User:Jkburton/sandbox

Article evaluation: Northanger Abbey: a subpage of Jane Austen

Questions for consideration:

• Is everything in the article relevant to the article topic? Is there anything that distracted you? I think everything in the article is relevant, although it seems to be missing a section on Reception (of the novel on publication) and the sections are somewhat unevenly developed. Instead it refers back to the main Jane Austen Wikipedia entry. In particular, "Major Themes", and "Development" probably need some additional work, and the "Allusions to other works" is incomplete as it only addressed Gothic novels and not other books or publications that were mentioned in NA. I also found the "Historical source" and "References to Northanger Abbey" sections unsatisfying. The second section mentioned only listed two items and I find that somewhat surprising in a novel that has been around for as long this one has.
• Is the article neutral? Are there any claims, or frames, that appear heavily biased toward a particular position? The article appears to be neutral in tone, but does not seem to draw on very much from the existing scholarship on this novel. The Reference list appears to be extensive, but actually relies heavily on the novel itself and two scholarly references: 1) Brownstein, Rachel, The Cambridge Companion to Jane Austen, and 2) Irvine, Robert, Jane Austen. A very quick check through the Library identified a reasonably significant number of publications relevant to NA that could have been referenced.
• Are there viewpoints that are overrepresented, or underrepresented? See note above. Without looking in depth at some of the references it is difficult to determine, but just the fact that so few references were cited seems to indicate that that the viewpoints may have been skewed towards the primary references and not include all the different viewpoints.
• Check a few citations. Do the links work? Does the source support the claims in the article? I did find a few links that did not work in the citations. I checked the references to Brownstein's article, but it was a little difficult since I had a newer edition of the book than the version referenced. Since that is the case, this reference should probably be updated so that the page numbers match the newer edition and to make sure that the author hasn't done a major rewrite of this article. Several of the artlcles listed did not have the exact page from which the information is taken - it just lists the entire article.
• Is each fact referenced with an appropriate, reliable reference? Where does the information come from? Are these neutral sources? If biased, is that bias noted? For the most part, the article appears to be appropriately referenced. The section on "Development" that should be fleshed out will require references. The section on "Adaptation" requires additional references for many of the items. Most of the items listed in "References" are from scholarly publications, but many of those listed for the "Adaptations" could be improved - this was also the section that had links that did not work.
• Is any information out of date? Is anything missing that could be added? The "Adaptation" section is probably significantly incomplete and may well be dated. It lists items in 2016, but with the proliferation of things on the Internet these days, there may be much more out there.
• Check out the Talk page of the article. What kinds of conversations, if any, are going on behind the scenes about how to represent this topic? There is a note at the beginning of the Talk Page concerning nomination for deletion and that the consensus was to merge into an article with the same name. It is not clear to me what that means - were there two separate NA articles? This action was supposed to have taken place by now. Dates of entries on the Talk Page range from 2006 to March 2017. The page states that it was last edited on 11 March 2017. There were 4 comments between 2006 and 2009, 4 comments between 2010 and 2013, two comments in 2016 and 2017, and one undated comment (didn't think you could do that). There were no comments in 2009, 2011, 2014 and 2015. There was also a note dated September 2016 on the main page that the "Plot Summary' was considered to be too long and a recommendation to make it more concise. There are two comments on the Talk page relevant to that note: one is a comment concerning Catherine's perceptions of Isabella, and the second is a note concerning expanding the plot and responses to that note that are dated 2006-2008. There is also a comment concerning one of the character descriptions (John Thorpe) that needs some work. There is also a suggestion concerning a potential adaptation, and a note on the Baseball reference. The only significant comment appears to be concerning a reference to Marilyn Butler that I do not understand, but it appears to be a discussion about "Allusions to other works". The difficulty is that the language referenced does not appear in the actual article.
• How is the article rated? Is it a part of any WikiProjects? This article is listed to be of interest to three (3) WikiProjects: 1) WikiProject Novels/19th Century; 2) WikiProject Romance; and 3) WikiProject Women Writers. In all cases, it is rated as C-Class and in two cases (the first and the third) it is also rated as Mid-Importance.
• How does the way Wikipedia discusses this topic differ from the way we've talked about it in class? I don't know that this article differs in any significant way as to how this topic is presented. It follows logically from the main Jane Austen article to which it is linked. Its format is very similar to that of the other articles concerning her novels. In quickly checking the other novels, some are more detailed and rated higher than this article, but others are at about the same level.

