This is a new kind of critical study of Jane Austen, an author we think we all know. It is shaped by an enquiry into the ways her texts and her reputation have been constructed from manuscript, in the printing process, through editing, family censorship and continuations, biographical invention, and up to recent film adaptations.
This is a new kind of critical study of Jane Austen, an author we think we all know. It is shaped by an enquiry into the ways her texts and her reputation have been constructed from manuscript, in the printing process, through editing, family censorship and continuations, biographical invention, and up to recent film adaptations.
* One: 'The Making of England's Jane' * i: 'Everybody's dear Jane' * ii: Janeites in the trenches * iii: R. W. Chapman restores civilization * iv: Territorial acts * Two: Personal Obscurity and the Biographer's Baggage * i: Ground rules? * ii: Cassandra's legacies, or the family management of Jane Austen's life * iii: Two texts * iv: Secrets and lies, or managing the family * v: Coda: portraits * Three: Manuscripts and the Acts of Writing * i: Dead ends and false starts * ii: iThe Watsons/i: Jane Austen's other Bath novel * iii: iPersuasion/i: from manuscript to print * iv: iSanditon/i * Four: Textual Identities: 1 * i: 'Print settles it' * ii: Professional writer: Jane Austen's other identity * iii: 'The Steventon Edition' * iv: Continuations: Anna Lefroy's iSanditon/i and Catherine Hubback's iThe Younger Sister/i * Five: Speaking Commas * i: 'A total inattention to stops, and a very frequent ignorance of grammar' * ii: 'To an editor nothing is a trifle by which his author is obscured' * iii: 'For this book is the talking voice that runs on' * Six: Textual Identities: 2 * i: 'The grammar of literary investigation': or, a brief history of textual criticism in the twentieth century * ii: Film as textual future
* One: 'The Making of England's Jane' * i: 'Everybody's dear Jane' * ii: Janeites in the trenches * iii: R. W. Chapman restores civilization * iv: Territorial acts * Two: Personal Obscurity and the Biographer's Baggage * i: Ground rules? * ii: Cassandra's legacies, or the family management of Jane Austen's life * iii: Two texts * iv: Secrets and lies, or managing the family * v: Coda: portraits * Three: Manuscripts and the Acts of Writing * i: Dead ends and false starts * ii: iThe Watsons/i: Jane Austen's other Bath novel * iii: iPersuasion/i: from manuscript to print * iv: iSanditon/i * Four: Textual Identities: 1 * i: 'Print settles it' * ii: Professional writer: Jane Austen's other identity * iii: 'The Steventon Edition' * iv: Continuations: Anna Lefroy's iSanditon/i and Catherine Hubback's iThe Younger Sister/i * Five: Speaking Commas * i: 'A total inattention to stops, and a very frequent ignorance of grammar' * ii: 'To an editor nothing is a trifle by which his author is obscured' * iii: 'For this book is the talking voice that runs on' * Six: Textual Identities: 2 * i: 'The grammar of literary investigation': or, a brief history of textual criticism in the twentieth century * ii: Film as textual future
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