MARC Record from marc_columbia

LEADER: 03527cam a2200445Ii 4500
001 14937308
005 20200811101804.0
008 191101s2020 deua b 001 0 eng d
024 $a40030025300
035 $a(OCoLC)on1125356344
040 $aYDX$beng$erda$cYDX$dUKMGB$dTYC$dOCLCF$dYPM
019 $a1125831186
020 $a1644531747$q(cloth)
020 $a9781644531747$q(cloth)
020 $a1644531755$q(paper)
020 $a9781644531754$q(paper)
020 $a9781644531761$q(electronic bk.)
020 $a1644531763$q(electronic bk.)
035 $a(OCoLC)1125356344$z(OCoLC)1125831186
050 4 $aPR4037$b.A78 2020
082 04 $a823.7$223
245 00 $aArt and artifact in Austen /$cedited by Anna Battigelli.
264 1 $aNewark :$bUniversity of Delaware Press,$c2020.
264 4 $c©2020
300 $axi, 267 pages :$billustrations (black and white) ;$c23 cm.
336 $atext$2rdacontent
336 $astill image$2rdacontent
337 $aunmediated$2rdamedia
338 $avolume$2rdacarrier
500 $aFirst published 2020.
504 $aIncludes bibliographical references and index.
520 $aJane 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 materlialist Austen scholarship, this timely work explores Austen's 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. --Page 4 of cover.
505 00 $tIntroduction : the intimate ironies of Jane Austen's arts and artifacts --$tPortraiture as misrepresentation in the novels and early writings of Jane Austen /$rPeter Sabor --$tJane Austen's "artless" heroines : Catherine Morland and Fanny Price /$rElaine Bander --$tLegal arts and artifacts in Jane Austen's Persuasion /$rNancy E. Johnson --$tJane Austen and the theater? Perhaps not so much /$rDeborah C. Payne --$tEverything is beautiful : Jane Austen at the ballet /$rCheryl A. Wilson --$tJane Austen, marginalia, and book culture /$rMarilyn Francus --$tGender and things in Austen and Pope /$rBarbara M. Benedict --$t"A very pretty amber cross" : material sources of elegance in Mansfield Park /$rNatasha Duquette --$tReligious views : English abbeys in Austen's Northanger Abbey and Emma /$rTonya J. Moutray --$tIntimate portraiture and the accomplished woman artist in Emma /$rJuliette Wells --$t"Is she musical?" players and nonplayers in Austen's fiction /$rLinda Zionkowski and Miriam Hart --$tWhat Jane saw-in Henrietta Street /$rJocelyn Harris.
600 10 $aAusten, Jane,$d1775-1817$xCriticism and interpretation.
600 17 $aAusten, Jane,$d1775-1817.$2fast$0(OCoLC)fst00032929
650 0 $aArts in literature.
650 7 $aArts in literature.$2fast$0(OCoLC)fst00817880
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
700 1 $aBattigelli, Anna,$d1960-
852 00 $bglx$hPR4037$i.A78 2020