Jane Austen's career as a novelist began in 1811 with the publication of Sense and Sensibility. Her work was finally adapted for the big screen with the 1940 filming of Pride and Prejudice (very successful at the box office). No other film adaptation of an Austen novel was made for theatrical release until 1995. Amazingly, during 1995 and 1996, six film and television adaptations appeared, first Clueless, then Persuasion, followed by Pride and Prejudice, Sense and Sensibility, the Miramax Emma, and the Meridian/A&E Emma. This book traces the history of film and television adaptations (nearly 30 to date) of Jane Austen manuscripts, compares the adaptations to the manuscripts, compares the way different adaptations treat the novels, and analyzes the adaptations as examples of cinematic art. The first of seven chapters explains why the novels of Jane Austen have become a popular source of film and television adaptations. The following six chapters each cover one of Austen's novels: Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion, and Northanger Abbey. Each chapter begins with a summary of the main events of the novel. Then a history of the adaptations is presented followed by an analysis of the unique qualities of each adaptation, a comparison of these adaptations to each other and to the novels on which they are based, and a reflection of relevant film and literary criticism as it applies to the adaptations.
“Wilkes makes the world of Jane Austen come to life . . . from travel to fashion, shopping, leisure, and, of course, finding a mate” (Britain Express). Immerse yourself in the vanished world inhabited by Austen’s contemporaries. Packed with detail and anecdotes, this is an intimate exploration of how the middle and upper classes lived from 1775, the year of Austen’s birth, to the coronation of George IV in 1820. Sue Wilkes skillfully conjures up all aspects of daily life within the period, drawing on contemporary diaries, illustrations, letters, novels, travel literature, and archives. Were all unmarried affluent men really “in want of a wife”? Where would a young lady seek adventure? Would “taking the waters” at Bath and other spas kill or cure you? Was Lizzy Bennet bitten by bed-bugs while traveling? What would you wear to a country ball or a dance at Almack’s? Would Mr. Darcy have worn a corset? What hidden horrors lurked in elegant Regency houses? “A delight. I don’t think I’ve ever read a book that paints such a vivid picture of daily life in late 18th and early 19th century England. It makes a perfect companion for Austen’s beloved novels.” —The Heritage Traveller “A thoroughly engaging—and very informative—‘eyewitness’ guide to everything from medical matters to modes of travel.” —Joceline Bury, Jane Austen’s Regency World “Written as if to a first-time traveler in the Regency . . . an inviting read . . . a perfect gift for every Janeite friend and family member.” —Austenprose “A worthy contribution to the field of Austen social history and uses the mundane realities of life to illuminate the reader’s experience.” —Sensibilities
Jane Austen's career as a novelist began in 1811 with the publication of Sense and Sensibility. Her work was finally adapted for the big screen with the 1940 filming of Pride and Prejudice (very successful at the box office). No other film adaptation of an Austen novel was made for theatrical release until 1995. Amazingly, during 1995 and 1996, six film and television adaptations appeared, first Clueless, then Persuasion, followed by Pride and Prejudice, Sense and Sensibility, the Miramax Emma, and the Meridian/A&E Emma. This book traces the history of film and television adaptations (nearly 30 to date) of Jane Austen manuscripts, compares the adaptations to the manuscripts, compares the way different adaptations treat the novels, and analyzes the adaptations as examples of cinematic art. The first of seven chapters explains why the novels of Jane Austen have become a popular source of film and television adaptations. The following six chapters each cover one of Austen's novels: Sense and Sensibility, Pride and Prejudice, Emma, Mansfield Park, Persuasion, and Northanger Abbey. Each chapter begins with a summary of the main events of the novel. Then a history of the adaptations is presented followed by an analysis of the unique qualities of each adaptation, a comparison of these adaptations to each other and to the novels on which they are based, and a reflection of relevant film and literary criticism as it applies to the adaptations.
