scholarly journals „Duma i uprzedzenie i zombi” Setha Grahame-Smitha i Jane Austen jako popkulturowy recykling kanonu

2021 ◽  
Vol 27 ◽  
pp. 415-429
Author(s):  
Elżbieta Szyngiel
Keyword(s):  
Popular Culture ◽  
Social Order ◽  
Jane Austen ◽  
Film Adaptation ◽  
Original Version ◽  
Pride And Prejudice ◽  
Economic Profit ◽  
Male Characters ◽  
The World ◽  
Plot Design

The article discusses the film adaptation of Pride and Prejudice and Zombies, which is a reference to Jane Austen’s novel, and the problem of zombie characters as a factor modifying the reality of its original version. The analysis was carried out with reference to the plot design of the film, the way of creating heroes and the costumes within the framework of a costume movie in which the story was embedded. The aim of the article is to identify the causes and consequences of introducing undead characters to the world created by Jane Austen. The reasons for this treatment were the popularity of the zombie motif in popular culture, the tendencies to experiment with the reinterpretation of works considered classic and repeatedly processed earlier into the language of cinema, as well as an attempt to adapt them to the requirements of a contemporary recipient seeking strong impressions. In addition, the world of zombies is a manifestation of the popular aspirations to achieve an economic profit. Consequences of completing the world with the undead epidemic theme include changes in the current social order, brutalization and sexualization of relations between characters, as well as a return to the traditional film narration about women, presented primarily as aesthetic objects and a source of interest for male characters.

scholarly journals Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta

2019 ◽  
Author(s):  
Roksana Pilawska
Keyword(s):  
Comparative Analysis ◽  
Jane Austen ◽  
Film Adaptation ◽  
Pride And Prejudice ◽  
Feature Film ◽  
Research Material ◽  
New Form ◽  
Similarities And Differences ◽  
The Aesthetic ◽  
Audiovisual Presentation

Pilawska Roksana, Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta [Dirty (un)Romantic story. An Analysis of Aesthetic Aspects in the Film Adaptation of Pride and Prejudice Directed by Joe Wright]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 417–431. ISSN 1644-6763. DOI 10.14746/pt.2019.32.23. The aim of my study is to attempt a comparative analysis of the two most famous film adaptations of the bestselling novel by Jane Austen, Pride and Prejudice. As research material, I chose the mini-series produced by the BBC in 1995, which was part of the then popular trend of heritage films (heritage cinema) and the feature film from 2005, directed by Joe Wright, which, in the opinion of film experts, was a completely new form of audiovisual presentation of Austen’s work. In the article, I focus only on interpreting the aesthetic aspects of both productions, which would indicate similarities and differences, thus showing numerous shifts of emphasis in the aesthetic layer of the newer version.

Jane Austen and the World of the Community

2002 ◽  
Author(s):  
David Ehrenfeld
Keyword(s):  
Jane Austen ◽  
Good Life ◽  
English Literature ◽  
Pride And Prejudice ◽  
Mansfield Park ◽  
Northanger Abbey ◽  
The World ◽  
Sense And Sensibility ◽  
The One ◽  
Falling In Love

For two weeks now, I have wallowed in sinful luxury, rereading the six completed Jane Austen novels (especially my favorite parts), basking in the warmth and wit of her collected letters, eagerly absorbing the details of her life from her best biographies, and attentively following the arguments of her leading literary critics. I also saw the recent movie versions of Sense and Sensibility and Persuasion, falling in love with Emma Thompson and Amanda Root in quick succession, and finished off my orgy with viewings of the BBC videos of Sense and Sensibility, Emma, Mansfield Park, Northanger Abbey, and Pride and Prejudice. Throughout—at least when I could remember to pay attention—I had two questions in mind. What does Jane Austen have to say about people, communities, and nature? And what is the cause of her resurgent popularity? Perhaps, I allowed myself to think, the questions are related. Answering the questions proved not so simple, but I did have fun trying. Sam and I read Aunt Jane’s letter, dated 8 Jan. 1817, to her nine-year-old niece Cassy, beginning: . . . Ym raed Yssac I hsiw uoy a yppah wen raey. Ruoy xis snisuoc emac ereh yadretsey, dna dah hcae a eceip fo ekac . . . . . . I read the amusingly mordant comments she could write about her neighbors, such as the one in her letter of 3July 1813 to her brother Francis, mentioning the “respectable, worthy, clever, agreable Mr Tho. Leigh, who has just closed a good life at the age of 79, & must have died the possesser of one of the finest Estates in England & of more worthless Nephews and Neices [sic] than any other private Man in the United Kingdoms.” I read the last chapters of Pride and Prejudice, Emma, and Persuasion each three times. I read once again about Catherine Morland’s cruel expulsion from Northanger Abbey, and about the ill-omened trip of Fanny Price, the Bertram sisters, and the Crawfords to the Rushworth estate, Sotherton, with its seductive, if too regularly planted, wilderness. And again I was privileged to accompany Emma Woodhouse, Miss Bates, Frank Churchill, and Mr. Knightly on the tension-charged picnic to Box Hill, surely one of the highest peaks in English literature.

