austen teachersguide
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The CompleTe guide To TeaChing
Emma$Sense and Sensibility$Mansfeld Park$Persuasion$Pride and Prejudice*$Northanger Abb
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AboutTisGuide............................................1
WhyJane?WhyNow?................................... 2
AustenintheClassroom...............................3
JaneAustensLife.............................................4
Miss Austen Regrets..........................................5
NoveltoFilm....................................................6
TeArtofAdaptation....................................8
Self-Discovery................................................10
Persuasion.........................................................12
Sense and Sensibility........................................13
SocietyandtheSelf.......................................14
Emma .................................................................16
Pride and Prejudice.........................................17
SatireandIrony..............................................18
Northanger Abbey...........................................20
Mansfield Park................................................21
SelectedResources.........................................22
Contents
Abou T GudOriginallywritteninconjunctionwiththe2008seriesTe Complete Jane Austen(lmversions
ofallsixJaneAustenworks),thisguidecanbeusedwithearlierMversionsof
Austensworks,aswellasthe2010broadcastof EmmastarringRomolaGaraiandJonnyLeeMiller.MlmsareavailableforpurchaseonshopPBS.org.Youmaywantto
purchasethefollowinglmstousewiththisguide:
Emma(starringRomolaGarai,2010)
Emma(starringKateBeckinsale,1996)
Mansfield Park(starringBilliePiper,2008)
Northanger Abbey(starringFelicityJones,1998)
Persuasion(starringSallyHawkins,2008)
Pride and Prejudice(starringColinFirth,1995)*
Sense and Sensibility(starringHattieMorahanandCharityWakeeld,2008)
Miss Austen Regrets(2008)
TisguideoersideasandtipsonhowtoteachtheworksofJaneAusten,usinglmasanother
avenueintoherworld.Teguidehasbeenorganizedsoitcaneasilybeadaptedforvariousneeds.
SectionsthatexploreuniversalthemesNoveltoFilm,theArtofAdaptation,Self-Discovery,
SocietyandtheSelf,SatireandIronyprovidequestionsandactivitiesthatcanbeusedfor
anyofAustensworks.BeforeandAfterViewingquestionshavebeenprovidedforeachlmso
youcanthoroughlyexplorewhatevertitleyouchoosetoteach.Otherfeaturesincludeanessay
aboutAustenscontinuedpopularity,biographicalinformation,andanexplorationoftheroleof
biographyinanauthorswork.Alistofselectedresourcesandorderinginformationtopurchase
anyoftheAustenlms(includinganeducatorsdiscount)isalsoprovided.
pbs.org/masterpiece/austen 9
V h MasterpiWb Spbs.org/masterpiece/austenSubscribe to the M
newsletter to get the inside sco
on Emm, the Maspc
Book & Film Club, and othe
upcoming M pro
Isabella Torpe from NorthangerAbbey
*Pride and PrejudiceisaproductionofBBCelevisionandBBCWorldwideAmericas,Inc.inassociationwithA&ENetworks. TeMasterpiece broadcastofPride and PrejudiceistherstintheU.S.otherthanonA&EelevisionNetworks.
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hebroadcastEmmaandotherworksofAustenopensthedoorforstudentstothe
worldofJaneAusten.Usingthelmscanignitestudentsinterestinand
understandingofallsixofAustensnovels.rythefollowingsuggestionsforusing
AustennovelsandlmsintheEnglishclassroomandbeyond.
$ Comparethenoveltothefilm.IfyoutraditionallyteachanAustennovel,compare
ittotheMlmversion.Ifyoudonthavetimetoshowanentirelm,watch
selectedscenesandcomparethemtothetext.TeArtofAdaptationsection(pages
89)hasspecicsuggestionstohelpyouexploretheadvantagesanddisadvantagesof
translatingctionintoalm.
$ Minethefilmsfortheirinterdisciplinarycontent. Explorethe
historyoftheNapoleonicwarsthatsetsupPersuasion,theculture
andsociologyofRegencyEnglandthatlimitthefreedomofthe
DashwoodsistersinSense and Sensibility,orthefashionanddesignondisplayinthescenesfromBathinNorthanger Abbey.
$ Pairthereadingofonenovelwiththeviewingofanother.
IfyoudonthavetimetoteachtwoAustennovels,youmaywantto
pairabookandalmbasedonsimilaritiesintheme,suchas:
Coming-of-Age:Northanger AbbeyandPersuasionWealthandPrivilege:EmmaandMansfield ParkAchievingBalance:Sense and SensibilityandPride and Prejudice
$ ComparetheviewingofanAustenfilmwithayoungadultnovel.Foryounger
students,tryPollyShulmansEnthusiasm,aboutapairoffriendswhogolookingfortheirownMr.Darcy(Pride and Prejudice),orLouisePlummersTe Unlikely Romance
of Kate Bjorkman,asend-upofromancenovels(Northanger Abbey).
$ PairtheviewingofanAustenfilmwiththereadingofanother19thcenturywork
aboutwomen,society,andautonomy.ForolderstudentstryHenryJamesA Portrait
of a Lady,ElizabethGaskellsNorth and South,orHenrikIbsensA Dolls House.
$ CompareandcontrasttwoAustenfilms.Consideradaptation,direction,lm
techniques,performances,etc.UseactivitiesandideasfromtheNoveltoFilmsection
(pages67)orusetheMFilm in the Classroomguide,whichcanbeviewed
byselectingLearningResourcesatwww.pbs.org/masterpiece.
$ CompareaMfilmtomodernizedadaptations,suchas Te Jane Austen
Book Club, Clueless,Bride and Prejudice,orBridget Jones Diary(besuretopreviewthese
lmstojudgetheirappropriatenessforuseinyourclassroom).
NorthangerAbbeysCatheri
Morland writes to a friend
T
AC A
Austen in the Classroom
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Why Jane? Why Now?
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hiletheliteraryartofJaneAustenisremarkable,thefactsofherbiography,at
rstglance,arenot.TecontrasthaslongintriguedAustenreadersandAusten
scholars,andinterestinherlifeistodayalmostaskeenasinterestinherworks.
Datingbacktoherowntime,whenAustensrstfournovelswerepublishedanonymously,wehaveherletters(thosehersisterCassandradidnotdestroyafterherdeath),andA Memoir of
Jane Austen,writtenbyhernephewJ.E.Austen-Leighin1869.Whatthesesourcesrevealis
thatwhileAustendidleadthequietlifeofanunmarriedclergymansdaughter,shefoundearly
encouragementforherartwithinherfamilycircleandastartingpointforhernovelsinher
personalandfamilyhistory.
Bornin1775toGeorgeandCassandraAustenintheEnglishvillageofSteventon,JaneAusten
grewupinahighlyliteratefamily.JanesfatherwasanOxford-educatedclergymanandher
motherwasahumorous,aristocraticwoman.Educatedonlybrieflyoutsideofherhome,Jane
Austenreadfreelyinherfatherslibraryof500books,whichleftherbettereducatedthanmost
younggirlsofthetime.Whileherfamilyneveranticipatedshewouldbeapublishedwriter(notconsideredanappropriateprofessionforayoungladyofherbackground),withinthewalls
oftheirhouseholdshewasencouragedtowrite.Inthislivelyintellectualhouseholdthe15-
year-oldJaneAustenbeganwritingherownnovels;byage23shehadcompletedtheoriginal
versionsofNorthanger Abbey, Sense and Sensibility, and Pride and Prejudice. Herowndelightin
readingandherironicmockingofitsimpactonyounggirlscomesaliveinNorthanger Abbey.
AfterAustensfatherdiedin1805,Jane,hermother,andsisterCassandralivedinasmallhouse
providedbyherthen-wealthybrotherEdwardinthevillageofChawton.WhenJaneAusten
receivedaproposalfromthewealthybrotherofaclosefriend,forwhomshefeltnoaection,
sheinitiallyacceptedhim,onlytoturnhimdownthenextday.Tiswasapainfuldecisionfor
her,assheunderstooddeeplythatmarriagewasthesoleoptionwomenhadforsocialmobility;
shefurtherunderstoodthevulnerabilityofsinglewomenwithoutfamilyestateswhodependonwealthyrelativesforahome.TissubjectisattheheartofSense and Sensibility.
