By A. Mandal
Feedback has commonly mounted Austen's oeuvre in the ideological locus of the 1790s, ignoring the extra topical attributes that her novels show. Such debts have as a result overlooked the advanced engagements that happened among Austen's fiction and early nineteenth-century fiction. knowledgeable by way of a macrocosmic experience of the Romantic-era novel industry and a microcosmic research of intertexual dynamics, Jane Austen and the preferred Novel offers a clean and replacement point of view at the mature fiction of Jane Austen.
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Feedback has commonly fastened Austen's oeuvre in the ideological locus of the 1790s, ignoring the extra topical attributes that her novels reveal. Such bills have for that reason ignored the complicated engagements that happened among Austen's fiction and early nineteenth-century fiction. expert through a macrocosmic feel of the Romantic-era novel marketplace and a microcosmic research of intertexual dynamics, Jane Austen and the preferred Novel offers a clean and replacement viewpoint at the mature fiction of Jane Austen.
Extra resources for Jane Austen and the Popular Novel: The Determined Author
A precursor of Scott’s Waverley Novels, the national tale broadly encapsulates fictions that construct an image of nationhood distinct from that of a homogeneous ‘Britain’. Ina Ferris remarks: An Anglo–Irish creation, the national tale was founded by Maria Edgeworth in Castle Rackrent (1800), and it was transformed into national romance by [Sydney Owenson] Morgan’s Wild Irish Girl (1806). 25 In addition to Owenson’s novels, Germaine de Staël’s French novel Corinne, ou l’Italie (1807) was a significant influence on the development of the national romance.
S. Surr’s A Winter in London; or, Sketches of Fashion (1806), which sought voyeuristically to paint a lurid portrait of upper-class fashionable life, while paradoxically (and not quite convincingly) taking the moral high-ground. The separation of the Prince Regent from Princess Caroline, and the subsequent ‘Delicate Investigation’ of the latter in 1806, led to the production of a number of transparent romans-à-clef, bearing salacious titles such as J. P. Hurstone’s Royal Intrigues: Or Secret Memoirs of Four Princesses (1808).
A Modern Novel (1807), which depicted scenes at Prince George’s alternative court, and A Summer at Weymouth; or, the Star of Fashion (1808), set in one of a number of watering places which were becoming popular during this period. The response to these risqué titles, as well as other shocking fictions, including Charlotte Dacre’s Gothic Zofloya; or, the Moor (1806), manifested itself in the polite Evangelical novel, which made a substantial impression during 1808–14. An Evangelically informed fiction industry began with Cœlebs in Search of a Wife (1808), written by the prolific conservative propagandist, Hannah More, and was continued throughout the Regency by writers such as Mary Brunton, Barbara Hofland, and to a lesser extent Amelia Opie and Lætitia-Matilda Hawkins.
Jane Austen and the Popular Novel: The Determined Author by A. Mandal