Article Assignment: Emma (novel)

My plan is to review the existing article in depth to identify where the issues are located and then decide which section I will focus on. This is a relatively lengthy article and has a very active Talk page, so I will need to be very careful in my selection of where to make changes and the research to support that change.

EDITING EMMA

Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance and was the last of her six novels to be completed, written while she was in Chawton. The story takes place in the fictional village of Highbury and the surrounding estates of Hartfield, Randalls, and Donwell Abbey and involves the relationships among individuals in those locations consisting of "3 or 4 families in a country village". The novel was first published in December 1815. As in her other novels, Austen explores the concerns and difficulties of genteel women living in Georgian–Regency England; she also creates a lively comedy of manners among her characters and depicts issues of marriage, gender, age, and social status.

Before she began the novel, Austen wrote, "I am going to take a heroine whom no one but myself will much like." In the first sentence, she introduces the title character as "Emma Woodhouse, handsome, clever, and rich." Emma is spoiled, headstrong, and self-satisfied; she greatly overestimates her own matchmaking abilities; she is blind to the dangers of meddling in other people's lives; and her imagination and perceptions often lead her astray.

This novel has been adapted for several films, many television programmes, and a long list of stage plays. It is also the inspiration for several novels.

Plot summary

Emma Woodhouse has just attended the wedding of Miss Taylor, her friend and former governess, to Mr Weston. Having introduced them, Emma takes credit for their marriage, and decides that she likes matchmaking. After she returns home to Hartfield with her father, Emma forges ahead with her new interest against the advice of her brother-in-law, Mr Knightley, and tries to match her new friend Harriet Smith to Mr Elton, the local vicar. First, Emma must persuade Harriet to refuse the marriage proposal from Robert Martin, a respectable, educated, and well-spoken young farmer, which Harriet does against her own wishes. However, Mr Elton, a social climber, thinks Emma is in love with him and proposes to her. When Emma tells him that she had thought him attached to Harriet, he is outraged. After Emma rejects him, Mr Elton leaves for a stay at Bath and returns with a pretentious, nouveau-riche wife, as Mr Knightley expected. Harriet is heartbroken and Emma feels ashamed about misleading her.

Frank Churchill, Mr Weston's son, arrives for a two-week visit to his father and makes many friends. Frank was adopted by his wealthy and domineering aunt and he has had very few opportunities to visit before. Mr Knightley suggests to Emma that, while Frank is clever and engaging, he is also a shallow character. Jane Fairfax also comes home to see her aunt, Miss Bates, and grandmother, Mrs Bates, for a few months, before she must go out on her own as a governess due to her family's financial situation. She is the same age as Emma and has been given an excellent education by her father's friend, Colonel Campbell. Emma has not been as friendly with her as she might because she envies Jane's talent and is annoyed to find all, including Mrs Weston and Mr Knightley, praising her. The patronising Mrs Elton takes Jane under her wing and announces that she will find her the ideal governess post before it is wanted. Emma begins to feel some sympathy for Jane's predicament.

Emma decides that Jane and Mr Dixon, Colonel Campbell's new son-in-law, are mutually attracted, and that is why she has come home earlier than expected. She shares her suspicions with Frank, who met Jane and the Campbells at a vacation spot a year earlier, and he apparently agrees with her. Suspicions are further fueled when a pianoforte, sent by an anonymous benefactor, arrives for Jane. Emma feels herself falling in love with Frank, but it does not last to his second visit. The Eltons treat Harriet badly, culminating with Mr Elton publicly snubbing Harriet at the ball given by the Westons in May. Mr Knightley, who had long refrained from dancing, gallantly steps in to dance with Harriet. The day after the ball, Frank brings Harriet to Hartfield, she having fainted after a rough encounter with local gypsies. Harriet is grateful, and Emma mistakes this gratitude for love. Meanwhile, Mrs Weston wonders if Mr Knightley has taken a fancy to Jane but Emma dismisses that idea. When Mr Knightley mentions the links he sees between Jane and Frank, Emma denies them, while Frank appears to be courting her instead. He arrives late to the gathering at Donwell in June, while Jane leaves early. Next day at Box Hill, a local beauty spot, Frank and Emma continue to banter together and Emma, in jest, thoughtlessly insults Miss Bates.

