query: where did jane austen grow up?

title: Jane Austen Centre

text: Jane Austen Centre The Jane Austen Centre at 40 Gay Street in Bath, Somerset, England, is a permanent exhibition which tells the story of Jane Austen's Bath experience – the effect that visiting and living in the city had on her and her writing. The building is part of a block (31–40 Gay Street) which has been designated by English Heritage as a Grade II listed building. The Jane Austen Waxwork is a life size wax model of the author, commissioned by the Jane Austen Centre. It was unveiled at the Centre on 9 July 2014 and is currently on

title: Jane Austen Centre

text: Austen figure, Richards worked closely with Melissa Dring, along with hair and color artist Nell Clarke, and designer Andrea Galer. The latter, dressing the completed figure in authentic period costume. The completed figure was unveiled to the world media on Wednesday 9 July 2014, at the Jane Austen Centre; the figure being displayed in a specially created space within the Centre. Jane Austen Centre The Jane Austen Centre at 40 Gay Street in Bath, Somerset, England, is a permanent exhibition which tells the story of Jane Austen's Bath experience – the effect that visiting and living in the city had

title: Jane Austen in popular culture

text: beaten to death with a stick") while Ecuadoran women were much more fond of the character, saying he did not deserved to be beaten to death with a stick as their menfolk were insisting upon. The Ecuadorans tended to regard Austen as more of a fantasy writer, describing life in Regency England that was simply inconceivable in modern Ecuador, with one reader of "Pride and Prejudice" telling Smart that none of the characters from that book would last a day in Guayaquil. In 2007, Anne Hathaway starred as Austen in "Becoming Jane." Based on the biography "Becoming Jane Austen" by

title: Reception history of Jane Austen

text: being the scribe who produced these books that they admired so much. More typical of the post-1945 scholarship is Marvin Mudrick's 1952 book "Jane Austen: Irony as Defense and Discovery", where he argued that Austen used irony as a way of deflating conventions and to gently challenge the reader's beliefs. In 1951, Arnold Kettle in his "Introduction to the English Novel" praised Austen for her "fineness of feeling", but complained about the "relevance" of her work to the 20th century, charging that the values of Austen's novels were too much those of Regency England to be acceptable for the 20th

title: Jane Austen in popular culture

text: Jon Hunter Spence, the film centred on Jane Austen's early life, her development as an author, and the posited romantic relationship with Thomas Langlois Lefroy (James McAvoy). "Miss Austen Regrets", a television film starring Olivia Williams as Jane Austen, was released in the same year. Based on Austen's surviving letters, the semi-biographical television movie focused on the last few years of Jane Austen's life as she looked back on her life and loves and helped her favourite niece, Fanny Knight (Imogen Poots), find a husband. "JANE, the musical" debuted in June 2006 in the West Midlands, England. It is a

title: Jane Austen

text: The first dissertation on Austen was published in 1883, by George Pellew, a student at Harvard University. The first examination came from a 1911 essay by Oxford Shakespearean scholar A. C. Bradley. In his essay, Bradley groups Austen's novels into "early" and "late" works, a distinction still used by scholars today. The first academic books devoted to Austen in France was "Jane Austen" by Paul and Kate Rague published in 1914, where the Ragues set out to explain why French critics and readers should take Austen seriously. The same year, Léonie Villard published "Jane Austen, Sa Vie et Ses Oeuvres",

title: Becoming Jane Austen

text: Becoming Jane Austen Becoming Jane Austen was researched and written by the Jane Austen scholar Jon Hunter Spence. It chronicles a demi-biographical version of Austen's early biography based on Spence's interpretation of the novel "Pride and Prejudice" as possibly being modeled on Austen's real life, although Austen herself does not make this claim for her novel. "Becoming Jane Austen" was first published in hardcover by Hambledon Continuum in 2003. It chronicles the early life of Jane Austen, the encounters and the developing relationship between Austen and Tom Lefroy, based on letters sent by Jane Austen to her sister Cassandra. The

title: Timeline of Jane Austen

text: country and class conflict rose as the Industrial Revolution began. Timeline of Jane Austen Jane Austen lived her entire life as part of a family located socially and economically on the lower fringes of the English gentry. The Rev. George Austen and Cassandra Leigh, Jane Austen's parents, lived in Steventon, Hampshire, where Rev. Austen was the rector of the Anglican parish from 1765 until 1801. Jane Austen's immediate family was large and close-knit. She had six brothers—James, George, Charles, Francis, Henry, and Edward—and a beloved older sister, Cassandra. Austen's brother Edward was adopted by Thomas and Elizabeth Knight and eventually

title: Timeline of Jane Austen

text: Timeline of Jane Austen Jane Austen lived her entire life as part of a family located socially and economically on the lower fringes of the English gentry. The Rev. George Austen and Cassandra Leigh, Jane Austen's parents, lived in Steventon, Hampshire, where Rev. Austen was the rector of the Anglican parish from 1765 until 1801. Jane Austen's immediate family was large and close-knit. She had six brothers—James, George, Charles, Francis, Henry, and Edward—and a beloved older sister, Cassandra. Austen's brother Edward was adopted by Thomas and Elizabeth Knight and eventually inherited their estates at Godmersham, Kent, and Chawton, Hampshire. In

title: Jane Austen

text: 1803, Henry Austen offered "Susan" to Benjamin Crosby, a London publisher, who paid £10 for the copyright. Crosby promised early publication and went so far as to advertise the book publicly as being "in the press", but did nothing more. The manuscript remained in Crosby's hands, unpublished, until Austen repurchased the copyright from him in 1816. In December 1800 George Austen unexpectedly announced his decision to retire from the ministry, leave Steventon, and move the family to 4, Sydney Place in Bath. While retirement and travel were good for the elder Austens, Jane Austen was shocked to be told she

title: Jane Austen Centre

text: for a film company, from eye-witness accounts. As David Baldock said: “We were always asked what Jane Austen looked like and in a way the only reference point we had was Jane Austen’s sister, Cassandra’s, very poor watercolour and we didn’t feel it did her justice.” The portrait was unveiled in December 2002. The process was taken a step further in 2011, when the Jane Austen Centre commissioned a three-dimensional, life-size wax figure. Based upon the 2002 portrait, the wax figure’s creation was undertaken by the portrait sculptor Mark Richards. During the three-year process it took to create the Jane

title: Becoming Jane Austen

text: Atkins as Anne Lefroy, Lynne Seamore as Cassandra Austen, Keiron Self as John Warren, and Manon Edwards as Ellen, and directed by Celia De Wolff. Becoming Jane Austen Becoming Jane Austen was researched and written by the Jane Austen scholar Jon Hunter Spence. It chronicles a demi-biographical version of Austen's early biography based on Spence's interpretation of the novel "Pride and Prejudice" as possibly being modeled on Austen's real life, although Austen herself does not make this claim for her novel. "Becoming Jane Austen" was first published in hardcover by Hambledon Continuum in 2003. It chronicles the early life of

