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Bibliografias temáticas / Sanditon (Austen, Jane)

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Literatura científica selecionada sobre o tema "Sanditon (Austen, Jane)"

Autor: Grafiati

Publicado: 25 de julho de 2024

Última modificação: 31 de julho de 2024

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Artigos de revistas sobre o assunto "Sanditon (Austen, Jane)"

1

LE FAYE, DEIRDRE. "SANDITON: JANE AUSTEN;S MANUSCRIPT AND HER NIECE'S CONTINUATION". Review of English Studies XXXVIII, n.º 149 (1987): 56–61. http://dx.doi.org/10.1093/res/xxxviii.149.56.

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2

Ballinger, Gill. "Representing Bodies and Bathing Machines: Jane Austen’s Sanditon and Andrew Davies’s 2019 ITV Adaptation". Humanities 11, n.º 4 (28 de junho de 2022): 81. http://dx.doi.org/10.3390/h11040081.

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Jane Austen’s final novel fragment Sanditon has inspired continuations of many kinds from the mid-nineteenth century onwards. The most recent literary afterlife it has generated is the 2019 British adaptation for ITV, created by Andrew Davies, and with a screenplay by Davies, Justin Young and Andrea Gibb. This eight-part adaptation attempts to recreate Austen’s Regency world but reimagines and develops Sanditon through the lens of twenty-first century sexual sensibilities. Most notably, depictions of male nudity and sex acts demonstrate the adaptation’s engagement with contemporary sexual politics. Scenes offering salacious views of naked men sea-bathing counter the historical tradition of the female nude offered up for male gaze; the female body, in contrast, remains fully clothed in response to the contemporary Me-Too context. Furthermore, the inclusion of sex scenes, a character with a backstory of sexual abuse, a relationship featuring coercive control, and an ending denying the heroine her man reflects the zeitgeist. However, the disappointing British viewing figures for Sanditon suggest that sex does not always sell, particularly when it comes to creating a successful twenty-first century Austen adaptation.

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3

López, Isis Herrero. "Translating Social and Material Culture: Sanditon in Spanish". Translation and Literature 27, n.º 1 (março de 2018): 53–69. http://dx.doi.org/10.3366/tal.2018.0321.

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A plenitude of references to the institutions and conventions of contemporary social life and material culture presents challenges to all translators of Jane Austen. For this reason, the translation process needs to be based on a mastery of information about Regency England. The study of Spanish-language translations of Austen's Sanditon suggests they are not so based, because the translators frequently overlook the relevance of these references. References to the gentry class, to medical professionals, and to contemporary forms of transport, among other things, are examined in five translations from three different countries (Spain, Argentina, and Mexico). The translation choices made often obscure the implications which historico-cultural references bring to Austen's writings.

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4

Giles, Paul. "“By Degrees”". Nineteenth-Century Literature 75, n.º 3 (dezembro de 2020): 265–93. http://dx.doi.org/10.1525/ncl.2020.75.3.265.

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Paul Giles, “‘By Degrees’: Jane Austen’s Chronometric Style of World Literature” (pp. 265–293) This essay considers how Jane Austen’s work relates to “World Literature” by internalizing a chronometric style. Examining the emergence of the chronometer in the eighteenth century, it suggests how Austen drew on nautical frames of reference to combine disparate trajectories of local realism, geographical distance, and historical time. The essay thus argues that Austen’s fiction is interwoven with a reflexive mode of cartographic mapping, one that draws aesthetically on nautical instruments to remap time and space. This style involves charting various fluctuations of perspective that reorder history, memory, and genealogy, while also recalibrating Britain’s position in relation to the wider world. Moving on from an initial analysis of Austen’s juvenilia and early novels, the essay proceeds in its second part to discuss Mansfield Park (1814) in relation to Pacific exploration and trade. In its third part, it considers Emma (1815) in the context of comic distortions and the misreadings that arise from temporal and spatial compressions in the narrative, a form heightened by the novel’s reflexive wordplay. Hence the essay argues that Austen’s particular style of World Literature integrates chronometric cartography with domestic circumstances, an elusive idiom that also manifests itself in relation to the gender dynamics of Persuasion (1817) and the unfinished “Sanditon,” as discussed in the essay’s concluding pages. This is correlated finally with the way Austen’s novels are calibrated, either directly or indirectly, in relation to a global orbit.

