Friend Reviews. To see what your friends thought of this book, please sign up. Lists with This Book. This book is not yet featured on Listopia. Community Reviews. Showing Rating details. More filters. Sort order. Part of my ongoing research in preparation for my graduate thesis. A rather slim volume by the looks of it, I wondered what new information I could glean from such a short introduction to Jane Austen after having completed a month and a half of research, plus a trip to Bath and Chawton in England.
I must be completely honest here and ask the very straight forward question: what the heck was this supposed to be? It feels thrown together; summariz Part of my ongoing research in preparation for my graduate thesis. It feels thrown together; summarized from other sources that said the exact same thing in almost the exact same way. I am not accusing the author of plagiarism, but I felt the author lacked passion or even just a little enthusiasm in the subject matter.
[PDF] Jane Austen in Context (The Cambridge Edition of the Works of Jane Austen) Full Online
I detected hints of intentional fallacy as well as a dislike of Austen by the author. The text, in general, felt very rushed, not properly thought through or even edited. I wonder, if the author never really wanted to write this introduction in the first place.
Overall, and please forgive my forthright, maybe even sharp comments, I expected more from an author, who is also a respected professor of English Literature and has other published works. Dec 21, Barbara Phillips-Farley rated it really liked it. The background on Austen and her times answers many of my questions.
There is a chapter on each book, and sometimes I feel that Todd over-analyzes. I almost always enjoy the books in the Cambridge series, and this one upholds that Cambridge tradition. Jul 26, Rebecca rated it really liked it Shelves: books-and-literature. An excellent introduction to both Jane Austen and her work. And if you already have read a lot of books on Austen's work don't get uninterested in this just because it says 'introduction' - it is much more than that and is quite interesting even if you know quite a lot beforehand.
Aug 23, Amy rated it it was ok.
I did not learn much from this collection of essays one one each book although there were a handful of interesting moments. It also had a number of typos or incomplete sentences, surprising from an English professor author. Michelle rated it really liked it Feb 19, Ethan rated it liked it Jan 30, Eleanor Dye rated it it was amazing Feb 19, Samantha rated it really liked it Jul 22, Rebecca Miller rated it liked it Jan 14, Sophie Fidelite rated it really liked it Aug 30, Olga rated it really liked it May 15, Maria M.
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Emilie Desassis rated it really liked it Jan 05, Kate rated it really liked it Sep 19, Irene rated it it was amazing May 26, Bianca rated it liked it Jan 01, Ellie rated it really liked it Oct 15, Kitty rated it liked it Jul 17, Florence rated it it was amazing Dec 22, Paul Vittay rated it really liked it Mar 26, Alisha Ali rated it liked it Mar 10, Rodney Ulyate rated it it was ok Mar 01, Intro to Jane Austen. Muneeb Masoud. The Cambridge Introduction to Jane Austen Jane Austen is unique among British novelists in maintaining her popular appeal while receiving more scholarly attention now than ever before.
This innovative introduction by a leading scholar and editor of her work suggests what students need to know about her life, context and reception, while proposing a new reading of the novels. Each work is discussed in detail, and essential information about her literary influences and her impact on later literature and culture is provided.
While the book considers the key areas of current critical focus, its analysis remains thoroughly grounded in readings of the texts themselves. This book is an essential tool for all students of Austen, as well as for readers wanting to deepen their appreciation of the novels.
Grierson Professor of English at the University of Aberdeen. Cambridge Introductions to Literature This series is designed to introduce students to key topics and authors. Accessible and lively, these introductions will also appeal to readers who want to broaden their understanding of the books and authors they enjoy.
Repton, assisted by his son, J. Repton London: printed by T. Bensley and Son, for J. Taylor, , opposite p. Reproduced by permission of the Syndics of Cambridge University Library. Subject to statutory exception and to the provision of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. This is especially important for those novels conceived at Chawton in the last years of the Revolutionary and Napoleonic Wars. Her novels are investigations of selfhood, particularly female, the oscillating relationship of feeling and reason, the interaction of present and memory, and the constant negotiation between desire and society.
I am not suggesting that she unequivocally celebrates it but that, through her representation of character, she reveals a fascination with its literary construction and narcissistic power — and at times its absurdity. In the eighteenth century, medical writers, experimental scientists, philoso- phers, and the literate public were intensely interested in the subject of the self, especially the emotional self.
Living mammals were cut open to see their hearts pump; less brutally, human beings were subject to almost scientific inspection. I hope I have noted direct influence and I apologise for inadvertent or distorted borrowing. In addition, I am most grateful to Linda Bree at Cambridge University Press for her careful reading of the manuscript. My main debt is to Antje Blank for her help and many insights.
ISBN 13: 9780521857178
Deirdre Le Faye, third edition Oxford University Press, , referred to in the text by page numbers. Something always escapes from a reading while every reading enriches. In this respect the comparison with William Shakespeare, often made in the mid- to late nineteenth century, is apt. She shares with him, too, a rare crossover appeal, achieving both academic and popular status: the object of scholarly analysis and cult enthusiasm.
Inevitably there is uneasiness across the boundary: the academy worries about studying work with such mass appeal, such easy intimacy with film and television, while the public has become irritated by the exploiting, deconstructing, abstracting, genderising, politicising, and sexualising of their heroine.
Not a life of event Her biography depends on written evidence outside her novels, for she is one of the least overtly autobiographical of authors: there is no female writer or witty older spinster in her works and no heroine who rejects marriage as she did or who lies on her sickbed mocking hypochondria.
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Almost all the infor- mation on Jane Austen comes from her family, mostly from letters written to her sister Cassandra, who selected some as family souvenirs and rejected others, long before they reached the public; they begin in after the earliest works had been drafted. Outside these sources, little is known of Austen compared to her celebrated contemporaries, Lord Byron or Percy Bysshe Shelley for example, whose daily, sometimes hourly, activities and thoughts are documented.
Jane Austen was born on 16 December into a web of family connections, which included on one side the rich and influential Leighs of Stoneleigh Abbey and the Knights of Godmersham and on the other clerics and an apprentice milliner. George Austen had obtained a parish through the interest of Thomas Knight, the rich husband of his second cousin. Later he acquired a second living at neighbouring Deane through his uncle Francis. Thomas Knight owned not only the Steventon living but also the manor of Steventon, with all its dependent houses and holdings.
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To the Austens he rented a nearby farm, with which George added about a third to his clerical income; together with his reliance on tithes, this must have given the family a keen interest in agriculture and agricultural improvements. While common for Anglican clergymen, such activity still suggests the rather insecure family status of George Austen, just on the edge of the gentry. George and Cassandra Austen were cultivated people. The pair had eight children. By contrast, the two girls, Jane and her sister Cassandra, the elder by three years, had no professional opportunities and few chances of forming an income.
In much the same period, the feminist Mary Wollstonecraft was complaining about the restricted lives of women. Austen accepted the inescapable fact of female dependency on men, and the anger of Wollstonecraft is not openly expressed in the novels, except perhaps by the melodramatic Jane Fairfax in Emma, who implicitly compares her lot as potential governess to that of a slave or prostitute, but the predicament haunts all the heroines.