title: Jane Austen

text: Notice" her brother wrote in 1818; and family details continued to be or embellished in her nephew's "A Memoir of Jane Austen", published in 1869, and in William and Richard Arthur Austen-Leigh's biography "Jane Austen: Her Life and Letters", published in 1913. The legend the family and relatives created reflects their biases in favour of "good quiet Aunt Jane", portraying a woman whose domestic situation was happy and whose family was the mainstay of her life. Austen scholar Jan Fergus explains that modern biographies tend to include details excised from the letters and family biographical materials, but that the challenge

title: Jane Austen

text: also at home. Bigg-Wither proposed and Austen accepted. As described by Caroline Austen, Jane's niece, and Reginald Bigg-Wither, a descendant, Harris was not attractive – he was a large, plain-looking man who spoke little, stuttered when he did speak, was aggressive in conversation, and almost completely tactless. However, Austen had known him since both were young and the marriage offered many practical advantages to Austen and her family. He was the heir to extensive family estates located in the area where the sisters had grown up. With these resources, Austen could provide her parents a comfortable old age, give Cassandra

title: Jane Austen

text: referred to Austen several times with approval and on one occasion ranked her with Shakespeare, Cervantes, and Henry Fielding as among "the fine painters of life". The publication of James Edward Austen-Leigh's "A Memoir of Jane Austen" in 1869 introduced Austen to a wider public as "dear aunt Jane", the respectable maiden aunt. Publication of the "Memoir" spurred the reissue of Austen's novels – the first popular editions were released in 1883 and fancy illustrated editions and collectors' sets quickly followed. Author and critic Leslie Stephen described the popular mania that started to develop for Austen in the 1880s as

title: A Memoir of Jane Austen

text: A Memoir of Jane Austen A Memoir of Jane Austen is a biography of the novelist Jane Austen (1775–1817) published in 1869 by her nephew James Edward Austen-Leigh. A second edition was published in 1871 which included previously unpublished Jane Austen writings. A family project, the biography was written by James Edward Austen-Leigh but owed much to the recollections of Jane Austen's many relatives. However, it was the decisions of her close friend and sister, Cassandra Austen, to destroy many of Jane's letters after her death that shaped the material available for the biography. Austen-Leigh described his "dear Aunt Jane"

title: Jane Austen

text: favourite contemporary novel, "The History of Sir Charles Grandison" (1753), by Samuel Richardson. When Austen became an aunt for the first time at age eighteen, she sent new-born niece Fanny-Catherine Austen-Knight "five short pieces of ... the Juvenilia now known collectively as 'Scraps' .., purporting to be her 'Opinions and Admonitions on the conduct of Young Women' ". For niece Jane-Anna-Elizabeth Austen (also born in 1793) Jane Austen wrote "two more 'Miscellanious [sic] Morsels', dedicating them to [Anna] on 2 June 1793, 'convinced that if you seriously attend to them, You will derive from them very important Instructions, with regard

title: Reception history of Jane Austen

text: regard, MacIntyre used Austen as an "Aristotelian" writer whose books offered up examples of how to be virtuous, with the English country estate playing the same role that the "polis" did for Aristotle. By contrast, Mary Evans in her 1987 book "Jane Austen and the State" depicted Austen as a proto-Marxist concerned with the "stability of human relationships and communities" and against "conspicuous consumption" and the "individualisation of feeling" promoted by the Industrial Revolution. In her 1987 book "Desire and Domestic Fiction", Nancy Armstrong, in a study much influenced by the theories of Karl Marx and Michel Foucault, argued that

title: A Memoir of Jane Austen

text: of all subsequent biographical writings". A Memoir of Jane Austen A Memoir of Jane Austen is a biography of the novelist Jane Austen (1775–1817) published in 1869 by her nephew James Edward Austen-Leigh. A second edition was published in 1871 which included previously unpublished Jane Austen writings. A family project, the biography was written by James Edward Austen-Leigh but owed much to the recollections of Jane Austen's many relatives. However, it was the decisions of her close friend and sister, Cassandra Austen, to destroy many of Jane's letters after her death that shaped the material available for the biography. Austen-Leigh

title: Jane Austen

text: In 1804, while living in Bath, Austen started but did not complete her novel, "The Watsons". The story centres on an invalid and impoverished clergyman and his four unmarried daughters. Sutherland describes the novel as "a study in the harsh economic realities of dependent women's lives". Honan suggests, and Tomalin agrees, that Austen chose to stop work on the novel after her father died on 21 January 1805 and her personal circumstances resembled those of her characters too closely for her comfort. Her father's relatively sudden death left Jane, Cassandra, and their mother in a precarious financial situation. Edward, James,

title: Jane Austen in popular culture

text: West-End style musical theatre production based on the life of Jane Austen. The musical, directed by Geetika Lizardi, focuses on Austen as a modern heroine, a woman who chose art and integrity over the security of a loveless marriage. Jane Austen features as an amateur sleuth in Stephanie Barron's Jane Austen series of historical mystery novels. Kate Beaton, cartoonist of webcomic "Hark! A Vagrant", devoted one of her comic strips to Jane Austen. Jane Austen (voiced by Eden Riegel) is revealed as the narrator of 2013's "Saints Row IV" in a bonus cutscene, and the game's antagonist Zinyak reads the

title: A Memoir of Jane Austen

text: in one way or another, to Cassandra Austen." Cassandra was the executor of Jane's will and was responsible for the preservation and destruction of all remaining letters and manuscripts after Jane's death. According to Caroline Austen, one of Jane Austen's nieces, Cassandra "looked [the letters] over and burnt the greater part, (as she told me), 2 or 3 years before her own death—She left, or "gave" some as legacies to the Nieces—but of those that "I" have seen, several had portions cut out". Thus, while writing the "Memoir", Austen-Leigh did not have access to large numbers of Jane Austen's letters.

title: A Memoir of Jane Austen

text: generating interest in novels which only the literary elite had read up until that point. It remained the primary biographical work on the author for over half a century. In the late 1860s, the Austen family decided to write a biography of Jane Austen. The death of Sir Francis Austen, her last surviving sibling, and the ageing of those who had any memory of her prompted the family to gather their papers and to begin recording their memories. Public interest in Jane Austen was also developing and the family became concerned that an outsider or another branch of the family

title: The Jane Austen Season

text: films were first aired in the United States on WGBH-TV as part of the PBS Masterpiece series, "The Complete Jane Austen". The Jane Austen Season The Jane Austen Season is a British television series of dramas based on novels by Jane Austen. The season began on ITV at 9:00 p.m. on Sunday 18 March 2007, with "Mansfield Park". The following week, "Northanger Abbey" was aired. The season ended with the airing of "Persuasion" on Sunday 1 April 2007. A repeat of the 1996 feature-length film "Emma" was broadcast on Friday 6 April 2007. The combined ITV and BBC series was