“Wilkes makes the world of Jane Austen come to life . . . from travel to fashion, shopping, leisure, and, of course, finding a mate” (Britain Express). Immerse yourself in the vanished world inhabited by Austen’s contemporaries. Packed with detail and anecdotes, this is an intimate exploration of how the middle and upper classes lived from 1775, the year of Austen’s birth, to the coronation of George IV in 1820. Sue Wilkes skillfully conjures up all aspects of daily life within the period, drawing on contemporary diaries, illustrations, letters, novels, travel literature, and archives. Were all unmarried affluent men really “in want of a wife”? Where would a young lady seek adventure? Would “taking the waters” at Bath and other spas kill or cure you? Was Lizzy Bennet bitten by bed-bugs while traveling? What would you wear to a country ball or a dance at Almack’s? Would Mr. Darcy have worn a corset? What hidden horrors lurked in elegant Regency houses? “A delight. I don’t think I’ve ever read a book that paints such a vivid picture of daily life in late 18th and early 19th century England. It makes a perfect companion for Austen’s beloved novels.” —The Heritage Traveller “A thoroughly engaging—and very informative—‘eyewitness’ guide to everything from medical matters to modes of travel.” —Joceline Bury, Jane Austen’s Regency World “Written as if to a first-time traveler in the Regency . . . an inviting read . . . a perfect gift for every Janeite friend and family member.” —Austenprose “A worthy contribution to the field of Austen social history and uses the mundane realities of life to illuminate the reader’s experience.” —Sensibilities
Combining thematic analysis and stimulating close readings, The Collar is a wide-ranging study of the many ways--heroic or comic, shrewd or dastardly--Christian ministers have been represented in literature and film. Since all Christians are expected to be involved in ministry of some type, the assumptions of secular culture about ministers affect more than just clergy. Ranging across several nations (particularly the U. S., Britain, and Canada), denominations, and centuries, The Collar aims to encourage creative and faithful responses to the challenges of Christian leadership and to provoke awareness of the times when leadership expectations become too extreme. Using the framework of novels, plays, TV, and movies to make inquiries about pastoral passion, frustration, and fallibility, Sue Sorensen's well-informed, sprightly, and perceptive book will be helpful to pastors, parishioners, those interested in practical theology, and anyone who enjoys evocative literature and film.
Sue Wilkes reveals the shadowy world of Britain's spies, rebels and secret societies from the late 1780s until 1820. Drawing on contemporary literature and official records, Wilkes unmasks the real conspirators and tells the tragic stories of the unwitting victims sent to the gallows. In this 'age of Revolutions', when the French fought for liberty, Britain's upper classes feared revolution was imminent. Thomas Paine's incendiary Rights of Man called men to overthrow governments which did not safeguard their rights. Were Jacobins and Radical reformers in England and Scotland secretly plotting rebellion? Ireland, too, was a seething cauldron of unrest, its impoverished people oppressed by their Protestant masters. Britain's governing elite could not rely on the armed services even Royal Navy crews mutinied over brutal conditions. To keep the nation safe, a 'war chest' of secret service money funded a network of spies to uncover potential rebels amongst the underprivileged masses. It had some famous successes: dashing Colonel Despard, friend of Lord Nelson, was executed for treason. Sometimes in the deadly game of cat-and-mouse between spies and their prey, suspicion fell on the wrong men, like poets Wordsworth and Coleridge. Even peaceful reformers risked arrest for sedition. Political meetings like Manchester's 'Peterloo' were ruthlessly suppressed, and innocent blood spilt. Repression bred resentment and a diabolical plot was born. The stakes were incredibly high: rebels suffered the horrors of a traitor's death when found guilty. Some conspirators' secrets died with them on the scaffold... The spy network had some famous successes, like the discoveries of the Despard plot, the Pentrich Rising and the Cato St conspiracy. It had some notable failures, too. However, sometimes the 'war on terror' descended into high farce, like the 'Spy Nozy' affair, in which poets Wordsworth and Coleridge were shadowed by a special agent.
Silence is his only defense. But no truth escapes his lady's whip. A Jane Austen Space Opera, Book 2 Lady Violet Blackmyre, the daring "Black Duchess" of the Queen's Light Dragoons, never thought she'd die a slow, miserable death. Yet only days after being named Field Marshal of the Britannian Army, she's been diagnosed with consumption. Giving Cole, her devoted stable hand and "pony," his freedom is as easy as removing his collar. Convincing him to seek another mistress will be impossible should he learn of her condition. At all costs, she must spare him the pain of witnessing her demise. Cole will not be pushed away so easily. When he stumbles across a magnificent "stallion" being abused at an illegal human auction, he is sure this wild, untamed brute is the challenge that will re-engage his mistress's interest. Arthur is desperate to return to the Iberian front, but betrayal and relentless torture have left him unable to trust himself with a weapon, much less lead soldiers into battle. What's more, Lady Blackmyre's dreadful secret is becoming more obvious by the day...and the scourge tearing at her lungs may not be natural at all. Warning: Ladies in positions of power and technological advances invented by the infamous Lady Doctor Wyre. A menage a trois featuring a brute of a stallion, a mischievous pony, and the Mistress with the will (and the whip) to tame them both.
