884:(2012)--In this work, Claudia Johnson, Murray Professor of English Literature at Princeton University, grapples with the phenomena of Jane Austenâs global reception in both popular culture and academic culture. Johnson discusses this reception by dividing her book into four critical sections that categorizes Austen readership: Victorian era, World War I, World War II, and the establishment of the Austen house and museum. To name a few examples, Johnson studies how the soldiers in the trenches of France during the war received Austenâs books, how Jane Austen admirers spent money on an elaborate gravestone amidst the second world war, and how modern controversies continue to persist surrounding Jane Austenâs authentic images. Ultimately, Johnson argues that there is not one Jane Austen, each generation renews their love for her and re-imagines her world. Johnson says in her introduction, âI shall explore...how various âlegendsâ--and the plural is important, for there is no single âJane Austenâ--came about, to ponder how Jane Austen became âJane Austen,â the deathlessly divine Austen, venerated with a peculiar intensity.â So in the course of the book, Johnson explores these legends of Jane Austen that inspire a type of âdivine madnessâ in Jane Austen readers, a madness that finds no shame in dressing in Victorian dresses, attending conferences, and playing video games. Enriched with historical data and scholarship, Johnsonâs book studies this madness through the lens of Austenâs materiality and historical stories from each historical time period. With this research, the author discusses the physical being of Austen and her homeâs contents. And while many Jane Austen related books tend to focus on a link between all of Austenâs readers, Johnson argues for the unique reception of Austen in every century: from times of wars to times of peace, from modernity to postmodernity, from the empire of Britain to the empire of Hollywood. And though Claudia Johnson never claims to be a Janeite, she has a clear love and appreciation for her legacy: âJane Austen is not and has never been any old great author, whom we might discuss more or less rationally, but a fabulous figure and the paragon of popular and elite audiences alike. Certainly, no other author--perhaps not even Shakespeare himself...has inspired such widespread and intense devotion that is itself worthy of study.â
913:-This work is by Kylie Mirmohamadi, a research associate in English and History at La Trobe University in Melbourne, Australia. Similar to her predecessors, Mirmohamadi explores the digital presence of Jane Austen on a wide range of digital platforms, but more specifically, she argues against a static notion of Austen readership, disavowing a single interpretation of Austenâs fans because the genre and readership is always changing and evolving. This work sits at the intersection of several literary theories, including literary studies, Austen scholarship, film adaption, and history, which allows Mirmohamadi to expand the interpretation of Austen's page and screen presence. The book is divided into four chapters. Chapter one addresses Austenâs works and adaptations on Wattpad, an online community based in Canada that houses anything from Mormon-based stories and historical romance to paranormal activity and chick lit. In chapter two, Mirmohamadi argues that Wattpadâs platforms allow its users to read and re-read Austen into endlessly new forms and genres which is one of the reasons why Austenâs presence is so dominating and equally endless. Chapter three takes a closer look at the fan sites of the Republic of Pemberley and the Derbyshire Writersâ Guild and notes that these mediums evoke notions of the material and literary community which Mirmohamadi compares to the differences between a physical library (as a building) to an electronic library. And lastly, the final chapter explores the open-endedness of Austenâs place in the canon and how this canon has become immersed in the digital. Mirmohamadi ends her book with a conclusion titled âno conclusion.â In this section, Mirmohamadiâs point is that Austenâs fan fiction has no end; therefore, there will always be more to study. She says, âThis book has been exploring the digital networks of Janeites, whose activities resist the very notion of the closure of their beloved canon, and who have created online worlds âwithout endâ with endlessly proliferating pixelated text and copied and pasted JPEG images.â In other words, for Mirmohamadi, scholarship will never be complete about Jane Austen because this eighteenth century authorâs canon will never be complete.