Zagubione w Austen: Duma i uprzedzenie w postmodernistycznej odsłonie – między parodią a nostalgią

2019 ◽  
Vol 63 (2 (465)) ◽  
pp. 151-160
Author(s):  
Urszula Terentowicz-Fotyga
Keyword(s):  
Popular Culture ◽  
20Th Century ◽  
Literary Theory ◽  
Jane Austen ◽  
Original Novel ◽  
The Novel ◽  
Pride And Prejudice ◽  
Romance Convention ◽  
The Subject ◽  
The Rich

The article analyses an ITV series Lost in Austen (2008), directed by Dan Zeff, as an example of postmodern play with Pride and Prejudice. Moving the contemporary heroine to the imaginary, textual sphere, the movie compares the reality of the 19th and the 21st century, emphasizing the visibly different positions of women. It not only “rewrites” the course of events, but also makes the tensions (which were previously silenced by the romance convention) more dynamic. Oscillating between the parody and nostalgia, Lost in Austen both continues and enriches Pride and Prejudice. Playful engagement with the original novel is the principal theme and motif of the series, but also the subject of its parodistic criticism. Lost in Austen engages both with the novel and with its 20th century reception. Moreover, by creative reinterpretation of the writer’s text, it shows the changing paradigms of the 20th century criticism and the cultural and literary theory. Highlighting the aspects of the novel important for the contemporary era, it initiates an interesting dialogue with the rich intertextual tapestry that contemporary popular culture weaved around Jane Austen.

scholarly journals Jane Austen’s Global Influence

2019 ◽  
Author(s):  
Katie Halsey
Keyword(s):  
Digital Media ◽  
Jane Austen ◽  
Film Adaptations ◽  
Pride And Prejudice ◽  
Mansfield Park ◽  
Northanger Abbey ◽  
Literary Reputation ◽  
The World ◽  
Original Works ◽  
The 19Th Century

Jane Austen (1775–1817) is a writer with a global reputation. She is one of a very few writers to enjoy both a wide popular readership and critical acclaim, and one of even fewer writers of her period whose name has instant recognition. Her literary reputation rests on six novels—Sense and Sensibility (1811), Pride and Prejudice (1813), Mansfield Park (1814), Emma (1816), Northanger Abbey (1818), and Persuasion (1818)—a handful of unfinished works, and three manuscript notebooks of juvenilia, but this small oeuvre has been translated into almost every known language, has been adapted for film and television across the world, and has spawned an enormous number of sequels, prequels, spin-offs, remediations, and other fan fictions in both print and digital media. Critics have, for more than two centuries, attempted both to describe the technical brilliance of Austen’s work and to account for her surprising popularity with very diverse audiences. Her works describe the daily realities of life in Georgian and Regency England but clearly still speak to modern, worldwide audiences. She is known simultaneously as a romance writer par excellence and as a deeply ironic and skeptical social commentator. Her style is characterized by economy, brevity, and wit, and through a series of technical innovations in the craft of writing, Austen transformed the genre of the novel and thus its status from the 19th century onward. Her international success, however, can be attributed only partly to the brilliance of her literary output and must, in part, be ascribed to the work of successive film adaptations of her novels, in particular the 1940 and 1995 versions of Pride and Prejudice, starring Greer Garson and Laurence Olivier and Jennifer Ehle and Colin Firth, respectively. Across the world, many people now know Austen’s works primarily through the medium of film adaptations of her novels and biopics that fictionalize her life. “Jane Austen” has become a lucrative brand, existing almost irrespective of the original works.

scholarly journals Women and the discourse of marriage: A critical analysis of Jane Eyre and Pride and Prejudice

