1,721,471 research outputs found
Further Voyages
Full text linkFor nearly 300 years, authors of all kinds have expanded the world of Lemuel Gulliver through multiple fifth voyages, spinoffs, mock treatises, verse exchanges, and much more. Close to 200 imitative or supplementary works were produced and reproduced between late 1726 and 1730 alone, and well over 100 in each of the following two decades, the 1730s and 1740s. Most Gulliveriana signals a formal connection with Travels, whether it revisits old settings, fills in perceived gaps in the narrative, or provides additional material. First establishing some common terms and issues in the study of print-based Gulliveriana, this chapter explores the different ways in which secondary writers have filled in and filled out the author-explorer’s world in his name. The final section explores proleptic continuations attributed to Gulliver’s offspring, time-forwarded Gullivers, and other, non-Gulliverian authors
Jane Austen and Professional Fanfiction
Full text linkAfter mapping out an expansive if brief overview of the long history of Austen rewrites, this chapter turns to a formal examination of the four novels that have been published so far in The Austen Project by The Borough Press (a subsidiary of HarperCollins, perhaps the most prolific purveyor of Austenian publications): Joanna Trollope’s Sense & Sensibility (2013), Alexander McCall Smith’s Emma (2014), Val McDermid’s Northanger Abbey (2014) and Curtis Sittenfeld’s Eligible (2016), a modern makeover of Pride and Prejudice. As a curated series, The Austen Project provides a convenient case study for an investigation into the figuration and function of the Austenian author today. Trollope, McCall Smith, McDermid and Sittenfeld were (and remain) established authors in different genres before they were commissioned. In their respective contributions to the series they also present themselves as Austen enthusiasts, thereby bridging the worlds of Jane Austen Fan Fiction (or JAFF, a discrete but large and diverse community) and professional secondary authorship (a broader category of rewriting with a combative literary history). What general observations about modern rewrites can we feasibly extrapolate from such a specific set of circumstances? What, if anything, can such a case study contribute to our critical understanding of rewriting? Rewriting here denotes an ongoing engagement with charismatic literature, with varying levels of textual familiarity, as distinct from ‘the rewrite’, a filmic term that refers to the mending of a failed screenplay by script doctors. Recent fanfiction (fan fiction, fanfic or fic) in this context, I want to suggest, is best understood in terms of enforced or (to use a milder term) belated co-authorship, which invites us to keep the original in parallel view at all times at both the levels of production and consumption: Austen-like works as co-written rather than over-written.<br/
Introduction
No full textThis volume shows how new spaces for engaging with Jane Austen have emerged and evolved since the bicentenaries. These spaces are much more interlocking and related than is usually acknowledged by scholarly publications: the collection itself is therefore a physical space in which essays written by academics, and readers and writers from other realms, have been deliberately put together and brought into conversation. The actual collecting of the essays has been consciously undertaken to refuse the binaries of popular and “high” culture, or of “criticism” and fandom, within Austen discourse, and to show that, while we might talk about Austen in different ways, these are ultimately strands of thinking and producing that feed into and influence each other. Gillian Dow and Clare Hanson remind their largely academic audience that “in these competitive days for academic scholarship, there may be considerable advantages in working on such a popular canonical author.” The present collection goes further to try to dismantle the “popular”/ “academic” divide so that our conversations can merge and forge a more open community. Many events that occurred throughout the bicentenaries have inspired the curation of the essays you find here. Moreover, the essays themselves consider different spaces in which Austen is read and how these impact our engagement with the novels, from classroom to conference, from blog to review.<br/
Introduction
No full textThe introduction recounts the life and writing career of Jonathan Swift, centred on his authorship of Gulliver’s Travels (1726). It provides an overview of the action of Swift’s masterpiece, placing the adventures of Lemuel Gulliver in parallel to the events of Swift’s life: his education, early career as secretary to William Temple, forays into satire, political writings during Anne’s reign, and Irish writings in the decade before he published Gulliver. The introduction establishes the circumstances of its publication, the different states of the text (and its paratexts), and some of the main critical attitudes to the work. It summarises the chapters within the volume
An Authoress to be Let:Reading Laetitia Pilkington's memoirs
No full textLiterary scholars now recognize, as Clare Brant expresses it, that ‘many women writers in eighteenth-century Britain were not novelists, poets, or dramatists. They were writers of letters, diaries, memoirs, essays — genres of sometimes uncertain status then and certainly liminal status now’.1 This collection of new essays argues for the importance of women’s life writing, both within women’s literary history and as an integral part of the culture and practice of eighteenth-century and Romantic auto/biography. As these essays show, research in this area has broader implications for our understanding of literary genres, constructions of gender, the relationship between manuscript and print culture, the mechanisms of publicity and celebrity, and models of authorship in the period
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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