Searching for Jane AustenUniversity of Wisconsin Press, 2004 - 344 sider 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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Side 109
... Elinor embodies the enduring British tradition of re- maining composed under pressure , of keeping a stiff upper lip . Pas- sages describing Elinor are dotted with words like judgment , reason , duty , principle , observation , thought ...
... Elinor embodies the enduring British tradition of re- maining composed under pressure , of keeping a stiff upper lip . Pas- sages describing Elinor are dotted with words like judgment , reason , duty , principle , observation , thought ...
Side 110
... Elinor adapts . While Marianne solipsistically pours out her emotions into the piano , Elinor " joyfully profit [ s ] " from the subterfuge of using " the powerful protection of a very magnifi- cent concerto " to hide her secret ...
... Elinor adapts . While Marianne solipsistically pours out her emotions into the piano , Elinor " joyfully profit [ s ] " from the subterfuge of using " the powerful protection of a very magnifi- cent concerto " to hide her secret ...
Side 112
... Elinor parted from their mother before heading for London for a few weeks . At the time , the narrator implied that Elinor was the only reasonable one : " Elinor was the only one of the three , who seemed to consider the separation as ...
... Elinor parted from their mother before heading for London for a few weeks . At the time , the narrator implied that Elinor was the only reasonable one : " Elinor was the only one of the three , who seemed to consider the separation as ...
Innhold
Putting Her Down and Touching Her Up | 3 |
Jane Austens Early Writings | 41 |
Northanger Abbey | 70 |
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Admiral Anne appear Aunt Austen-Leigh beauty become Bennet brother called Captain Catherine chapter characters Critical Croft Darcy Dashwood describes early Edward Elinor Elizabeth Elliot Emma eyes fact Fanny father feel fiction girl give happy heart Henry hero heroine human idea imagination included interesting Jane Austen John kind Knightley lack Lady laugh letter literary lively London look Lydia manners Mansfield Park Marianne marriage married Mary mean mind Miss nature never Northanger Abbey notes novel observes offer perhaps person Persuasion play poem present Press Price Pride and Prejudice readers reference remains remarks romantic seems Sense and Sensibility shows sister speak story suggests talk tells thing Thomas thought tion turns Twain University voice Wentworth wife woman women write York young