Wolfson proposes that Austen’s most underappreciated, most playful novel is about fiction itself and how it can take possession of everyday understandings.

The first of Austen’s major works to be completed (it was revised in 1803 and again in 1816–17), Northanger Abbey was published months after Austen’s death in July 1817, together with Persuasion. The 1818 text, whose singularly frustrating course to publication Wolfson recounts, is the basis for this freshly edited and annotated edition.

Wolfson’s running commentary will engage new readers while offering delights for scholars and devoted Janeites. A wealth of color images bring to life Bath society in Austen’s era—the parade of female fashions, the carriages running over open roads and through the city’s streets, circulating libraries, and nouveau-riche country estates—as well as the larger cultural milieu of Northanger Abbey. This unique edition holds appeal not just for “Friends of Jane” but for all readers looking for a fuller engagement with Austen’s extraordinary first novel.

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Pride and Prejudice
An Annotated Edition
Jane Austen
Harvard University Press, 2010

Along with the plays of William Shakespeare and the works of Charles Dickens, Jane Austen’s novels are among the most beloved books of Western literature. Pride and Prejudice (1813) was in Austen’s lifetime her most popular novel, and it was the author’s personal favorite. Adapted many times to the screen and stage, and the inspiration for numerous imitations, it remains today her most widely read book. Now, in this beautifully illustrated and annotated edition, distinguished scholar Patricia Meyer Spacks instructs the reader in a larger appreciation of the novel’s enduring pleasures and provides analysis of Darcy, Elizabeth Bennet, Lady Catherine, and all the characters who inhabit the world of Pride and Prejudice.

This edition will be treasured by specialists and first-time readers, and especially by devoted Austen fans who think of themselves as Friends of Jane. In her Introduction, Spacks considers Austen’s life and career, the continuing appeal of Pride and Prejudice, and its power as a stimulus for fantasy (Maureen Dowd, writing in the New York Times, can hold forth at length on Obama as a Darcy-figure, knowing full well her readers will “understand that she wished to suggest glamour and sexiness”). Her Introduction also explores the value and art of literary annotation. In her running commentary on the novel, she provides notes on literary and historical contexts, allusions, and language likely to cause difficulty to modern readers. She offers interpretation and analysis, always with the wisdom, humor, and light touch of an experienced and sensitive teacher.

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The Proper Lady and the Woman Writer
Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen
Mary Poovey
University of Chicago Press, 1984
"A brilliant, original, and powerful book. . . . This is the most skillful integration of feminism and Marxist literary criticism that I know of." So writes critic Stephen Greenblatt about The Proper Lady and the Woman Writer, Mary Poovey's study of the struggle of three prominent writers to accommodate the artist's genius to the late eighteenth- and early nineteenth-century ideal of the modest, self-effacing "proper lady." Interpreting novels, letters, journals, and political tracts in the context of cultural strictures, Poovey makes an important contribution to English social and literary history and to feminist theory.

"The proper lady was a handy concept for a developing bourgeois patriarchy, since it deprived women of worldly power, relegating them to a sanctified domestic sphere that, in complex ways, nourished and sustained the harsh 'real' world of men. With care and subtle intelligence, Poovey examines this 'guardian and nemesis of the female self' through the ways it is implicated in the style and strategies of three very different writers."—Rachel M. Brownstein, The Nation

"The Proper Lady and the Woman Writer is a model of . . . creative discovery, providing a well-researched, illuminating history of women writers at the turn of the nineteenth century. [Poovey] creates sociologically and psychologically persuasive accounts of the writers: Wollstonecraft, who could never fully transcend the ideology of propriety she attacked; Shelley, who gradually assumed a mask of feminine propriety in her social and literary styles; and Austen, who was neither as critical of propriety as Wollstonecraft nor as accepting as Shelley ultimately became."—Deborah Kaplan, Novel

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Searching for Jane Austen
Emily Auerbach
University of Wisconsin Press, 2004
    Searching for Jane Austen demolishes with wit and vivacity the often-held view of "Jane," a decorous maiden aunt writing her small drawing-room stories of teas and balls. Emily Auerbach presents a different Jane Austen—a brilliant writer who, despite the obstacles facing women of her time, worked seriously on improving her craft and became one of the world’s greatest novelists, a master of wit, irony, and character development.
    In this beautifully illustrated and lively work, Auerbach surveys two centuries of editing, censoring, and distorting Austen’s life and writings. Auerbach samples Austen’s flamboyant, risqué adolescent works featuring heroines who get drunk, lie, steal, raise armies, and throw rivals out of windows. She demonstrates that Austen constantly tested and improved her skills by setting herself a new challenge in each of her six novels.
    In addition, Auerbach considers Austen’s final irreverent writings, discusses her tragic death at the age of forty-one, and ferrets out ridiculous modern adaptations and illustrations, including ads, cartoons, book jackets, newspaper articles, plays, and films from our own time. An appendix reprints a ground-breaking article that introduced Mark Twain’s "Jane Austen," an unfinished and unforgettable essay in which Twain and Austen enter into mortal combat. 
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Sense and Sensibility
An Annotated Edition
Jane Austen
Harvard University Press, 2013