Austenkeenlyobservedtheshiftingofsocialclassduringherday.woofher
brotherswereintheRoyalBritishNavyandshesawrst-handtheriseof
navalofcersinclass-consciousBritishsociety.Tosewhoreturnedfrom
theNapoleonicwarswithbothwealthandnotorietywereabletobreak
throughclassbarriersthatwerepreviouslyimpenetrable.Shewrote
elegantlyaboutthisseachangeinherlastnovel,Persuasion.
JaneAustendiedonJuly18,1817,atage41.Sheneverwrotea
memoir,satforaninterview,orrecordedwhethershehadherself
feltthejoysanddisappointmentsoflove.Tebiographicalfactsmay
neveradequatelyexplainthequickwit,thesharpinsight,andthe
deepemotionalintelligenceshebroughttohernovels.Perhapsthat
isimpossible;itislikelythatthenovelswillcontinuetotranscend
ourunderstandingofwheretheycamefrom.
WJane Austens Life
1873 engraving based on a drawing by
Cassandra Austen
Family and MoneyAsakeenobserverofsociallass,JaneAustentranslatedthefechoicesmadebyherfamilyntotheconflictsattheheartofernovels.Tisisparticularlyrueformoneyanditsimpactnfamilies.TeAustenswereountrygentry,andwereacceptedociallybywealthierfamiliesinheneighborhood,buttheywere
otwealthy.Teyhadenougholiveon,andafewhouseholdervants,whichmadethemheequivalentofmiddleclass.ikeMr.BennettinPride andrejudice,GeorgeAustencouldivehisdaughterslittletomarryn,andhadlittlepropertytoleaveohissons.JaneAustensawherelovedbrotherEdwardadoptedyawealthierfamily,theKnightsfKent.AsAustenbiographerarkHonannotesinJane Austen:
Her Life,Telasting,subtle
ectoftheadoptionwastomakeJaneAusten]morefullyawarefhowmoney,land,inheritance,ndsocialadvantageeasilytakerecedence...overfamilylove.
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LMi Ausen Regret
ittleisknownforcertainabouttheromancesinJaneAustensownlife.Withsome
dramaticlicense,thedocudramaMiss Austen Regretsspeculativelyexploreswhy
JaneAustenchosetostayunmarriedandhowshefeltaboutthatchoice,painting
abackgroundthatilluminatesthechoicesAustensheroinesmakeinhernovels.
Doesbiographymatter?Inthehistoryofcriticaltheory,the
pendulumhasswungbackandforthontheuseandrelevance
ofawritersbiographyinreading,appreciating,andunderstandingaworkofction.
Canyouinferbiographyfromthection(e.g.,Austenmusthavebeeninloveat
somepoint!),anddoesknowingthebiographymakeyouabetterreaderof
it?Orshouldtheworkstandonitsownandbeexperiencedwithoutthe
interferenceofbiographicalinformationandinfluence?
Miss Austen RegretsisoneinterpretationofJaneAustenslife,butwhatelse
canstudentsndout?AfterreadingoneofAustensnovelsorviewingone
ofthelms,studentsarejustaslikelytobeinterestedbyAustenspersonalstoryasothershavebeen.Howdidashelteredspinsterauntcometowriteso
intelligentlyaboutsociety,love,andlonging?Wassheastaidandquietwoman,
aspiritedrebel,orsomethinginbetween?JaneAustenherselfisstillariddle,and
Miss Austen Regretsoersonepossibleanswer.
Be fore Viewing1. Askstudentstotakeastandbywriting
afewsentencesdefendingorrefutingthefollowingstatement:o write convincing
fiction about a subject such as loss, love, orpoverty you must have experienced it yourself.Atthefrontoftheclassroom,identifyoneendofanimaginarylineonthefloorasagree,theotherendasdisagree.Invitestudentstocomeforwardoneatatimeandliterallytakeastandalongthatlinetoshowhowstronglytheyagreeordisagree.Askthemtodefendtheirposition.Asstudentsheartheirclassmatesarguments,theyare
freetomovetheirpositioniftheirownopinionshifts.Attheendoftheactivity,discusshowstudentsfelt.
2. Ifyousawamagazineatacheckoutcounterfeaturingthelifestoryofyourfavoritemusician,athleteoractor,wouldyoubuyit?Why?Whatdoesbiographical
informationtellyou,andisitimportanttounderstandingtheworkorperformanceofthisperson?Whyorwhynot?
After Viewing1. WhydoyouthinkthelmistitledMiss Austen Regrets?DoesJaneregretthatshedidnotmarry?Whatdidthatchoicecosther?Whatdidshegain?Whatpressuresdidshehavetoresist?WhydoyouthinkJaneAusten,asyoucometoknowherinMiss Austen Regrets,marriedoallofherheroinesinhernovels?
2. Inthelm,JanepointsouttoFannyseveraltimesthatlifeandctionarenotthesame.Letherdebatethepointwithherowncharacters!HavestudentsstageanOprahWinfrey-styletalkshowfeaturingJaneAustenandtwoorthreeofhercharactersasguests.akequestionsfromthestudioaudience.
Single women have adreadul propensity or being poor,which is one very strong argument
in avour o matrimony.
Jane Austen,letter to Fanny Knight, 1817
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heseactivitiesaskstudentstoinvestigatethepossibilitiesandproblemsofadaptation:
howdolmmakersbringanoveltothescreen?Whatmaybelost,andwhatcanbe
added?Studyingadaptationdrivesstudentsfromthelmintothetextandbackagain,
creatingopportunitiestothinkaboutthelanguageandstructureofboth.Formoreon lmstudyandthelanguageoflm,seeMsFilm in the Classroom: A Guide
for eachers,availableunderLearningResourcesatwww.pbs.org/masterpiece. Novel to Film
Te Missing Narratorurninganovelintoascreenplayisnotaseasyaspullingdialoguefromthepagesofa
book.InAusten,aswithmostnovelists,
thenarratorswordssupplementdialogueinreportingaction,establishingsettingandtone,givingvoicetounspokenthoughtsandemotions,allofwhichareimportantfordevelopingcharacterandadvancingtheplot.
Screenwritersandlmmakersmustask
themselvesiftheworkdonebynarrationinthenoveltheyareadaptingisworthsaving.Ifso,theymustusetheelementsoflminorder
totransfertothescreenwhatthenarratorprovidesonthepage.
1. Usingachart(seebelow),taketheopeningofthelmyouviewedasacasestudy.Lookcarefullyatthenarratedpassagesintherstfewchaptersoftheoriginaltext.Createalistdetailingwhatthesepiecesofnarration
establishforthereader.Dotheydescribesetting,introduceacharacter,givebackgroundinformation,oridentifythecharactersconflictsandconcerns? Nowre-viewtherstfewscenesinthelmthatcorrespondtothechaptersyoustudied.Asyouwatch,noticehowtheinformationyourecordedwhilereadingisvisibleonthescreen.rytoidentifyhowthepiecesofnarrationarecommunicatedtotheviewerinthenarratorsabsence:inthelocationsandsets,inthecostumes,throughnewlywrittendialogue?Inthefacialexpressionsorphysicalactionsoftheactors,inthewaytheylookandspeaktooneanother?akenotesasyouwatch.
2. Doyoufeelthelmmakershaveadaptedthebeginningofthenovelyoureadeectively?Whyorwhynot?Whataspectsweresuccessfulandwhatdidthelmversionlack?Usingtheirnotesasevidence,havestudentsdebatewhetherornotthebeginningofthelmisafaithfuladaptationofthenovel.
Comparing Novel to FilmNo how non om o lf on lm.