title: Jane Austen College

text: Physical Education for selected pupils. The school is aiming for all pupils to complete English Baccalaureate. The GCSEs that are being offered are the following: Pupils travel to the University of East Anglia for sports lessons and electives. Units which have been taught there include football, hockey and netball. Jane Austen College Jane Austen College is a secondary free school located in Norwich, owned by the Inspiration Trust, that opened in September 2014. The school's Principal is Claire Heald. Plans for the school were announced in March 2013 with the intention to locate in central Norwich. Jane Austen was approved

title: Jane Austen College

text: Jane Austen College Jane Austen College is a secondary free school located in Norwich, owned by the Inspiration Trust, that opened in September 2014. The school's Principal is Claire Heald. Plans for the school were announced in March 2013 with the intention to locate in central Norwich. Jane Austen was approved by the Department for Education, on 22 May 2013, to open in September 2014. The school will eventually have places to educate 1,100 pupils aged 11–18. The school specialises in English and humanities, and all pupils are required to study a language until age 16. There are also classes

title: Becoming Jane Austen

text: bedrock itself. His interpretation of Jane Austen’s character and personality as well as of her fiction impresses the reader with his long and intimate acquaintance with the writer and her works." A paperback edition of the book was published by Continuum on 14 June 2007 The Austen-Lefroy relationship was also used as the basis for "Jane and Tom: The Real Pride and Prejudice", a radio play by Elizabeth Lewis. It was first broadcast on 1 June 2007, starring Jasmine Hyde as Austen and Andrew Scott as Lefroy, along with Penny Downie as Mrs Austen, Jane Whittenshaw as Mrs Lefroy, Rachel

title: Becoming Jane Austen

text: book was used as the basis for the film "Becoming Jane", which was released in January 2007 (Sydney). Jon Spence was a historical consultant for the film. A review of the book by the Jane Austen Society of North America states that, "Jon Spence’s "Becoming Jane Austen" is one of the best half-dozen books published on Austen in the last quarter century, at least. It is a remarkably learned book written in a remarkably lucid style and a joy to read. The research is so substantial, wide-ranging, and detailed that any conjecture Spence builds on it has the feel of

title: Jane Austen

text: During her time at Chawton, Jane Austen published four generally well-received novels. Through her brother Henry, the publisher Thomas Egerton agreed to publish "Sense and Sensibility", which, like all of Jane Austen's novels except "Pride and Prejudice", was published "on commission", that is, at the author's financial risk. When publishing on commission, publishers would advance the costs of publication, repay themselves as books were sold and then charge a 10% commission for each book sold, paying the rest to the author. If a novel did not recover its costs through sales, the author was responsible for them. The alternative to

title: Jane Austen

text: him out to be fostered. In 1773, Cassandra was born, followed by Francis in 1774, and Jane in 1775. According to Honan, the atmosphere of the Austen home was an "open, amused, easy intellectual" one, where the ideas of those with whom the Austens might disagree politically or socially were considered and discussed. The family relied on the patronage of their kin and hosted visits from numerous family members. Cassandra Austen spent the summer of 1770 in London with George's sister, Philadelphia, and her daughter Eliza, accompanied by his other sister, Mrs Walter and her daughter Philly. Philadelphia and Eliza

title: Timeline of Jane Austen

text: 1801, Rev. Austen retired from the ministry and moved his family to Bath, Somerset. He died in 1805 and for the next four years, Jane, Cassandra, and their mother lived first in rented quarters and then in Southampton where they shared a house with Frank Austen's family. During these unsettled years, they spent much time visiting various branches of the family. In 1809, Jane, Cassandra, and their mother moved permanently into a large "cottage" in Chawton village that was part of Edward's nearby estate. Austen lived at Chawton until she moved to Winchester for medical treatment shortly before her death

title: Jane Austen fan fiction

text: to the existing canon of Austen literature. While audiences have responded well commercially to various novels, critics have argued that transposing new work onto of the frame provided by Austen adulterates the genre. Old Friends and New Fancies: An Imaginary Sequel to the Novels of Jane Austen – by Sybil Brinton (1913) Margaret Dashwood, or, Interference (1929) and Susan Price, or, Resolution (1930) – by Edith Charlotte Brown Pemberley: Or Pride and Prejudice Continued – by Emma Tennant (1993) Mr. Darcy's Daughters – by Elizabeth Aston (2003) More Letters from Pemberley – by Jane Dawkins (2007) Confessions of a Jane

title: Jane Austen

text: title of Austen's "Love and " [sic]. Novels Unfinished fiction Other works Juvenilia – Volume the First (1787–1793) Juvenilia – Volume the Second (1787–1793) Juvenilia – Volume the Third (1787–1793) Jane Austen Jane Austen (; 16 December 1775 – 18 July 1817) was an English novelist known primarily for her six major novels, which interpret, critique and comment upon the British landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage in the pursuit of favourable social standing and economic security. Her works critique the novels of sensibility of the second

title: Jane Austen

text: Jane Austen Jane Austen (; 16 December 1775 – 18 July 1817) was an English novelist known primarily for her six major novels, which interpret, critique and comment upon the British landed gentry at the end of the 18th century. Austen's plots often explore the dependence of women on marriage in the pursuit of favourable social standing and economic security. Her works critique the novels of sensibility of the second half of the 18th century and are part of the transition to 19th-century literary realism. Her use of biting irony, along with her realism, humour, and social commentary, have long

title: Jane Austen

text: "Austenolatry". In 1878, the French critic Léon Boucher published the essay "Le Roman Classique en Angleterre", where he called Austen a "genius", which was the first time that epithet had been used in France to describe Austen. The first proper translation of Austen into French that was completely faithful to the original occurred in 1899 when Félix Fénéon translated "Northanger Abbey" into French as "Catherine Moreland". Around the start of the 20th century, members of the literary elite reacted against the popularisation of Austen. They referred to themselves as "Janeites" in order to distinguish themselves from the masses who did

title: The Jane Austen Season

text: The Jane Austen Season The Jane Austen Season is a British television series of dramas based on novels by Jane Austen. The season began on ITV at 9:00 p.m. on Sunday 18 March 2007, with "Mansfield Park". The following week, "Northanger Abbey" was aired. The season ended with the airing of "Persuasion" on Sunday 1 April 2007. A repeat of the 1996 feature-length film "Emma" was broadcast on Friday 6 April 2007. The combined ITV and BBC series was shown in the United States by the PBS Masterpiece Theatre drama anthology television series from January through March 2008. The following

title: Timeline of Jane Austen

text: for advice and encouragement" after the Lefroys moved to nearby Ashe in 1783. Her death in a riding accident in 1804 left Jane grief-stricken. Austen met, danced with, and perhaps fell in love with Thomas Lefroy during the Christmas holidays in 1795. However, Lefroy departed to begin his law studies in January 1796 and he and Jane never saw each other again. Samuel Blackall, a Fellow of Emmanuel College, Cambridge, and a friend of Mrs. Anne Lefroy, was seriously interested in marrying Austen in 1797. Austen family tradition holds that Jane and an unnamed young clergyman fell in love while

