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Journal articles on the topic 'Austen'

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Published: 4 June 2021
Last updated: 29 July 2024

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1

Lindstrom, Eric. "Austen and Austin." European Romantic Review 22, no. 4 (August 2011): 501–20. http://dx.doi.org/10.1080/10509585.2011.583041.

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2

LEE, SIMON. "Law and Literature: Goodbye Austin, Hello Austen?" Oxford Journal of Legal Studies 10, no. 2 (1990): 252–59. http://dx.doi.org/10.1093/ojls/10.2.252.

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3

Cavell, Stanley. "La philosophie du jour d'après Austen après Austin." Rue Descartes 45-46, no. 3 (2004): 215. http://dx.doi.org/10.3917/rdes.045.0215.

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4

Jirapatrasilp, Parin, Jonathan D. Ablett, Somsak Panha, and Chirasak Sutcharit. "Clarification on the name-bearing type designation of several cyclophorid species (Mollusca, Gastropoda) by H. H. Godwin-Austen (1915)." ZooKeys 1049 (July 16, 2021): 43–66. http://dx.doi.org/10.3897/zookeys.1049.66842.

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The type series boundary and the name-bearing type designation of each cyclophorid taxon originally described by Godwin-Austen are clarified based on an interpretation that complies with the ICZN. Previous statuses of type specimens designated by previous authors are reconsidered. Lectotypes of Spiraculum oakesi Godwin-Austen, 1915, Spiraculum kempi Godwin-Austen, 1915, Pterocyclos aborensis Godwin-Austen, 1915, Pterocyclos miriensis Godwin-Austen, 1915, Pterocyclos brahmakundensis Godwin-Austen, 1915, Spiraculum luyorensis Godwin-Austen, 1915, Spiraculum putaoensis Godwin-Austen, 1915, and Theobaldius oakesi Godwin-Austen, 1915 are here designated to stabilize the existing nomenclature. In addition, the type specimens of Pterocyclos miriensis and Theobaldius oakesi are photographed and figured for the first time.
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5

Priydarshi, Ashok Kumar. "Jane Austen as a Moralist." Journal of Advanced Research in English and Education 05, no. 01 (February 15, 2021): 12–15. http://dx.doi.org/10.24321/2456.4370.202002.

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6

Suganthi, B., and K. Swarnamuki. "Division of Jane Austen Novels." International Journal of Trend in Scientific Research and Development Volume-2, Issue-3 (April 30, 2018): 373–75. http://dx.doi.org/10.31142/ijtsrd11010.

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7

Banerjee, Trisha Urmi. "Austen Equilibrium." Representations 143, no. 1 (2018): 63–90. http://dx.doi.org/10.1525/rep.2018.143.1.63.

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By proposing a quantitative game-theory model of the marriage plot in Jane Austen’s Emma, this essay demonstrates that free-market moral philosophy underwrites Austen’s representation of matrimony and key formal elements of her writing—particularly, matters of verbal profusion. Her famed stylistic “economy” is revealed to be structured by the emerging capitalist economy that Adam Smith theorized in The Wealth of Nations. Establishing the correspondences among several kinds of economy, the essay unites economic and formal approaches to Austen’s work.
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8

Keener, Frederick M., and Tony Tanner. "Jane Austen." Yearbook of English Studies 19 (1989): 333. http://dx.doi.org/10.2307/3508083.

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9

Park, Clara Claiborne, James Thompson, Park Honan, and Claudia Johnson. "Recuperating Austen." Hudson Review 42, no. 4 (1990): 643. http://dx.doi.org/10.2307/3852378.

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10

Tave, Stuart, Park Honan, Margaret Kirkham, Gene Koppel, Michael Williams, and Tony Tanner. "On Austen." NOVEL: A Forum on Fiction 22, no. 2 (1989): 231. http://dx.doi.org/10.2307/1345809.

