Marina Cano – författare

This is the first in-depth study of the theatrical afterlives of nineteenth-century women novelists. Whereas previous scholarship has shown a strong bias towards male writers, especially Charles Dickens, this book innovatively brings woman-authored novels centre stage--literally and metaphorically. Theatrical Afterlives: Nineteenth-Century Women's Novels on the Stage examines the dramatic offspring of Jane Austen, the BrontA s, Elizabeth Gaskell, Mary Elizabeth Braddon, Ellen Wood, and George Eliot, through particular, and sometimes unexpected, theatrical lenses (e.g., prison drama, Irish theatre, suffrage drama). It prioritises the performance event--what actually happens onstage--through attention to a series of theatre ephemera, unpublished manuscript material, and specially commissioned interviews with practitioners. The book argues that the theatrical afterlives allegorize key socio-political debates and tensions of the past two hundred years, including the woman question, the Irish question, colonial legacies, and the #MeToo era. All these foci allow Marina Cano to investigate the dramatizations as expressions and affirmation of identities that have at one point been marginalized, while also enabling creative interconnections to emerge through the juxtaposition of novelists, plays, historical movements, and locations. The dramatizations, the book concludes, matter, not only for what they tell us about how woman-authored novels have been utilised, but also because these plays provide a fresh methodology to access and reread the novels themselves, and read them anew.

This is the first in-depth study of the theatrical afterlives of nineteenth-century women novelists. Whereas previous scholarship has shown a strong bias towards male writers, especially Charles Dickens, this book innovatively brings woman-authored novels centre stage--literally and metaphorically. Theatrical Afterlives: Nineteenth-Century Women's Novels on the Stage examines the dramatic offspring of Jane Austen, the Brontës, Elizabeth Gaskell, Mary Elizabeth Braddon, Ellen Wood, and George Eliot, through particular, and sometimes unexpected, theatrical lenses (e.g., prison drama, Irish theatre, suffrage drama). It prioritises the performance event--what actually happens onstage--through attention to a series of theatre ephemera, unpublished manuscript material, and specially commissioned interviews with practitioners. The book argues that the theatrical afterlives allegorize key socio-political debates and tensions of the past two hundred years, including the woman question, the Irish question, colonial legacies, and the #MeToo era. All these foci allow Marina Cano to investigate the dramatizations as expressions and affirmation of identities that have at one point been marginalized, while also enabling creative interconnections to emerge through the juxtaposition of novelists, plays, historical movements, and locations. The dramatizations, the book concludes, matter, not only for what they tell us about how woman-authored novels have been utilised, but also because these plays provide a fresh methodology to access and reread the novels themselves, and read them anew.

This is the first in-depth study of the theatrical afterlives of nineteenth-century women novelists. Whereas previous scholarship has shown a strong bias towards male writers, especially Charles Dickens, this book innovatively brings woman-authored novels centre stage--literally and metaphorically. Theatrical Afterlives: Nineteenth-Century Women's Novels on the Stage examines the dramatic offspring of Jane Austen, the BrontA s, Elizabeth Gaskell, Mary Elizabeth Braddon, Ellen Wood, and George Eliot, through particular, and sometimes unexpected, theatrical lenses (e.g., prison drama, Irish theatre, suffrage drama). It prioritises the performance event--what actually happens onstage--through attention to a series of theatre ephemera, unpublished manuscript material, and specially commissioned interviews with practitioners. The book argues that the theatrical afterlives allegorize key socio-political debates and tensions of the past two hundred years, including the woman question, the Irish question, colonial legacies, and the #MeToo era. All these foci allow Marina Cano to investigate the dramatizations as expressions and affirmation of identities that have at one point been marginalized, while also enabling creative interconnections to emerge through the juxtaposition of novelists, plays, historical movements, and locations. The dramatizations, the book concludes, matter, not only for what they tell us about how woman-authored novels have been utilised, but also because these plays provide a fresh methodology to access and reread the novels themselves, and read them anew.