title: Timeline of Jane Austen

text: the Austen family visited the seaside at Sidmouth in the summer of 1801. Cassandra is said to have approved of this young man, but he died unexpectedly several months later, before he and Jane could be together again. Austen received her only proposal of marriage from Harris Bigg-Wither, brother of her friends Alethea, Elizabeth and Catherine Bigg, while visiting them at their home in December 1802. Austen at first accepted the proposal, then realized she had made a mistake and withdrew her acceptance the next day. Austen biographer Park Honan suggests that Jane may have received a proposal of marriage

title: Reception history of Jane Austen

text: used realism as a way of attacking patriarchy from the outside as opposed to subverting it from within by irony as Gilbert and Gubar claimed. The interest generated in Austen by these critics led to the discovery and study of other woman writers of the time. Moreover, with the publication of Julia Prewitt Brown's "Jane Austen's Novels: Social Change and Literary Form" (1979), Margaret Kirkham's "Jane Austen: Feminism and Fiction" (1983), and Claudia L. Johnson's "Jane Austen: Women, Politics and the Novel" (1988), scholars were no longer able to easily argue that Austen was "apolitical, or even unqualifiedly 'conservative'". Kirkham,

title: A Memoir of Jane Austen

text: would produce a biography. James Edward Austen-Leigh, as the son of the eldest branch, "in a spirit of censorship as well as communication", thus began the project. With the help and support of his sisters and Jane Austen's nieces, he collected materials. The biography was largely the work of James Edward Austen-Leigh, his half-sister Jane Anna Elizabeth Austen Lefroy and, his younger sister Caroline Mary Craven Austen, and their cousin Cassy Esten. As Austen scholar Kathryn Sutherland points out in her "Introduction" to the Oxford edition of the "Memoir", however, Austen-Leigh's biography is specific to the Steventon or Hampshire Austens,

title: Reception history of Jane Austen

text: 1870 that there was a distinctive American response to Austen. As Southam explains, "for American literary nationalists Jane Austen's cultivated scene was too pallid, too constrained, too refined, too downright unheroic". Austen was not democratic enough for American tastes and her canvas did not extend to the frontier themes that had come to define American literature. By the start of the 20th century, the American response was represented by the debate between the American novelist and critic William Dean Howells and the writer and humourist Mark Twain. In a series of essays, Howells helped make Austen into a canonical figure

title: Jane Austen

text: which was originally her PhD thesis, marking the first time that Austen had subjected to a serious academic study in France. The second examination in English was R. W. Chapman's 1923 edition of Austen's collected works. Not only was it the first scholarly edition of Austen's works, it was also the first scholarly edition of any English novelist. The Chapman text has remained the basis for all subsequent published editions of Austen's works. With the publication in 1939 of Mary Lascelles's "Jane Austen and Her Art", the academic study of Austen took hold. Lascelles's innovative work included an analysis of

title: Jane Austen

text: in the evenings. Socialising with the neighbours often meant dancing, either impromptu in someone's home after supper or at the balls held regularly at the assembly rooms in the town hall. Her brother Henry later said that "Jane was fond of dancing, and excelled in it". In 1783, Austen and her sister Cassandra were sent to Oxford to be educated by Mrs Ann Cawley who took them with her to Southampton when she moved there later in the year. In the autumn both girls were sent home when they caught typhus and Austen nearly died. Austen was from then home

title: Reception history of Jane Austen

text: discourse allowed the reader to understand Emma mind without becoming limited by it. Another major theme of Austen scholarship has concerned the question of the "Bildungsroman" (novel of education). D.D Devlin in "Jane Austen and Education" (1975) argued that Austen's novels were all in varying ways "Bildungsroman", where Austen put into practice Enlightenment theories about how the character of young people can develop and change. The Italian literary critic Franco Moretti in his 1987 book "The Way of the World" called "Pride and Prejudice" a "classic" "Bildungsroman", where Elizabeth Bennet's "prejudice" against Mr. Darcy is really "distrust" and that "she

title: Jane Austen fan fiction

text: Austen Addict – by Laurie Viera Rigler (2007) "Mr. Fitzwilliam Darcy: The Last Man in the World' – "by Abigail Reynolds (2009) Pride and Prejudice and Zombies – by Seth Grahame-Smith (2009) Sense and Sensibility and Sea Monsters – by Ben H. Winters (2009) "Longbourn --" by Jo Baker (2014) Jane Austen fan fiction Jane Austen fan fiction is the collection of numerous sequels and spin-offs produced by authors who have either used the plot of Austen's original novels, or have extended them, to produce new works of fiction. Austen's posthumous popularity has inspired fan fiction that runs the gamut

title: A Memoir of Jane Austen

text: for whom Jane Austen is "nature-loving, religious, domestic, [and] middle class". The Godmersham or Kentish Austens viewed Jane Austen as more "inward and passionate...gentrified, improved willy-nilly by contact with her fine relations". Moreover, as Caroline wrote, "the generation who knew her is passing away". Much of the biography is based on the memories of those who had only known Jane Austen when they were children and she was their older aunt; the rest is based on written records passed down through the family. As Sutherland explains, "the major ingredients of the "Memoir", as well as its reverent colouring, are owed,

title: A Memoir of Jane Austen

text: domestically, as someone who was uninterested in fame and who only wrote in her spare time. However, the manuscripts appended to the second edition suggest that Jane Austen was intensely interested in revising her manuscripts and was perhaps less content than Austen-Leigh described her. The "Memoir" does not attempt to unreservedly tell the story of Jane Austen's life. Following the Victorian conventions of biography, it kept much private information from the public, but family members disagreed over just how much should be revealed, for example, regarding Austen's romantic relationships. The "Memoir" introduced the public to the works of Jane Austen,

title: Jane Austen in popular culture

text: trivia questions about Austen's work. Jane Austen in popular culture The author Jane Austen and her works have been represented in popular culture in a variety of forms. Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose social commentary and masterly use of both free indirect speech and irony eventually made her one of the most influential and honoured novelists in English literature. In popular culture, Austen's novels and personal life have been adapted into book illustrations (starting in 1833), dramatizations (starting in 1895), Hollywood films (starting in 1940), television (starting in 1938), and professional

title: Jane Austen in popular culture

text: Jane Austen in popular culture The author Jane Austen and her works have been represented in popular culture in a variety of forms. Jane Austen (16 December 1775 – 18 July 1817) was an English novelist whose social commentary and masterly use of both free indirect speech and irony eventually made her one of the most influential and honoured novelists in English literature. In popular culture, Austen's novels and personal life have been adapted into book illustrations (starting in 1833), dramatizations (starting in 1895), Hollywood films (starting in 1940), television (starting in 1938), and professional theatre (starting in 1901), with