This book examines the emergence of gender consciousness among women as a significant force in American politics. The author bases her argument on an in-depth empirical analysis of data derived from the U.S. biennial National Election studies of 1974 to 1984, the year of the emergence of the so-called gender gap. The author discusses the fact that while feminism is central to womens' political orientation, the simple awareness of gender differences and group consciousness is a powerful force of change.
Disaster! Jess tried to hide her horror. Her mum frowned. 'What's wrong, sweetheart? It's what you've always wanted!' Jess's mum has finally given in and arranged a trip to see Jess's dad. But this is so the wrong moment: Jess has just got it together with Fred, and in an incredibly romantic way he has scraped money together to get them both tickets to the hottest music festival . . . but instead Jess is going on a road trip with her mum and her grandmother (and her grandfather, but he doesn't quite count as he is ashes in an urn). Jess is keen to keep in touch with Fred by text while she is away, but after a while he just stops responding. And her best friend Flora is now going to the exact same music festival Jess was supposed to go to! Jess can't help her paranoia about Fred working overtime. If Jess isn't careful, her worries are going to completely spoil her much-wanted visit to her dad. But when she gets there, it turns out that everybody has a surprise for each other. Needless to say, some work out better than others . . . In this sequel Sue Limb has surpassed herself. The writing is still fresh, funny and effervescent, but at the same time Sue has captured the difficult, prickly but, above all, loving relationship between a daughter and her parents.
This essential new textbook provides cataloguers with the skills needed for transition to Resource Description and Access (RDA). The book builds on John Bowman's highly regarded Essential Cataloguing and gives an introduction to Functional Requirements for Bibliographic Records (FRBR), which provides the conceptual basis for RDA; discusses the differences between AACR2 and RDA; and shows the current state of play in MARC 21. Key topics are: introduction to catalogues and cataloguing standards the FRBRization of the catalogue bibliographic elements access points and headings RDA: the new standard, its development, structure and features AACR and RDA: the similarities and differences between the two standards the MARC21 record bringing it all together the birth of RDA and the death of MARC. The final chapter includes ten records displayed in AACR2 level 1, AACR2 level 2, RDA and MARC 21, making it easy to see the differences at a glance. There is also a fully explained worked example based on RDA Appendix M. Readership: Written at a time of transition in international cataloguing, this book provides cataloguers and students with a background in general cataloguing principles, the current code (AACR2) and format (MARC 21) and the new standard (RDA). The contextual chapters provide library managers with an up-to-date overview of the development of RDA in order to equip them to make the transition. The book will be essential reading for students of library and information studies and practising library and information professionals in all sectors. It will also be of great interest to the archives sector.