This open access book examines failures in contemporary academia, and especially the intersections between gender and academic failure. It argues that academic failure is political, and that seemingly personal failures to achieve a standard or expected academic career (tenure, funding, publications, etc.) should be understood in the context of institutional failures and systemic inequalities. Through theoretical discussions and/or personal reflections on their individual experiences of failure, contributors to the volume address how academic failure can illuminate, and sometimes subvert, the institutional barriers often faced by women and women-identifying scholars in the contemporary university.The collection is interdisciplinary, intersectional and international and covers topics such as Covid-19, precarity and job hunting, ethnic diversity, accounts of incomplete research, motherhood and disability within the academy. Contributors include established and emerging scholars in Australia, New Zealand, Spain, the UK and the USA. Conceived as scholarly activism, Women, 'Failure' and Academia aims to interrogate the future of universities and challenge perceptions of failure, especially with regard to women and women-identifying academics.The ebook editions of this book are available open access under a CC BY-NC-ND 4.0 licence on bloomsburycollections.com. Open access was funded by the Bloomsbury Open Collections Library Collective.

This volume explores the multiple connections between the two most canonical authors in English, Jane Austen and William Shakespeare. The collection reflects on the historical, literary, critical and filmic links between the authors and their fates. Considering the implications of the popular cult of Austen and Shakespeare, the essays are interdisciplinary and comparative: ranging from Austen’s and Shakespeare’s biographies to their presence in the modern vampire saga Twilight, passing by Shakespearean echoes in Austen’s novels and the authors’ afterlives on the improv stage, in wartime cinema, modern biopics and crime fiction. The volume concludes with an account of the Exhibition “Will & Jane” at the Folger Shakespeare Library, which literally brought the two authors together in the autumn of 2016. Collectively, the essays mark and celebrate what we have called the long-standing “love affair” between William Shakespeare and Jane Austen—over 200 years and counting.

This volume explores the multiple connections between the two most canonical authors in English, Jane Austen and William Shakespeare. The collection reflects on the historical, literary, critical and filmic links between the authors and their fates. Considering the implications of the popular cult of Austen and Shakespeare, the essays are interdisciplinary and comparative: ranging from Austen’s and Shakespeare’s biographies to their presence in the modern vampire saga Twilight, passing by Shakespearean echoes in Austen’s novels and the authors’ afterlives on the improv stage, in wartime cinema, modern biopics and crime fiction. The volume concludes with an account of the Exhibition “Will & Jane” at the Folger Shakespeare Library, which literally brought the two authors together in the autumn of 2016. Collectively, the essays mark and celebrate what we have called the long-standing “love affair” between William Shakespeare and Jane Austen—over 200 years and counting.

This is the first exploration of the performative and theatrical force of Austen’s work and its afterlife, from the nineteenth century to the present. It unearths new and little-known Austen materials: from suffragette novels and pageants to school and amateur theatricals, passing through mid-twentieth-century representations in Scotland and America. The book concludes with an examination of Austen fandom based on an online survey conducted by the author, which elicited over 300 responses from fans across the globe. Through the lens of performative theory, this volume explores how Austen, her work and its afterlives, have aided the formation of collective and personal identity; how they have helped bring people together across the generations; and how they have had key psychological, pedagogical and therapeutic functions for an ever growing audience. Ultimately, this book explains why Austen remains the most beloved author in English Literature.

This is the first exploration of the performative and theatrical force of Austen’s work and its afterlife, from the nineteenth century to the present. It unearths new and little-known Austen materials: from suffragette novels and pageants to school and amateur theatricals, passing through mid-twentieth-century representations in Scotland and America. The book concludes with an examination of Austen fandom based on an online survey conducted by the author, which elicited over 300 responses from fans across the globe. Through the lens of performative theory, this volume explores how Austen, her work and its afterlives, have aided the formation of collective and personal identity; how they have helped bring people together across the generations; and how they have had key psychological, pedagogical and therapeutic functions for an ever growing audience. Ultimately, this book explains why Austen remains the most beloved author in English Literature.