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11

Henry, A. C. "Rereading Austen." Cambridge Quarterly 36, no. 4 (January 1, 2007): 374–81. http://dx.doi.org/10.1093/camqtly/bfm014.

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12

Chesterton, G. K. "Jane Austen." Chesterton Review 40, no. 1 (2014): 25–31. http://dx.doi.org/10.5840/chesterton2014401/24.

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13

Tuite, Clara. "Precarious Austen: A Shabby Genteel Story." Romanticism 29, no. 2 (July 2023): 120–32. http://dx.doi.org/10.3366/rom.2023.0593.

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My essay works backward from today’s incontrovertibly immortal Austen to consider a precarious Austen – an Austen on the verge of sinking ‘too low’, as her nephew, James Edward Austen-Leigh, labelled the heroine of Austen’s novel fragment, The Watsons. This Austen is not the spinster redux of today’s global domination, but the Austen of 1817, an unmarried middle-aged woman living off the charity of her brothers at Chawton Cottage. ‘At the height of her powers’ (according to Virginia Woolf), she was also fragile, fugitive, shabby genteel. The category of precarity, I argue, helps us to trace Austen’s unique calibrations of social rank, genre, tone and stylistics, and to consider the economic, social, emotional and stylistic forms that shape the prehistory of Austenian fame.
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14

Zhang, Helong. "The Reception of Jane Austen in Early Modern China: A Canonical Perspective." Humanities 11, no. 4 (July 19, 2022): 90. http://dx.doi.org/10.3390/h11040090.

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In China, Jane Austen has undergone an amazing metamorphosis from an obscure foreign writer disregarded or disapproved of for a long period to a great novelist highly acclaimed and fully acknowledged. Only recent years have seen the publication of a few scholarly articles on the reception trajectories of Austen in the Chinese academic world. This article revisits the issue, particularly the reception of Austen in early modern China from a canonical perspective. During the first major wave of literary translation, Austen was absent in the translation projects of dominant male translators, especially in Lin Shu’s choice. It was not because of their gender discrimination as generally considered, but because of their lack of canon consciousness. The literary light of Austen, too bright and too sparkling to ignore, was finally shed upon the Chinese land, but her canonical place was not instantly recognized. The wartime translators’ efforts to render Pride and Prejudice into Chinese reflect the difficulty in the making of a canonical Austen under very different historical circumstances.
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15

Lanser, Susan S. "Aging with Austen." PMLA/Publications of the Modern Language Association of America 133, no. 3 (May 2018): 654–60. http://dx.doi.org/10.1632/pmla.2018.133.3.654.

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In 2015 i received a letter from the mla informing me that since i had now been a member for forty years, i no longer had to pay dues. hat should have been welcome news, but I was horrified. Could I be that old? Had I actually given papers and chaired sessions at some thirty-five annual meetings since 1975, as my hastily consulted curriculum vitae proclaimed? hough rhetorical, the questions prompted a nostalgic encounter with a few nearly forgotten conference talks and a deeper contemplation of the person who delivered them. (How) had my reading and writing altered across the decades in which I moved from graduate student through the tenure ranks to professor emerita? What had it meant to age as a reader? Or, for the purposes of this short meditation, what had it meant to age as a reader of Jane Austen, whose presence threads through my teaching and writing from beginning to not-yet end?
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16

Galperin, William. "The Counterfactual Austen." Texas Studies in Literature and Language 61, no. 4 (December 2019): 362–77. http://dx.doi.org/10.7560/tsll61403.

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17

Cointre, Annie. "Jane Austen, Emma." XVII-XVIII, no. 73 (December 31, 2016): 315–16. http://dx.doi.org/10.4000/1718.793.

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18

White, Deborah Elise, and William H. Galperin. "The Historical Austen." Studies in Romanticism 44, no. 3 (2005): 439. http://dx.doi.org/10.2307/25602008.

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19

Lutz, Alfred. "Recreating Jane Austen." English Language Notes 40, no. 3 (March 1, 2003): 86–91. http://dx.doi.org/10.1215/00138282-40.3.86.