Setting Characters Background Costumes Dialogue
Film
Text
Mary and Henry Crawford
n ManseldPark
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Point o ViewWhosestorygetstold,andhowisittold?Whatisthereaderorviewershown,orallowedto
seeandknow?InAustensnovels,weareonlypresentinlivesceneswhentheheroineispresent;anyotheractionissimplyreported,withoutdialogue.Forinstance,weneverseeLucySteelealonewithEdwardFerrarsinSense and Sensibility,orwhatMr.DarcyisuptowhenheisinLondoninPride and Prejudice.Evenwiththehelpoftheomniscientnarratorscommentary,ourpointofviewislimited.
1. Tinkaboutlmsyouveseeninwhicheverysceneisliveratherthannarrated(unlessthereisavoice-overnarration,asinNorthanger Abbey).IfyouwereadaptingAustenforthescreen,wouldyoumaintaintheoriginalrestrictedpointofview,orwouldyoudeliverlivethescenesandeventsthatareonlyreferredtoornarratedinthenovel?Why?DidtheAustenlmyouwatchedpresentasinglecharacterspointofview,ormultiplepointsofview,includinglivescenesinwhichthemaincharacterdoesnotappear?Wasitagoodchoiceforthislm,andwhy?Sharespecicexamplestosupportyouranswer. Nowtryamoreradicalpointofviewshift.
Whatwouldtheopeningofthislmlooklikeifitwereconstructedfromthepointofviewofthecentralmalecharacter?Createastoryboardsketchingordescribingtherstseriesofimagesyouwouldsee.Tenwriteashortscripttoaccompanyit.Youcanndahelpfulstoryboardtemplateatwww.pbs.org/wgbh/masterpiece/learningresources/c_storyboard.pdf.
2. ReaderswhoareveryfamiliarwithAustensnovelswillndscenes,subplots,andevencharactersnecessarilydeletedinthelm
adaptations.Morecontroversially,youmayalsonoticenewscenesaddedtothelms.Watchoneormoreofthenewlyinventedscenes(boxright).Eachoersanalternatepointofview.Afterviewing,writedownasmanyreasonsasyoucantoexplainwhythescreenwriterandthelmmakersmadethischoice.Doyouthinkitwasagoodone?
3. Ascreenwriterwhocreatesanadaptationofanoveloftenfeelsresponsibleforcapturingthebestofwhatthenovelis.However,heor
shemustalsofeelfreetomakechangesintheadaptationprocessifthelmhopestobeasuccessfulworkofartinitsownright.WouldJaneAustenunderstandandapproveofwhatthelmmakershavedonewithhernovels?WritealetterofexplanationfromthescreenwritertoAusten,explaininganddefendingsomeofthechoicesmadeinadaptinghernoveltothescreen.TenimagineandcomposetheletterAustenwouldwriteinresponse.
Added Scenes$ Sense and Sensibility:Teopening
scene:WilloughbyandElizasdaughter.
$Pride and Prejudice:Darcyatthe
fencingstudioinLondon,followedby
hisarrivalatPemberley,whereDarcy
divesintothelake.
$ Emma (1996):Emmaandherfather
passbypoor,workingfamiliesin
theircoach.
$ Northanger Abbey:Catherinesdreams
anddaydreams.
$Persuasion:Openingsequenceinwhich
Anneisdirectingtheclosingupofthe
KellynchHall;CaptainWentworth
watchingAnneplaythepiano;
WentworthandHarvillewalkingthe
clisatLyme,discussingLouisa.
$ Mansfeld Park:MaryandHenry
Crawfordsconversationsasthey
walktowardManseldParkfortheir
rstvisit.
:Someofthelmscontainmaturethemes,images,andlanguage.Besuretopreviewanylmbeforeshowingittoyourclass.
pbs.org/masterpiece/austen 9
-Airapingights
EducatorsmaytapePersuaSense and Sensibility,Emm
Mansfield Park,andNortha
Abbeyandusethelmsin
classroomforoneyearafte
broadcast.Educatorsmayn
tapeandusethelmPride
Prejudice.
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e Art of Adaptatio
Andw Dv, SnwAndrewDaviesisthescreenwritinggeniusbehindsomeofMsbest-lovedproductions.Hehasadapted
fourofthesixAustenlmsthatwillairinTe Complete Jane Auten:Pride and Prejudice,Northanger Abbey,Sene and Senibility,andEmma.AnAndrewDaviesscreenplayhasadistinctivesignature.Heseeshisjobasmorethantranslatingawrittenpageintoashootingscript
heaimstointerprettheworkformodernaudiencesandhelpviewersexperiencewhathethinksismostengagingandmostrelevantabouttheseclassicsofBritishliterature.
Inarecentinterview,DaviesdescribedhisworkontheAustennovelsandhisadaptationofNorthanger Abbeyinparticular.Hiscommentsoerusefulinsightintotheartofadaptation.
nAusten:All the ix novel are love torie. And thatomething that never goe out of date. In a way theyve got plotlike the trackall the baic torie are in all kind of trahyromantic novel. Young girl who ha diadvantage, thing inher way, get a man who ort of probably rich, handome,loving, etc., etc. Within that, though, Jane Auten manage todo it in a way that doent inult our intelligence. It witty. It
In Fou: Northanger AbbeyTefollowingexcerptsfromthenovelandthescriptforNorthaAbbeyshowhowAndrewDaviesinterpretedAustenswork.
Watchingthesamescenefromthelm(eitherfromtheDVDontheMWebsiteatpbs.org/masterpiece/austen)givesstudentsachancetoseetheentireprocessofadaptation.Tefollowingactivitieswillhelpstudentsanalyzethebenetsacompromisesthatadaptationcanbring.
1. AskstudentstoreadAndrewDaviescommentsaboutadaAustenswork(below).TenhavestudentsreadtheexcerptsfrthenovelandfromDaviesscript(right).Nextwatchtheclipfrthelm.HowdoesDaviesusethescreenplaytoemphasizeanddramatizehisinterpretation?AskstudentstoidentifywhatDahaschanged,addedordeleted.WhydoyouthinkDaviesmadeeachchoicethathedid,andwhatistheeectofeach?
2. DoyouthinkDaviessucceedsinmaking Northanger AbbeabitlikeanAmericanteenagemovie?Doeshemakeitmorefun?Writeamoviereviewthatexplicitlydiscussesthedierenbetweenthenovelandthelm,especiallythefactthatCatherinfantasiescometolifeinthelm.
3. DaviesbuiltthedialogueinExample#2fromaslenderthrinAustensnarration.Wasthissceneanimportantaddition?Worwhynot?
ingeniou. Te plot are believable. Te obtacle eem real andthe outet inurmountable. You get urprie. You get reveral.She technically jut uch a brilliant writer in term of pacing and
plotting. And that jut omething that never goe out of date.
nAdaptation:I try very hard not to think about what Autenpurit or fan of the book are going to ay. I am very concioulyrepreenting the book for a contemporary audience, trying to brinout the theme of the cene and the undercurrent in the bookthat mot peak to u today.
nNorthnger Abbey: [NorthangerAbbey] ha a bit ofreonance with thoe American teenage movie in which terriblethinghappen. So I wa thinking let make it a little bit likethi, and let dramatize Catherine fantaie. Tat, I uppoethe fun bit of it. In a way, it doe have a very eriou point toit becaue he imagine that General ilney i really kind of amonter who ha murdered hi wife. But he dicover that thetruth i rather more ubtle, but no more pleaant really, thatGeneral ilney i a cold and elfih man who more or le worehi wife to death with hi cold nature, that he married her for her
fortune. And o the leon, in a way, i that the crime we aremot likely to come up againt are the crime of the human heart,which dont carry death penaltie.
Catherine Morland and Henry ilney
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fewchaptersorafewminutesintoaJaneAustennoveloralm,areaderorviewercan
makeaprettyreliableguessastohowthestorywillend:Teheroinewillgetmarriedand
livehappilyeverafter.Butiftheseworksaresopredictable,whydowereadthem,and
whydonewlmversionscontinuetobereleasedyearafteryear?Itsaboutthejourney.In
theselms,Austensheroinesalltravelapathtowardtheend-of-storyweddingthatrequiresthemtolearnanddiscovertruthsaboutthemselveswhotheyare,wheretheycamefrom,andwhattheytruly
need,beforetheycanseewheretheyaregoing.