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5

Giles, Paul. "“By Degrees”". Nineteenth-Century Literature 75, n.º 3 (dezembro de 2020): 265–93. http://dx.doi.org/10.1525/ncl.2020.75.3.265.

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Paul Giles, “‘By Degrees’: Jane Austen’s Chronometric Style of World Literature” (pp. 265–293) This essay considers how Jane Austen’s work relates to “World Literature” by internalizing a chronometric style. Examining the emergence of the chronometer in the eighteenth century, it suggests how Austen drew on nautical frames of reference to combine disparate trajectories of local realism, geographical distance, and historical time. The essay thus argues that Austen’s fiction is interwoven with a reflexive mode of cartographic mapping, one that draws aesthetically on nautical instruments to remap time and space. This style involves charting various fluctuations of perspective that reorder history, memory, and genealogy, while also recalibrating Britain’s position in relation to the wider world. Moving on from an initial analysis of Austen’s juvenilia and early novels, the essay proceeds in its second part to discuss Mansfield Park (1814) in relation to Pacific exploration and trade. In its third part, it considers Emma (1815) in the context of comic distortions and the misreadings that arise from temporal and spatial compressions in the narrative, a form heightened by the novel’s reflexive wordplay. Hence the essay argues that Austen’s particular style of World Literature integrates chronometric cartography with domestic circumstances, an elusive idiom that also manifests itself in relation to the gender dynamics of Persuasion (1817) and the unfinished “Sanditon,” as discussed in the essay’s concluding pages. This is correlated finally with the way Austen’s novels are calibrated, either directly or indirectly, in relation to a global orbit.

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6

Prescott, Amanda-Rae. "Race and Racism in Austen Spaces: Notes On A Scandal: Sanditon Fandom’s Ongoing Racism And The Danger Of Ignoring Austen Discourse On Social Media". ABO: Interactive Journal for Women in the Arts, 1640-1830 11, n.º 2 (dezembro de 2021). http://dx.doi.org/10.5038/2157-7129.11.2.1290.

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Sanditonfans have used social media more than many other past Jane Austen adaptations to discuss the series and to share news developments about the series. This was partially due to the COVID-19 pandemic preventing in-person marketing and fandom gatherings, but also due to some traditional Austen discussion platforms ignoring or banning pro-Sanditon discussions. White women from the UK and Europe dominated these online communities and set the tone for discussions of the plot as well as news about the series. BIPOC fans repeatedly clashed with white fans because the promises of an “inclusive” community were frequently dashed as soon as they disagreed with the predominant views of white fans. ITV’s decision to reverse the cancelation of the series did not diminish these clashes, in fact, they have continued to increase. The second season is expected to premiere in 2022 in a different media climate than the first season. Not only has the long delay in production for the second season resulted in recasting several roles, but Bridgerton has also far eclipsed Sanditon in international popularity. Bridgertonhas not only embraced contrasting and even anti-Austen aesthetics, but has also cast Black lead actors in their first season and South Asian lead actors in the upcoming Season 2. In light of these developments, BIPOC fans have pushed for Sanditonto expand Crystal Clarke’s role as Georgiana and diversify the cast and crew. The white fans who are interested in maintaining Sanditon as the anti-Bridgerton are pushing back in more subtle but still racist ways. Jane Austen scholars, academics, and professionals are facing a four-fold danger: the undermining of existing DEIA efforts within traditional Austen spaces by white fans with no interest in doing this work; the risk of alienating the next generation of Austen professionals by ignoring social media as a platform for Austen and Austen-adjacent discussions; the exclusion of BIPOC Austen fans from online and traditional spaces; and the inability to influence or participate in discussions of pop culture adaptations of Austen works.

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7

"The Portrayal of Approach to Commerce through the Light of Jane Austen’s Works in English Literature". Global Mainstream Journal 2, n.º 1 (8 de janeiro de 2023): 1–5. http://dx.doi.org/10.62304/alhe.v2i01.45.

