Thank you for checking out this book by Theophania Publishing. We appreciate your business and look forward to serving you soon. We have thousands of titles available, and we invite you to search for us by name, contact us via our website, or download our most recent catalogues. OUT OF THE FLESH of our mothers come dreams and memories of the Gods. Of other kind than the normal inducement of interest and increasing skill, there exists a continual pressure upon the artist of which he is sometimes partially conscious but rarely entirely aware. He learns early or late in his career that power of literal reproduction (such as that of the photographic apparatus) is not more than slightly useful to him. He is compelled to find out from his artist predecessors the existence, in representation of real form, of super-sessions of immediate accuracies; he discovers within himself a selective conscience and he is satisfied, normally, in large measure by the extensive field afforded by this broadened and simplified beyond this is a region and that a much greater one, for exploration. The objective understanding, as we see, has to be attacked by the artist and a subconscious method, for correction of conscious visual accuracy, must be used. No amount of manual skill and consciousness of error will produce good drawing. A recent book on drawing by a well-known painter is a case in point; there the examples of masters of draughtsmanship may be compared with the painter-author's own, side by side, and the futility of mere skill and interest examined. Therefore to proceed further, it is necessary to dispose of the subject in art also (that is to say the subject in the illustrative or complex sense). Thus to clear the mind of inessentials permits through a clear and transparent medium, without prepossessions of any kind, the most definite and simple forms and ideas to attain expression.

A study of Jane Austen's life and writings, this work surveys two centuries of editing, censorship, and fiction that created a pious, wistful, romantically pining, and frustrated Austen. It serves up an antidote to that icon - a dynamic, brave, and buoyant writer - by examining subtle self-portraits in the author's works.

Combining linguistic theory with analytical concepts and literary interpretation and appreciation, Jane Austen's Narrative Techniques traces the creation and development of Austen's narrative techniques. Massimiliano Morini employs the tools developed by post-war linguistics and above all pragmatics, the study of the ways in which speakers communicate meaning, since Austen's 'wordings' can only be interpreted within the fictional context of character-character, narrator-character, narrator-reader interaction. Examining a wide range of Austen texts, from her unpublished works through masterpieces like Mansfield Park and Emma, Morini discusses familiar Austen themes, using linguistic means to shed fresh light on the question of point of view in Austen and on Austen's much-admired brilliance in creating lively and plausible dialogue. Accessibly written and informed by the latest work in linguistic and literary studies, Jane Austen's Narrative Techniques offers Austen specialists a new avenue for understanding her narrative techniques and serves as a case study for scholars and students of pragmatics and applied linguistics.

Jane 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 materialist Austen scholarship, this timely work explores Austen’s ironic 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.

The second edition of an innovative introduction explaining what students need to know about Austen's novels, life, context and reception.

This book focuses on how Austen's life and work is being re-framed and re-imagined in 20th and 21st century literature and culture. Tracing the connections between Modernist Austen in the early C20th and feminist and post-feminist appropriations in the later C20th, it examines how Austen emerged as a complex point of reference on the global stage.