1898 illustration of Mr Knightley and Emma Woodhouse, Volume III chapter XIII

When Mr Knightley scolds Emma for the insult to Miss Bates, she is ashamed and tries to atone with a morning visit to Miss Bates, which impresses Mr Knightley. On the visit, Emma learns that Jane had accepted the position of governess from one of Mrs Elton's friends after the outing. Jane now becomes ill, and refuses to see Emma or accept her gifts. Meanwhile, Frank was visiting his aunt, who dies soon after he arrives. Now he and Jane reveal to the Westons that they have been secretly engaged since the autumn but Frank knew that his aunt would disapprove. The strain of the secrecy on the conscientious Jane had caused the two to quarrel and Jane ended the engagement. Frank's easygoing uncle readily gives his blessing to the match and the engagement becomes public, leaving Emma chagrined to discover that she had been so wrong.

Emma is certain that Frank's engagement will devastate Harriet, but instead Harriet tells her that she loves Mr Knightley, although she knows the match is too unequal, but Emma's encouragement and Mr Knightley's kindness have given her hope. Emma is startled, and realizes that she is the one who wants to marry Mr Knightley. Mr Knightley returns to console Emma concerning Frank and Jane's engagement thinking her heartbroken. When she admits her own foolishness, he proposes and she accepts. Now Harriet accepts Robert Martin's second proposal and they are the first couple to marry. Jane and Emma reconcile, and Frank and Jane visit the Westons. Once the period of deep mourning ends, they will marry. Before the end of November, Emma and Mr Knightley are married with the prospect of "perfect happiness".

Principal characters

Emma Woodhouse, the protagonist of the story, is a beautiful, high-spirited, intelligent, and 'slightly' spoiled young woman of twenty when the story opens. Her mother died when she was young. She has been mistress of the house since her older sister got married. Although intelligent, she lacks the discipline to practise or study anything in depth. She is portrayed as very compassionate to the poor, but at the same time has a strong sense of class status. Her affection for and patience towards her valetudinarian father are also noteworthy. While she is in many ways mature, Emma makes some serious mistakes, mainly due to her her lack of experience and conviction that she is always right. Although she has vowed she will never marry, she delights in making matches for others. She has a brief flirtation with Frank Churchill, however, she realises at the end of the novel that she loves Mr Knightley.

George Knightley is a neighbour and close friend of Emma, age 37 years (16 years older than Emma). He is her only critic. Mr Knightley is the owner of the estate of Donwell Abbey, which includes extensive grounds and farms. He is the elder brother of Mr John Knightley, the husband of Emma's elder sister Isabella. He is very considerate, aware of the feelings of the other characters and his behaviour and judgement is extremely good. Mr Knightley is furious with Emma for persuading Harriet to turn down Mr Martin, a farmer on the Donwell estate; he warns Emma against pushing Harriet towards Mr Elton, knowing that Mr Elton seeks a bride with money. He is suspicious of Frank Churchill and his motives; he suspects that Frank has a secret understanding with Jane Fairfax.

Mr Frank Churchill, Mr Weston's son by his first marriage, is an amiable young man, who at age 23 is liked by most everyone, although Mr Knightley sees him as immature and selfish for failing to visit his father after his father's wedding. After his mother's death, he was raised by his wealthy aunt and uncle, the Churchills, at the family estate of Enscombe. His uncle was his mother's brother. By his aunt's decree, he assumed the name Churchill on his majority. Frank is given to dancing and living a carefree, gay life and is secretly engaged to Miss Fairfax at Weymouth, although he fears his aunt will forbid the match because Jane is not wealthy. He manipulates and plays games with the other characters to ensure his engagement to Jane remains concealed.

Jane Fairfax is an orphan whose only family consists of her aunt, Miss Bates, and her grandmother, Mrs Bates. An army friend of her late father, Colonel Campbell, felt responsible for her, and has provided her with an excellent education, sharing his home and family with her since she was nine years old. She is a beautiful, clever, and elegant woman, with the best of manners and is the same age as Emma. She is extremely well-educated and talented at singing and playing the piano; she is the sole person whom Emma envies. She has little fortune, however, and is destined to become a governess – a prospect she dislikes. The secret engagement with Mr. Frank Churchill goes against her principles and distresses her greatly.