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The purpose of this article is to portray the approach to commerce through the light of Jane Austen’s works in English literature. Various approaches to commerce are presented by Jane Austen in her works. Her works have narrated that an entity was unavoidably affected by the pressures of a trade life. She has focused the life and the profession from different angles. Her brother, who was related to banking, was also portrayed. She has revealed the character’s entrepreneurial thoughts and relevance to the business. She has mentioned the financial struggles of the characters that were caused due to economic crisis. Her works have revealed the business-related problems of Sanditon. Thus, through various narrations; Jane Austen has focused on the approach to commerce in her works.

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Teses / dissertações sobre o assunto "Sanditon (Austen, Jane)"

1

Staunton, S. Jane. ""Dying, in other words" : discourses of dis-ease and cure in the last works of Jane Austen and Barbara Pym". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ37237.pdf.

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Livros sobre o assunto "Sanditon (Austen, Jane)"

1

Debon, Bettina. Die unbekannte Jane Austen: Ihre Romanfragmente, Catharine, The Watsons, Sanditon. Essen: Verlag Die Blaue Eule, 1991.

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2

Jane, Austen. Sanditon. Warszawa: Prószyński i S-ka, 1999.

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3

Jane, Austen. Sanditon. London: Hesperus Classics, 2009.

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4

1775-1817, Austen Jane, ed. Sanditon: A novel. Thorndike, Me: G.K. Hall, 1998.

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5

1775-1817, Austen Jane, ed. Sanditon: Jane Austen's last completed novel [i.e. last novel completed]. New York: Scribner Paperback Fiction, 1998.

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6

Axelrad, Arthur M. Jane Austen, caught in the act of greatness: A diplomatic transcription and analysis of the two manuscript chapters of Persuasion and the manuscript of Sanditon. [United States: 1st Books], 2003.

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7

Measham, Donald. Jane Austen: From Sanditon to Winchester. Lulu.com, 2017.

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8

Jane, Austen. Sanditon: A Novel by Jane Austen. Independently Published, 2020.

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9

Jane, Austen. Sanditon: An Unfinished Novel by Jane Austen. Independently Published, 2020.

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10

Jane, Austen. Sanditon: The Unfinished Novel by Jane Austen. Independently Published, 2020.

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Mais fontes

Capítulos de livros sobre o assunto "Sanditon (Austen, Jane)"

1

Tanner, Tony. "The Disease of Activity: Sanditon". In Jane Austen, 250–85. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-1-137-06457-8_8.

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2

Tanner, Tony. "The Disease of Activity: Sanditon". In Jane Austen, 250–85. London: Macmillan Education UK, 1986. http://dx.doi.org/10.1007/978-1-349-18432-3_8.

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3

Friedman, Emily C. "Sanditon by Jane Austen". In The Palgrave Encyclopedia of Romantic-Era Women's Writing, 1–4. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-11945-4_110-1.

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4

Friedman, Emily C. "Sanditon by Jane Austen". In The Palgrave Encyclopedia of Romantic-Era Women's Writing, 1–4. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-11945-4_110-2.

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5

Craig, Sheryl. "Sanditon: A Political Novel". In Jane Austen and the State of the Nation, 156–67. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137544551_9.

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6

Marsh, Sarah. "‘All the Egotism of an Invalid': Hypochondria as Form in Jane Austen's Sanditon". In The Routledge Companion to Jane Austen, 229–45. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429398155-18-21.

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7

Bartlett, Nora. "13. Sanditon and Suspense". In Jane Austen, 199–214. Open Book Publishers, 2021. http://dx.doi.org/10.11647/obp.0216.13.

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8

"Sanditon and speculation". In Jane Austen and the Enlightenment, 243–54. Cambridge University Press, 2004. http://dx.doi.org/10.1017/cbo9780511484353.010.

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9

"Sanditon – conclusion". In Jane Austen and the Fiction of her Time, 157–66. Cambridge University Press, 1999. http://dx.doi.org/10.1017/cbo9780511484667.008.

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10

"Sanditon: the enjoyments of invalidism". In Jane Austen and the Body, 197–221. Cambridge University Press, 1992. http://dx.doi.org/10.1017/cbo9780511586248.007.

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