As his laugh-out-loud secret diary extends into his later teens and young adulthood, everyone’s favorite angsty Brit remains “a brilliant comic creation” (The Times, London). Continue to commiserate with “one of literature’s most endearing figures”—a sharp-witted, pining, and achingly honest underdog of great expectations and dwindling patience who knows all (or believes he does) and tells all (The Observer). Having endured the agony of adolescence (just), Adrian now careens into his later teens, torturous twenties, and utterly disappointing thirties in these three hilarious sequels by “one of Britain’s most celebrated comic writers” (The Guardian). From the not-so-humble origins of The Secret Diary of Adrian Mole Aged 13 and ¾, Adrian’s chronicle of angst has sold more than twenty million copies worldwide, spawned seven sequels, been adapted for television, and staged as a musical—truly “a phenomenon” (The Washington Post). The True Confessions of Adrian Albert Mole: What’s happening to Adrian Mole? On the one hand, he’s entering the cusp of adulthood and burgeoning success as a published poet. On the other, he still lives at home, refuses to part with his threadbare stuffed rabbit, and has lost his job at the library for a shocking act of impudence: He shelved Jane Austen under Light Romance. Even worse, someone named Sue Townsend stole his diaries and published them under her own name. Of course they were bestsellers. Adrian Mole: The Wilderness Years: At 23¾ years old, Adrian is now technically an adult and almost prepared. On the upside: He’s fallen for a perfectly lovely Nigerian waitress; he’s seeing a therapist so as to talk about himself without interruption; and he’s added vowels to his experimental novel-in-progress (so much more accessible to the masses!). The downside? Pandora is probably history; a pea-brained rival has been published before him to great acclaim; and worse—Adrian has come to the devastating realization that he may not be uncommon after all. Adrian Mole: The Cappuccino Years: At 34¾, impotent intellectual Adrian Mole is soon to be divorced; he hasn’t a clue what to do with his semi-stardom as a celebrity chef; his parents have become swingers (with whom is too shocking to go into now); his epic novel is still unpublished; his ex-flame Pandora is running for political office; and his younger sister has rebelled in the most distressingly common ways. There is one upside: Adrian’s son has inherited his mother’s unblemished skin. “Townsend’s wit is razor sharp” (Daily Mirror) as she shows us the world through the older and (possibly?) wiser eyes of her “achingly funny anti-hero” (Daily Mail), proving again and again why she’s been called “a national treasure” (The New York Times Book Review).
As his secret diary extends into his later teen years, the angsty Brit remains “part Holden Caulfield, part . . . Bertie Wooster” and all Adrian (The New York Times). Send my diaries back. I would hate them to fall into unfriendly, possibly commercial hands. I am afraid of blackmail; as you know my diaries are full of sex and scandal. What’s happening to Adrian Mole? He’s on the cusp of adulthood and burgeoning success as a published poet. But . . . he still lives at home, refuses to part with his threadbare stuffed rabbit, and has lost his job at the library for a shocking act of impudence: He shelved Jane Austen under “light romance.” Even worse, someone named Sue Townsend stole his diaries and published them under her own name. Of course they were bestsellers. The “brilliant comic creation” returns, sharing his poetry (award-winning!), travel journals (he’s going places), musings on lost love (more of an obsession), and some major news (he’s writing a novel!) (The Times). But not all the confessions are his alone. We also hear from that notorious pilferer Townsend, who, after receiving a suspended prison sentence, now lives in shame in a bleak moorland cottage. Don’t tell Adrian, but the New York Times Book Review still insists that it’s she who “is a national treasure.” From “one of Britain’s most celebrated comic writers” (The Guardian) comes the inventive new novel in the “perceptive and funny” (The New York Times) series that has sold more than twenty million copies worldwide, was adapted for television and staged as a musical, and is nothing less than “a phenomenon” (The Washington Post).
A devilish alliance, sparked by imperial blood... A Jane Austen Space Opera, Book 3 After weeks of travel, Lord Sigmund Regret's nerves are frayed. He's gone too long without a mark, but that's not the only thing making him edgy. Once the reality of his profession sinks in, he wonders how his Lady Charlotte Wyre will feel when he comes to her bed with fresh blood on his hands. Of course, the other man in her life adds more stress to an already complicated relationship. Gilead Masters's needs are so...normal...compared to Sig's, which leaves Charlotte turning to him to explore her darkening fantasies. Bondage is one thing. But pain? That's too close to his bloodline's violent weakness for Sig's comfort. Charlotte can feel Sig pulling away, but there is no time to heal the rift before they land in Zijin, where she is immediately attacked. Britannia's reach is long, and Queen Majel's reach is even deeper-and more deadly. As Imperial politics come to a dangerous boil, Charlotte must risk everything to keep her beloved assassin alive, free, and at her side. Even as he searches for his next mark. Warning: Ladies in positions of power, a dragon alien, and a BDSM menage a trois featuring a duchess on the run, a gentlemanly assassin, and a rough-and-tumble sheriff willing to gun down anyone who gets between him and his lady.
The Russian critic and theorist Mikhail Bakhtin is once again in favor, his influence spreading across many discourses including literature, film, cultural and gender studies. This book provides the most comprehensive introduction to Bakhtin’s central concepts and terms. Sue Vice illustrates what is meant by such ideas as carnival, the grotesque body, dialogism and heteroglossia. These concepts are then placed in a contemporary context by drawing out the implications of Bakhtin’s writings, for current issues such as feminism and sexuality. Vice’s examples are always practically based on specific texts such as the film Thelma and Louise, Helen Zahavi’s Dirty Weekend and James Kelman's How late it was, how late.
