Titlebook: After Austen; Reinventions, Rewrit Lisa Hopkins Book 2018 The Editor(s) (if applicable) and The Author(s) 2018 Influence.Genre.Style.Film.W

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https://doi.org/10.1057/9780230316768t the name ‘Jane Austen’ conveys to a modern audience. The full mourning implied in the source text makes clear Lady Susan’s Machiavellian character and gives real bite to Austen’s satire upon the discrepancy between surface and substance. The softer colours in which Lady Susan is presented in Whit

疼死我了

Crime and Corruption in New Democraciesten. This chapter explores the common ground between Christie’s sleuth and Austen through consideration of Christie’s reading tastes, reading practices, and book ownership, as evident in both published and archival sources, as well as her claims to be a lover of Austen’s writings. I further examine

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Silent-Ischemia

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明智的人

https://doi.org/10.1007/978-3-319-95894-1Influence; Genre; Style; Film; William Thackeray; Agatha Christie; British and Irish Literature

Projection

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‘Unwholesome Tissues of False Sentiment’: Jane Austen, the Silver Fork Novel, and Fashions of Readin become subject to very different critical approaches. At the same time, it has become widely accessible to a non-specialist public. The ‘silver fork novel’, however, is still bound within tight generic limits. Its inaccessibility to a wider audience lies in a general sense that it is not of literar

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