Harriet Smith, a young friend of Emma, just seventeen when the story opens, is a very pretty but unsophisticated girl. She has been a parlour boarder at a nearby school, where she met the sisters of Mr Martin. Emma takes Harriet under her wing early on, and she becomes the subject of Emma's misguided matchmaking attempts. She is revealed in the last chapter to be the natural daughter of a decent tradesman, although not a "gentleman". Harriet and Mr Martin are wed. The now wiser Emma approves of the match.

Mr. Robert Martin is a 24 year old, well-to-do farmer who though not a gentleman, is a friendly, amiable and diligent young man well-esteemed by Mr. George Knightley. He becomes acquainted and subsequently smitten with Harriet during her 2 month stay at Abbey-Mill-Farm which was arranged at the invitation of his sister, Elizabeth Martin, a fellow school friend of Harriet's. His first letter of marriage proposal is rejected by Harriet under the direction and influence of Emma, (an incident which puts Mr. Knightley and Emma in a disagreement with one another) who felt like Harriet's class and breeding was above associating with the Martins, much less marrying one. His second proposal of marriage is later accepted by a content Harriet and approved by a wiser Emma; their joining marking the first out of the three happy couples to marry in the end.

Philip Elton is a good-looking, initially well-mannered, and ambitious young vicar, 27 years old and unmarried when the story opens. Emma wants him to marry Harriet; however he aspires to secure Emma's hand in marriage to gain her dowry of £30,000. Mr Elton displays his mercenary nature by quickly marrying another woman of lesser means after Emma's rejection. Upon his return with his new wife, Mr. Elton snubs Harriet at the Coles' dinner party and displays other incidents of poor manners.

Augusta Elton, formerly Miss Hawkins, is Mr Elton's wife. She has her 10,000 pounds, but lacks good manners, committing social vulgarities such as using people's names too intimately (Jane, not Miss Fairfax, Knightly, not Mr Knightley). She is a boasting, pretentious woman who expects her due as a new bride in the village. Emma is polite to her but does not like her. She patronises Jane, which earns Jane the sympathy of others. Her lack of social graces shows the good breeding of the other characters particularly Miss Fairfax and Mrs Weston, and shows the difference between gentility and money.

Mrs Weston (née Miss Anne Taylor) was Emma's governess for sixteen years and remains her closest friend and confidante after she marries Mr Weston. She is a sensible woman who loves Emma. Mrs Weston acts as a surrogate mother to her former charge and, occasionally, as a voice of moderation and reason. The Westons and the Woodhouses visit almost daily. Near the end of the story, the Westons' baby Anna is born.

Mr. Weston is a widower and a business man living in Highbury who marries Miss Taylor in his early 40s, after he bought the home called Randalls. He married his first wife, Miss Churchill, when he was a Captain in the militia, posted near her home. By his first marriage, he is father to Frank Weston Churchill, who was adopted and raised by his late wife's brother and his wife. He sees his son in London each year. Mr Weston is a sanguine, optimistic man, who enjoys socialising, making friends easily in business and among his neighbours.

Miss Hetty Bates is a friendly, garrulous spinster whose mother, Mrs Bates, is a friend of Mr Woodhouse. Her niece is Jane Fairfax, daughter of her late sister. She was raised in better circumstances in her younger days as the vicar's daughter; now she and her mother rent rooms in the home of another in Highbury. One day, Emma humiliates her on a day out in the country, when she alludes to her tiresome prolixity.

Mr Henry Woodhouse, Emma's father, is always concerned for his health, and to the extent that it does not interfere with his own, the health and comfort of his friends. He is a valetudinarian (i.e., similar to a hypochondriac but more likely to be genuinely ill). He assumes a great many things are hazardous to his health. He is a fond father and fond grandfather who did not remarry when his wife died; instead he brought in Miss Taylor to educate his daughters and become part of the family. His daughter Emma gets along with him well, and he loves both his daughters. He laments that "poor Isabella" and especially "poor Miss Taylor" have married and live away from him. Because he is generous and well-mannered in spite of his health concerns, his neighbors accommodate him when they can.

Isabella Knightley (née Woodhouse) is the elder sister of Emma, by seven years, and daughter of Henry. She is married to John Knightley. She lives in London with her husband and their five children (Henry, 'little' John, Bella, 'little' Emma, and George). She is similar in disposition to her father and her relationship to Mr. Wingfield, (her and her family's physician) mirrors that of her father's to Mr. Perry.

