By Gillian Dow, C. Hanson
This ebook specializes in how Austen's lifestyles and paintings is being re-framed and re-imagined in twentieth and twenty first century literature and tradition. Tracing the connections among Modernist Austen within the early C20th and feminist and post-feminist appropriations within the later C20th, it examines how Austen emerged as a posh aspect of reference at the international stage.
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Elizabeth Jenkins, Jane Austen [1938] (New York: Pellegrini and Cudahy, 1949), p. 7. 26. John Bailey, Introductions to Jane Austen (London: Oxford University Press, 1931), p. 55. 27. George Moore, Avowals, 2nd edn (London: William Heinemann, 1924), pp. 33 and 35. 28. Elizabeth Taylor, Palladian (London: Penguin, 1985), pp. 111–12. 29. On how the Somerville novelists of the 1920s drew on their classical education in challenging a previous generation’s Victorianism, see the concluding chapter of Isobel Hurst, Victorian Women Writers and the Classics: The Feminine of Homer (Oxford: Oxford University Press, 2006).
406; in this sentence Favret describes the chief concerns of the Romantic Austen who appears in William Galperin’s The Historical Austen. 11. Detailing the shifting schemes of valorization that have been deployed since the late nineteenth-century literary culture to canonize Jane Austen, Clara Tuite also mentions an ‘Augustan Austen’: see Romantic Austen: Sexual Politics and the Literary Canon (Cambridge: Cambridge University Press, 2002), pp. 2–3 and 86. 12. ‘I do not pretend to Emma’s genius for foretelling and guessing’, Knightley declares in Chapter 5 as he prophesies the likely outcome of Emma’s attentions to Harriet Smith.
18 I shall return shortly to that Greek connection – during his school days at Oriel College, Oxford, Chapman won the Gaisford prize for Greek prose, and there is, overall, a surprising amount of coupling of the Austenian and the Athenian in the period between the First and Second World Wars – but first I want to underline that in becoming classics for the early twentieth century, Austen’s novels simultaneously became the output of an eighteenth-century writer. This backdating of an oeuvre published between 1811 and 1818 was not an element in the earlier reception.
