The Austen Formula: Jane Austen's Pride and Prejudice in the Nineteenth and Twentieth Century
(Sprache: Englisch)
World literature is full of great love stories, but there are few that make it through the centuries and are as well-known and loved today as they were decades ago. One of those stories that have the ability to leave an everlasting impression is Jane Austen...
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World literature is full of great love stories, but there are few that make it through the centuries and are as well-known and loved today as they were decades ago. One of those stories that have the ability to leave an everlasting impression is Jane Austen s best-known and probably most famous novel Pride and Prejudice (1813).Its appeal to literary posteriority lies in the astonishing emotional impact of a seemingly simple story: A clever girl and a mysterious man, destined for one another, loathe each other from the very beginning because of wrong first impression and bad influence from others. They gradually have to overcome these obstacles in order to recognise the nobility of each other s characters and find happiness together.
From Austen s contemporary writing and its scarce possibilities for women writers on to the emancipation of the female author up until the possibilities for women novelists in the lately developing genre labelled chick lit Pride and Prejudice still continues to fascinate readers and writers alike. This book sets out to examine how Austen s formula was put to use to yield three contemporary works of British fiction; Kate Fenton s Lions and Liquorice (1995), Helen Fielding s Bridget Jones s Diary (1996) and Melissa Nathan s Pride, Prejudice and Jasmin Field (2000) and what transformations it has experienced in the process.
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Text Sample:Chapter 4., Selected Characters and Their Relationships:
Jane Austen managed to create personalities in a way that has made them very popular and unforgettable for readers ever since. The characters of Pride and Prejudice are manifold and in their different stadiums of elaboration they form a heterogenic group. One distinctive feature of Pride and Prejudice is that Austen is very non-descriptive when it comes to appearance. The reader hardly learns anything about the face, figure and features of the characters, yet their virtues, accomplishments and manners, or lack of them, are meticulously outlined. The main device of the characterization derives from verbal exchanges rather than physical descriptions. Conversations with each other and also about each other present the various personalities and who they are or how they are perceived by the other characters. The result is a multi-faceted rather than unambiguous image, since the chief persons in Pride and Prejudice are not the same when projected through the conversation of different people (Brower, Light and Bright and Sparkling 68-69). Jane Austen uses this implicit way of revealing or concealing the true personalities of various characters in a way that leads the reader to fall prey to the same misconceptions under which the heroine labours herself.
Apart from the intricate characters (Austen 29) Elizabeth and Mr Darcy that require and merit interpretation (Brower, Light and Bright and Sparkling 69), there is a large number of minor characters present, such as the housekeeper at Pemberley, Colonel Fitzwilliam or Georgiana Darcy, whose actual appearances in the novel are rather diminutive but every so often of great importance for the story to unfold. It is the housekeeper s description of Mr Darcy, Colonel Fitzwilliam s role in the revelation of Wickham and Darcy s true character and Georgiana s prevented elopement that push forward the plot; yet there is no need for them to be fully developed
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characters, with the depths and contradictions of a real person. Furthermore, Pride and Prejudice is populated with some figures that exist at the extreme end of a spectrum in the novel (Wiltshire 101). In their exaggerated unambiguity, these flat characters , or caricatures, embody the social stipulations of the period and in this way serve to criticise the society that bred them. Examples are Mrs Bennet, Lydia, Mr Collins or Lady Catherine, whose fixed characters make up a set of certainties against which more intricate exhibitions of pride and prejudice are measured (Brower, Light and Bright and Sparkling 70). They do not evolve in the course of the novel and have a very distinct but mostly unpleasant limited repertoire of personality traits (Wiltshire 103), which makes them a vexation to the protagonists and their prospect of happiness, but at the same time they add a comic element to the story.
In the adaptations, Fenton, Fielding and Nathan attempt to create characters as loveable and well-written as the original has to offer. In Lions and Liquorice, the characters play roles which were originally assigned to members of the opposite sex. It is interesting to follow how Fenton rises to the challenge of presenting the reader with characters who are faithful to the originals in spite of reversed sexes and still remain credible personalities. Melissa Nathan has her characters play corresponding roles on stage and thereby makes it easy to identify which characters are supposed to represent the originals in Austen s novel. On several occasions, Nathan s characters mouth the dialogue of Pride and Prejudice with a more contemporary vocabulary up to the point where they realise that [t]hey couldn t avoid the fact that they were starting to think and behave like the characters in their play (Nathan 112). While in the case of Fenton and Nathan s novels the plot hinges largely on rather faithful recreations of the original characters and their relations,
In the adaptations, Fenton, Fielding and Nathan attempt to create characters as loveable and well-written as the original has to offer. In Lions and Liquorice, the characters play roles which were originally assigned to members of the opposite sex. It is interesting to follow how Fenton rises to the challenge of presenting the reader with characters who are faithful to the originals in spite of reversed sexes and still remain credible personalities. Melissa Nathan has her characters play corresponding roles on stage and thereby makes it easy to identify which characters are supposed to represent the originals in Austen s novel. On several occasions, Nathan s characters mouth the dialogue of Pride and Prejudice with a more contemporary vocabulary up to the point where they realise that [t]hey couldn t avoid the fact that they were starting to think and behave like the characters in their play (Nathan 112). While in the case of Fenton and Nathan s novels the plot hinges largely on rather faithful recreations of the original characters and their relations,
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Autoren-Porträt von Julia Wilhelm
Dr. Julia Wilhelm was born on July 10, 1980 in Zweibrücken, Germany. She studied English Literature and Cultural Anthropology in Mainz and Bristol, graduating in 2006 with a Magistra Artium degree (M.A.). In 2011, she received her PhD (Dr. phil.) for her research on Jane Austen s influence on the literary genre of Chick Lit.Currently living in Homburg/Saar, she is the headmaster of an adult education centre (Volkshochschule).
Bibliographische Angaben
- Autor: Julia Wilhelm
- 2014, Erstauflage, 96 Seiten, Maße: 15,5 x 22 cm, Kartoniert (TB), Englisch
- Verlag: Anchor Academic Publishing
- ISBN-10: 3954893258
- ISBN-13: 9783954893256
Sprache:
Englisch
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