921:(2011)--In short, Juliette Wellsâ book tries to synthesize why and how twentieth century readers and scholars connect with Jane Austenâs legacy. Â In the following chapters, Wells chooses a wide variety of examples that define the scope of Jane Austen fans, for example, Alberta H. Burkeâs obsessive love and collector of anything Jane Austen and Oprah Winfreyâs influence on a wider readership for Austen. Wells engages this wide range of scholarship by noting that all of Jane Austen fans approach her works differently: some scholarly, some emotionally, some critically, and some imaginatively. In her fourth chapter, Wells explores the various books that have been inspired by the plethora amount of Jane Austen travel sites: Jane Austen House Museum in Chawton, Jane Austen Centre in Bath, and Jane Austenâs grave at Winshetser Cathedral. Wells argues that these books about places are not merely a travel log but an experience of emotions and the senses. Continuing past the figure of Jane Austen herself, the author writes about the fan fiction that focuses on adding sexual scenes, faith-based themes, and paranormal activity. Wells argues that these types of fan fiction are less conventional since many devotees of Jane Austen would reject these works. In the last pages of her work, Wells delves into several societies devoted to the work and life of Jane Austen, focusing primarily on JASNA (Jane Austen Society of North America). Wellsâ discussion of JASNA brings up the controversy of bridging the gap between amateur readers of Austen and academic scholars of Austen, but even though this controversy will persist, Well points out that this society provides accessible material and resources for both the general public and academic scholars in a public space.
896:-In this edited collection, editors Gillman Down and Clare Hanson gathered together several articles that address the popular and global presence of Jane Austenâs literature. This anthology seeks to understand the modern readersâ insatiable appetite for Austenâs works and âserve to remind us that in these competitive days for academic scholarship, there may be considerable advantages in working on such a popular canonical author.â In the following chapters, the authors address various topics. For example, in âA Genius for Fortelling: Augustan Austen and Future Fiction,â Deidre Lynch examines the periodical life of Austen in the eighteenth and twentieth century and how women like Virginia Woolf gained personal empowerment through Austenâs novels. In another article, Julian North (âJane Austenâs Life on Page and Screenâ) argues that Austenâs life and works have been re-conceptualized in popular culture, both in fan fiction and in movies, that produce a more romanticized version of Jane Austen, specifically examining a 1980s biography and three film adaptations: Mansfield Park (1999), Julian Jarroldâs Becoming Jane (2007), and Jeremy Loveringâs Miss Austen Regrets (2007). In Felicity Jamesâ article âAt Home with Jane: Placing Austen in Contemporary Cultureâ she asks the question âWhere do we place Austen in contemporary culture?â In order to answer this question, James explores what she calls the pilgrimages of Austen which she defines as places where the author lived, both at her home and her English landscape. Transnational adaptations,
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among many, take Jane Austenâs world and migrate it to another culture and region where fans (of all races, classes, and genders) are constantly writing themselves into the novels. Similar to James, Gillian Dow examines Jane Austenâs non-English reception, but instead of adaptations of the movies and
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Austen/pop-culture article). Therefore, merging would create confusion rather than clarity. One might want to repeat the Film and
Television adaptations in this Austen-pop article, so that at least there's something in the P&P section here, with a link to the full P&P-depictions article; but
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as film only. It would make more sense to organize the categories by work and use "Film," "Televison," and "Plays and
Musicals" as subcategories. The subcategory "Plays and Musicals" should be renamed into the collective "Theater." "Adaptations" is ambiguous, because it can be confused with
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I am curious about the consistency of language throughout the article. I noticed that in the beginning there was
British standard used ("honoured"), but later on "color" was used in the American standard of writing. Is there one that should be used over the other?
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I've removed the following overlong, chitchatty, self-cited section from the article. Some element of it may possibly be appropriate for the article, but as self-cited primary-source material the section as a whole is not.
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Sandock, Mollie. "'I Burn with
Contempt for My Foes': Jane Austen's Music Collections and Women's Lives in Regency England."Â Persuasions: Journal of the Jane Austen Society of North America, vol. 23, 2001, pp. 105-117.
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The works of Jane Austen are in a random order. I organized by their date of publication. Jane Austen herself should be added as a category since her life as been adapted into several formats a few times.
