FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2736502493> ?p ?o ?g. }

• W2736502493 startingPage "189" @default.
• W2736502493 abstract "THE FACT THAT domestic tourism became fashionable in late eighteenth-century England provided Jane with an elegant solution to a narrative problem: how to reunite Elizabeth Bennet with Fitzwilliam Darcy following his surprising proposal and her indignant rejection. Elizabeth visits with her uncle and aunt, where her of Pemberley changes her estimate of Darcy. Critics have reached a consensus about her itinerary and the description of her observations, as well as a model for this estate: the novel follows the path and uses the language of William Gilpin's Observations, Relative Chiefly to Picturesque Beauty, Made in the Year 1772, on Several Parts of England; Particularly the Mountains, and Takes of Cumberland, and Westmoreland-, the model for Pemberley Chatsworth, seat of the Duke of Devonshire. This essay questions the consensus by raising the possibility that may have also read another guide, William Bray's Sketch of a Tour into and Yorkshire, which includes another country house that may have contributed to her imaginative construction of Pemberley. In addition, Elizabeth's identification of her party as travelers suggests that may have conceived this episode when writing First Impressions in 1796-1797, rather than when revising the novel in 1809-1810. The Gardiners' planned journey differs from the one they take with Elizabeth. When Mrs. Gardiner broaches the idea of a summer of pleasure to her niece, it possible that they will 'to the Lakes' (174). Elizabeth responds enthusiastically, hoping that they will act like 'the generality of travellers' (175). However, when the date approaches to begin their Northern Mr. Gardiner's business necessitates a delay; they substitute a more contracted tour and go no farther northward than Derbyshire (265). While Elizabeth excessively disappointed, Mrs. Gardiner happily returns to her home county and village, which as great an object of her curiosity, as all the celebrated beauties of Matlock, Chatsworth, Dovedale, or the Peak (265). Although Gilpin's Observations centers on the Lake District, he does describe as part of the return journey southward in three late chapters of the second volume, and he does include the four sites listed by Austen. Most critics focus on Gilpin, despite the novel's abbreviated tour, and on Chatsworth, despite its mention as a house already visited. Mavis Batey, for example, asserts that Elizabeth was clearly made to study Gilpin's Tour of the Lakes before she set off with the Gardiners 'in pursuit of novelty and amusement,' Gilpin's own definition of picturesque travel (64). More recently, Judith W. Page calls Elizabeth something of a picturesque tourist, while pointing out that she not one completely bound by the letter of the picturesque law (103). Like many, Page finds that adapts elements of the picturesque aesthetic as a lens through which to view the physical and moral world associated with key locations (97). Peter Knox-Shaw, in addition, declares that Pemberley modelled on the best Gilpinesque principles (73). In an appendix to the Cambridge edition Pat Rogers summarizes the case that Austen probably had aspects of in mind when describing Pemberley, although he admits that Darcy's estate is imagined to exist on a far less palatial scale (452). Setting Pemberley in realistic because its great houses were tourist destinations. Adrian Tinniswood observes that attracted crowds to visit Chatsworth, Hardwick, and Kedleston, which offered relief for the tourist who had come to thrill at the scenic grandeur of the Peak (91). Ian Ousby, after using to exemplify ways of looking at a show house, asserts that setting Pemberley in invites the reader to identify with Chatsworth (62-64, 73). Janine Barchas, a rare dissenter, argues that disqualified precisely because it appears by name in the text as a genuine place visited en route; she suggests Wentworth Woodhouse in South Yorkshire as an alternate model because of Austen's use of names associated with the prominent family that owned it (88, 83). …" @default.
• W2736502493 created "2017-07-31" @default.
• W2736502493 creator A5026898577 @default.
• W2736502493 date "2016-01-01" @default.
• W2736502493 modified "2023-09-23" @default.
• W2736502493 title "The Northern Tour in Pride and Prejudice: Another Model" @default.
• W2736502493 hasPublicationYear "2016" @default.
• W2736502493 type Work @default.
• W2736502493 sameAs 2736502493 @default.