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20

JONES, VIVIEN. "Post-feminist Austen." Critical Quarterly 52, no. 4 (December 2010): 65–82. http://dx.doi.org/10.1111/j.1467-8705.2010.01949.x.

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21

MODERT, JO. "JANE AUSTEN LETTERS." Notes and Queries 32, no. 2 (June 1, 1985): 250—d—250. http://dx.doi.org/10.1093/nq/32-2-250d.

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22

Siskin, C. "The Historical Austen." Modern Language Quarterly 67, no. 4 (November 15, 2006): 536–43. http://dx.doi.org/10.1215/00267929-2006-018.

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23

Glover, D. R. "Roy Austen Glover." BMJ 338, may01 1 (May 1, 2009): b1687. http://dx.doi.org/10.1136/bmj.b1687.

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24

Simons, Judy. "Persuasion [Jane Austen]." Women's Writing 7, no. 2 (July 1, 2000): 00. http://dx.doi.org/10.1080/09699080000200137.

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25

Simons, Judy. "Persuasion [Jane Austen]." Women's Writing 7, no. 2 (July 1, 2000): 327–46. http://dx.doi.org/10.1080/09699080000200384.

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26

Martin, Graham. "Austen and class." Women's Writing 5, no. 1 (March 1998): 131–44. http://dx.doi.org/10.1080/09699089800200028.

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27

KELLER, JILL LENETT. "THE COMMON AUSTEN." Essays in Criticism XLIII, no. 4 (1993): 340–44. http://dx.doi.org/10.1093/eic/xliii.4.340.

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28

Gaull, M. "Jane Austen: Afterlives." Eighteenth-Century Life 28, no. 2 (April 1, 2004): 113–19. http://dx.doi.org/10.1215/00982601-28-2-113.

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29

Davenport, Robertson D., and W. John Judd. "Harold Austen Oberman." Transfusion 45, no. 2 (February 2005): 283–84. http://dx.doi.org/10.1111/j.1537-2995.2004.04424.x.

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30

Carroll, Joseph, John A. Johnson, Jonathan Gottschall, and Daniel Kruger. "Graphing Jane Austen." Scientific Study of Literature 2, no. 1 (August 13, 2012): 1–24. http://dx.doi.org/10.1075/ssol.2.1.01car.

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Building on findings in evolutionary psychology, we constructed a model of human nature and used it to illuminate the evolved psychology that shapes the organization of characters in nineteenth-century British novels. Characters were rated on the web by 519 scholars and students of Victorian literature. Rated categories include motives, criteria for selecting marital partners, personality traits, and the emotional responses of readers. Respondents assigned characters to roles as protagonists, antagonists, or associates of protagonists or antagonists. We conclude that protagonists and their associates form communities of cooperative endeavor. Antagonists exemplify dominance behavior that threatens community cohesion. We summarize results from the whole body of novels and use them to identify distinctive features in the novels of Jane Austen.
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31

NUNOKAWA, J. "Speechless in Austen." differences 16, no. 2 (January 1, 2005): 1–36. http://dx.doi.org/10.1215/10407391-16-2-1.

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32

Greaney, Michael. "Austen and Death." Essays In Criticism 73, no. 4 (October 1, 2023): 406–26. http://dx.doi.org/10.1093/escrit/cgad034.

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33

Benis, Toby R. "Jane Austen: The Secret Radical / The Making of Jane Austen." European Romantic Review 29, no. 4 (July 4, 2018): 509–13. http://dx.doi.org/10.1080/10509585.2018.1487515.

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34

Starr, G. Gabrielle. "Jane Austen and the Theatre. Paula Byrne.Jane Austen and the Theatre. Penny Gay.Recreating Jane Austen. John Wiltshire." Wordsworth Circle 33, no. 4 (September 2002): 161–62. http://dx.doi.org/10.1086/twc24044214.