2020 ◽  
Vol 5 (4) ◽  
Author(s):  
Gabriely Cristina Queiroga Diniz
Keyword(s):  
Critical Analysis ◽  
Charlotte Bronte ◽  
Jane Austen ◽  
Jane Eyre ◽  
Pride And Prejudice ◽  
Short Article ◽  
Male Characters ◽  
The Way

This short article aims to compare the discourse of the characters Jane Eyre from the eponymous novel by Charlotte Brontë, and Elizabeth Bennet from Pride and Prejudice by Jane austen, in which both of them refuse marriage proposals. As criteria of comparison its pointed: i) the reasons why they decided to decline the proposals, ii) the way they express their emotions during the moments, iii) the reactions of the male characters after the women’s answers. 

Jak znaleźć męża między żywymi trupami a krwiożerczymi ośmiornicami? Mash-up, czyli „klasyczne romanse z okresu regencji” z domieszką elementów nadnaturalnych (na przykładzie Pride and Prejudice and Zombies oraz Sense and Sensibility and Sea Monsters)

2019 ◽  
Vol 63 (2 (465)) ◽  
pp. 137-150
Author(s):  
Iwona Przybysz
Keyword(s):  
Jane Austen ◽  
Original Form ◽  
The Novel ◽  
Pride And Prejudice ◽  
The World ◽  
Sense And Sensibility

In this article, the author confronts two mash-up novels (novels, in which new motives and elements are added to the masterpieces of world’s literature) – Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith and Sense and Sensibility and Sea Monsters by Jane Austen and Ben H. Winters. The author shows how the new elements (zombies and sea monsters) are added to Jane Austen’s novels and underlines which elements have to be left in their original form, and which can be changed. The author also describes how the development of the new motives affects the ways of describing the world of the novel and its characters.

Satire and Realism in Jane Austen’s Pride and Prejudice: an Interpretative Analysis

2019 ◽  
Vol 3 (1) ◽  
Keyword(s):  
Jane Austen ◽  
The Novel ◽  
Pride And Prejudice ◽  
Rigorous Analysis ◽  
Literary Life ◽  
Interpretative Analysis

Jane Austen is acknowledged for the application of realism and satire in her novels. This paper focuses on the analysis of realism and satire in Jane Austen’s Pride and Prejudice; however, her entire oeuvre spotlights the features (of satire and realism) alongside robust feminism: typical of her literary taste and temperament, not necessarily of the Romantic Age which she lived in. Rigorous analysis and realistic observation reveals that the employment of realism and satire in Pride and Prejudice, are quite obvious, in all sorts of aspects including narrative, settings, themes and characters. Analysis of the novel under study leads to the observation that satire and realism go hand in hand in the said novel—intermittently—and thoughtfully. Conclusively, it is observed that Jane Austen’s literary life had a tremendous influence on how to subsume realism (primarily through matrimonies) of age and satire on a romantic society (whereby ideals collapse headlong), in Pride and Prejudice.

Between High Culture and Low Culture; and also The Difference Between Popular Culture and Folk Culture

2019 ◽  
Vol 7 (8) ◽  
pp. 12
Author(s):  
Kunal Debnath
Keyword(s):  
Popular Culture ◽  
Folk Culture ◽  
Common People ◽  
High Culture ◽  
The World ◽  
The Common ◽  
The Difference ◽  
Low Culture

High culture is a collection of ideologies, beliefs, thoughts, trends, practices and works-- intellectual or creative-- that is intended for refined, cultured and educated elite people. Low culture is the culture of the common people and the mass. Popular culture is something that is always, most importantly, related to everyday average people and their experiences of the world; it is urban, changing and consumeristic in nature. Folk culture is the culture of preindustrial (premarket, precommodity) communities.

Redefinisi Fungsi Desa dalam Manga Naruto dan Bande Dessinée Astérix: Sebuah Kajian Komparasi Budaya Populer

Metahumaniora ◽  
2017 ◽  
Vol 7 (3) ◽  
pp. 293
Author(s):  
Tania Intan
Keyword(s):  
Popular Culture ◽  
Rural Environment ◽  
Cultural Comparison ◽  
Structural Element ◽  
Legal Entity ◽  
Bande Dessinee ◽  
Spare Time ◽  
Popular Medium ◽  
The World ◽  
The Village

