The Edinburgh Companion to Jane Austen and the Arts

by Joe Bray (Editor), Hannah Moss (Editor)

Overview

Jane Austen was a keen consumer of the arts throughout her lifetime. The Edinburgh Companion to Jane Austen and the Arts considers how Austen represents the arts in her writing, from her juvenilia to her mature novels. The thirty-three original chapters in this Companion cover the full range of Austen’s engagement with the arts, including the silhouette and the caricature, crafts, theatre, fashion, music and dance, together with the artistic potential of both interior and exterior spaces. This volume also explores her artistic afterlives in creative re-imaginings across different media, including adaptations and transpositions in film, television, theatre, digital platforms and games.

Product Details

ISBN-13:	9781399500418
Publisher:	Edinburgh University Press
Publication date:	06/30/2024
Series:	Edinburgh Companions to Literature and the Humanities
Edition description:	271,785
Pages:	616
Sales rank:	534,282
Product dimensions:	6.69(w) x 9.61(h) x (d)

About the Author

Joe Bray is Professor of Language and Literature at the University of Sheffield. He is the author of The Language of Jane Austen (2018), The Portrait in Fiction of the Romantic Period (2016), The Female Reader in the English Novel (2008) and The Epistolary Novel: Representations of Consciousness (2003), and co-editor of, amongst others, The Routledge Companion to Experimental Literature (2012).

Hannah Moss works for the National Trust, having completed her PhD at the University of Sheffield. Her thesis, entitled ‘Sister Artists: The Artist Heroine in British Women’s Writing, 1760–1830’, explores how the woman artist is characterised in poetry and prose fiction of the period and she has published articles on the British reception of Germaine de Staël’s Corinne (1807), the role of the arts in the novels of Ann Radcliffe, and the paratextual framing of Felicia Hemans’ ekphrastic poem, ‘Properzia Rossi‘ (1828).

Table of Contents

List of Figures; Acknowledgements; Note on Texts; Introduction, Joe Bray and Hannah Moss; Part I: The Arts in Context; 1. Jane Austen, Early Modern Aesthetics and Contemplative Sublimity, Natasha Duquette; 2. Taste and Passion, Disinterest and the Imagination, Tom Huhn; 3. Jane Austen, Moral Philosophy and the Tradition, Kathryn E. Davis; 4. ‘Possessing a most exquisite taste in every species of literature’: Reading, Moral Taste and Creative Action in Jane Austen’s Novels, Katie Halsey; 5. Reforming the Artist Heroine: Reading Sense and Sensibility (1811) as a Response to Jane West’s A Gossip’s Story (1796), Hannah Moss; 6. Picturing (In)Sensibility in Austen’s Novels and Print Culture, Inger Brodey; 7. The Flemish Jane Austen, Clara Tuite; Part II: The Arts in Austen; 8. ‘The Creative Eye of Fancy’: Women, Visual Culture and the Female Gaze in Austen’s Novels, Maureen McCue; 9. Shadow Portraits: Jane Austen, Lady Susan and Silhouettes, Laura Engel; 10. Jane Austen and Crafts, Jennie Batchelor; 11. Jane Austen’s Conversation Pieces, Anne Toner; 12. Jane Austen, Caricature and the Fat Self, Olivia Ferguson; 13. Jane Austen and the Figure of the Body, Julia Banister; 14. ‘He has great pleasure in seeing the performances of other people’: Austen’s Men and the Arts, Juliette Wells; 15. Music in Jane Austen's Novels, Kathryn L. Libin; 16. Jane Austen’s Dance Dialogues: Representing Dance in the Novels, Cheryl Wilson; 17. The Paper Age: Jane Austen, Fashion and Finance, Leigh Wetherall Dickson; 18. Jane Austen and the Theatre of Her Time, Angela Barlow; 19. Jane Austen, Architecture and the Decorative Arts, Kristen Miller Zohn; 20. Creators of Spaces: The Art of Owning, Inhabiting and Imagining Property in Jane Austen, Rita Dashwood; 21. ‘Nothing but pleasure from beginning to end’: Austen’s Gardens, Stephen Bending; Part III: Afterlives; 22. Jane Austen and the Letter, Catherine Delafield; 23. Austen in a Competitive Literary Market Place: Nineteenth-century Illustrated Editions, Annika Bautz; 24. Jane Austen and the Imperfect Art of Translation, Janine Barchas and Gillian Dow; 25. Dealing With Jane Austen’s Unfinished Novels: Completions of The Watsons and Sanditon, Joanne Wilkes; 26. The Perils of Novelistic Adaptation: Death Comes to Pemberley, Longbourn and Pamela, Joe Bray; 27. When the Pen is in Fans’ Hands – The Jane Austen Fan Fiction Phenomenon, Maria Clara Pivato Biajoli; 28. Locating Austen in Contemporary Theatre, Frances Babbage; 29. ‘I am having a bit of a strange postmodern moment here’: Adapting Austen for Television, Lauren Nixon; 30. Theme Parks and Seaside Resorts: Rethinking Material and Visual Culture in Sanditon (2019) and Austenland (2013), Madeleine Pelling; 31. ‘Three or four families in a RPG’: Gaming and Jane Austen, Stephanie Russo; 32. Austen Reloaded: Digital Approaches to Jane Austen and the Arts, Anthony Mandal; 33. The Jane Austen Heritage Industry and Literary Tourism, Misty Krueger; Notes on Contributors; Index.