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35

Vohra, Rakesh V. "Mathematical and Quantitative Methods: Jane Austen, Game Theorist." Journal of Economic Literature 51, no. 4 (December 1, 2013): 1187–90. http://dx.doi.org/10.1257/jel.51.4.1183.r3.

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Rakesh V. Vohra of University of Pennsylvania reviews, “Jane Austen, Game Theorist” by Michael Suk-Young Chwe. The Econlit abstract of this book begins: “Explores the ways in which the core ideas of game theory appear in Jane Austen's novels. Discusses the argument; game theory in context; folk tales and human rights; game theory in Flossie and the Fox; Austen's six novels; Austen's foundations of game theory; Austen's competing models; Austen on what strategic thinking is not; Austen's innovations; Austen on strategic thinking's disadvantages; Austen's intentions; Austen on cluelessness; and real-world cluelessness. Chwe is Associate Professor of Political Science at the University of California, Los Angeles.”
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36

Cass, Thiago Rhys Bezerra. "‘Será que o antigo preconceito não é forte demais?’: a união no romance de Jane Austen*." Literatura e Sociedade 22, no. 25 (June 5, 2018): 166–80. http://dx.doi.org/10.11606/issn.2237-1184.v0i25p166-180.

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Um dos traços distintivos dos romances adultos de Jane Austen é a ausência de qualquer incursão ficcional à chamada periferia celta do Reino Unido: Escócia, Gales e Irlanda. Tal interdição, embora deliberada, contraria o ostensivo realismo de Austen. Este ensaio discute como os romances de Austen, situados exclusivamente na Inglaterra, apenas com personagens ingleses, engendram, compensatoriamente, uma reticência narrativa que expõe a incompletude da União.
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37

De Ritter, Richard. "‘A Great Deal of Noise’: Jane Austen’s Disruptive Children and the Culture of Conversation." Humanities 11, no. 5 (August 25, 2022): 104. http://dx.doi.org/10.3390/h11050104.

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Children occupy a peripheral position in the novels of Jane Austen, with the result that they have received little critical attention. This article proposes that, despite their marginal status, children play a significant role in Austen’s work as agents of disruption, whose presence is frequently signified by the noise they make. It is through their interventions that Austen dramatizes a wider crisis in the capacity of conversation to improve, educate, and forge meaningful connections between individuals. The significance of Austen’s representations of children can be grasped more fully by reading Austen in relation to her contemporaries, namely Maria Edgeworth and Hannah More. While these authors view children as the embodiment of Enlightenment hopes and Revolutionary fears, Austen avoids such polemical representations. Rather than rational actors participating within a culture of improving conversation, Austen’s children are defined by their inarticulate voices and disruptive tendencies. Ultimately, however, it is through their inarticulacy that Austen expresses her doubts about the status of conversation as a site of enlightened exchange.
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38

Wells, Juliette. "Satire, Celebrity, and Politics in Jane Austen / Jane Austen and Masculinity / Jane Austen and Sciences of the Mind." European Romantic Review 30, no. 4 (July 4, 2019): 441–49. http://dx.doi.org/10.1080/10509585.2019.1638092.

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39

Priydarshi, Ashok Kumar. "Feminism in the Novels of Jane Austen." International Journal of Advanced Research in Peace, Harmony and Education 04, no. 01 (December 4, 2019): 7–9. http://dx.doi.org/10.24321/2455.9326.201902.

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Jane Austen’s genius was not recognized either by her contemperaries or even by her successors. But about 1890 the tide of appreciation and popularity markedly turned in favour and correspondingly, against her contemporary, Sir Walter Scott. She always strives in her art to remain full conscious of her responsibility to life as an artist. She is known as the last blossom of the 18th century. She has six novels to her credit-‘Sense and Sensibility’, ‘Pride and Prejudice’, ‘Mansfield Park, ‘Emma’, ‘Northanger Abbey’ and ‘Persuasion’. Though she created her stories in her above-mentioned novels more than 200 years ago, her novels were forerunners of feminism. According to a critic, “Jane Austen was a published female novelist, who wrote under her own name, which can be seen as an important feminist quality”.
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40

Wilson, Cheryl A. "Jane Austen in Mid-Victorian Periodicals." Humanities 11, no. 4 (June 22, 2022): 76. http://dx.doi.org/10.3390/h11040076.