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Weber, Brenda R. "For the Love of Jane: Austen, Adaptation and
Celebrity."Â Adaptation in Contemporary Culture: Textual Infidelities, Rachel (ed. and introd.) Carroll, Continuum, 2009, pp. 186-196.
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1125:(2015)âone female character from each novel is competing in a reality TV show. Male love interests and a few other characters also appear. Jane Austen is the host/narrator.
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Zionkowski, Linda, and Mimi Hart. "'Aunt Jane Began Her Day with Music': Austen and the Female
Amateur." Persuasions: The Jane Austen Journal, vol. 37, 2015, p. 165+.
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article or the articles on the individual works (either Austen's or the particular adaptation), whichever the material refers to. Scholarship is not popular culture.
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Baker, William. Critical
Companion to Jane Austen : A Literary Reference to Her Life and Work. Facts on File, Inc, 2008. Facts on File Library of World Literature.
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Simons, Judy. "Jane Austen and
Popular Culture."Â A Companion to Jane Austen, Claudia L. (ed.) Johnson and Clara (ed.) Tuite, Wiley-Blackwell, 2009, pp. 467-477.
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Greetings. I was considering adding a "Music" section here in addition to the other areas of popular culture (film and media) listed that Austen is influencing.
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1134:(2014) âJane Austen, Oscar Wilde, and Emily Dickinson are college roommates. Other authors also appear. References to Austen's works and some direct quotes.
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I hope this greatly improves the overall appearance and format of the article. If anyone has any objections to the proposed changes, please post them here.
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Wilson Kimber. "Jane Austen's
Playlist: Teaching Music History beyond the Canon.â Journal of Music History Pedagogy, vol. 4, no. 2, Spring, pp. 213-230.
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According to
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fan fiction, the author examines translations of the novels and the particular challenges that arise due to Jane Austenâs unique style and syntax.
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SAÄLAM, Berkem. "Becoming Jane: The Romanticisation of Celebrity.â Â Journal of Faculty of Letters, vol. 34, no. 1, June 2017, pp. 147-157.
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Brooks, Jeanice. âIn Search of Austenâs âMissing Songs.ââ The Review of English Studies, vol. Â 67, Issue 282, 1 November 2016, p. 914+.
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no, merging would be very inadvisable in my opinion. Another alternative would to restyle the P&P-depictions article as
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I've noticed that five webseries adaptations are currently listed under various books (The Lizzie Bennet Diaries for
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Lynch, D. (2012). A genius for foretelling: Augustan Austen and future fiction. In G. Dow & C. Hanson (Eds.),
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Listed below is recent research pertaining to the phenomena of Jane Austen fans and reception in popular culture:
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to delete these "External links modified" talk page sections if they want to de-clutter talk pages, but see the
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I'm going to look for proper citations for all of these, which I will put here if and when I come across them.
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James, F. (2012). At home with Jane: Placing Austen in contemporary culture. In G. Dow & C. Hanson (Eds.),
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Dow, G., & Hanson, H. (Eds.). (2012). Uses of Austen: Jane's afterlives. New York: Palgrave Macmillan.
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If you have discovered URLs which were erroneously considered dead by the bot, you can report them with
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for some models). Lists are supposed to be in table form. Citations are definitely needed, though, yes.
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on Knowledge. If you would like to participate, please visit the project page, where you can join
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Dow, G. (2012). Uses of translation: The global Jane Austen. In G. Dow & C. Hanson (Eds.),
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1107:(2017), an adaptation in which Knightly is a woman (Jordan) and Jane Fairfax is a man (Jon).
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against consensus, and if you continue, you will be reported to a noticeboard and likely
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complete merge. The P&P-depictions article is too long (nearly as long as the
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The page should also be in a chart format, so I'll be working on it slowly.
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The digital afterlives of Jane Austen: Janeites at the keyboard
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The Digital Afterlives of Jane Austen: Janeites at the Keyboard
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Thank you :), I hadn't noticed that! I was looking at the
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Adapting characters and plotlines from all six books
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Everybody's Jane: Austen in the Popular Imagination
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Everybodyâs Jane: Austen in the Popular Imagination
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