Family and Identity: Who Am I?1. WithintherstveminutesofmostAustenlms,weseetheheroinesurroundedbyherfamily.Replayanearlyfamilysceneforstudentsseveraltimesandaskthemto
observecarefullyhowtheheroinecomparestoeachmemberofherfamily,includingphysicalappearance,clothing,actions,andspeech.Doestheheroinestandapart?How?Canyoutellhowshefeelsabouteachfamilymember?Havestudentswriteadiaryentryfromthemaincharacterspointofview,describingherthoughtsandfeelingsaboutherfamilybasedonthelm.
2.Austensheroinesgetfairy-taleendings,butliketheheroinesinmostfairytales,they
donthavemotherswhocanhelporguidethem.Exploretheeectofthisstorytellingchoiceontheheroinesjourneytoself-knowledgeandhappinesswithawhatif game.Insmallgroups,askstudentstobrainstorm:
) What i...Mrs.BennettwereawiseandcompassionatewomanwithanintellectlikeherdaughterLizziesinPride andPrejudice?
b) What i...Mrs.DashwoodweresomeonetowhomElinorcondedallherthoughtsandfeelingsinSene and Senibility?
) What i...FannysmothersenthergoodadviceinweeklylettersmailedtoManfield Park?
d) What i...EmmaWoodhouseorAnneElliothadbeenraisedbyunderstandingandlovingmothersinEmmaandPeruaion?
) What i...CatherineMorlandsmotherhadtraveledwithhertoNorthangerAbbey?
Haveeachgroupwriteandpresentarevisedplotsummaryforthelmbasedonthewhat
if exercise.3. Intheabsenceofeectivemothers,dothefathersorfatherguresinthelmsllthevoidandhelptheheroinesalongtheirpathtoself-discoveryandhappiness?Askstudentstoidentifyalmortelevisionshowtheyhaveseen,oranoveltheyhaveread,inwhichthemaincharacterhasawiseandlovingfatherorfathergure,onewhodoesagoodjobofhelpingtheheroorheroinelearnwhosheisorwhathecanbecome. Havestudentsimagineascenebetweenthi
idealfathergureandthefatherintheAustenlmtheyviewed,andwriteadialoguebetweenthesetwocharactersorimprovisethescene.WhatshouldtheAustenfatherunderstandabouttheheroinethathedoesnot?Whatshouldhebedoingtoguideandsupporther?HowmighttheAustencharacterexplainanddefendhisactionsandchoices?
Love and Sel-Knowledge:Who Will I Love?1. Whatdoesthemaincharacterinthelmyouviewedlearnaboutherselfoverthecourseofthelm?Askstudentstocreatebeforeandafterportraitstoexplorethisquestiononeofthecharacterwhenthelmopensandonewhenitends.Oerstudentsarangeofforms:
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) apairofwordportraits:alistofwordsdescribingthecharacterarrangedintoagureordesign
b) apairoforiginalsketches,drawings,
orpaintings) apairofdescriptiveparagraphsd) apairofpopularsongs,familiarpoems,
orfoundimagesthatcapturethespiritoroutlookofthecharacterateachpointintime
Insmallgroups,examinethenishedportraitssidebyside.Howdotheydier?Askstudentstoidentifytheexperiencesormomentsofunderstandingthatareresponsibleforthechangetheportraitscapture.Howdidthesechangesmakeitpossibleforthemain
charactertondhappinessandlove?
2. Tepathtolove,inAustenlms,isamaze.Challengestudentstocreateagraphicrepresentationofthepaththecharacters
travelinthelmbydrawingamazethatleadstothehappyending.Wrongturns,deadends,orblockagescanbelabeledorillustratedtorepresentdesires,characters,duties,or
temptationsthatleadthecharactersinthewrongdirectionforatime.
3. Individually,orasaclass,havestudentscreatealistofnovelsandlmstheyarefamiliarwiththattellthelovestoryoftwopeoplendingeachother.Whichonesfeaturemaincharacterswhomustcometotermswiththeirownfamily,itsstrengthsanditsfailings,whileontheirjourney
toloveandhappiness?Lookingovertheentirelist,howcommonarethethemesofidentityandself-discoveryinlovestories?
Catherine Morland and her brother, James Morland.
A woman, especially,i she have [sic] the misortune
o knowing anything,should conceal it as well as she can.
Jane Austen,
Northanger Abbey
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ady Russell advises Anne
Be fore Viewing1. Askstudentswhattheydowhentheyhaveadifcultdecisiontomake.Dotheyseekoutadvice?Havestudentsrecallatimewhentheyhadtomakesuchadecisionandcreateadiagramthatshowsthestepstheytook.Teyshouldincludethepeopletheydiscussedtheirdecisionwith,notewhytheydidsowitheachofthem,andwhattheircontributionwas.Wasallthisconsultationhelpful?Isthereanyoneintheirliveswhoseadvicetheywouldtakeunconditionally,nomatterwhatotherssaidorwhatuncertaintiestheystillfelt?
2. Atwhatageshouldpeoplemarry?Setupadebateinyourclassroom.Haveoneteam
supportthepositionthatnooneshouldmarrybeforetheyare25yearsoldandhavetheotherteamrefutethisnotion.Givestudents
timetopracticetheirargumentsbeforethedebatebegins.Asaclass,discusssomeofthefactorscouplesconsiderwhenmakingadecisionaboutthetimingofmarriage.
3. LikemanyofAustensheroines,AnneElliot,the
centralcharacterinPeruaion,learnsandgrowsduringthecourseofthenovel.Onthescreen,herslowtransformationfromapassivegirltoamoreindependent,maturewomanisobservablenotonlyinherincreasingly
assertivespeechandbehavior,butinherphysicalcondence,energy,andmovement.Asstudentswatchthelm,askthemtomakenoteofsceneswhenAnnesphysicalmannerchanges.
Peruaion
2
After Viewing1. DiscussAnneElliotstransformationinPeruaion.WhatcircumstancesforceAnnetocomeoutofhershell?Whatarethescenesinthebookand/orlmthatshowthistransformation?
2. ConsidertheroleSirWalterElliotplaysinhisdaughterslife.AnthonyHead,theactorwhoplaysSirWalterinPeruaion,describeshimasthemostobjectionableman,Ithink,inanyofthenovels.Hesbigoted.Hesextremelyclass-consciousandhesafop.Hespentallthefamilymoneyonclothesandpartying.HereallydetestshisdaughterAnne,whoisactuallytheonlysanehuman
beinginthefamily.WriteajournalentryfromAnnespointofviewdescribingherfeelingsaboutthedecisionsherfatherhasmadethathaveaectedherlife.
3. WhenAnneandWentworthrstseeeachotheragain,whatarethebarriersthatstandbetweenthem?Whichonesarecausedbythestrictcodesofthesocietyinwhichtheylive,andwhicharemoreuniversal?Wouldamodern-daycouplehaveasmuchdifculty?DividetheclassintopairsandhavestudentsactoutthescenesinwhichAnne
andWentworthmeet.Havesomegroupsactitoutasitappearsinthebookandlm,andhaveothergroupspretendtheyarereunitinginmoderntimes.
4. PeruaionbeginswithAnneleavingherancestralhomeunmarriedandunsureofherplaceintheworld.Itendswithhertriumphantreturn.Asyouwatchthelm,considerwhatAnnemustaccomplishandlearninordertoreturntoherhome.Usingthelibraryandtheinternet,choosevebooksforAnne,thinkingaboutwhatshelearnedduringthelm.Whydidyouchoosethenonctionorctionbooksyoudid?WhatwouldAnnehavelearnedfromthem?