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Victorian periodicals were an important part of the literary marketplace that shaped Jane Austen’s critical reception during the nineteenth century. Moreover, throughout the century, periodical authors used the critical conversation around Austen to create a space for themselves and their work in the press by beginning to shape a critical canon, as well as by raising and responding to questions about the nature of Victorian women’s authorship. Focusing on articles published during the mid-Victorian period (1852–1868), prior to the publication of James Edward Austen-Leigh’s 1870 A Memoir of Jane Austen, this essay considers Austen’s presence in periodical writing in the middle of the nineteenth century and explores how writers used both Austen herself and her writings to accomplish their own authorial ends.
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41

ÖVGÜ TÜZÜN, Hatice. "JANE AUSTEN OKUMAK: JANE AUSTEN KİTAP KULÜBÜ ROMANINDA KENDİNİ KEŞİF YOLCULUKLARI." Trakya Üniversitesi Edebiyat Fakültesi Dergisi 8, no. 16 (July 10, 2018): 137–49. http://dx.doi.org/10.33207/trkede.493548.

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42

Kitsi-Mitakou, Katerina, Maria Vara, and Georgios Chatziavgerinos. "‘OMG JANE AUSTEN’: Austen and Memes in the Post-#MeToo Era." Humanities 11, no. 5 (September 2, 2022): 112. http://dx.doi.org/10.3390/h11050112.

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This essay will focus on the central position that Jane Austen holds in the growing culture of memes in the Social Web and examine how these present-day cameo artefacts are both transforming the way Austen is perceived and appropriated today, and exploiting her work as a source of inspiration for contemporary debates on genre, gender, and sexuality. It will first trace the origins of memes, these cultural replicators that discharge mini portions of irony, in Northanger Abbey—a novel depending on the reader’s active participation—and argue that the literary landscape of the 1790s popular culture (as reflected in Austen) is a foreshadowing of post-millennial memes. Furthermore, through a close reading of a plethora of memes based on stills from screen adaptations of Pride and Prejudice, the essay will study how Austen’s renowned Mr. Darcy—filtered through the famous impersonations by Collin Firth and Matthew Macfadyen—has activated new re-imaginings of masculinity and heterosexuality in the post-#MeToo epoch. As some memes suggest, Mr. Darcy, a reformed hero who has learned how to match hegemony with sensibility, is the perfect antidote to the anathema of toxic masculinity and the perfect catch to the crowds of female Janeites. At the same time, however, a large number of memes indicate that, to an expanding male fandom that steers away from a nostalgic reactionary return to Austen, Mr. Darcy is celebrated for the queer potential of his conflicting features.
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43

Wu, D. "JANE AUSTEN, The Cambridge Edition of the Works of Jane Austen." Notes and Queries 57, no. 4 (September 22, 2010): 600–601. http://dx.doi.org/10.1093/notesj/gjq131.

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44

Russo, Stephanie. "Austen Approved: Pemberley Digital and the Transmedia Commodification of Jane Austen." Women's Writing 25, no. 4 (August 28, 2018): 512–24. http://dx.doi.org/10.1080/09699082.2018.1510884.

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45

Praminatih, Gusti Ayu, and Homsatun Nafiah. "[Woman]’s World Portrayed in Literary Works of Jane Austen." Lingua Cultura 12, no. 1 (February 28, 2018): 77. http://dx.doi.org/10.21512/lc.v12i1.4040.

