Like her much-loved heroine Emma Woodhouse, Jane Austen ‘played and sang’. Music occupied a central role in her life, and she made brilliant use of it in her books to illuminate characters’ personalities and highlight the contrasts between them. Until recently, our knowledge of Austen’s musical inclinations was limited to the recollections of relatives who were still in their youth when she passed away. But with the digitisation of music books from her immediate family circle, a treasure trove of evidence has emerged. Delving into these books, alongside letters and other familial records, She played and sang unveils a previously unknown facet of Austen's world. This insightful work not only uncovers the music closely associated with Austen, but also unravels her musical connections with family and friends, revealing the intricate ties between her fiction and the melodies she performed. With these revelations, Austen's musical legacy comes to life, granting us a deeper understanding of her artistic prowess and the influences that shaped her literary masterpieces.
This book focuses on how Austen's life and work is being re-framed and re-imagined in 20th and 21st century literature and culture. Tracing the connections between Modernist Austen in the early C20th and feminist and post-feminist appropriations in the later C20th, it examines how Austen emerged as a complex point of reference on the global stage.
This book focuses on how Austen's life and work is being re-framed and re-imagined in 20th and 21st century literature and culture. Tracing the connections between Modernist Austen in the early C20th and feminist and post-feminist appropriations in the later C20th, it examines how Austen emerged as a complex point of reference on the global stage.
Like her much-loved heroine Emma Woodhouse, Jane Austen ‘played and sang’. Music occupied a central role in her life, and she made brilliant use of it in her books to illuminate characters’ personalities and highlight the contrasts between them. Until recently, our knowledge of Austen’s musical inclinations was limited to the recollections of relatives who were still in their youth when she passed away. But with the digitisation of music books from her immediate family circle, a treasure trove of evidence has emerged. Delving into these books, alongside letters and other familial records, She played and sang unveils a previously unknown facet of Austen's world. This insightful work not only uncovers the music closely associated with Austen, but also unravels her musical connections with family and friends, revealing the intricate ties between her fiction and the melodies she performed. With these revelations, Austen's musical legacy comes to life, granting us a deeper understanding of her artistic prowess and the influences that shaped her literary masterpieces.
Art and the Historical Film provides an important examination of fine art's impact on filmmaking, grappling with the question of authenticity. From Eugene Delacroix's interpretation of the 1830 French revolution to Uli Edel's version of the Baader-Meinhof Gang, artistic representations of historical subjects are appealing and pervasive. Movies often adapt imagery from art history, including paintings of historical events. Films and art shape the past for us and continue to affect our interpretation of history. While historical films are often argued over for their adherence to "the facts," their real problem is realism: how can the past be convincingly depicted? Realism in the historical film genre is often nourished and given credibility by its use of painterly references. This book examines how art-historical images affect historical films by going beyond period detail and surface design to look at how profound ideas about history are communicated through pictures. Art and the Historical Film: Between Realism and the Sublime is based on case studies that explore the links between art and cinema, including American independent Western Meek's Cutoff (Kelly Reichardt, 2010), British heritage film Belle (Amma Asante, 2013), and Dutch national epic Admiral (Roel Reiné, 2014). The chapters create immersive worlds that communicate distinct ideas about the past through cinematography, production design, and direction, as the films adapt, reference, and transpose paintings by artists such as Rubens, Albert Bierstadt, and Jacques-Louis David.
Some of the theories Genlis adopts in the education of the eponymous children have their roots in Rousseau's "Emile". However, Genlis herself suggested that Rousseau knew little of the practical education of children. This work is placed within the context of the late eighteenth-century debate on female education.
The waters of river and sea represent a kind of freedom, a liberty which, as Iris Murdoch writes, enables man "to exist sanely without fear and to perceive what is real." As settings in fiction, the riverbank and seashore are rich in potential, offering a sense of destiny and suggesting the possibility of self-truth and self-knowledge. In British literature, the rural costal setting-shadowed by cliffs, tugged by the constant movement of the sea--becomes the site of revelation and generates the energy that brings characters to a new level of self-awareness. The river's embankments, bridges and tunnels often mark specific stages of revelation and movement in plot. Entrapment and isolation, contingency and communication are themes that seem born of such settings. This book examines the ways in which 21 modern and postmodern writers (from Tennyson to Ted Hughes, from Jane Austen to Jane Gardam) have made use of the physical environment of riverbank and seashore in their work. It considers how each author employs the physical settings in the service of plot and character development, and how those settings are used to connect with some of the major intellectual concerns of the late19th and 20th centuries. Appendices offer significant quotations from the texts under discussion, arranged according to the location they describe: the rural river, the urban river, river into sea, the rural shore, and the urban shore.
Ever wondered what a medieval recipe actually looked like? Five Historical Feasts - The Banquets of Conflux can show you. How did one order an ever so slightly drink to enjoy with their meal during Prohibition? Have you wondered how makeup was made in Jane Austen's time? Dr Gillian Polack's research; Tales from Blogland; and notes from the more than fifty testers who helped to recreate as authentic a meal as possible in a modern commercial kitchen, all combine in this unusual cookbook. Included are the recipes for each Feast; and five new short stories from Kaaron Warren, Nicole Murphy, Maxine McArtrhur, Donna Hanson and Mik Bennett"--Back cover.
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