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Sene and SenibilityBe fore Viewing1. Whyaresiblingssodierent?Askstudentstothinkaboutsiblingstheyknow
whosepersonalities,habits,temperamentsorinterestsareverydierent.Withoutusingnames,havestudentscreateatwo-columnchartonwhichtheylistwordsthatdescribeeachsibling.Wherepossible,listwordsthatshowhowthetwosiblingsaresimilarordierent.Askforvolunteerstopresentthesiblingstheywroteabout.Whatfactorsdostudentsthinkaccountforthedierencesbetweenthesiblings?Isitinnatepersonality,birthorder,orotherfactors?RemindthemtokeeptheseideasinmindastheywatchorreadSene and Senibility.
2. Whatarethemodernrulesofdating?ReadingorwatchingthelmofSene andSenibilityshowsthatinAustenstimetherewereverystrictrulesofcourtshipforthoseofherclass.Mostoftheserestrictionsarefar-removedfromthewaypeopledateandlovetoday.WhataretherulesofdatingandcourtshipamongteenagersinAmerica?Asagroup,discusstheserulesandmakealistofthem.Whomakestheserulesandwhatistheirpurpose?Aretheytoorestrictive?Are
theytooliberal?Shouldtheybequestionedoraccepted?Why?
After Viewing1. ForthisactivityyouwillneedacopyofthebookJoyful Noie: Poem for wo VoicebyPaulFleischman(Harperrophy,1992).Apoemfortwovoicesshowstwodierentpointsofviewandismeanttobereadaloudbytwopeople.Tewordssometimesoverlaporstandalone,buttogetherthetwopeople
Where so many hours havebeen spent in convincing mysel
that I am right, is there notsome reason to ear I may be wrong?
Jane Austen,Sense and Sensibility
createabeautifulsound.SincetheDashwoodsistersaresocloseandyetsodierent,theymakegoodsubjectsforapoemfortwovoices.Arrangestudents
intopairsandaskthemtoreadaloudanexampleofapoemfortwovoices.Oncetheyhavepracticedwiththeformat,askeachstudenttowriteapoemfortwovoicesabouttheDashwoodsisters.MakesurebothElinors
andMariannesperspectivesarerepresented.Whenallofthepoemsarewrittenhavestudentsreadthemaloud.
2. StudentswillcreateapicturecalledTeDosandDontsofellingSecrets,basedonthecharactersin Sene andSenibility. Havestudentsidentifythesecretorsecretseachofthefollowingcharactersholdsand/oraskssomeoneelsetohold:EdwardFerrars,LucySteele,Willoughby,
ColonelBrandon,JohnDashwood,Elinor,Marianne,RobertFerrars.Askstudentstodrawafaceforeachcharacterandincludeaspeechbubbleinwhichtheywriteadooradontforeachcharacter.
3. WhatwouldhappenifElinorandMarianneweresuddenlytransportedintomoderntimes?Giventhepersonalities,strengths,weaknesses,andskillsthesewomendisplaythroughoutSene and Senibility,whatwouldstudentsimagineeachcharacterdoinginmoderntimesandwhy?Askstudentstocreateasocialnetwork-typeWebpage(somethingthatmightappearonFacebookorMySpace)thatincludesdetailsaboutMarianneorElinorsliving,working,andromanticsituationsinthe21 stcentury.
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ftherstchallengeforJaneAustens maincharactersislearningabout theself,thesecondislearninghowto
navigatein,through,andaroundthecomplexsocialandculturallandscapeinwhichtheyliveandlove.Austenneitherwhollyacceptednorwhollyrejectedthestandardsofbehavior,socialstructure,andvaluesofhertime.Butinhernovelssheexploreshowthesestandardsandinfluencescanbeeitherharmfulorhelpfultoindividualsandtosociety.TefollowingactivitiescanbeusedtoexploresocietysinfluenceinthecontextofbothAustensworldandours.
Lie in Regency EnglandInordertounderstandthewaycharactersbehaveinJaneAustensworld,studentswillneedtofamiliarizethemselveswithsomeoftherealitiesandassumptionsthatgovernedbehaviorinearly19thcenturyEngland.AustensnovelsconcernthemselveswiththelandedgentryinEnglandwhosesocialsignicancederivedprimarilyfromtheirinheritedproperty,thehistoryoftheirfamilies,andtheirembodimentofidealizedmoralsandmanners.Tissocialclass,whichwaslowerinprestige
thanthenobilityoraristocracy,hasnoexactparallelinmodernAmericansociety.CrucialforAustenpersonally,aswellasforhercharacters,wasthefactthat,forbothlegalandcustomaryreasons,wealthwasnotsharedequallyamongallthemembersofgentryfamilies.Womenwereoftenobligedtoseeknancialsecuritythroughprosperousmarriages,evenatthecostoftheirownhappiness.Austenwasespeciallyinterestedinthebehaviorofthosecharacterswho,forreasonsofbirthorchance,ndthemselvesonthemarginsofthegentry,either
clingingtoformerrespectabilityorhopingtoelevatethemselvesintothissocialclass.Socialconventionsgovernedeveryaspectofgentrylife,fromeverydaycourtesiestotheprofessionsconsideredsuitableformen(onlybeingagovernessorteacherwasconsideredmarginallysuitableforagentlewoman).UsethefollowingactivitiestolearnaboutAustensworld.
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1. Asaclass,havestudentscreateA SurvivalGuide to Auten World.OrganizestudentsintosmallgroupsandaskthemtoselectatopicfromtheSurvivalList.UsingtheResourcesonpage22,askstudentstondouteverythingtheycanabouttheirtopicandcreateapage,withtextandillustrations,thatdescribesthe19thcenturystandardsrelatedtotheirtopic.(Forexample,underthetopicofSocialCalls,oneruleis:Aladymaynotcalluponanygentleman.)Tepageshouldalsoincludespecicexamplesfrom
anAustenlmthatrelatestotheirtopic.Haveeachgrouppresenttheirpage.Onceallofthepageshavebeenpresentedtheycanbecompiledintoaclassbook.
Sir Walter Elliot and his daughters in Persuasion
1t h Cent urySociet yWealth:Inheritedwealthisuperiortowealthearnedthroughusinessoraprofession.
ocialclass:Youshouldremaininhesocialclassyouareborninto,
nlysocializewiththoseoftheameclass,buttreatthosebelowouwithrespect,notcontempt.
Courtshipandmarriage:Unmarriedmenandwomenmustlwaysbechaperoned.Courtshipformalandphysicalcontactismited.Marriageisaneconomicrrangementtopreserveorncreasewealthinfamilies.
enderroles:Mensandwomensolesarestrictlyproscribedalongenderlines,fromeducation
ndworktopropertyrightsandpeech.
arentsandfamily: Parentsemandandreceivedeferenceandespect.Teyhaveastrongvoicenthechoiceofmarriagepartners.
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Survival ListArtsComingOutintoSociety
(Forwomen,beingpresentedaseligibleformarriage.)CourtshipandMarriageDancingEducationEtiquetteandIntroductionsFashionandasteFoodMilitaryService
TeRulesforSocialCalls
2. Imaginethatyou(oroneofhercharacters)
weresuddenlytransportedintoAustensworld(RegencyEngland),andshe,intoyours.Fileanewspaperortelevisionnewsreportthatfocusesonwhatispositiveaboutherworld.Whatwouldshelikeabouttherules,socialcustomsandvaluesshendsinyours?
Austen and SocietyTroughhercharacters,JaneAustenalternatelydefendsandcriticizesthesocialcustomsofhertime.Asshewrites,Austenestablishesthatcertainattitudesarexedandcannotbe
ignored.Infact,thosecharactersinhernovelsthatchallengeconventionendupdisgracedandunhappy.Atothertimes,throughwittycommentsandactions,hercharactersrevealtheabsurdityofsomeofthesocialcustoms.Usethelistofstatements[box,page14]tohelpstudentsexplorehowimportantwealth,status,marriage,andloveweretoAustenasexpressedthroughhercharacters.
1. HowdoesAustencriticizethesocietyinwhichhercharacterslive?Whichofhercharactersopenlyobjecttoorviolateitsconventions?Howandwhendotheydoit,andwhatistheresult?Livingintodaysworld,wouldAustenscharactersstillencounterthesameproblems?
