標(biāo)題: Titlebook: After Austen; Reinventions, Rewrit Lisa Hopkins Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Influence.Genre.Style.Film.W [打印本頁] 作者: 水平 時(shí)間: 2025-3-21 20:07
書目名稱After Austen影響因子(影響力)
書目名稱After Austen影響因子(影響力)學(xué)科排名
書目名稱After Austen網(wǎng)絡(luò)公開度
書目名稱After Austen網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱After Austen被引頻次
書目名稱After Austen被引頻次學(xué)科排名
書目名稱After Austen年度引用
書目名稱After Austen年度引用學(xué)科排名
書目名稱After Austen讀者反饋
書目名稱After Austen讀者反饋學(xué)科排名
作者: 推遲 時(shí)間: 2025-3-21 23:43 作者: Grasping 時(shí)間: 2025-3-22 02:04 作者: Eulogy 時(shí)間: 2025-3-22 05:11 作者: FLORA 時(shí)間: 2025-3-22 12:25
https://doi.org/10.1007/978-3-030-70906-8ference to what seems to distinguish them: the later novel’s industrial context. In reworking so many of its elements, Gaskell asks us to consider what it takes to imagine . in a factory setting, and therefore reflect upon social changes that have occurred between the times of the two novels. But th作者: 影響帶來 時(shí)間: 2025-3-22 15:18 作者: 嘲笑 時(shí)間: 2025-3-22 20:13 作者: 蒙太奇 時(shí)間: 2025-3-22 22:58
Crime and Corruption in New Democracies’s novels in contemporary settings by popular novelists does so intriguingly. Launched in 2013 with ., subtitled ., by Joanna Trollope; followed in 2014 by . by Val McDermid; also in 2014 by ., subtitled ., by Alexander McCall Smith; and, most recently, in 2016, by ., subtitled ., with the heading ‘作者: 冥想后 時(shí)間: 2025-3-23 04:28
https://doi.org/10.1057/9780230316768t attitude than anything that was contemplated by Jane Austen’s society. In the twenty-first century, the choices available to women have dramatically expanded and yet it still seems as if the only permissible ending for a fictional work involving a single female character is to marry her off..Curti作者: 高射炮 時(shí)間: 2025-3-23 07:34 作者: Muffle 時(shí)間: 2025-3-23 09:56
https://doi.org/10.1057/9780230316768t the name ‘Jane Austen’ conveys to a modern audience. The full mourning implied in the source text makes clear Lady Susan’s Machiavellian character and gives real bite to Austen’s satire upon the discrepancy between surface and substance. The softer colours in which Lady Susan is presented in Whit 作者: 疼死我了 時(shí)間: 2025-3-23 16:54
Crime and Corruption in New Democraciesten. This chapter explores the common ground between Christie’s sleuth and Austen through consideration of Christie’s reading tastes, reading practices, and book ownership, as evident in both published and archival sources, as well as her claims to be a lover of Austen’s writings. I further examine 作者: instill 時(shí)間: 2025-3-23 21:40 作者: Silent-Ischemia 時(shí)間: 2025-3-24 00:12 作者: 防止 時(shí)間: 2025-3-24 05:49 作者: 明智的人 時(shí)間: 2025-3-24 09:19
https://doi.org/10.1007/978-3-319-95894-1Influence; Genre; Style; Film; William Thackeray; Agatha Christie; British and Irish Literature作者: Projection 時(shí)間: 2025-3-24 11:46 作者: diskitis 時(shí)間: 2025-3-24 16:34 作者: arthroplasty 時(shí)間: 2025-3-24 19:32
‘Unwholesome Tissues of False Sentiment’: Jane Austen, the Silver Fork Novel, and Fashions of Readin become subject to very different critical approaches. At the same time, it has become widely accessible to a non-specialist public. The ‘silver fork novel’, however, is still bound within tight generic limits. Its inaccessibility to a wider audience lies in a general sense that it is not of literar作者: irreparable 時(shí)間: 2025-3-25 01:04 作者: 狗舍 時(shí)間: 2025-3-25 07:01 作者: 我正派 時(shí)間: 2025-3-25 09:41 作者: ANNUL 時(shí)間: 2025-3-25 12:09 作者: 紳士 時(shí)間: 2025-3-25 17:34
