Abstract
This chapter analyses a collaborative serial penned between January and September 2013 by published Austen spin off at the ‘Austen Authors’ website. This reading gives an account of the textual and intertextual implications of this endeavour’s location(s) within its digital provenance and print culture background. It comments further on the mimetic functions of this updated use of nineteenth-century serial forms of publishing, especially in relation to their specific writing demands and active reading practices. This incremental narrative, like the other Austen fan productions discussed throughout this study, reveals a synergy between urtext, spin off writing and adaptation. It similarly signifies an expansion of the boundaries of the canon, and the open-ended textual proliferation enacted by and enfolded into spin off and adaptation processes and products.
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Notes
See, amongst many scholarly references, Gillian Dow and Clare Hanson, Introduction, in Gillian Dow and Clare Hanson (eds), Uses of Austen: Jane’s Afterlives (Houndmills: Palgrave Macmillan, 2012), 10.
See Patrick Taylor, ‘Stourhead’ in Patrick Taylor (ed.), The Oxford Companion to the Garden, Oxford: Oxford University, 2006, 453–4
See, for example, Jennifer Hayward, Consuming Pleasures: Active Audiences and Serial Fictions from Dickens to Soap Opera, Lexington, KY: The University Press of Kentucky, 1997
Angela Thomas, ‘Fan Fiction Online: Engagement, Critical Response and Affective Play through Writing’, Australian Journal of Language and Literacy 29:3, 2006, 237
Jen Scott Curwood, Alecia Marie Magnifico and Jayne C. Lammers, ‘Writing in the Wild: Writers’ Motivation in Fan-Based Affinity Spaces’, Journal of Adolescent & Adult Literacy 56:8, May 2013, 678.
Ruth Page, ‘Seriality and Storytelling in Social Media’, Storyworlds: A Journal of Narrative Studies, 5, 2013, 31–54.
Rachel M. Brownstein, Why Jane Austen?, New York: Columbia University Press, 2011, 15.
Katie Lanning, ‘Tessellating Texts: Reading the Moonstone in All the Year Round’, Victorian Periodicals Review 45:1, Spring 2012, 14.
Jane Austen, Pride and Prejudice, London: Penguin, 1996 [1813], 13.
Simone Murray, paraphrasing Julie Sanders, in Simone Murray, The Adaptation Industry: The Cultural Economy of Contemporary Literary Adaptation, Hoboken: Routledge, 2012, 3.
For theories of adaptation, the reader is directed to Linda Hutcheon, A Theory of Adaptation, Hoboken: Taylor and Francis, 2006
Juliette Wells, Everybody’s Jane: Austen in the Popular Imagination, London: Continuum International Publishing, 2012.
See, for example, Rachel M. Brownstein, Why Jane Austen?, 47, 50; Jun Xu, ‘Austen’s Fans and Fans’ Austen’, JLS 40, 2011, 85
Roberta Brandi, ‘Web Side Stories: Janeites, Fanfictions, and Never Ending Romances’, in Ingrid Hotz-Davies, Anton Kirchhofer and Sirpa Leppänen (eds), Internet Fictions, Cambridge: Cambridge Scholars Publishing, 2009, 36
Deidre Shauna Lynch, ‘Sequels’, in Janet Todd (ed), Jane Austen in Context, Cambridge: Cambridge University Press, 2005, 162
Roger Sales, Jane Austen and Representations of Regency England, Hoboken: Taylor and Francis, 2013 [first 1994], 228.
Suzanne Ferriss, ‘Narrative and Cinematic Doubleness: Pride and Prejudice and Bridget Jones’s Diary’, in Suzanne Ferriss and Mallory Young (eds), Chick Lit: The New Woman’s Fiction, New York: Routledge, 2006, 72.
Mia March, Finding Colin Firth: A Novel, New York: Gallery Books, 2013.
Bronwen Thomas, ‘What Is Fanfiction and Why Are People Saying Such Nice Things about It?’, StoryWorlds: A Journal of Narrative Studies, 3, 2011, 8.
Jennifer Crusie, ‘Introduction’, in Jennifer Crusie (ed, with Glenn Yeffeth), Flirting with Pride & Prejudice: Fresh Perspectives on the Original Chick-Lit Masterpiece’, Dallas: BenBella, 2005, 3.
Austen’s fascination with and use of the Wentworth family name is traced by Janine Barchas in Matters of Fact in Jane Austen: History, Location, and Celebrity, Baltimore: The Johns Hopkins University Press, 2012, 29–33.
Laura Fairchild Brodie, ‘Jane Austen and the Common Reader: “Opinions of Mansfield Park,” “Opinions of Emma,” and the Janeite Phenomenon’, Texas Studies in Language & Literature 37, 1995, 59.
Matthew Rubery, ‘Bleak House in Real Time’, English Language Notes 46:1, 2008, 117.
Julia McCord Chavez, ‘The Gothic Heart of Victorian Serial Fiction’, Studies in English Literature 1500–1900, 50:4, 2010, 791–810.
Jun Xu, ‘Austen’s Fans and Fans’ Austen, JLS: Journal of Literary Semantics 40, 2011, 81.
Scholars have developed theories about the importance of seriality in the production, transmission and reception of high quality television, such as ‘Mad Men’, ‘Breaking Bad’, ‘The Wire’ and ‘The Sopranos’ (another serial narrative referenced in the commentary section), and have tied this to nineteenth-century models. See, for example, Leigh Claire La Berge, ‘Capitalist Realism and Serial Form: The Fifth Season of The Wire’, Criticism 52:3-4, 2010, 547–67
Lauren M.E. Goodlad, ‘The Mad Men in the Attic: Seriality and Identity in the Modern Babylon’, in Lauren M.E. Goodlad, Lilya Kaganovsky and Robert A. Rushing (eds), Mad Men, Mad World: Sex, Politics, Style and the 1960s, Durham and London: Duke University Press, 2013, 320–44.
Joy DeLyria and Sean Michael Robinson, Down in the Hole: The unWired World of H.B. Ogden New York: Powerhouse Books, 2012
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© 2014 Kylie Mirmohamadi
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Mirmohamadi, K. (2014). ‘Canon can only get you so far’: Janeites Read and Write ‘The Bennet Brother’. In: The Digital Afterlives of Jane Austen: Janeites at the Keyboard. Palgrave Pivot, London. https://doi.org/10.1057/9781137401335_5
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DOI: https://doi.org/10.1057/9781137401335_5
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