2. HowdoesAustendefendthesocietyinwhichhercharacterslive?Whichofhercharactersviolatestandardswithnegativeresults?SomeexamplesmightbeFrankChurchill,MaryCrawford,orMr.Elton.WhichofAustenscharactersdefendarulewhenothersviolateit(e.g.,Fanny,Mr.Knightley)?Namethestandardandexplainwhythecharacterthinksitisworthupholding.
3. Socialstandardsandcodesofconductarealwayschanging.ComparethesocialrulesfromAustenstimetothoseinthe20thand21stcenturies.Interviewaparentoragrandparentandaskthemwhatrulestheyhadtofollowintermsofdating,tablemanners,modesofdress,marriageproposals,oranyothersocietalrulesthatappearinAustensworld.Ask:Whatweretheexpectationsfordatingandmarriage?Howweretheyexpectedtotreattheirparents?Hassocialclassdenedorlimitedtheirexperiences?Havestudentssharetheinterviewswithoneanother.Asaclass,discusshowsocietyhaschangedandinwhatwaysithasremainedthesame.Wherewouldstudentsratherbe:inRegencyEngland,20thcenturyAmericaor21stcenturyAmerica?
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Be fore Viewing1. JaneAustenisfamousforhernovelsrstlines,especiallyinPride and Prejudice:Itisatruthuniversallyacknowledgedthatasinglemaninpossessionofagoodfortunemustbeinwantofawife.Tereaderimmediatelyknowsthesubjectofthenovel.WhatdoestherstlineofEmmatellus?Askstudentstoreaditandpredictwhatthelmand/ornovelwillbeabout.
2. LikemanyAustennovels,Emmatellsthestoryofhowa
characterlearnstoseeherself,others,andherrelationshipsmoreclearly.Whileviewing,askstudentstorecordthemomentswhenEmmahasarevelation,smallorlarge,whenshesuddenlyseeswhatshehadbeenblindtobefore.ellstudentstheywillbeusingthesenotesforanactivityafterviewing.
After Viewing1. Becauseofthefamilyshewasborninto,Emmaenjoyshighsocialstatus,powerandinfluence.Sheisalsoclever,funloving,fullofenergy,andalovingauntanddaughter.Butwhenwemeether,hermajoroccupationismatchmaking,whichleadshertomeddlewithpeopleslivesanddoharm,ratherthangood.WhydoesntEmmausehertalentsandgoodfortuneforsomethingelse?Askstudents,IsEmmatoblame,orisithercircumstances?DoesEmmaspositionintheworldgiveherfreedomandopportunity,ordoesitlimit
herchoices?Havestudentscomparehertoothercharacters,suchasmalecharactersortowomenofdierentlevelsofwealthandsocialstanding.HowdoesEmmacompare?
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2. TeEmmaweknowattheendofthenovelhastraveledagreatemotionaldistancefromtheyoungwomanwemeetin
theopeningscenes.Howdidshegetthere?Drawinguponthenotestakenwhileviewing,askstudentstocreateacartoonstriptoshowEmmasjourney.Studentswillgenerateaseriesofdrawingsthatshowsignicanteventsinthestoryandaddacaptionexplainingeachscene.Createadisplayofstudentwork.
3. ExploretheroleofMr.Knightley.Havethemanswerthefollowingquestions:
)WhatdoesKnightleyseeandunderstandthatEmmadoesnot?
b)WhatvaluesandideasdoesKnightley
standfor?) Youhearnothingbuttruthfromme,
KnightleytellsEmma.Whattruthsdoeshetellher?
TenaltruthEmmadiscoversisthatsheloveshim;marriagetoMr.Knightleyistherewardattheendofherlearningcurve.Ishetoogoodtobetrue?IshetoogoodforEmma?
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Be fore Viewing1. TetitleofJaneAustensrstdraftofPride and PrejudicewasFirt Impreion.akeaquickyesornoclassroompollwithashowofhands:Whenyoumeetsomeonenew,areyourrstimpressionslikelytoproveaccurate?Countandposttheresultsofthepollanduseitasaspringboardintodiscussion.Whatarerstimpressionsbasedupon?Makealistandthendiscussthevalueorreliabilityoftheitemsonthelist.Doweevermeetsomeonenewwithoutprejudginghimorherinsomeway?Isitpossiblenotto?
2. Pride and Prejudiceissetinaworldinwhichmoneyandsocialclassdetermine,
amongmanythings,whohaspower,whoisrespected,andwhompeoplemarry.Isthatstatementtruetodayornot?
After Viewing1. WhatisElizabethsrstimpressionofDarcy?Whatinformationdoesshebaseherimpressionupon?
2.AfterElizabethreadstheletterDarcywritesher,shetellsJane,tilthatmoment,Ineverknewmyself.Similarly,whenElizabeth
Pride and PrejudicerejectsDarcy,hebeginstoseehimselfdierentlyaswell.Whatdoeseachlearn?Isittruethatthebetterweknowourselves,thebetterwebecomeatseeingotherpeople?Why?Askstudentsiftheyhaveeverexperiencedthisthemselves.
3. WhenconfrontedbyLadyCatherineneartheendofthelm,ElizabethdeclaresherselfDarcysequal,eventhoughtheirfamilyincomesarefarfromequal:Heisagentleman,Iamagentlemansdaughter.Baseduponyourviewing,whatdoyouthinkAustensviewwasoftheclasssystemofhertime?Whataspectsofthesystemdoesshechallenge?Whatdoessheseemtoaccept?
4. InwhatwaysisElizabethoutofplace
withinherownfamily?Inwhatwaysdoesthefamilyshewasbornintolimitwhatshecandowithherlivelymind?Howdoesshefeelabouthermother,father,youngersisters?WhatdoDarcyandPemberlyrepresenttoElizabeth?AskstudentstoselectascenefromthenovelorlminwhichElizabethmustcopewithherfamilyandwriteamonologueforher.WhatisElizabeththinkingandfeelingatthatmomentandwhy?
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f somereadersaredrawntoJane Austenforhercompelling lovestories,thereareasmanywho
readandrereadherforthesatireandironythatarewovenintothem.Likemostformsofcomedy,satirereliesonexaggeration.Satirebringshumanweakness,ignorance,andcrueltyintothelightandletsuslaughatthem.Weeasilyrecognizefoolishnessintheexaggeratedcharactersthewritercreates,andwhensatireworkswell,asinAustenswork,werecognize
ourownoccasionalfoolishnessaswell.Attheheartoftheappealof
Austensworkisherabilitytoblenddrama,light
comedy,andsharpsatire,acombinationsheintroducedtotheEnglishnovel,pavingthewayforwritersfromDickensinthe
VictorianeratoJ.K.Rowlinginourown.
Ironyisaboutreversal:Whatwethinkshouldbe,isnot;whatweexpecttohappendoesnot;whatsomeonesaysistheoppositeofwhatheorshemeans.Playful,verbalironyisnotdifculttospotinAustenswork.Lesshumorous,andmoredeeplyburied,isthedramaticironythatseemstoshowtheworldasupsidedown,atleastwhenthestorybegins. 1. Readthefollowingdenitionofsatirealoud:Satire is a literary work that ridiculesits subject through the use of techniques such asexaggeration, reversal, incongruity, and/or parodyin order to make a comment or criticism aboutit.Explorewithstudentswhymanysatiresontelevisiontodayareanimations(Family Guy,
Te Simpsons).Whyisanimationagoodvehicleforsatire?Whatdowemeanwhenwecalla
Satire and Irony
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charactercartoonish?AreAustenssatirical
characterscartoonish?WouldtheAustenlmyouviewedworkwellasananimatedlmoragraphicnovel?Whyorwhynot?ExperimentbychoosingascenefromthelmandcreatingasatiricalcartoonfeaturingacharacterorcharactersdrawndirectlyfromAustenorbaseduponhercharacters.
