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ENGL2611 Jane Austen Then and Now | Free Samples

Answer ONE of the following questions. Unless otherwise specified, you will be focusing on either ONE of the set novels (Sense and Sensibility, Pride and Prejudice, Mansfield Park, Persuasion, OR Sanditon) OR TWO of the set pieces of juvenilia (‘Frederic and Elfrida’, ‘Jack and Alice’, ‘Henry and Eliza’, ‘The Beautifull Cassandra’, and ‘Love and Freindship’).

1.In Jane Austen, or the Secret of Style, D. A. Miller argues that Jane Austen’s narrative voice distinguishes itself precisely through its lack of distinguishing characteristics. It is “anonymous, impersonal, universal narration”. Evaluate this assessment of Austen’s narrative voice and assess its implications in relation to any ONE of the novels on this unit study.
 
2.Both Claudia Johnson and Marilyn Butler read Austen’s novels as embedded in the political debates of her time, though they situate her work at opposing ends of the political spectrum. To what extent can Austen be considered a political author? Examine the relationship between Austen’s work and the politics of her time by focusing on ONE of the novels set for the unit, or TWO pieces of juvenilia.
 
3.At the end of the eighteenth century, Edmund Burke contended: “Manners are of more importance than laws [. . .] The law touches us but here and there, and now and then. Manners are what vex or sooth, corrupt or purify, exalt or debase, barbarise or refine us, by a constant, steady, uniform, insensible operation, like that of the air we breathe in.” Discuss the significance and function of “manners” in relation to any ONE of the novels or TWO pieces of juvenilia on this unit of study
 
4.Penny Gay argues in Jane Austen and the Theatre (2002) that in all Austen’s writing she deals “with a society that she perceives to be inescapably theatrical”. Analyse the relationship between Austen’s work and the theatre, focusing on ONE of the novels set for this unit.
 
5.Clara Tuite argues Austen “has been appropriated for a particular British national reproductive myth of heterosexual romance” and argues for a “queer Austen”. Focusing on Sense and Sensibility, Pride and Prejudice OR Mansfield Park, analyse the extent Austen’s narrative structure problematise, forestalls, destabilises, and disrupts the romance of the heterosexual union(s) at the novel’s conclusion.
 
6.Critics maintain that genre was one of Austen’s satiric targets. To what extent do you agree with this claim? Focus your answer with a your close analysis of ONE of the novels on this unit of study OR TWO pieces of juvenilia.
 
7.Lynn Festa asks “What does it mean to think about noise in Jane Austen—or to think about Jane Austen as noisy?”. Closely analyse the soundscape of ONE of the novels or TWO pieces of juvenilia set for this course. What kind of sounds pervade Austen’s writing? What role does noise and/or silence play in her works?
 
8.“Her disorder turned into a galloping Consumption and in a few days carried her off” (‘Love and Freindship’). Closely examine the role of Austen’s presentation of healthy, sick, and/or hyperchondriac bodies in ONE of the novels or TWO pieces of juvenilia set for this course.
 
9.Devoney Looser notes that the proliferating versions of Austen’s novels suggest her works might function “more like cultural Rorschach test[s]” than “universal” works of fiction. Do Austen adaptations say more about contemporary culture than they do about her novels? Analyse ONE film, television, or multimedia adaptation of Austen’s writing, with close reference to the original it works with. Adaptations you may analyse include: Pride and Prejudice (BBC, 1995), The Lizzie Bennet Diaries (2012-13), or Lost in Austen (2008). If you would like to analyse another adaptation, you must seek approval from the unit coordainator.
 
10.A question devised by you in consultation with the unit co-ordinator. To ensure you have enough time to research and write your essay, you will need to seek approval for your question by Wed. 10 October.

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