Transposition: Essays on Austen, Gogol and Adaptation

Now we are beginning a phase of extensive research into Austen, Gogol and adaptation/transposition/translation. The plan is to embelish the essays, but first lets look at some of the great arguments.

With regard to adaptation/transposition,

Anna Despotopoulou describes two characteristics of a feminine aesthetic being subjectivity (127) and the process as opposed to the result or end (130) in "Girls on Film: Postmodern Renderings of Jane Austen and Henry James".

In the introduction, she also describes some studies of parallels between the nineteenth and twentieth century. I quote: "As Margaret Beetham has shown in her study of nineteenth-century women's magazines, from as early as the 1850s women were concerned as much with gender politics as with fashion and sensational or over-sentimental fiction... (The) affinity implied between the superficial concerns appropriated by womanhood in Austen's time and the vacuousness of feminine preoccupations in our time is quite uncanny." (116) Despotopoulou then proceeds to discuss how the adaptation Clueless (of Emma) exhibits the endurance of these concerns through time. (116)

The author continues by making reference to Susan Bordo's "insights concerning the aesthetic models imposed on women through magazines and other media which influenced the female mind in the 1990s... If tight clothing was the means of controlling the female body in the mid to late nineteenth century, in the late twentieth anorexia, Bordo suggests, was the extreme outcome of women's tendency to control their appetite for food in order to match the standardized ideal of womanhood constructed by social and cultural contingencies." (117)

And here we have another great possibility for transposition: corsets -> anorexia.
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