2. Nameandlisteachofthecharactersinthelmyouviewedthataresatirizedinsomeway.(SomeofAustensmostsatirizedcharactersareMr.CollinsinPride and Prejudice,JohnTorpeinNorthanger Abbey,Mr.ElliotinPeruaion,
andMrs.EltoninEmma.)Writethenamesonindexcardsanddistributethemtovolunteerswhowillthenleavetheroomandre-enterincharacter,usinggesture,costume,monologue,
It is certain that
[ Jane Austen] by her own artistictalent made interesting what thousands
o superfcially similar peoplewould have made dull.
Verbal Iroy:speechinwhichwhatissaidistheoppositeofwhatismeant
Dramat ic Iroy:whenthereaderoraudienceunderstandsmoreabouttheeventsofastorythanthecharacterin
thestory.
Anne Elliot in Persuasion
G. K. esterto1922
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orothercluestothecharactersidentity.Studentswillguesswhothecharacteris.Howdidstudentsmaketheidentication?How
muchdoesAustenexaggeratehercharacterstraitsandbehaviors?Whatattitude,behavior,orvalueisshetakingaimatthroughhersatire?
3. AskstudentstoidentifyseveralinstancesofdramaticironyintheJaneAustenworktheyarestudying.UsetheevidencetheygathertostageamocktrialofAustenonthechargeoftheuseofirony,callingbothcharactersandexpertdetectivewitnessestopresentevidence.Replayforstudentstherstveminutesofthelmandthenaskstudentstodetectdramaticirony.Askstudentstoidentifywhatswrongwiththispicture?Lookforvisualcluesaswellasthecharactersspeech,clothing,andmannerisms.Askstudentstoanswerthefollowingquestions:
$Aretherevaluesthatcharacterssaytheybelievein,butdonotfollow?
$ Aretherecharacterswhoarelowerinsocialclasswhoseemtohavebettervaluesorstrengthofcharacterthanthoseabovetheminwealthandsocialstanding?
$ Whattruthsaboutcharactersortheirsituationarehiddeninplainsight?
$ Askstudentstorecalltheeventsthat
followintherestofthelm.Areanyironiesexposedorrightedbytheend?
$ Isthereanythingthatremainsironicallyupsidedownevenafterthehappyromanticwedding?
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YouubJaneAustenhasmadeitintothedigitalage!UsethefollowingarticleAutenon Youube fromTe New York imetondshortlmsonYouubeaboutAustennovelsandlms.(www.nytimes.com/2007/07/29/movies/29webjame.html).Manyofthesehavebeencreatedbyhighschoolstudents.StudentswillndeverythingfromAusten-relatedmusicvideosandmontagesbuiltwithclipsfromthelmstoremakesofmovietrailers,suchasPride and PrejudiceasatalesetintheAfricansavannah.TeYouubelmscanbeusedintheclassroominfunandinstructiveways:
$ asanintroductiontoAustenandtheperiodinwhichthelmsareset
$ asartifactsofthecurrentAustenmania
$ asexamplesofsatire:studentscanidentifywhichlmsaresatirical,
andwhy$ asexplorationsofthemes:whatdoestheselectedmusicemphasizeorcelebrateaboutAusten?
Invitestudentstoselectandsharetheirfavorites,andtomakeandposttheirownvideosasasupplementaryactivityoraculminatingproject.
Asalways,whenusingtheInternetwithstudents
previewsitestobesuretheyareappropriateforyourclassroom.
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Be fore Viewing1. Tegothicnovel,aliterarygenrethatoriginatedinEnglandinthe18thcentury,featuresmysterioussettings,unexplainedorsupernaturalevents,andanatmosphereofhorrorordread.Te Myterie of Udolpho,agothicnovelbyAnnRadclie,publishedin1794,isthefavoritebookofCatherineMorland,themaincharacterinNorthangerAbbey.Modernhorrorctionandlmsarethedescendentsofthistradition.Askstudentsiftheyarefansofthehorrorgenre.Cantheyexplainitsappeal?Whydotheythinkpeoplereadthesebooks,andwatchtheselms?Whatemotionalorintellectualneedsdotheseworkssatisfy?
2. GothicnovelswerethepopcultureofJaneAustenstime.Foreshadowingdebatesinourowntime,parentsandeducatorsworriedabouttheeectthisnewculturalformwouldhaveonyoungpeople.Whatformsofpopularcultureworryparentsandeducatorstoday?Asaclass,makealist.Nexttoeachitemorname,notewhattheoldergenerationseesasthepossiblenegativeinfluence.
3. InNorthanger Abbey,CatherineleavesherfamilyandtravelstoBath,whereshe
makesnewfriendsinacompletelyunfamiliar
Northanger Abbey
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environment.Isiteasyordifculttomakegoodchoicesaboutnewfriendsinthiskindofsituation?Howdonewfriendshipsdevelop,andwhichoneslast?Keepthesethingsinmindasyouwatchthelm.
After Viewing1. HowdoesCatherinesreadingofgothicnovelsaectherthinkingandherbehavior?DoyouthinkthatAustenexaggeratestheinfluenceofCatherinesreading?Returntothelisttheclasscreatedofpopculture.ArepeopletodayinfluencedasstronglybypopularcultureasCatherineis?How?
2. WhyisCatherineunabletoseethat
IsabellaTorpeisnotatruefriend?Whatelsedoesshefailtoseeandunderstand?IdentifyandcomparethedangersandvillainsCatherineimaginewiththerealdangersandvillainsshefailstorecognizeorcomprehend.
3. Neartheendofthelm,HenrytellsCatherine,Teworstcrimesarethecrimesoftheheart.WhoarethecriminalsinNorthanger Abbey?Whatmotivatestheiractions?DoesAustencondemtheconnectionbetweenmoneyandmarriagethatwassomuchapartoftheworldshelivedin,ordoes
sheacceptitasareality?
4. Northanger AbbeyisasatireinwhichAustenpokesfunatthegothicnovelgenre.Recentlytherehavebeenseverallminwhichscreenwritershavetakenaimatpopularlmgenres:forexample,horrorlms,actionlms,andteenmovies.Whatcommonfeaturesoflmsineachgenredotheyexaggerate?Isthesatireallinfun,ordotheselmstrytomakeaseriouspointaboutthegenre?UsingNorthanger Abbeyandthesecontemporarysatiresasmodels,askstudentstodeviseapitchforasatiricallmthatpokesfunatapopulartelevisionshoworgenre,suchasarealityshow(American Idol) oracontinuingdrama(Lot).Tepitchcanbeawrittenproposal,orameetinginwhichthey,thelmmakers,meetwithastudioexecutivetoselltheiridea.
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Manfield ParkBe fore Viewing1. Manfield ParkcanbeseenasaCinderellastory.Identifytheelementsofthiskindofstory.Whatothermoviesortelevisionshowsusethoseelements?
2. Whoisthestereotypicalpopularguyorgirlincontemporarylm,television,andyoungadultliterature?Havestudentsshareexamplesandexaminethecharactersqualities.Wheredothesecharactersfallshort?Dothesecharacterseverchange?Dotheygetahappyending?Inatypicalhighschool,istherealityofwhoispopularsimilartotherepresentationinbooksandmedia?Explain.
3. Anoldproverbsays,Patienceisavirtue.Askstudentsiftheyagree.Askthemtodescribeatimeintheirliveswhenbeingpatientwasagoodchoiceandatimewhenpatiencewasnotrewarded,orwasamistake.Doesourcultureencourageordiscouragepatienceandwaiting?
After Viewing1. TeCrawfordscomedownfromfashionableLondonandshakeupthemoreconservativecountryworldofManseldPark.
AreMaryandHenrylikeable?WhyisMaryattractedtoEdmund,andhowdoesshewanttochangehim?WhydoesHenrybecomeseriouslyinterestedinFanny,andhowdoeshehopeshewillchangehim?Canyouthinkofalmoraworkofliteratureinwhichagoodcharactersavesorredeemsabadone?WhydoesntthathappeninManfield Park?Doyouwishithad?
