Titlebook: After Austen; Reinventions, Rewrit Lisa Hopkins Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Influence.Genre.Style.Film.W

HARP

濃縮

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.

一小塊

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‘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.

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BARGE

易于

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.

托運(yùn)

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 ..

水槽

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.

affect

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.