The Trouble with Mary: Curtis Sittenfeld’s , and the Single Womant attitude than anything that was contemplated by Jane Austen’s society. In the twenty-first century, the choices available to women have dramatically expanded and yet it still seems as if the only permissible ending for a fictional work involving a single female character is to marry her off..Curti作者: Parley 時(shí)間: 2025-3-25 21:45
Adapting Austen ‘for the new generation’: ITV’s 2007 Trilogy ,, ,, and in Austen’s novels. Each film strives to create what Penny Gay calls the ‘double effect’ of successful adaptation of remaining broadly faithful to the source text . resonating with the interests of its viewers. The novels and their adaptations are influenced by the varying gender politics of their o作者: 踉蹌 時(shí)間: 2025-3-26 03:32
‘Only Four Months a Widow’: The Story-Telling Wardrobe of Lady Susan in Whit Stillman’s , (2016)t the name ‘Jane Austen’ conveys to a modern audience. The full mourning implied in the source text makes clear Lady Susan’s Machiavellian character and gives real bite to Austen’s satire upon the discrepancy between surface and substance. The softer colours in which Lady Susan is presented in Whit 作者: 輕觸 時(shí)間: 2025-3-26 07:42 作者: CRUMB 時(shí)間: 2025-3-26 09:35
Jane Austen, Free Indirect Style, Gender and Interiority in Literary Fictionnse of literariness in prose fiction. More particularly, I argue that Austen’s use of language metarepresents the thoughts of female characters as a dynamic process of understanding themselves and their worlds. This coincides with a more general perception, construction and performance of ‘feminine’作者: 不利 時(shí)間: 2025-3-26 15:53
and Narrative Tensions in Austen’s Biopicsr Austen biopics: . (2007) and . (2008). The wish to celebrate Austen’s historical otherness and difference is shown to be held in an uneasy balance with a desire to investigate the contemporary relevance of her life and work. The film ., I conclude, offers a playful, and kindly, parodic version of 作者: Certainty 時(shí)間: 2025-3-26 17:44
Literary Heritage Writ Large at the Jane Austen Festival, Bathof visitors from across the world, the annual Jane Austen Festival in Bath, Britain is a prominent example of this popular(ised) form of literary heritage. In this chapter, I analyse key examples of how the festival represents and recreates Austen’s (literary) world by utilising, interweaving and, a作者: HARP 時(shí)間: 2025-3-26 22:12 作者: 濃縮 時(shí)間: 2025-3-27 03:24
Crime and Corruption in New Democracies14 by . by Val McDermid; also in 2014 by ., subtitled ., by Alexander McCall Smith; and, most recently, in 2016, by ., subtitled ., with the heading ‘A Modern Retelling of .’, on the dust jacket, by Curtis Sittenfeld, this series constitutes a treat for Janeites. Or does it? That is the question that I address in this chapter.作者: 一小塊 時(shí)間: 2025-3-27 06:54 作者: flex336 時(shí)間: 2025-3-27 11:21
‘Welcome to the 21st Century!’: Modernising Jane Austen in the HarperCollins Project14 by . by Val McDermid; also in 2014 by ., subtitled ., by Alexander McCall Smith; and, most recently, in 2016, by ., subtitled ., with the heading ‘A Modern Retelling of .’, on the dust jacket, by Curtis Sittenfeld, this series constitutes a treat for Janeites. Or does it? That is the question that I address in this chapter.作者: gangrene 時(shí)間: 2025-3-27 14:38 作者: BARGE 時(shí)間: 2025-3-27 20:56 作者: 易于 時(shí)間: 2025-3-27 23:43
https://doi.org/10.1057/9780230316768Stillman’s . (2016) reduces her ruthless manipulation of social propriety to a gentler comedy of manners and marriage that has become synonymous with the ‘Austen’ heritage brand of visual pleasure and cultural tourism.作者: 托運(yùn) 時(shí)間: 2025-3-28 05:38