title: Reception history of Jane Austen

text: book of the same name by Helen Fielding, was inspired by both "Pride and Prejudice" and the 1995 BBC adaptation. The Bollywoodesque production "Bride and Prejudice", which sets Austen's story in present-day India while including original musical numbers, premiered in 2004. Reception history of Jane Austen The reception history of Jane Austen follows a path from modest fame to wild popularity. Jane Austen (1775–1817), the author of such works as "Pride and Prejudice" (1813) and "Emma" (1815), has become one of the best-known and most widely read novelists in the English language. Her novels are the subject of intense scholarly

title: Reception history of Jane Austen

text: Reception history of Jane Austen The reception history of Jane Austen follows a path from modest fame to wild popularity. Jane Austen (1775–1817), the author of such works as "Pride and Prejudice" (1813) and "Emma" (1815), has become one of the best-known and most widely read novelists in the English language. Her novels are the subject of intense scholarly study and the centre of a diverse fan culture. During her lifetime, Austen's novels brought her little personal fame. Like many women writers, she chose to publish anonymously, but her authorship was an open secret. At the time they were published,

title: A Memoir of Jane Austen

text: detail, such as descriptions of clothing, a "eulogy of spinning", and a digression on the Welsh ancestry of some Austen relations. Nor does the biography aim to tell the unvarnished truth. For example, the family hid the existence of a second brother, the handicapped George Austen, and described Edward Austen as the second brother instead of the third. They also omitted the arrest and jailing of Mrs. Leigh Perrot, Jane Austen's aunt, for shoplifting in Bath. According to 19th-century biography standards, "neither piece of discretion is surprising". Jane Austen herself is described as "a comfortable figure, shunning fame and professional

title: Reception history of Jane Austen

text: Scott's and Whately's opinions dominated the reception of Austen's works and few people read her novels. In 1869, this changed with the publication of the first significant Austen biography, "A Memoir of Jane Austen", which was written by Jane Austen's nephew, James Edward Austen-Leigh. With its release, Austen's popularity and critical standing increased dramatically. Readers of the "Memoir" were presented with the myth of the amateur novelist who wrote masterpieces: the "Memoir" fixed in the public mind a sentimental picture of Austen as a quiet, middle-aged maiden aunt and reassured them that her work was suitable for a respectable Victorian

title: Reception history of Jane Austen

text: 20th century, fans founded Jane Austen societies and clubs to celebrate the author, her time, and her works. As of the early 21st century, Austen fandom supports an industry of printed sequels and prequels as well as television and film adaptations, which started with the 1940 "Pride and Prejudice" and evolved to include the 2004 Bollywood-style production "Bride and Prejudice". Jane Austen lived her entire life as part of a large and close-knit family on the lower fringes of the English gentry. Her family's steadfast support was critical to Austen's development as a professional writer. Austen read draft versions of

title: Jane Austen

text: or at all, and that Austen could repurchase the manuscript for the £10 he had paid her and find another publisher. She did not have the resources to buy the copyright back at that time, but was able to purchase it in 1816. Around early 1809 Austen's brother Edward offered his mother and sisters a more settled life – the use of a large cottage in Chawton village that was part of Edward's nearby estate, Chawton House. Jane, Cassandra and their mother moved into Chawton cottage on 7 July 1809. Life was quieter in Chawton than it had been since

title: Jane Austen

text: to prevent their falling into the hands of relatives and ensuring that "younger nieces did not read any of Jane Austen's sometimes acid or forthright comments on neighbours or family members". Cassandra believed that in the interest of tact and Jane's penchant for forthrightness, these details should be destroyed. The paucity of record of Austen's life leaves modern biographers little to work with. The situation was compounded as successive generations of the family expunged and sanitized the already opaque details of Austen's biography. The heirs of Jane's brother, Admiral Francis Austen, destroyed more letters; details were excised from the "Biographical

title: Jane Austen Centre

text: public display there. The only verifiable image of her is a small watercolour painted by her sister Cassandra. This, however, has been acknowledged by experts as a ‘poor attempt’ and was described by her niece as ‘hideously unlike’ her aunt Jane. At the same time though, there exists many contemporary descriptions of her by friends and it was in this fact that the origin of the sculpture lies. In 2002, David Baldock, Director of the Jane Austen Centre, commissioned forensic artist Melissa Dring to create a new portrait of Austen, after reading about her work creating a likeness of Vivaldi

title: Reception history of Jane Austen

text: Julia Prewitt Brown in her 1979 book "Jane Austen's Novels: Social Change and Literary Form" challenged the common complaint that she did not deal with social changes, by examining how she presented social changes within the households she chronicled. Brown argued that the social changes Austen examined were the birth of the "modern" individualism where people were "alienated" from any meaningful social identity, existing only as "atoms" in society. The exhibit A of her thesis, so to speak, was "Persuasion" where she argued that Anne Eliot cannot find personal happiness by marrying within the gentry; only marriage to the self-made

title: Jane Austen in popular culture

text: were ruined, and so many had behaved so badly that reading "Pride and Prejudice" she gave her hope in humanity again. The novels of Jane Austen were unknown in China until 1917 when Wei Yi mentioned Austen in her book "Brief Profiles of Famous Western Novelists" where she was described as "one of the celebrated English novelists". Only a few western novels were translated in China during the 19th century, and it was not until 1898 when Lin Shu translated "Camille" by Alexandre Dumas, which unexpectedly become a bestseller, that Chinese publishers became interested in western books. Austen was first

title: Jane Austen in popular culture

text: where a group of wealthy “old money” New Yorkers talk openly about how Austen is part of their “cultural capital” that sets them apart from vulgar “new money”. "Metropolitan" is a very loose adaption of "Mansfield Park", reset in New York, circa 1989. A particular point "Metropolitan" made was how Austen by the 1980s had become part of the “cultural capital” of the “old money” Anglophile East Coast elite that they used to distinguish themselves from people like Donald Trump, with one character approvingly quoting Lionel Trilling's remark that "not to like Jane Austen is to put oneself under suspicion...of

title: Jane Austen fan fiction

text: Jane Austen fan fiction Jane Austen fan fiction is the collection of numerous sequels and spin-offs produced by authors who have either used the plot of Austen's original novels, or have extended them, to produce new works of fiction. Austen's posthumous popularity has inspired fan fiction that runs the gamut through numerous genres, but the most concentrated medium has remained the novel. According to Pucci and Thompson in their 2003 survey on the contemporary evolution of Jane Austen's work, at the turn of the 20th century (over 150 years after the final publication of her first collected works), over one

title: Jane Austen

text: they were when they met Jane & Charles, the two little ones of the family, who had to go as far as New Down to meet the chaise, & have the pleasure of riding home in it." Le Faye writes that "Mr Austen's predictions for his younger daughter were fully justified. Never were sisters more to each other than Cassandra and Jane; while in a particularly affectionate family, there seems to have been a special link between Cassandra and Edward on the one hand, and between Henry and Jane on the other." From 1773 until 1796, George Austen supplemented his