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The researchers conducted research on Jane Austen literary works since she was a prominent female novelist with mostly discussed novels. The aim of this research was investigating how Jane Austen portrayed [woman] in the18th century through literary works. Six major novels were used as data. Hence qualitative method was employed. The novels were converted using AntConc. Then, the researchers identified the 50 highest collocations of [woman] based on three main categories in part of speech namely adjective, noun, and verb. The results reveal that Jane Austen portrays [woman] in the 18th century with positive and negative aspects; internal and external qualities that reflected through adjectives. Jane Austen often uses concrete and abstract nouns related to domestic property collocated with the word [woman]. Furthermore, the verbs that collocate with [woman] in Jane Austen’s literary works are productive verbs. The researchers find that the adjectives, nouns, and verbs that attach to [woman] in Jane Austen novels are related to the domestic sphere and their quality of being strong, logical, and intellectual.
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46

Karl, Frederick R. "CONTEMPORARY BIOGRAPHERS OF NINETEENTH-CENTURY NOVELISTS." Victorian Literature and Culture 28, no. 1 (March 2000): 205–15. http://dx.doi.org/10.1017/s1060150300281126.

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OF THE FIVE BIOGRAPHIES under scrutiny here, at least two have attempted to break with traditional biographical procedures. By traditional, I mean linear or chronological development, some elementary discussion of each work, an effort to detail all aspects of the life, the evasion of psychological elements that seem to defy explanation. Of the other three biographies, David Nokes’s Jane Austen: A Life purports to be more innovative than his study really is. He pursues Austen relentlessly as satirical and rebellious — picking up on her remark in one of her letters, “I am a wild beast.” But Nokes’s probe of her rebelliousness is not so new as he makes us believe it is, although he does edge Jane out of the “maiden aunt” posture. More on Nokes later, when he will be paired with Claire Tomalin’s very different Jane Austen: A Biography. Whatever else, both books indicate that Austen biography, despite the recent “definitive” study by Park Honan (1987), is still quite alive. Still, a corollary question remains whether we need two more Austen biographies when the material has already been so thoroughly defined.
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47

Heydt-Stevenson, Jill. ""Slipping into the Ha-Ha": Bawdy Humor and Body Politics in Jane Austen's Novels." Nineteenth-Century Literature 55, no. 3 (December 1, 2000): 309–39. http://dx.doi.org/10.2307/2903126.

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The novels of Jane Austen are filled with instances of sexually risqué humor, but this aspect of her comedy has rarely been recognized or subjected to extended critical comment and analysis. This essay examines the way in which Austen integrates bawdy humor into three of her novels-Emma, Mansfield Park, and Persuasion-in order to demonstrate the surprising prevalence of this material and to show how Austen marshals bawdy humor both in the service of a critique of patriarchal culture, including the system of marriage and courtship, and as a way to affirm the vigorous reality of female sexuality. In Emma Austen uses the riddle "Kitty, a fair, but frozen maid" as the basis of a subversive portrait of the profound linkages between courtship and venereal disease; in Mansfield Park (the novel perhaps most replete with sexual material) she wittily but also poignantly dissects the fine line between the marriage market and prostitution; and in Persuasion Austen's bawdy joking becomes a way to affirm the strength and pleasure of the female sexual gaze. This essay offers a more comprehensive view of the uses to which Austen puts her bawdy humor; it not only helps to clarify her fictional art but also breaks down the image of her propriety that has so long limited our full understanding of Austen and has rendered her less-chaste comedy especially unintelligible and inaccessible.
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48

Cananosque Neto, Henrique, and Lauro Roberto Martiniano Gomes. "CONSONÂNCIAS ENTRE JANE AUSTEN E SIMONE DE BEAUVOIR: A REPRESENTAÇÃO FEMININA RELACIONADA A QUESTÕES DE GÊNERO, LIBERDADE E IDENTIDADE." REVISTA FOCO 17, no. 1 (January 22, 2024): e4185. http://dx.doi.org/10.54751/revistafoco.v17n1-101.