2. FannyPricehasbeencalledtheleastlikeableofJaneAustensheroinesbecausesheistoopassive,consistent,andgoodnotinterestinglyflawed.Doyouagree?AsagroupbrainstormalistofwordstodescribeFanny.HowisshelikeorunlikethemaincharactersinotherAustennovelsorinothernovelsyouhaveread?IsBilliePiper,whoplaysFanny,invisibleenoughtofadeintothebackgroundwhencomparedtoMary?WhatotheractressesmightyoucastasFanny?
3. AskstudentstopickoneofthecharactersinManfield Parkandcreateascrapbookpagethatrepresentshisorherinterests,personality,andactionsthroughoutthenovelorlm.Usemagazineclippings,drawings,andquotesfromthebookorlm.rytomakethescrapbookpagereflectthecomplexityofthecharacteritrepresents.
4. WhatelementsoftheCinderellastoryarepresentinManfield Park?IfFannyPriceisCinderella,whoisherFairyGodmother?DoesEdmundndandrescueher,ordoessherescuehim?
5. Atdierentpointsinthelm,threeofthecharactershavemomentswhentheylookatFannyandsuddenlyseeherastheyhavenotbefore.Whenisthismomentforeachcharacterlistedbelow?WhatdoesherecognizeinFanny,andwhywasheblindtoitbefore?Askstudentsto
drawagurerepresentingeachcharacterandllinthoughtbubbleshowingwhatheisthinkingatthismomentofrealization.
) Henry
b) LordBertram
) Edmund
Fanny Price and Henry Crawford
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Web SitesTeAustenBlogwww.austenblog.comTisWebsiteoerscommentary
andnewsaboutAusteninpopularculture.
TeJaneAustenCentreinBathwww.janeausten.co.ukTissiteprovidesbackgroundonRegencyEngland,articlesonAusten,reviews,andanonlinesequeltoNorthanger Abbey.
JaneAustensistoryofnglandwww.bl.uk/onlinegallery/ttp/ttpbooks.htmlHostedbytheBritishLibrary,thissiteisaninteractiveversionof
AustenshandwrittenHitory ofEngland(aparodyoftheschoolroomhistorybooksofhertime),writtenwhenshewas15.
Mollandswww.mollands.netAnonlinecommunitynamedforashopinBaththatappearsinPeruaion,thissiteprovidese-textsofAustensworksandworksabouther,links,messageboards,printablecards,andillustrations.
Selected Resources
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icetiesandCourtesies:MannersandCustomsintheimeofJaneAustenchuma.cas.usf.edu/~runge/MasonJA1.htmlTisWebsiteprovidesquotesfromandlinkstomanyresourcesaboutpropersocialbehaviorinRegencyEngland.
Aegencyepositoryregencylady.net/repositoryTissiteprovidesinformationonmanyaspectsofRegencylife,includingart,literature,politicalandmilitarymatters,andmore.
TeepublicofPemberleywww.pemberley.comTiscomprehensivesiteprovidesdetailedinformationonAustensnovelsandletters,acompletelistingoflmadaptations,andbiographicalandculturalbackgroundtothenovels.
BiographiesAusten-Leigh,J.E.A Memoir of JaneAuten and Other Family Recollection.OxfordUniversityPress,2002.TiseditionoftherstAustenbiographycombinesthememoirofhernephewJamesEdwardAusten-Leighwiththe
recollectionsofhissisters,AnnaLefroyandCarolineAusten.
Honan,Park.Jane Auten: Her Life.St.MartinsPress,1987.ConsideredthedenitiveAustenbiography,thisbookemphasizeshowthebroadhistoricalandsocialcontextofRegencyEnglandinfluencedAusten.
Spence,Jon.Becoming Jane Auten.ContinuumPublishing,2007.Te2007lmBecoming JaneisbasedonSpencesbiography,whichmines
Austenslettersandwritingforcluestothepeopleandevents,thatshapedherasawriter.
omalin,Claire.Jane Auten: A Life.Knopf,1997.TisbiographyexamineseachofthenovelsinthecontextofAustenslifeeventsandinfluences.
Austen and Her WorldBlack,Maggie.Te Jane AustenCookbook.McClelland&Stewart,2002.TisbookincludesGeorgian
andRegencyrecipessetinthecontextoftheerassocialanddomestichistory.
Hughes,Kristine.Life in Regencyand Victorian England: From18111901.WritersDigestBooks,1998.TisresourceprovidesdetailsaboutdailylifeinEnglandduringthisperiodinhistory.
KlingelRay,Joan. Jane Auten forDummie.ForDummies,2006.AfunandinformativeguidetoAustensnovelsandtheintricacies
ofAustensworld,byaformerpresidentoftheJaneAustenSocietyofNorthAmerica.
LeFaye,Deirde.Jane Auten: TeWorld of Her Novel.FrancesLincoln,2006.AnAustenscholarandbiographeroershistoricalandculturalbackgroundtothenovels.
Pool,Daniel.What Jane AustenAte and Charles Dickens Knew.ouchstone,1994.Tisguideprovidesdetailsaboutdailylifein
19th
centuryEnglandinshort,easytoreadchapters.
Ross,Josephine.Jane Austens Guideto Good Manners: Compliments,Charades, and Horrible Blunders.Bloomsbury,2006.TisguidetocorrectsocialbehaviorinRegencyEnglandisbasedonthecorrespondencebetweenJaneAustenandhernieceAnna.
Sullivan,Margaret.Te Jane AutenHandbook: A Senible Yet ElegantGuide to Her World.QuirkBooks,
2007.Tishandbookoersstep-by-stepinstructionsforleadingaproperaristocraticlifeinRegencyEngland,frommannerstodressing,dining,andcourtship.
Enter Te JASNA Essay Contestwww.jasna.org/essaycontest/inde.html
TeJaneAustenSocietyofNorthAmerica( JASNA)isdedicatedtotheenjoymentandappreciationofJaneAustenandherwriting.Itpublishesanannualjournal,Persuasions,andanewsletter.TeJASNAholdsanannualessaycontestopentostudentsatthehighschool,college,andpost-graduatelevels.Fullinformation,includingwritingtopicsandprizes,isavailableatwww.jasna.org/essaycontest/index.html.
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Austen and FilmFlavin,Louise.Jane Auten in theClaroom: Viewing the Novel/Reading the Film.Peter
Lang,2004.TisguideoersapproachestoreadingAustensnovelsandviewingtheirlmadaptations.
Golden,John.Reading in theDark: Uing Film a a ool inthe Englih Claroom.NCE,2001.Tisgeneralresourcehelpsteachersincorporatelmintothestudyofliterature.
Parrill,Sue.Jane Auten on Filmand eleviion: A Critical Studyof the Adaptation.McFarland,
2002.TisisacomprehensivelmographyofAustensadaptations,organizednovelbynovel,withcomparativeanalysis.
roost,LindaandSayreGreeneld,eds.Jane Auten inHollywood.UniversityPressofKentucky,2001.Tiscollectionincludes13essaysonrecentadaptationsofAustennovels.
Just or FunFowler,KarenJoy.Te JaneAuten Book Club.Plume,2005.Tisisanovel,anexplorationof
Austenswork,andaresourceforyourownAustenbookcluballrolledintoone.
Henderson,Lauren.Jane AutenGuide to Dating.Hyperion,2005.TisbookdrawsonthewisdominAustensnovelstoadvisethosesearchingfortheperfectmatetoday.IncludespersonalityquizzestorevealwhichAustencharacteryoumostresemble.
Hannon,Patrice.101 Ting YouDidnt Know about Jane Auten:
Te ruth about the World MotIntriguing Romantic LiteraryHeroine.AdamsMedia,2007.TisbookoerstriviaandtidbitsfromAustenslife.
Sutherland,JohnandDeirdreLeFaye,So You Tink YouKnow Jane Auten? A LiteraryQuizbook. OxfordUniversityPress,2005.TisbookoersquizzesonAustensnovels,ontheactionsandmotivationsofcharacters,andonthemeaning
ofevents.
oracompletelistofMDVDs&videos,visit
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800-531-4727Allprogramsarealsoavailablethroughmajor
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