title: Jane Austen

text: conservative upholding the values of Regency society. Austen's novels have resulted in sequels, prequels and adaptations of almost every type, from soft-core pornography to fantasy. From the 19th century, her family members published conclusions to her incomplete novels, and by 2000 there were over 100 printed adaptations. The first dramatic adaptation of Austen was published in 1895, Rosina Filippi's "Duologues and Scenes from the Novels of Jane Austen: Arranged and Adapted for Drawing-Room Performance", and Filippi was also responsible for the first professional stage adaptation, "The Bennets" (1901). The first film adaptation was the 1940 MGM production of "Pride and

title: Jane Austen

text: not properly understand her works. For example, Henry James responded negatively to what he described as "a beguiled infatuation" with Austen, a rising tide of public interest that exceeded Austen's "intrinsic merit and interest". The American literary critic A. Walton Litz noted that the "anti-Janites" in the 19th and 20th centuries comprise a formidable literary squad of Mark Twain, Henry James, Charlotte Bronte, D.H. Lawrence and Kingsley Amis, but in "every case the adverse judgement merely reveals the special limitations or eccentricities of the critic, leaving Jane Austen relatively untouched". Several of Austen's works have been subject to academic study.

title: Jane Austen

text: realism, a realism in which each conversation and gesture carries a weight of significance. The narrative style utilises free indirect speech – she was the first English novelist to do so extensively – through which she had the ability to present a character's thoughts directly to the reader and yet still retain narrative control. The style allows an author to vary discourse between the narrator's voice and values and those of the characters. Austen had a natural ear for speech and dialogue, according to scholar Mary Lascelles "Few novelists can be more scrupulous than Jane Austen as to the phrasing

title: Jane Austen

text: and he was dependent on a great-uncle in Ireland to finance his education and establish his legal career. If Tom Lefroy later visited Hampshire, he was carefully kept away from the Austens, and Jane Austen never saw him again. In November 1798, Lefroy was still on Austen's mind as she wrote to her sister she had tea with one of his relatives, wanted desperately to ask about him, but could not bring herself to raise the subject. After finishing "Lady Susan", Austen began her first full-length novel "Elinor and Marianne". Her sister remembered that it was read to the family

title: Jane Austen

text: is to avoid the polarising view that Austen experienced periods of deep unhappiness and was "an embittered, disappointed woman trapped in a thoroughly unpleasant family". Jane Austen was born in Steventon, Hampshire, on 16 December 1775. She was born a month later than her parents expected; her father wrote of her arrival in a letter that her mother "certainly expected to have been brought to bed a month ago". He added that her arrival was particularly welcome as "a future companion to her sister". The winter of 1776 was particularly harsh and it was not until 5 April that she

title: Jane Austen

text: her moderate success and little fame during her lifetime. A significant transition in her posthumous reputation occurred in 1833, when her novels were republished in Richard Bentley's Standard Novels series, illustrated by Ferdinand Pickering, and sold as a set. They gradually gained wider acclaim and popular readership. In 1869, fifty-two years after her death, her nephew's publication of "A Memoir of Jane Austen" introduced a compelling version of her writing career and supposedly uneventful life to an eager audience. Austen has inspired a large number of critical essays and literary anthologies. Her novels have inspired many films, from 1940's "Pride

title: The Jane Austen Book Club (film)

text: The Jane Austen Book Club (film) The Jane Austen Book Club is a 2007 American romantic drama film written and directed by Robin Swicord. The screenplay, adapted from the 2004 novel of the same name by Karen Joy Fowler, focuses on a book club formed specifically to discuss the six novels written by Jane Austen. As they delve into Austen's literature, the club members find themselves dealing with life experiences that parallel the themes of the books they are reading. The book club is the brainchild of fiftysomething six-time divorcée Bernadette (Kathy Baker), who latches onto the idea when she

title: Jane Austen in popular culture

text: was translated as "Gurur ve Önyargı" by Hamdi Koç, who at present is engaged in translating the rest of Austen's novels into Turkish. "Gurur ve Önyargı" sold out in its first year, and a second edition was issued in 2007, which Tekcan used to argue that many Turks wanted a proper version of Austen in their own language. Austen's status in modern Turkey can be seen in the Wikipedia-like website "Ekşi Sözlük" ("The Sourtimes Dictionary"), when anonymous contributors write articles on various subjects; typing Jane Austen on the "Ekşisözlük" produces comments such as “Jane Austen is for those who are

title: Reception history of Jane Austen

text: of polite "King's English" that was expected of the upper classes. In "Jane Austen and the Body: 'The Picture of Health"', (1992) John Wiltshire explored the preoccupation with illness and health of Austen's characters. Wiltshire addressed current theories of "the body as sexuality", and more broadly how culture is "inscribed" on the representation of the body. There has also been a return to considerations of aesthetics with D. A. Miller's "Jane Austen, or The Secret of Style" (2003), which connects artistic concerns with queer theory. Miller in his book began the "queer" reading of Austen, when he asked why Austen's

title: Reception history of Jane Austen

text: only the English could really appreciate Austen, writing "Foreigners, whether reading in translation or in the original, see little or nothing of her true brilliance...the "feel" of Jane Austen-so far as we can imagine it dissociated from her language is still...peculiarly English". Irvine wrote that Gard's book 1992 "Jane Austen's Novels: The Art of Clarity" is full of historical errors such as his claim that Austen was part of the movement towards "an evolving national democracy", when in fact the Great Reform Bill, which lowered the franchise requirements for men in a very limited way, was passed in 1832, 15

title: Reception history of Jane Austen

text: of Austen's works. Almost simultaneously, influential critic Q. D. Leavis argued in "Critical Theory of Jane Austen's Writing", published in "Scrutiny" in the early 1940s, that Austen was a professional, not an amateur, writer. Harding's and Leavis's articles were followed by another revisionist treatment by Marvin Mudrick in "Jane Austen: Irony as Defense and Discovery" (1952). Mudrick portrayed Austen as isolated, defensive, and critical of her society, and described in detail the relationship he saw between Austen's attitude toward contemporary literature and her use of irony as a technique to contrast the realities of her society with what she felt

title: Reception history of Jane Austen

text: Establishment, all the while fooling her into thinking she was in love. By contrast, Lauren Goodlad in her 2000 essay "Self-Disciplinary Self-Making" argued that the self-discipline exercised by Elinor Dashwood in "Sense and Sensibility" was not an act of oppression as held by Foucault and those writing from a Foucaultian perspective, but was an "emancipatory act of political resistance", arguing that there was a tension between 'psychology' and 'character' since Dashwood must be the observer of her character, and used what she has learned to grow. A very controversial article was "Jane Austen and the Masturbating Girl" by Eve Kosofsky

title: Jane Austen in popular culture

text: favor. The first Chinese academic in the People's Republic to write favorably of Austen was Zhu Hong, who complained in his 1986 essay "The Pride and Prejudice against Jane Austen" that ordinary people liked Austen well enough, but academics had to condemn her because of the Party line, which led him to ask for books to be judged on artistic grounds only. In the 1990s Communist Party condemnations of Austen ceased, and a number of Chinese students produced dissertations on Austen, with Austen being very popular with female students. In 2011 one Chinese academic, Zhang Helong, wrote about Austen's "huge

