1,721,134 research outputs found
Georgette Heyer: What Austen Left Out
Full text linkIt has often been observed that there are certain things Jane Austen excludes from her books, most notably conversations between men at which no women are present, and the Napoleonic wars. Georgette Heyer comprehensively and systematically includes what Austen omits. Regency Buck, the first of Heyer’s regency romances, pointedly highlights a number of things that Austen keeps silent on: the Prince Regent and the Pavilion, duels, snuff, men’s clothes and pastimes, men’s conversation, Beau Brummell, curricle racing, cockfighting, boxing, and the manners of men to non-ladies. The heroine’s brother, Peregrine, takes sparring lessons at Jackson’s Saloon, shoots at Manton’s Galleries, fences at Angelo’s, and drinks Blue Ruin in Cribb’s Parlour, and we even overhear an all-male conversation. Above all, Heyer focuses on the Napoleonic Wars, which for her men are the preservative from foppishness and folly; essentially, they have a choice between fighting for Wellington or growing to be like Prinny or Byron. This chapter will examine her representation of the wars, with particular attention to the ways in which the language and imagery of warfare spills over into domestic situations
Introduction: Looking at Austen
No full textIn Dodie Smith’s I Capture the Castle (1949), the heroine Cassandra is asked by her sister Rose, ‘Did you think of anything when Miss Marcy said Scoatney Hall was being re-opened? I thought of the beginning of Pride and Prejudice.’ So too have many other writers, adapters, and fans of Jane Austen in a variety of circumstances and contexts, but they have not confined themselves to the beginning of Austen’s most famous novel: they have ranged over almost everything she wrote. There seems to be no end to the ways in which readers, viewers, and the general public want to engage with Jane Austen, be it Amy Heckerling’s film Clueless, which transplants Emma to Los Angeles, or the annual Regency ball at Chatsworth, for which guests are invited to dress as Austen characters. It is true that Pride and Prejudice dominates, particularly as it was brought to the screen in the 1995 BBC adaptation written by Andrew Davies. For instance, in Pride and Platypus, billed as being by ‘Jane Austen and Vera Nazarian’, Mr Darcy is a platypus so often that he has a wet shirt, a clear reference to the iconic image of Colin Firth’s Mr Darcy emerging from the lake. Mr Darcy has told his own story at least three times, the Bennet family’s servants have had theirs told in Jo Baker’s Longbourn, and the central love story of Pride and Prejudice has been co-opted for various dubiously erotic retellings. Both Austen’s characters and Austen herself have turned detective, and Austen has also become an action figure and a vampire, while Seth Grahame-Smith’s Pride and Prejudice and Zombies does what it says on the tin. Even such a list as this, various and multifarious as it is, by no means exhausts the reuses and reworkings of Austen on screen and in print, and there are also numerous self-published fan fiction responses to Austen and her novels. I do not think she has been to outer space yet, but it is surely only a matter of time
A companion to the Cavendishes writing, patronage, and material culture
Full text linkThe noble Cavendishes were one of the most influential families in the politics and culture of early modern England and beyond. A Companion to the Cavendishes offers a comprehensive account of the Cavendish family's creative output and cultural significance in the seventeenth century. It discusses the writings of individuals including William and Margaret Cavendish, and William's daughters Jane and Elizabeth; family members' work and patronage in other media such as music, architecture, and the visual arts; their participation in contemporary developments in politics, philosophy, and horsemanship; and the networks in which they moved both in England and in continental Europe. It also covers the work of less well-known family members such as the poet and biographer George Cavendish and the composer Michael Cavendish. This volume combines path-breaking scholarship with discussion of existing research, making it an invaluable resource for all those interested in this fascinating and diverse group of men and women
Thomas Nashe and the Idea of the Author
Full text linkThomas Nashe was a writer whose authorial voice was impacted by a number of different sources. Beginning with figures writing in the classical age, this thesis discusses how Nashe directly engages with their authorial personae by representing them directly in his works, and examines how Nashe presented his views on authorship by examining the manner in which he utilised these authors and their works. The thesis is not limited by genre, but engages with authors across various styles, including satire, history and drama whilst also discussing how Nashe rationalised his admiration of authors whose religious views were antithetical to his own. The scope of the analysis ranges from considering Nashe’s responses to classical authors (like Apuleius and Lucian) to contemporary Europe (Aretino) and England (including Marlowe and Greene). This thesis offers an original contribution to knowledge by highlighting how Nashe’s self-fashioning of his own authorial persona is developed through his interrogation of the models of authorship offered by both classical and contemporary authorities and discussing how his utilisation of these figures assisted in his growth as a polyauthor. The thesis concludes that Nashe’s authorial voice and identity developed through exposure to various influences and was constantly evolving throughout his career
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
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