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Introdução: A análise comparativa entre Jane Austen e Simone de Beauvoir oferece uma perspectiva valiosa sobre a representação feminina em diferentes épocas e contextos culturais. Austen, do século XIX, e Beauvoir, do século XX, abordam de maneiras distintas, mas profundas, as experiências femininas, permitindo uma reflexão sobre a evolução do papel e da representação das mulheres ao longo do tempo. Objetivo: Este estudo busca identificar e analisar as consonâncias entre Jane Austen e Simone de Beauvoir em relação à representação das mulheres em suas obras. Pretende-se compreender como essas autoras abordam questões de gênero, liberdade, identidade e as limitações impostas às mulheres em suas respectivas épocas. Metodologia: A abordagem adotada é analítica e comparativa, examinando obras-chave de Austen, como "Orgulho e Preconceito" e "Emma", e de Beauvoir, como "O Segundo Sexo". Serão identificadas semelhanças nas representações femininas, considerando a construção de personagens, questões sociais abordadas e a crítica às normas de gênero em cada contexto histórico. Resultados: A análise revela convergências notáveis entre Austen e Beauvoir na representação das mulheres. Ambas exploram as limitações sociais e culturais impostas às mulheres, destacando a busca por autonomia, a luta por identidade e a crítica às normas patriarcais. Enquanto Austen foca nas restrições sociais e na busca por liberdade dentro das estruturas sociais, Beauvoir oferece uma análise mais filosófica e abrangente sobre a condição feminina, explorando questões existenciais e históricas. Considerações Finais: A comparação entre Austen e Beauvoir evidencia uma continuidade na luta das mulheres por autonomia e reconhecimento. Suas obras oferecem visões complementares sobre as experiências femininas, destacando as conquistas e desafios ao longo do tempo. A análise revela uma evolução na abordagem das questões de gênero, mas ressalta a persistência das lutas femininas por liberdade, igualdade e voz na sociedade.
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49

Szczepkowska, Ewa. "Recepcja Jane Austen w polskojęzycznym Internecie na przykładzie stron internetowych poświęconych pisarce." Przegląd Humanistyczny 63, no. 2 (465) (October 25, 2019): 105–14. http://dx.doi.org/10.5604/01.3001.0013.5511.

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The subject of the article is the reception of Jane Austen in the sphere of e-culture – its fragment connected to websites and discussion forums concerning the writer. The phenomenon of “Austen mania” starts in Poland mainly because of the popularity of the movies based on Jane Austen prose. These sites and forums played not only a popularizing role, spreading the knowledge about the writers’ biography, work, film adaptations, or Regency, but they also grouped the society of fans who felt the need of being close to the other readers of Austen and some virtual companion in a feminine sphere created by numerous, common interpretation of the behaviour of the heroes of her prose, and also fans’ creativity in the area of gadgets, Regency costumes and literary tourism. The other form of activity is fan fiction, slightly represented on the forums and sites, especially in the comparison to fan fiction around the work of Austen in the English-speaking circle. They are most frequently the translations from The Republic of Pemberley, not prepared, unfinished, fragmentated, or personal attempts of a romance kind, in a style of Harlequin literature and a sentimental tone.
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50

Dooley, Gillian. "Jane Austen: The Musician as Author." Humanities 11, no. 3 (June 14, 2022): 73. http://dx.doi.org/10.3390/h11030073.

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Jane Austen was a practising musician, and my intention in this paper is to investigate the significance of that fact for her writing practice. Beginning with the comparison between Elizabeth and Mary Bennet in Pride and Prejudice, I will consider contemporary attitudes to virtuosity and aesthetics in an attempt to understand the implications in Austen’s fiction of the distinction between ‘playing well’ and ‘being listened to with pleasure’. My recently completed project of cataloguing in detail each piece of playable music in the Austen Family Music Books facilitates the study of Austen’s personal musical taste in the context of her extended family and, more broadly, of English musical culture in the late Georgian era. I attempt to bring together Austen the musician with Austen the writer, both in her knowledge of the musical repertoire of the time and the language of music more generally.
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