title: The Jane Austen Argument

text: live performances. During the Amanda Palmer Goes Down Under Tour, the band began doing meets with fans, and small, free public performances. These soon became known as "Twitnics", a portmanteau referring to the use of social networking to plan and promote these small performances, as well as their picnic-like nature. EPs: Singles: Studio Albums: Additionally, Tom and Jen directed Sophie Walsh Harrington's "Damsel in Shining Armour" show at the 2011 Adelaide Fringe Festival, which won the Best Cabaret award. The Jane Austen Argument The Jane Austen Argument are an Australian musical duo from Melbourne, Victoria. Formed in 2010 by Tom

title: The Jane Austen Argument

text: 2012. Dickins and Kingwell met in 2009, during a cigarette break whilst working at a student union discovering mutual interests such as Regina Spektor and Nick Cave. Dickins at the time was planning a cabaret show, but was in need of a pianist, whereas Kingwell, a skilled pianist, was in need of a partner. The two began playing together in 2009, and in 2010 decided to make their musical partnership official. After initial difficulty settling on a name, the pair decided on The Jane Austen Argument, in reference to a long-running difference of opinion over the works of Jane Austen.

title: The Jane Austen Argument

text: The Jane Austen Argument The Jane Austen Argument are an Australian musical duo from Melbourne, Victoria. Formed in 2010 by Tom Dickins, (vocals, piano, ukulele) and Jen Kingwell (piano, vocals, ukulele), the band consider themselves an ""indie cabaret duo with overtones of anti-folk and punk love"". The duo have had a great amount of support by friend and fellow artist Amanda Palmer, and have supported her on her Goes Down Under Tour of 2011 as well as featured on her compilation record of the same name. Their debut album "Somewhere Under The Rainbow" was released through Bandcamp on 2 March

title: The Jane Austen Book Club

text: the screenplay is for the most part a dramatic departure from the novel. The film stars Maria Bello as Jocelyn, Emily Blunt as Prudie, Kathy Baker as Bernadette, Amy Brenneman as Sylvia, Maggie Grace as Allegra, and Hugh Dancy as Grigg. The Jane Austen Book Club The Jane Austen Book Club is a 2004 novel by American author Karen Joy Fowler. The story, which takes place near Sacramento, California, centers on a book club consisting of five women and one man who meet once a month to discuss Jane Austen's six novels. It was a critical success and became a

title: The Jane Austen Book Club

text: The Jane Austen Book Club The Jane Austen Book Club is a 2004 novel by American author Karen Joy Fowler. The story, which takes place near Sacramento, California, centers on a book club consisting of five women and one man who meet once a month to discuss Jane Austen's six novels. It was a critical success and became a national bestseller. A film adaptation of the same name was released in autumn of 2007. The novel takes place over the course of several months in Davis, California, a university town in California's Central Valley near Sacramento. Each of the six

title: Reception history of Jane Austen

text: who could truly plumb their depths. Yet, after the publication of the "Memoir", more criticism was published on Austen's novels in two years than had appeared in the previous fifty. In 1913, William Austen-Leigh and Richard Arthur Austen-Leigh, descendants of the Austen family, published the definitive family biography, "Jane Austen: Her Life and Letters—A Family Record". Based primarily on family papers and letters, it is described by Austen biographer Park Honan as "accurate, staid, reliable, and at times vivid and suggestive". Although the authors moved away from the sentimental tone of the "Memoir", they made little effort to go beyond

title: The Real Jane Austen: A Life in Small Things

text: object and what it meant to her. There is a permalink at the Library of Congress. The Real Jane Austen: A Life in Small Things The Real Jane Austen: A Life in Small Things is a biography of novelist Jane Austen by the writer Paula Byrne first published in 2013. The biography does not follow her life chronologically; rather her story is told around events or objects in Austen's life as the starting point to describe the famous English author. It received several positive reviews after first publication. This biography of Jane Austen is organized by objects or scenes in

text: The Real Jane Austen: A Life in Small Things The Real Jane Austen: A Life in Small Things is a biography of novelist Jane Austen by the writer Paula Byrne first published in 2013. The biography does not follow her life chronologically; rather her story is told around events or objects in Austen's life as the starting point to describe the famous English author. It received several positive reviews after first publication. This biography of Jane Austen is organized by objects or scenes in Austen's life, rather than chronologically. Austen's experiences with life are shown to be broader than that

title: A Memoir of Jane Austen

text: feelings were of such a nature as to affect her happiness". This kind of reticence was not isolated to the Austen family, however—it was typical of mid-Victorian era biography. James Edward Austen-Leigh began writing the "Memoir" on 30 March 1869 and finished it five months later in September. It was published on 16 December 1869 (though dated 1870) in an edition of about 1,000 copies. In 1871, Austen-Leigh published a second edition, which contained additional letters, family papers, and biographical material. He also included fragments of unfinished and unpublished Jane Austen manuscripts, namely a chapter Austen deleted from "Persuasion" and

title: Jane Austen fan fiction

text: hundred sequels, rewritings, and continuations of her novels had been published. "Pride and Prejudice" accounted for the majority of published Austen-inspired books, at 900 total, and all six novels and three minor works are represented in published Jane Austen fan fiction (JAFF). The number of unpublished Austen-inspired stories on various JAFF sites at least doubles that number. They have continued to remain popular well into the 21st century, with modern adaptations reaching as high as third on The New York Times Best Seller List However, opinions remain mixed in regard to the liberties taken by authors when modifying or adding

title: Jane Austen

text: Republic of China in 1949, Austen was in disfavor with the authorities who only wanted Western authors to be published in translation whose work could be presented as representing the West in a negative light, and Austen was regarded as too "frivolous" for this purpose. As hostile as the treatment of Austen was in the 1950s, it paled besides the treatment of her books during the "Great Proletarian Cultural Revolution" in China between 1966–69, when Austen was banned as a "British bourgeois imperialist" author. In the late 1970s, Austen was allowed to be published in China, where her popularity with

title: Reception history of Jane Austen

text: to a wider public as an appealing personality—dear aunt Jane—and her works were republished in popular editions. By the start of the 20th century, competing groups had sprung up—some to worship her and some to defend her from the "teeming masses"—but all claiming to be the true Janeites, or those who properly appreciated Austen. The "teeming masses," meanwhile, were creating their own ways of honoring Austen, including in amateur theatricals in drawing rooms, schools, and community groups. In 1923, the publisher and scholar R. W. Chapman prepared a carefully edited collection of her works—which some have claimed is the first