Every family historian has child ancestors, and childhood experiences and records are an essential aspect of research into a past life. That is why Sue Wilkes's detailed and accessible handbook is such a useful guide for anyone who is trying to find out about the early years of their forbears. In Tracing Your Ancestors' Childhood she explores the history of childhood and education and brings together information about relevant records and archives into one handy reference guide. She outlines ancestors' childhood experiences at home, school, work and in institutions, especially during Victorian times. In the opening chapter she reviews basic family history sources, then she discusses records of childhood in detail. Specialist archives, published sources, recommended reading and other resources and documents are covered. She focuses primarily on England and Wales and covers the years 1750–1950. The second part of her book is a directory of archives and specialist repositories. Databases of children's societies, useful genealogy websites, and places to visit which bring the social history of childhood to life are all included.
Sue Thornham explores issues of space, place, time and gender in feminist filmmaking through an examination of a wide range of films by contemporary women filmmakers, ranging from the avant-garde to mainstream Hollywood. Beginning from questions about space itself and the way it has been gendered, she asks how representation functions in relation to space and time, and how this, too, is gendered, before moving to an exploration of how such questions might be considered in relation to women's filmmaking. In sections dealing with spaces from wilderness to city, she analyses in detail how these issues have been dealt with by women filmmakers, addressing the work of filmmakers such as Jane Campion, Kathryn Bigelow, Julie Dash, Maggie Greenwald, Patricia Rozema and Carol Morley, and films including 'An Angel at My Table' (1990), 'Daughters of the Dust' (1991) 'The Ballad of Little Jo' (1993), 'Winter's Bone' (2010), 'Zero Dark Thirty' (2012) and 'The Falling' (2014).
What if...The entail on Longbourn had been broken?The Bennets owned Netherfield Park?Jane had firm opinions?Lizzy overheard the second derogatory comment Darcy made about her beauty? After the Bennets had dined at Netherfield Park, he said, "Her a beauty? I should as soon call her mother a wit."Yeah - that one.This is a story where we explore all these beautiful what ifs.
This book provides summaries and analyses of more than 250 novels and nearly 30 films and examines the extent to which they accurately reflect the history, mores and manners of the period--and the extent to which they reveal the ideas and attitudes of their authors and of the periods in which they were written. Particular emphasis is placed on the nature and importance of the war at sea for the British and on the role of famous naval officers such as Nelson, Pellew, Duncan, Smith and Cochrane in the defeat of Napoleon.
Sue Wilkes reveals the shadowy world of Britain's spies, rebels and secret societies from the late 1780s until 1820. Drawing on contemporary literature and official records, Wilkes unmasks the real conspirators and tells the tragic stories of the unwitting victims sent to the gallows. In this 'age of Revolutions', when the French fought for liberty, Britain's upper classes feared revolution was imminent. Thomas Paine's incendiary Rights of Man called men to overthrow governments which did not safeguard their rights. Were Jacobins and Radical reformers in England and Scotland secretly plotting rebellion? Ireland, too, was a seething cauldron of unrest, its impoverished people oppressed by their Protestant masters. Britain's governing elite could not rely on the armed services even Royal Navy crews mutinied over brutal conditions. To keep the nation safe, a 'war chest' of secret service money funded a network of spies to uncover potential rebels amongst the underprivileged masses. It had some famous successes: dashing Colonel Despard, friend of Lord Nelson, was executed for treason. Sometimes in the deadly game of cat-and-mouse between spies and their prey, suspicion fell on the wrong men, like poets Wordsworth and Coleridge. Even peaceful reformers risked arrest for sedition. Political meetings like Manchester's 'Peterloo' were ruthlessly suppressed, and innocent blood spilt. Repression bred resentment and a diabolical plot was born. The stakes were incredibly high: rebels suffered the horrors of a traitor's death when found guilty. Some conspirators' secrets died with them on the scaffold... The spy network had some famous successes, like the discoveries of the Despard plot, the Pentrich Rising and the Cato St conspiracy. It had some notable failures, too. However, sometimes the 'war on terror' descended into high farce, like the 'Spy Nozy' affair, in which poets Wordsworth and Coleridge were shadowed by a special agent.
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