• W2736502493 citedByCount "0" @default.
• W2736502493 crossrefType "journal-article" @default.
• W2736502493 hasAuthorship W2736502493A5026898577 @default.
• W2736502493 hasConcept C107038049 @default.
• W2736502493 hasConcept C124952713 @default.
• W2736502493 hasConcept C142362112 @default.
• W2736502493 hasConcept C144024400 @default.
• W2736502493 hasConcept C15744967 @default.
• W2736502493 hasConcept C169760540 @default.
• W2736502493 hasConcept C17744445 @default.
• W2736502493 hasConcept C199033989 @default.
• W2736502493 hasConcept C199539241 @default.
• W2736502493 hasConcept C21240300 @default.
• W2736502493 hasConcept C2776494319 @default.
• W2736502493 hasConcept C2777113389 @default.
• W2736502493 hasConcept C2779728303 @default.
• W2736502493 hasConcept C2780495726 @default.
• W2736502493 hasConcept C2780620123 @default.
• W2736502493 hasConcept C52119013 @default.
• W2736502493 hasConcept C74916050 @default.
• W2736502493 hasConcept C95457728 @default.
• W2736502493 hasConceptScore W2736502493C107038049 @default.
• W2736502493 hasConceptScore W2736502493C124952713 @default.
• W2736502493 hasConceptScore W2736502493C142362112 @default.
• W2736502493 hasConceptScore W2736502493C144024400 @default.
• W2736502493 hasConceptScore W2736502493C15744967 @default.
• W2736502493 hasConceptScore W2736502493C169760540 @default.
• W2736502493 hasConceptScore W2736502493C17744445 @default.
• W2736502493 hasConceptScore W2736502493C199033989 @default.
• W2736502493 hasConceptScore W2736502493C199539241 @default.
• W2736502493 hasConceptScore W2736502493C21240300 @default.
• W2736502493 hasConceptScore W2736502493C2776494319 @default.
• W2736502493 hasConceptScore W2736502493C2777113389 @default.
• W2736502493 hasConceptScore W2736502493C2779728303 @default.
• W2736502493 hasConceptScore W2736502493C2780495726 @default.
• W2736502493 hasConceptScore W2736502493C2780620123 @default.
• W2736502493 hasConceptScore W2736502493C52119013 @default.
• W2736502493 hasConceptScore W2736502493C74916050 @default.
• W2736502493 hasConceptScore W2736502493C95457728 @default.
• W2736502493 hasLocation W27365024931 @default.
• W2736502493 hasOpenAccess W2736502493 @default.
• W2736502493 hasPrimaryLocation W27365024931 @default.
• W2736502493 hasRelatedWork W1180921175 @default.
• W2736502493 hasRelatedWork W1253350257 @default.
• W2736502493 hasRelatedWork W133825469 @default.
• W2736502493 hasRelatedWork W149232211 @default.
• W2736502493 hasRelatedWork W1600516433 @default.
• W2736502493 hasRelatedWork W1894611596 @default.
• W2736502493 hasRelatedWork W2027575015 @default.
• W2736502493 hasRelatedWork W2092397161 @default.
• W2736502493 hasRelatedWork W228520835 @default.
• W2736502493 hasRelatedWork W2419232585 @default.
• W2736502493 hasRelatedWork W2484158574 @default.
• W2736502493 hasRelatedWork W2493228994 @default.
• W2736502493 hasRelatedWork W250284344 @default.
• W2736502493 hasRelatedWork W256170260 @default.
• W2736502493 hasRelatedWork W2991688799 @default.
• W2736502493 hasRelatedWork W310294450 @default.
• W2736502493 hasRelatedWork W321768218 @default.
• W2736502493 hasRelatedWork W582487738 @default.
• W2736502493 hasRelatedWork W66170893 @default.
• W2736502493 hasRelatedWork W2596400614 @default.
• W2736502493 hasVolume "38" @default.
• W2736502493 isParatext "false" @default.
• W2736502493 isRetracted "false" @default.
• W2736502493 magId "2736502493" @default.
• W2736502493 workType "article" @default.