AbstrakSecara alamiah, manusia membutuhkan sarana untuk mengisi waktu luangnyasetelah bekerja keras. Satu media yang murah, mudah dijangkau, dan digemari oleh semuakalangan di seluruh dunia adalah cerita bergambar atau komik yang merupakan bagiandari budaya populer. Pada umumnya, karya paraliteratur-visual ini memang bersifat fiktifdan hanya merupakan peniruan dari kenyataan yang digambarkan secara berlebihan(grotesque). Namun demikian, di dalam komik, sering ditemukan nilai-nilai kehidupanyang bersifat universal dan abadi sehingga dianggap layak sebagai bahan kajian budaya.Naruto, salah satu manga Jepang, dan Astérix, bande dessinée dari Prancis, akan ditelitisebagai representasi dunia Timur dan Barat. Latar sebagai unsur struktural dalam karyakaryafiksi ini ternyata juga menunjukkan kesamaan mendasar, yaitu keberadaan desasebagai tempat hidup para tokohnya. Dalam tulisan ini, akan dibahas pemaknaan lainterhadap lingkungan rural tersebut, yang memiliki andil dalam pembentukan karakterpara tokoh dari kedua komik. Metode kajian komparasi budaya akan digunakan denganpenerapan teori-teori yang relevan. Penelitian singkat ini bertujuan untuk melengkapistudi mengenai komik yang belum banyak dilakukan di Indonesia.Kata kunci: Desa, komik, Naruto, Astérix, Komparasi BudayaAbstractNaturally, humans need a way to fill their spare time after working hard. Acheap, accessible and popular medium by all circles around the world is a picture or comicstory, which is part of popular culture. McCloud (1993:7) defines comics as drawings andembossed symbols in a particular order, aimed at providing information or achievingaesthetic responses from the reader. In general, this visual-paraliterature work isindeed fictitious and merely an imitation of grotesque reality. However, in the comics, itis often found that values of life that are universal and eternal so comics are consideredappropriate as a material of cultural studies. Naruto, one of the Japanese manga, andAstérix, the bande dessinée of France, are examined as a representation of the East andWest. The background as a structural element in these works of fiction also shows the basicsimilarity of the existence of the village as the place of life of the characters. According toKartohadikoesoemo (1984:16), the village is a legal entity, in which a ruling society livesits own government. In this paper, other meanings of the rural environment, which hascontributed in the character formation of the characters from both comics are discussed.The method of cultural comparative is used with the application of relevant theories. Thisbrief study aims to complete the study of comics which is still very limited in Indonesia.Keywords: Village, Comic, Naruto, Astérix, Cultural Comparison

A Compact Embodiment of Pluralities and Denial of Origins: Atwood’s The Year of The Flood

2016 ◽  
Vol 1 (3) ◽  
pp. 141
Author(s):  
Rana Sağıroğlu
Keyword(s):  
Science Fiction ◽  
21St Century ◽  
Social Order ◽  
Margaret Atwood ◽  
Rapid Change ◽  
The Novel ◽  
The World ◽  
Narrative Techniques ◽  
Why Questions ◽  
Near Future

Margaret Atwood, one of the most spectacular authors of postmodern movement, achieved to unite debatable and in demand critical points of 21st century such as science fiction, postmodernism and ecocriticism in the novel The Year of The Flood written in 2009. The novel could be regarded as an ecocritical manifesto and a dystopic mirror against today’s degenerated world, tending to a superficial base to keep the already order in use, by moving away from the fundamental solution of all humanity: nature. Although Atwood does not want her works to be called science fiction, it is obvious that science fiction plays an introductory role and gives the novel a ground explaining all ‘why’ questions of the novel. However, Atwood is not unjust while claiming that her works are not science fiction because of the inevitable rapid change of 21st century world becoming addicted to technology, especially Internet. It is easily observed by the reader that what she fictionalises throughout the novel is quite close to possibility, and the world may witness in the near future what she creates in the novel as science fiction. Additionally, postmodernism serves to the novel as the answerer of ‘how’ questions: How the world embraces pluralities, how heterogeneous social order is needed, and how impossible to run the world by dichotomies of patriarchal social order anymore. And lastly, ecocriticism gives the answers of ‘why’ questions of the novel: Why humanity is in chaos, why humanity has organized the world according to its own needs as if there were no living creatures apart from humanity. Therefore, The Year of The Flood meets the reader as a compact embodiment of science fiction, postmodernism and ecocriticism not only with its theme, but also with its narrative techniques.

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