Why Jane Austen?
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- ¥4,000
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- ¥4,000
発行者による作品情報
From the first publication of Pride and Prejudice to recent film versions of her life and work, Jane Austen has continued to provoke controversy and inspire fantasies of peculiar intimacy. Whether celebrated for her realism, proto-feminism, or patrician gentility, imagined as a subversive or a political conservative, Austen generates passions shaped by the ideologies and trends of her readers' timeand by her own memorable stories, characters, and elusive narrative cool.
In this book, Rachel M. Brownstein considers constructions of Jane Austen as a heroine, moralist, satirist, romantic, woman, and author and the changing notions of these categories. She finds echoes of Austen's insights and techniques in contemporary Jane-o-mania, the commercially driven, erotically charged popular vogue that aims paradoxically to preserve and liberate, to correct and collaborate with old Jane. Brownstein's brilliant discussion of the distinctiveness and distinction of Austen's genius clarifies the reasons why we read the novelist-or why we should read her-and reorients the prevailing view of her work. Reclaiming the rich comedy of Austen while constructing a new narrative of authorship, Brownstein unpacks the author's fascinating entanglement with readers and other admirers.
PUBLISHERS WEEKLY
Jane Austen led a relatively obscure life. So why Jane Austen, we might rhetorically ask, along with Brownstein? The term Janeites was coined by an English literary critic in 1894, and Jane-o-Mania makes its debut in this book, which is part lit crit and, in its better sections, part cultural and social history. Much of this account is engaging: it cleverly begins with a 1949 Carl Rose cartoon depicting a "Hooray for Jane" marching band, and concentrates on explaining Austen's rising stock. But it might be a bit much for nonacademics; a little too cute in that winking, academic way. The question mark of the title and many others become something of a writer's tic, and the reader begs for some answers, too. Nonetheless, along the way we learn a lot that is unexpected. For example, Harpo Marx had a surprising role in bringing Austen to the silver screen. Brownstein, professor of English at Brooklyn College and the CUNY Graduate Center, expends even more fruitful energy on Austen's contemporary, Lord Byron, on Mary Wollstonecraft, on "The Aspern Papers." Her observations on all these works are scholarly but marked by ingenuity. 17 illus.
