scholarly journals The products of intertextuality: The value of student adaptations in a literature course

2014 ◽  
Vol 20 ◽  
Author(s):  
Misty Krueger
Keyword(s):  
Popular Culture ◽  
William Shakespeare ◽  
Digital Humanities ◽  
Jane Austen ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Literary Studies ◽  
Textual Production ◽  
Upper Level ◽  
Student Projects

The essay explores a pedagogy of adaptation that focuses on examining intertextuality and engaging students in textual production through the creation of an adaptation. The paper discusses the success of assigning an adaptation project in an upper-level, third-year literature course taught at a small university. It examines student adaptations of writings by William Shakespeare, Jane Austen, Samuel Richardson, Henry Fielding, Mary Shelley, and Ben H. Winters and of existing film adaptations of Sense and Sensibility and Frankenstein. I link student projects to critical concepts such as re-vision and multimodality, and disciplines such as literary studies and the digital humanities. I also analyze how the projects reflect students' interests in popular culture and fandom.

scholarly journals Editorial

2021 ◽  
Vol 33 (2) ◽  
pp. v-viii
Author(s):  
Graham Holderness
Keyword(s):  
Jane Austen ◽  
Daniel Defoe ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Literary Realism ◽  
Conduct Literature ◽  
The Novel ◽  
Age Of Reason ◽  
The Past ◽  
New Novel

When I first studied the novel, the form was believed to have originated in the eighteenth century with the fiction of Daniel Defoe, Henry Fielding and Samuel Richardson, and was synonymous with literary realism. The novel emerged from the Age of Reason, was closely associated with journalism, satire and conduct literature, and marked a profound break with the supernatural, fantastic and romance narratives of the past. Its perfect embodiment was to be found in the work of Jane Austen, even today an immensely popular writer, and widely regarded as a defining practitioner of the novel form. This kind of novel was/is in every respect different from Shakespeare: new, ‘novel’, not old; prose, not poetry; narrative, not dramatic; realist, not magical; fictional, not metafictional; and could deal with Shakespeare only as an objective feature of the society and culture being represented.

Fiction

Unfelt ◽  
2020 ◽  
pp. 68-112
Author(s):  
James Noggle
Keyword(s):  
Eighteenth Century ◽  
Jane Austen ◽  
Samuel Richardson ◽  
Henry Fielding ◽  
Frances Burney ◽  
Marriage Plot

This chapter explains that unfelt affects are among the most subtly potent ones in eighteenth-century fiction, and they often decisively delineate character, advance plot, and confer a distinctive texture on narrative. The capacity of characters not to feel and not to notice feelings vitally supports the expressions of high emotion and intense desire long seen as among the novel's reasons for existence. In their privative sense, words like insensible and imperceptible sometimes serve as a plot device. Yet novelists also gesture to the insensible to evoke deeply meaningful affect, not merely as an alternative to the high-flown feelings evident in such fiction but also as a way of quietly enhancing their profundity. Moreover, these gestures help novelists navigate the perilous tensions and congruities between virtue and desire that are definitive of heroines' predicament in the marriage plot. The chapter then studies the insensible in the works of Henry Fielding, Samuel Richardson, Frances Burney, and Jane Austen.

scholarly journals Literary Anthropology

2016 ◽  
Vol 25 (1) ◽  
pp. 1-8 ◽  
Author(s):  
Máiréad Nic Craith ◽  
Laurent Sebastian Fournier
Keyword(s):  
Social Sciences ◽  
Popular Culture ◽  
Literary Studies ◽  
Special Issue ◽  
The Social ◽  
Cultural Performances ◽  
Textual Strategies

This special issue on anthropology and literature invited proposals for original contributions focusing on relationships between anthropology and literature. We were especially interested in the following questions: what role does literature play in anthropology? Can literature be considered as ethnography? What are the relationships between anthropology and literature, past and present? Are anthropology and anthropological motives used in literature? We also looked for critical readings of writers as anthropologists and critical readings of anthropologists as writers. Moreover, we wanted to assess the influence of literature on the invention of traditions, rituals and cultural performances. All these different questions and topics are clearly connected with the study of literacy, illiteracy and popular culture. They also lead to questions regarding potential textual strategies for ethnography and the possibilities of bringing together the field of anthropology (more associated with the social sciences) and literary studies (traditionally part of the humanities).