John Knightley is Isabella's husband and George's younger brother, 31 years old (10 years older than Jane Fairfax and Emma). He is an attorney by profession. Like the others raised in the area, he is a friend of Jane Fairfax. He greatly enjoys the company of his family, including his brother and his Woodhouse in-laws, but is not the very sociable sort of man who enjoys dining out frequently. He is forthright with Emma, his sister-in-law, and close to his brother.

Minor Characters

Mr. Perry is the apothecary in Highbury who spends a significant amount of time responding to the health issues of Mr. Woodhouse. He and Mrs. Perry have several children. He is also the subject of a discussion between Miss Bates and Jane Fairfax that is relayed in a letter to Mr. Frank Churchill that he inadvertently discloses to Emma. He is described as a "...intelligent, gentlemanlike man, whose frequent visits were one of the comforts of Mr. Woodhouse's life."

Mrs. Bates is the widow of the former vicar of Highbury, the mother of Miss Bates and the grandmother of Jane Fairfax. She was very old and hard of hearing, but was a frequent companion to Mr. Woodhouse when Emma attended social activities without him.

Mr. & Mrs. Cole were residents of Highbury who had been there for several years, but had recently benefited from a significant increase in their income that allowed them to increase the size of their house, number of servants and other expenses. In spite of their "low origin" in trade, their income and style of living made them the second highest in Highbury, the highest being the Woodhouses at Hartfield. They hosted a dinner party that was a significant plot element.

Mrs. Churchill was the wife of the brother of Mr. Weston's first wife. She and her husband, Mr. Churchill live at Enscombe and raised Mr. Weston's son, Mr. Frank Churchill. Although never seen directly, her demands on Frank Churchill's time and attention prevent him from visiting his father. Her disapproval is the reason for keeping the engagement between Frank Churchill and Jane Fairfax secret and her death provides the opportunity for the secret to be revealed.

Colonel and Mrs. Campbell were friends of Jane Fairfax's late father. After a period of time when Jane was their guest for long visits, they offered to take over her education in preparation for potentially serving as a governess when she grew up. They provided her every advantage possible, short of adopting, and were very fond of her.

Mrs. Goddard is the mistress of a boarding school for girls in which Harriet Smith is one of the students. She is also a frequent companion to Mr. Woodhouse along with Mrs. Bates.

Mr. William Larkins is an employee on the Donwell Abbey estate of Mr. Knightley. He frequently visits the Bates, bringing them gifts, such as apples, from Mr. Knightley.

Publication History

Title page from 1909 edition of Emma.

Emma was written after the publication of Pride and Prejudice and was submitted to the London publisher John Murray II in the fall of 1815. He offered Austen £450 for this plus the copyrights of Mansfield Park and Sense and Sensibility which she refused. Instead, she published two thousand copies of the novel at her own expense, retaining the copyright and and paying a 10% commission to Murray. The publication in December 1815 (dated 1816) consisted of a three volume set at the selling price of £1.1s per set.

Prior to publication, Austen's novels had come to the attention of the Prince Regent whose Librarian at Carlton House, a Mr. Clarke, showed her around the Library at the Prince Regent's request, and who suggested a dedication to the Prince Regent in a future publication. This resulted in a dedication of Emma to the Prince Regent at the time of publication and a dedication copy of the novel sent to Carlton House in December 1815.

In America, copies of this first publication were sold in 1818 for $4 per copy, as well as an American edition published by Mathew Carey of Philadelphia in 1816. The number of copies of this edition are not known. A later American edition was published in 1833 and again in 1838 by Carey, Lea, and Blanchard. A French version was published in 1816 by Arthus Bertrand, publisher for Madame Isabelle De Montolieu. A second French version for the Austrian market was published in 1817 Viennese publisher Schrambl.