Sense and Sensibility (1811) marked the auspicious debut of a novelist identified only as “A Lady.” Jane Austen’s name has since become as familiar as Shakespeare’s, and her tale of two sisters has lost none of its power to delight. Patricia Meyer Spacks guides readers to a deeper appreciation of the richness of Austen’s delineation of her heroines, Elinor and Marianne Dashwood, as they experience love, romance, and heartbreak. On display again in the editor’s running commentary are the wit and light touch that delighted readers of Spacks’s Pride and Prejudice: An Annotated Edition.

In her notes, Spacks elucidates language and allusions that have become obscure (What are Nabobs? When is rent day?), draws comparisons to Austen’s other work and to that of her precursors, and gives an idea of how other critics have seen the novel. In her introduction and annotations, she explores Austen’s sympathy with both Elinor and Marianne, the degree to which the sisters share “sense” and “sensibility,” and how they must learn from each other. Both manage to achieve security and a degree of happiness by the novel’s end. Austen’s romance, however, reveals darker overtones, and Spacks does not leave unexamined the issue of the social and psychological restrictions of women in Austen’s era.

As with other volumes in Harvard’s series of Austen novels, Sense and Sensibility: An Annotated Edition comes handsomely illustrated with numerous color reproductions that vividly recreate Austen’s world. This will be an especially welcome addition to the library of any Janeite.

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Some Words of Jane Austen
Stuart M. Tave
University of Chicago Press, 2019
Jane Austen’s readers continue to find delight in the justness of her moral and psychological discriminations. But for most readers, her values have been a phenomenon more felt than fully apprehended. In this book, Stuart M. Tave identifies and explains a number of the central concepts across Austen’s novels—examining how words like “odd,” “exertion,” and, of course, “sensibility,” hold the key to understanding the Regency author’s language of moral values. Tracing the force and function of these words from Sense and Sensibility to Persuasion, Tave invites us to consider the peculiar and subtle ways in which word choice informs the conduct, moral standing, and self-awareness of Austen’s remarkable characters.
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Telling Complexions
The Nineteenth-Century English Novel and the Blush
Mary Ann O Farrell
Duke University Press, 1997
In Telling Complexions Mary Ann O’Farrell explores the frequent use of "the blush" in Victorian novels as a sign of characters’ inner emotions and desires. Through lively and textured readings of works by such writers as Jane Austen, Elizabeth Gaskell, Charles Dickens, and Henry James, O’Farrell illuminates literature’s relation to the body and the body’s place in culture. In the process, she plots a trajectory for the nineteenth-century novel’s shift from the practices of manners to the mode of self-consciousness.
Although the blush was used to tell the truth of character and body, O’Farrell shows how it is actually undermined as a stable indicator of character in novels such as Pride and Prejudice, Persuasion, North and South, and David Copperfield. She reveals how these writers then moved on in search of other bodily indicators of mortification and desire, among them the swoon, the scar, and the blunder. Providing unique and creative insights into the constructedness of the body and its semiotic play in literature and in culture, Telling Complexions includes parallel examples of the blush in contemporary culture and describes ways that textualized bodies are sometimes imagined to resist the constraints imposed by such construction.
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front cover of Uncomfortable Situations
Uncomfortable Situations
Emotion between Science and the Humanities
Daniel M. Gross
University of Chicago Press, 2017
What is a hostile environment? How exactly can feelings be mixed? What on earth might it mean when someone writes that he was “happily situated” as a slave? The answers, of course, depend upon whom you ask.

Science and the humanities typically offer two different paradigms for thinking about emotion—the first rooted in brain and biology, the second in a social world. With rhetoric as a field guide, Uncomfortable Situations establishes common ground between these two paradigms, focusing on a theory of situated emotion. Daniel M. Gross anchors the argument in Charles Darwin, whose work on emotion has been misunderstood across the disciplines as it has been shoehorned into the perceived science-humanities divide. Then Gross turns to sentimental literature as the single best domain for studying emotional situations. There’s lost composure (Sterne), bearing up (Equiano), environmental hostility (Radcliffe), and feeling mixed (Austen). Rounding out the book, an epilogue written with ecological neuroscientist Stephanie Preston provides a different kind of cross-disciplinary collaboration. Uncomfortable Situations is a conciliatory work across science and the humanities—a groundbreaking model for future studies.
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