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• W324883249 abstract "EXCEPT FOR CERTAIN SCIENCE FICTION WORKS, there is perhaps no other genre or author with as many prequels, sequels, and continuations as Jane Austen. The fiction of Star Trek franchise, of Xena, or of Buffy Vampire Slayer is voluminous and overwhelmingly amateurish. Its appeal is obsessed fan who can't get enough of a favorite TV show or movie, who is willing switch from visual media text, and who wishes extend his or her experience in a time or place which never (or never yet) existed. Many Janeites, of course, enjoy same guilty pleasure. The primary impulse for many writers of Austen fanfic, however, is illuminate an era that really existed, an era near enough present be understandable but far enough in past be somewhat opaque. Wolfgang Muller, in his discussion of intertextual terminology, proposes to subsume those texts which are inseparably connected with anterior texts and which could never have been written without those preexistent texts under term derivative literature (313). Differentiating among several forms, Muller suggests that a is characterized by two artistic procedures: it takes a previous text as a structural and thematic entity which it never loses sight of, and the model text is significantly changed, substantially made anew, so that rewrite gains an identity of its own (314-15). Rolf Breuer, in an essay on intertextuality of Austen sequels, substitutes term for rewrite, and clearly distinguishes it from idea of sequel. In his view, counterfeit succeeds through the re-writing and transforming of a text by taking it out of its historical and aesthetic context and transferring it into respective present, creating, as it were, contemporary counterpart of a famous older work. Clueless, a popular film and TV series, interprets Emma Woodhouse as a scheming twentieth-century high school princess named Cher. Bridget Jones's Diary, a hit both as a novel and a film, reimagines Elizabeth Bennet as a thoroughly modern Londoner looking for love and livelihood. Such counterfeits take into account changing nature of society while never ignoring Austen's insights into human nature. They continue debate, for example, about extent of heroines' liberation, while adding two hundred years of socioeconomic history; they contextualize, for a modern audience, such concepts as primogeniture; they replace unfamiliar barouches and curricles with more meaningful Jeeps and BMWs. Now that Jane Austen has returned popular culture (Greenfield 31) yet another counterfeit Austen should be considered: one in which young and old, attached and unattached, have traded places. Dr. Paula Marantz Cohen had great fun writing Jane Austen in Boca. The Distinguished Professor of Literature at Drexel University produced what proves be yet another remake of Pride and Prejudice. But this time, players are a lively group of septuagenarian Jewish retirees living in and around Boca Festa retirement community in Boca Raton, Florida. The idea came Cohen when she was visiting her in-laws in Boca. was struck at time by similarity of their retirement community--a very sociable one inhabited by Jewish seniors --to closed world of Jane Austen novel. Here too, was a plethora of gossip, visiting, meals and romance (given number of widows and widowers seeking partners). Jane's 'two of three families in a country village' could easily be translated, I believed, into 'four or five seniors in a Boca Raton club' (Fernandez 5D). Cohen convincingly transformed Jane and Elizabeth Bennet and their friend Charlotte Lucas into twenty-first-century seventy-something widows May Newman, Florence Kliman, and Lila Katz. By focusing on older generation, Cohen makes social revolution that taken place since Austen's time immediately obvious reader. …" @default.
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• W324883249 date "2003-01-01" @default.
• W324883249 modified "2023-09-27" @default.
• W324883249 title "Jane Austen Now through the Lens of Boca Festa" @default.
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