title: Jane Austen in popular culture

text: them, the importance of the family as a social unit, dowries as a factor in marriage negotiations and inheritance laws that favor males all address issues that are relevant in both India and Pakistan. Both India and Pakistan have large Austen societies with the Pakistani Austen Society hosting events for "Jovial Janeites” that feature “Austentatious tea parties” and “chai and chatter”. Laaleen Sukhera, the founder of the Jane Austen Society of Pakistan, told "The Economist" that Austen is relevant in the Indian subcontinent because society in South Asia is full of “disapproving Lady Catherine de Bourgh-esque society aunties, rakish Wickhams

title: Jane Austen in popular culture

text: read Austen's novels all over the world, making Austen films into the most desirable of films, the "premier pre-sold product". Furthermore, Sadoff noted that Austen films are popular with a female audience that ranges in age from teenage girls to middle-aged women, instead of appealing to a narrow demographic. Sadoff wrote the most recent adaptions of Austen were done in a way that was calculated to appeal to young women. Sadoff used as examples the 2005 version of "Pride and Prejudice" starring Keira Knightley, which brought "swashbuckler girlfriend sex appeal and postfeminist agency" to Austen, and "Becoming Jane" starring Anne

title: Reception history of Jane Austen

text: making certain it was clear they all belonged to the same class. Subsequent critics agree that she succeeded. Like Bradley earlier, she emphasised Austen's connection to Samuel Johnson and her desire to discuss morality through fiction. However, at the time some fans of Austen worried that academics were taking over Austen criticism and that it was becoming increasingly esoteric—a debate that continued into the 21st century. In an outpouring of mid-century revisionist views, scholars approached Austen more sceptically. D. W. Harding, following and expanding upon Farrer, argued in his essay "Regulated Hatred: An Aspect of the Work of Jane Austen"

title: Reception history of Jane Austen

text: Austen was R. W. Chapman, whose magisterial edition of Austen's collected works was the first scholarly edition of the works of any English novelist. The Chapman texts have remained the basis for all subsequent editions of Austen's works. In the wake of Bradley and Chapman's contributions, the 1920s saw a boom in Austen scholarship, and the novelist E. M. Forster primarily illustrated his concept of the "round" character by citing Austen's works. It was with the 1939 publication of Mary Lascelles' "Jane Austen and Her Art"—"the first full-scale historical and scholarly study" of Austen—that the academic study of her works

title: Reception history of Jane Austen

text: the family records and traditions immediately available to them. Their book therefore offers bare facts and little in the way of interpretation. During the last quarter of the 19th century, the first books of critical analysis regarding Austen's works were published. In 1890 Godwin Smith published the "Life of Jane Austen", initiating a "fresh phase in the critical heritage", in which Austen reviewers became critics. This launched the beginning of "formal criticism", that is, a focus on Austen as a writer and an analysis of the techniques that made her writing unique. According to Southam, while Austen criticism increased in

title: Reception history of Jane Austen

text: Austen saw themselves as discriminating readers—they were a cultured few. This became a common theme of Austen criticism during the 19th and early 20th centuries. Philosopher and literary critic George Henry Lewes articulated this theme in a series of enthusiastic articles in the 1840s and 1850s. In "The Novels of Jane Austen", published anonymously in "Blackwood's Magazine" in 1859, Lewes praised Austen's novels for "the economy of easy adaptation of means to ends, with no aid from superfluous elements" and compared her to Shakespeare. Arguing that Austen lacked the ability to construct a plot, he still celebrated her dramatisations: "The

title: Reception history of Jane Austen

text: who viewed Austen as a subversive writer. Several important early works—glimmers of brilliant Austen scholarship—paved the way for Austen to become solidly entrenched within the academy. The first was Oxford Shakespearean scholar A. C. Bradley's 1911 essay, "generally regarded as the starting-point for the serious academic approach to Jane Austen". Bradley emphasised Austen's ties to 18th-century critic and writer Samuel Johnson, arguing that she was a moralist as well as humourist; in this he was "totally original", according to Southam. Bradley divided Austen's works into "early" and "late" novels, categories still used by scholars. The second path-breaking early-20th-century critic of

title: Jane Austen

text: Austen novel. Austen was greatly annoyed by Clarke's often pompous literary advice, and the "Plan of A Novel" parodying Clarke was intended as her revenge for all of the unwanted letters she had received from the royal librarian. In mid-1815 Austen moved her work from Egerton to John Murray, a better known London publisher, who published "Emma" in December 1815 and a second edition of "Mansfield Park" in February 1816. "Emma" sold well but the new edition of "Mansfield Park" did poorly, and this failure offset most of the income from "Emma". These were the last of Austen's novels to

title: Jane Austen

text: French aristocrat whose first husband the Comte de Feuillide had been guillotined, causing her to flee to Britain, where she married Henry Austen. The description of the execution of the Comte de Feuillide related by his widow left Austen with an intense horror of the French Revolution that lasted for the rest of her life. During the middle of 1798, after finishing revisions of "Elinor and Marianne", Austen began writing a third novel with the working title "Susan" – later "Northanger Abbey" – a satire on the popular Gothic novel. Austen completed her work about a year later. In early

title: The Jane Austen Book Club (film)

text: fast you miss the nuances. Relationships aren't always as clear as they should be. Still, Austen devotees are sure to lap up the central premise that her notions of love and friendship are as relevant today as ever. And if "The Jane Austen Book Club" gets people thinking about forming a club of their own, it will have served a more admirable purpose than most movies." Carina Chocano of the "Los Angeles Times" said it was nice to see "a movie so alive to the pleasures of reading and writing and sharing books, especially when the love feels sincere ...

title: Cassandra Austen

text: Cassandra Austen Cassandra Elizabeth Austen (9 January 1773 – 22 March 1845) was an amateur English watercolourist and the elder sister of Jane Austen. Austen was born in 1773 at a rectory in Steventon, Hampshire, to the Rev. George Austen (1731–1805), a rector, and his wife Cassandra, "née" Leigh (1739–1827). There were eight Austen children; as Cassandra and Jane were the only girls they maintained an especially close relationship throughout their lives. Over one hundred letters addressed to Cassandra from Jane have survived. These letters have helped historians to construct details about the life of Jane Austen. The sisters went

title: Jane Austen

text: selling via commission was the selling the copyright, where an author received a one-time payment from the publisher for the manuscript, which occurred with "Pride and Prejudice". Austen's experience with "Susan" (the manuscript that became "Northanger Abbey") where she sold the copyright to the publisher Crosby & Sons for £10, who did not publish the book, forcing her to buy back the copyright in order to get her work published, left Austen leery of this method of publishing. The final alternative, of selling by subscription, where a group of people would agree to buy a book in advance, was not

title: Jane Austen in popular culture

text: ashamed to read romance novels”and “The characters that Jane Austen created still live in the likes of a neighbor who is dying to get her daughters married to rich men.”. Such is the appeal of Austen in Asia that during the period when Korea was a Japanese colony (1905-1945) Austen was first translated into Korean as the Japanese colonial administration- which always justified itself on the grounds that Korea was hopelessly backward and in need of Japanese rule to progress- sought to use Austen's books as an example of the sort of cultural progress the country was experiencing under Japanese