Joe Bray is Professor of Language and Literature at the University of Sheffield. He is the author of The Language of Jane Austen (2018), The Portrait in Fiction of the Romantic Period (2016), The Female Reader in the English Novel (2008) and The Epistolary Novel: Representations of Consciousness (2003), and co-editor of, amongst others, The Routledge Companion to Experimental Literature (2012). Hannah Moss works for the National Trust, having completed her PhD at the University of Sheffield. Her thesis, entitled ‘Sister Artists: The Artist Heroine in British Women’s Writing, 1760–1830’, explores how the woman artist is characterised in poetry and prose fiction of the period and she has published articles on the British reception of Germaine de Staël’s Corinne (1807), the role of the arts in the novels of Ann Radcliffe, and the paratextual framing of Felicia Hemans’ ekphrastic poem, ‘Properzia Rossi‘ (1828).

This is an ambitious, comprehensive, and thoughtfully curated book—itself a work of art.

• List of FiguresAcknowledgementsNote on TextsIntroduction, Joe Bray and Hannah MossPart I: The Arts in Context1. Jane Austen, Early Modern Aesthetics and Contemplative Sublimity, Natasha Duquette2. Taste and Passion, Disinterest and the Imagination, Tom Huhn3. Jane Austen, Moral Philosophy and the Tradition, Kathryn E. Davis4. ‘Possessing a most exquisite taste in every species of literature’: Reading, Moral Taste and Creative Action in Jane Austen’s Novels, Katie Halsey5. Reforming the Artist Heroine: Reading Sense and Sensibility (1811) as a Response to Jane West’s A Gossip’s Story (1796), Hannah Moss6. Picturing (In)Sensibility in Austen’s Novels and Print Culture, Inger Brodey7. The Flemish Jane Austen, Clara TuitePart II: The Arts in Austen8. ‘The Creative Eye of Fancy’: Women, Visual Culture and the Female Gaze in Austen’s Novels, Maureen McCue9. Shadow Portraits: Jane Austen, Lady Susan and Silhouettes, Laura Engel10. Jane Austen and Crafts, Jennie Batchelor11. Jane Austen’s Conversation Pieces, Anne Toner12. Jane Austen, Caricature and the Fat Self, Olivia Ferguson13. Jane Austen and the Figure of the Body, Julia Banister14. ‘He has great pleasure in seeing the performances of other people’: Austen’s Men and the Arts, Juliette Wells15. Music in Jane Austen's Novels, Kathryn L. Libin16. Jane Austen’s Dance Dialogues: Representing Dance in the Novels, Cheryl Wilson17. The Paper Age: Jane Austen, Fashion and Finance, Leigh Wetherall Dickson18. Jane Austen and the Theatre of Her Time, Angela Barlow19. Jane Austen, Architecture and the Decorative Arts, Kristen Miller Zohn20. Creators of Spaces: The Art of Owning, Inhabiting and Imagining Property in Jane Austen, Rita Dashwood21. ‘Nothing but pleasure from beginning to end’: Austen’s Gardens, Stephen BendingPart III: Afterlives22. Jane Austen and the Letter, Catherine Delafield23. Austen in a Competitive Literary Market Place: Nineteenth-century Illustrated Editions, Annika Bautz24. Jane Austen and the Imperfect Art of Translation, Janine Barchas and Gillian Dow25. Dealing With Jane Austen’s Unfinished Novels: Completions of The Watsons and Sanditon, Joanne Wilkes26. The Perils of Novelistic Adaptation: Death Comes to Pemberley, Longbourn and Pamela, Joe Bray27. When the Pen is in Fans’ Hands – The Jane Austen Fan Fiction Phenomenon, Maria Clara Pivato Biajoli28. Locating Austen in Contemporary Theatre, Frances Babbage29. ‘I am having a bit of a strange postmodern moment here’: Adapting Austen for Television, Lauren Nixon30. Theme Parks and Seaside Resorts: Rethinking Material and Visual Culture in Sanditon (2019) and Austenland (2013), Madeleine Pelling31. ‘Three or four families in a RPG’: Gaming and Jane Austen, Stephanie Russo32. Austen Reloaded: Digital Approaches to Jane Austen and the Arts, Anthony Mandal33. The Jane Austen Heritage Industry and Literary Tourism, Misty KruegerNotes on ContributorsIndex