No. 22, 2000
Editor: Laurie Kaplan
CONTENTS
| Annual General Meetings of the Jane Austen Society of North America | 6 |
|
Message from the President: Code Word Jane Austen, or How a Chinese Film about Martial
Arts Teaches Life Arts
Joan Klingel Ray |
7-12 |
|
MISCELLANY |
|
|
Music,
Character, and Social Standing in Jane Austen’s Emma KATHERINE L. SHANKS LIBIN |
15-30 |
|
The Purity of Jane; or,
Austen’s Cultural Importance in Nineteenth-Century America D. MICHAEL KRAMP |
31-40 |
|
Libertinism in Jane
Austen’s Novels K. L. SAVAGE |
41-49 |
|
The Riddles of Emma COLLEEN A. SHEEHAN |
50-61 |
|
Dancing in Chains: Feminist Satire in Pride and Prejudice JUDITH WYLIE |
62-69 |
|
“Don’t Put Your Daughter on the Stage, Lady B”: Talking about Theatre in
Jane Austen’s Mansfield Park JUDITH W. FISHER |
70-86 |
|
Emma and her Influence on Future Self-Deceiving Literary Heroines ZOË C. KAPLAN |
87-97 |
|
Jane Austen: Closet Classicist MARY DEFOREST |
98-104 |
|
What Jane Austen Meant by “Raffish” PETER KNOX-SHAW |
105-108 |
|
Jane Austen and Rhoda: A Further Postscript to Persuasions 20
(1998) DAVID GILSON |
109-111 |
|
AGM 2000 BOSTON: PRIDE AND PREJUDICE |
|
|
Pride
and Prejudice: Past, Present, Future MARCIA MCCLINTOCK FOLSOM |
115-118 |
|
Sleeping with Mr. Collins RUTH PERRY |
119-135 |
|
Jane Austen: In Search of Time Present JULIA PREWITT BROWN |
136-155 |
|
Virgin Sacrifice: Elizabeth Bennet After Jane Austen EDWARD COPELAND |
156-174 |
|
“Not a day went by without a solitary walk”: Elizabeth’s Pastoral World MARY JANE CURRY |
175-186 |
|
Practising the Virtues of Amiability and Civility in Pride and Prejudice SARAH EMSLEY |
187-198 |
|
A Fine House Richly Furnished: Pemberley and the Visiting of Country Houses STEPHEN CLARKE |
199-217 |
|
“Disarming Reproof”: Pride and Prejudice and the Power of Criticism PRISCILLA GILMAN |
218-229 |
|
Mr. Bennet and His Daughters PETER SABOR |
230-239 |
|
Jane Austen, Works and Studies
1999 BARRY ROTH |
240-243 |
© Jane Austen Society of North America, Inc. All rights reserved. Contributors retain their individual copyrights.
