Jane Austen And The Arts

The essays collected in Jane Austen and the Arts; Elegance, Propriety, and Harmony examine Austen’s understanding of the arts, her aesthetic philosophy, and her role as artist. Together, they explore Austen’s connections with Edmund Burke, Adam Smith, Johann Wolfgang von Goethe, Madame de Staël, Joanna Baillie, Jean Jacques Rousseau, Mary Anne Schimmelpenninck, and other writers engaged in debates on the sensuous experience and the intellectual judgment of art. Our contributors look at Austen’s engagement with diverse art forms, painting, ballet, drama, poetry, and music, investigating our topic within historically grounded and theoretically nuanced essays. They represent Austen as a writer-thinker reflecting on the nature and practice of artistic creation and considering the social, moral, psychological, and theological functions of art in her fiction. We suggest that Austen knew, modified, and transformed the dominant aesthetic discourses of her era, at times ironically, to her own artistic ends. As a result, a new, and compelling image of Austen emerges, a “portrait of a lady artist” confidently promoting her own distinctly post-enlightenment aesthetic system.

Jane Austen distinguished herself with genius in literature, but she was immersed in all of the arts. Austen loved dancing, played the piano proficiently, meticulously transcribed piano scores, attended concerts and art exhibits, read broadly, wrote poems, sat for portraits by her sister Cassandra, and performed in theatricals. For her, art functioned as a social bond, solidifying her engagement with community and offering order. And yet Austen’s hold on readers’ imaginations owes a debt to the omnipresent threat of disorder that often stems—ironically—from her characters’ socially disruptive artistic sensibilities and skill. Drawing from a wealth of recent historicist and materialist Austen scholarship, this timely work explores Austen’s ironic use of art and artifact to probe selfhood, alienation, isolation, and community in ways that defy simple labels and acknowledge the complexity of Austen’s thought.

First published in 1939, Jane Austen and Her Art is a landmark in Jane Austen criticism. This was the first book to provide a full-scale account of the writer based upon thoroughhistorical and biographical scholarship; and on the critical front, Mary Lascelles broke new ground in applying the ideas of Henry James on the 'art' of the novel. In the years since the first publication of Jane Austen and Her Art, there has come an overwhelming body of critical writing about Jane Austen. But this classic study maintains its unique position, unchallenged and unimproved upon in its analysis of Jane Austen's style and narrative art and the experience of life and literature which formed the novels. A book for all students of Jane Austen, it is equally, as Winifred Husbands wrote in the Modern Language Review, a book for 'all lovers of Jane Austen'.

The first book to investigate Jane Austen's popular significance today, Everybody's Jane considers why Austen matters to amateur readers, how they make use of her novels, what they gain from visiting places associated with her, and why they create works of fiction and nonfiction inspired by her novels and life.The voices of everyday readers emerge from both published and unpublished sources, including interviews conducted with literary tourists and archival research into the founding of the Jane Austen Society of North America and the exceptional Austen collection of Alberta Hirshheimer Burke of Baltimore.Additional topics include new Austen portraits; portrayals of Austen, and of Austen fans, in film and fiction; and hybrid works that infuse Austen's writings with horror, erotica, or explicit Christianity.Everybody's Jane will appeal to all those who care about Austen and will change how we think about the importance of literature and reading today.

[headline]Examines Jane Austen's engagement with the broad range of artistic practices featured in her work Jane Austen was a keen consumer of the arts throughout her lifetime. The Edinburgh Companion to Jane Austen and the Arts considers how Austen represents the arts in her writing, from her juvenilia to her mature novels. The thirty-three original chapters in this Companion cover the full range of Austen's engagement with the arts, including the silhouette and the caricature, crafts, theatre, fashion, music and dance, together with the artistic potential of both interior and exterior spaces. This volume also explores her artistic afterlives in creative re-imaginings across different media, including adaptations and transpositions in film, television, theatre, digital platforms and games. [editor biographies]Joe Bray is Professor of Language and Literature at the University of Sheffield. He is the author of books and articles on fiction of the eighteenth and early nineteenth centuries, including The Language of Jane Austen (2018) and The Portrait in Fiction of the Romantic Period (2016). Hannah Moss works in the heritage industry. She completed her PhD at the University of Sheffield and is the co-editor of a special issue of the journal Women's Writingo on the topic of women writers and the creative arts in Britain, 1660-1830. She has also published articles on Germaine de Staël, Ann Radcliffe and Felicia Hemans.

Literary critics such as Virginia Woolf and Lionel Trilling had noted intuitive affinities between the art of Jane Austen and that of Mozart, but this 1983 book was the first to compare their artistic style and individual works in a comprehensive way. Extended comparisons are of course difficult because of the intrinsic differences between prose fiction and instrumental music. In Jane Austen and Mozart, Robert K. Wallace has succeeded in making illuminating comparisons of spirit and form in the work of these two artists. His book celebrates the achievements of Austen and Mozart by comparing their stylistic significance in the history of their separate arts and by offering comparisons of three Austen novels with three Mozart piano concertos. In exploring precise similarities between the two artists, Wallace shows how the art and criticism of one field can illuminate the art and criticism of another. Above all, Jane Austen and Mozart attempts to show the degree to which three masterpieces by each artist have comparable meaning and value.

Jane Austen was a keen consumer of the arts throughout her lifetime. The Edinburgh Companion to Jane Austen and the Arts considers how Austen represents the arts in her writing, from her juvenilia to her mature novels. The thirty-three original chapters in this Companion cover the full range of Austen's engagement with the arts, including the silhouette and the caricature, crafts, theatre, fashion, music and dance, together with the artistic potential of both interior and exterior spaces. This volume also explores her artistic afterlives in creative re-imaginings across different media, including adaptations and transpositions in film, television, theatre, digital platforms and games.