Teaching about Sustainability

2014 ◽  
pp. 383-397
Author(s):  
Richard Penaskovic ◽  
Dennis R. DeVries ◽  
Nanette E. Chadwick
Keyword(s):  
Liberal Arts ◽  
Senior Faculty ◽  
Pedagogical Strategies ◽  
Capstone Course ◽  
Real World Problem ◽  
Scientific Technical ◽  
Interdisciplinary Framework ◽  
Upper Level ◽  
Sustainability Program ◽  
Student Projects

This chapter offers concrete recommendations for teaching a capstone course in sustainability to upper level undergraduates minoring in sustainability studies. Given the multifaceted nature of sustainability, the authors use a strong interdisciplinary framework. Because the two instructors are senior faculty from a scientific/technical field and a liberal arts perspective; the course is overseen by the university's academic sustainability program director, adding further breadth of input into student projects. This course comprises three distinct but interconnected components: (1) a theoretical element, i.e., reading and discussion that raises students' consciousness about advanced issues in sustainability and encourages critical thinking; (2) the use of cooperative learning teams in which students choose to solve a practical, real-world problem dealing with sustainability that forces them to be active learners; and (3) ten pedagogical strategies that are effective in motivating students to put forth their best efforts in working on their team projects dealing with sustainability.

Improv, Shakespeare, and Drag: A Conversation with Impromptu Shakespeare

2020 ◽  
Vol 36 (3) ◽  
pp. 214-222
Author(s):  
Ailis Duff ◽  
Rebecca MacMillan ◽  
Marina Cano
Keyword(s):  
William Shakespeare ◽  
Jane Austen ◽  
Love Affair ◽  
Research Associate ◽  
And Performance ◽  
And Gender ◽  
The University

This interview took place during the Edinburgh Fringe Festival (August 2017), where Impromptu Shakespeare has been performing since 2013. An improvised theatre group, Impromptu Shakespeare weaves in one new ‘Shakespeare’ play at every show. The conversation was led by Marina Cano, as part of her research on improvised Shakespeare and improvised Jane Austen. It involved Impromptu actors Ailis Duff and Rebecca MacMillan, and touched upon matters of improvisation, methodology, adaptation, Shakespeare on stage, and gender-blind performance. Marina Cano is a Research Associate at the University of Limerick, Ireland. She is the author of Jane Austen and Performance (Palgrave 2017) and the co-editor of Jane Austen and William Shakespeare: A Love Affair in Literature, Film, and Performance (Palgrave 2019).

Chick Noir: Surveilling Femininity and the Affects of Loss in Gone Girl

Noir Affect ◽  
2020 ◽  
pp. 197-221
Author(s):  
Pamela Thoma
Keyword(s):  
Popular Culture ◽  
Public Sphere ◽  
Young Women ◽  
First Century ◽  
Dark Side ◽  
Surveillance Culture ◽  
The Public ◽  
Textual Production ◽  
The Public Sphere ◽  
A Site

This chapter explores a surprising shift that has occurred in postfeminist popular culture and more specifically “chick culture” in the wake of the global economic crisis. Chick noir forms itself in opposition to those two standbys of twenty-first-century U.S culture, chick lit and the chick flick. If these latter genres perform a humorous remodelling of romance as the “happy object” around which young women should orient self-making or self-improvement projects for the promise of a good life and future feelings of happiness, chick noir has emerged across popular culture to chronicle widespread economic hardship and social decline under neoliberalism. Chick noir narratives are driven by negative affect and deal in the dark side of relationships, domesticity, and the public sphere for women. The chapter takes Gone Girl as its focus. This chapter pays particular attention to ways in which both texts shine a light on modern surveillance culture to explore the textual production of empathy and coercion and the ways in which these texts imagine femininity as a site of surveillance. What emerges is a form of noir affect that dramatizes the absolute lack of a stable or noncontradictory space for the contemporary female subject.

African American Scholars and the Margins of DH

PMLA ◽  
2020 ◽  
Vol 135 (1) ◽  
pp. 152-158
Author(s):  
Howard Rambsy II
Keyword(s):  
African American ◽  
Real Estate ◽  
Toni Morrison ◽  
Digital Humanities ◽  
Literary Studies ◽  
Graduate Study ◽  
Close Attention ◽  
Marginal Status ◽  
The Way

Let's Cut to the Chase: African American Scholars Occupy the Margins of this Expansive Realm Known as Digital Humanities. Do well-intentioned people want more diversity in DH? Sure, they do. Do black folks participate in DH? Of course, we do. But we've witnessed far too many DH panels with no African American participants or with only one. We've paid close attention to where the major funding for DH goes. Or, we've carefully taken note of who the authors of DH-related articles, books, and bibliographies are. We've studied these things closely enough to realize who resides in prime DH real estate and who doesn't. We could speak defiantly about our marginal status the way Toni Morrison once did when she quipped, “I'm gonna stay out here on the margin, and let the center look for me” (87). Yaasss!At the same time, though, it's worth thinking about some of the reasons why African American scholars dwell on the margins of the DH field. The processes by which we pursue graduate study and become participants in the field of African American literary studies account for why we are slow or reluctant to embrace DH. There's also the matter of segregation—our persistent exclusion from projects and opportunities that are ostensibly open to all but invariably involve primarily white scholars. Immersion in the field of African American literary studies and conversations with senior and emergent scholars reveal some of the reasons why we stand so far from the center of the DH community.

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