Crime and Corruption in New Democracies thought and language use as hesitant, equivocal and spontaneous. I explore the influence of Austen’s style with close analysis and comparison of passages of interiority in Austen’s . Katherine Mansfield’s short story ‘Millie’ and Monica Ali’s novel ..作者: 水槽 時(shí)間: 2025-3-28 09:22
Crime and Corruption in New Democraciesbiopics and classical literary adaptations, while still reaffirming the transformative romantic love central to such retellings. Moreover, it is proposed that Austenland, the location in the film, with its performed and constructed version of Austen’s life and works, stands as an ironic representation of Austen biopics.作者: affect 時(shí)間: 2025-3-28 13:38
Adapting Austen ‘for the new generation’: ITV’s 2007 Trilogy ,, ,, and wn periods: in particular, the heroines in the films reflect diverse twenty-first-century attitudes to femininity. The ways in which the characteristics of the leading lady diverge from the corresponding fictional heroine’s attributes vary from film to film; this means that Austen’s novels are not always more conservative than adaptations of them.作者: enormous 時(shí)間: 2025-3-28 17:30 作者: deforestation 時(shí)間: 2025-3-28 21:40
Jane Austen, Free Indirect Style, Gender and Interiority in Literary Fiction thought and language use as hesitant, equivocal and spontaneous. I explore the influence of Austen’s style with close analysis and comparison of passages of interiority in Austen’s . Katherine Mansfield’s short story ‘Millie’ and Monica Ali’s novel ..作者: Nomadic 時(shí)間: 2025-3-29 00:32
and Narrative Tensions in Austen’s Biopicsbiopics and classical literary adaptations, while still reaffirming the transformative romantic love central to such retellings. Moreover, it is proposed that Austenland, the location in the film, with its performed and constructed version of Austen’s life and works, stands as an ironic representation of Austen biopics.作者: conjunctivitis 時(shí)間: 2025-3-29 05:07
Crime and Corruption in New Democraciesple, and in Austen biography and myths. In addition to illuminating the Christie/Austen connection, I aim to offer a model of how Austen scholars might productively pursue other apparently slender threads connecting Austen’s successor authors to her, especially those links that cross the canonical divide between ‘popular’ and ‘literary’ fiction.作者: THROB 時(shí)間: 2025-3-29 09:42
‘Dear Aunt Jane’: Agatha Christie’s Miss Marple and Jane Austenple, and in Austen biography and myths. In addition to illuminating the Christie/Austen connection, I aim to offer a model of how Austen scholars might productively pursue other apparently slender threads connecting Austen’s successor authors to her, especially those links that cross the canonical divide between ‘popular’ and ‘literary’ fiction.作者: 全面 時(shí)間: 2025-3-29 15:25 作者: 地名詞典 時(shí)間: 2025-3-29 17:36 作者: indecipherable 時(shí)間: 2025-3-29 19:53 作者: lavish 時(shí)間: 2025-3-30 03:28
‘Within View of His Own Warehouses’: Sites of Change in , and enteel prejudiced heroine comes to embrace, we can see that . is likewise open to considering those who live ‘within view of [their] own warehouses’ as a moral voice and a force for positive change in society.作者: 不知疲倦 時(shí)間: 2025-3-30 05:33
Introduction: Looking at Austen,e 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 ., and t作者: intertwine 時(shí)間: 2025-3-30 10:16 作者: 緯度 時(shí)間: 2025-3-30 15:05
Georgette Heyer: What Austen Left Out 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.作者: Hla461 時(shí)間: 2025-3-30 18:28 作者: 混合 時(shí)間: 2025-3-30 22:40