Richard Bentley reissued Emma in 1833, along with Austen's five other novels in his series of Standard Novels. This issue did not contain the dedication page to the Prince Regent. These editions were frequently reprinted up until 1882 with the final publication of the Steventon Edition. Emma has remained in continuous publication in English throughout the remainder of the nineteenth century and into the twentieth and twenty-first centuries. In addition to the French translation already mentioned, Emma was translated into Swedish and German in the nineteenth century and into fifteen other languages in the twentieth century including Arabic, Chinese, Danish, Dutch, German and Italian.

https://commons.wikimedia.org/wiki/File:Emma_title_page_1909.jp#

Reception

Main article: Reception history of Jane Austen

Prior to publishing, John Murray's reader, William Gifford, who was also the editor of the Quarterly Review, said of the novel that "Of Emma I have nothing but good to say. I was sure of the writer before you mentioned her. The MS though plainly written has yet some, indeed many little omissions, and an expression may not and then be amended in passing through the pres. I will readily undertake the revision." Early reviews of Emma were generally favourable, and were more numerous than those of any other of Austen's novels. One important review, requested by John Murray prior to publication by Sir Walter Scott, appeared anonymously in March of 1816 in the Quarterly Review, although the date of the journal was October 1815. He writes:

The author is already know to the public by the two novels announced in her title page, and both, the last especially, attracted, with justice, an attention from the public far superior to what is granted to the ephemeral productions which supply the regular demand of watering- places and circulating libraries. They belong to a class of fictions which has arisen almost in our own tines, and which draws the characters and incidents introduced more immediately from the current of ordinary life than was permitted by the former rules of the novel...Emma has even less story than either of the preceding novels...The author's knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand: but they are finished up to nature, and with a precision which delights the reader.

Two other unsigned reviews appeared in 1816, one in The Champion, also in March, and another in September of the same year in Gentleman's Magazine. Other commenters include Thomas Moore, an Irish poet, singer and entertainer who was a contemporary of Austen's wrote to Samuel Rogers, an English poet, in 1816:

"Let me entreat you to read Emma - it is the very perfection of novel-writing - and I cannot praise it more highly than by saying it is often extremely like your own method of describing things - so much effect with so little effort!"

A contemporary Scottish female novelist, Susan Edmonstone Ferrier wrote to a friend, also in 1816:

"I have been reading Emma, which is excellent; there is no story whatever, and the heroine is not better than other people; but the characters are all true to life and the style so piquant, that it does not require the adventitious aids of mystery and adventure."

There was some criticisms about the lack of story. John Murray remarked that it lacked "incident and Romance"; Maria Edgeworth, the author of Belinda, to whom Austen had sent a complimentary copy, wrote:

there was no story in it, except that Miss Emma found that the man whom she designed for Harriet's lover was an admirer of her own – & he was affronted at being refused by Emma & Harriet wore the willow – and smooth, thin water-gruel is according to Emma's father's opinion a very good thing & it is very difficult to make a cook understand what you mean by smooth, thin water-gruel!!

Austen also collected comments from friends and family on their opinions of Emma. Writing several years later, John Henry Newman observed in a letter about the novel:

Everything Miss Austen writes is clever, but I desiderate something. There is a want of body to the story. The action is frittered away in over-little things. There are some beautiful things in it. Emma herself is the most interesting to me of all her heroines. I feel kind to her whenever I think of her...That other women, Fairfax, is a dolt- but I like Emma.

Later reviewers or commenters on the novel include Charlotte Bronte, George Henry Lewes, Juliet Pollock, Anne Ritchie, Henry James, Reginald Farrer, Virginia Woolf, and E.M. Forster. Other reviewers include Thomas Babington Macauley who considered Austen to be a "Prose Shakespeare", and Margaret Oliphant who stated in Blackwood's Edinburgh Magazine in March that she prefers Emma to Austen's other works and that it is "the work of her mature mind".

Although Austen's Pride and Prejudice is usually recognized as the author's masterpiece, critics such as Susan Morgan of Stanford University have placed Emma as being their personal favorite among all of Austen's novels.

Adaptations

See also: Jane Austen in popular culture - Emma

Emma has been the subject of many adaptations for film, TV, radio and the stage. The profusion of adaptations based on Jane Austen's novels has not only created a large contemporary fan base but has also sparked extensive scholarly examination on both the process and effect of modernizing the narratives and moving them between mediums. Examples of this critical, academic work can be found in texts such as Recreating Jane Austen by John Wiltshire, Jane Austen in Hollywood edited by Troost and Greenfield, and Jane Austen and Co.: Remaking the Past in Contemporary Culture edited by Pucci and Thompson and Adapting Jane Austen: The Surprising Fidelity of 'Clueless' by William Galperin to name a few.