Jane Austen has resonated with readers across generations like no other writer. More than two hundred years after the publication of her most celebrated novel, Pride and Prejudice, people around the world continue to honor “dear Jane.” In Performing Jane, Sarah Glosson explores this vibrant fandom, examining a long history of Austen fans engaging with her work, from wearing hand-sewn bonnets and period-appropriate corsets to creating spirited fanfiction and comical gifsets. Sophisticated and engaging, this study demonstrates that Austen fans of today have a great deal in common with those who loved the English novelist long before the term “fan” came into use. Performing Jane analyzes three ways fans engage with Austen and her work: collecting material related to the writer, whether in physical scrapbooks or on social-media platforms; creating and consuming imitative works, including fanfiction and modernized adaptations such as The Lizzie Bennet Diaries; and making pilgrimages to Steventon, Hampshire, Chawton Cottage, and even to annual meetings of Jane Austen societies. Key to Glosson’s exploration of Austen fans is the notion that all of these activities, whether occurring in private or in public, are fundamentally performative. And in counterbalance to studies that center on fans with a tendency to transform and disrupt the original text, this study provides much-needed understanding of a fandom that predominantly reaffirms Austen’s works. Because Austen’s writing has bridged the realms of both literary and popular culture, this fandom serves as an excellent case study to understand the ways in which we draw distinctions between fandom and other forms of intensive engagement and, more importantly, to appreciate how fluid those distinctions can be. Performing Jane embraces a holistic view of the long history of Austen fandom, relying on archival research, literary and visual analyses, and ethnographic study. This groundbreaking book not only demonstrates the ways in which fan practices, today and in the past, are performative, but also provides fresh perspectives into fandom and contributes to our understanding of the ways readers engage with literature.

Jane Austen has resonated with readers across generations like no other writer. More than two hundred years after the publication of her most celebrated novel, Pride and Prejudice, people around the world continue to honor “dear Jane.” In Performing Jane, Sarah Glosson explores this vibrant fandom, examining a long history of Austen fans engaging with her work, from wearing hand-sewn bonnets and period-appropriate corsets to creating spirited fanfiction and comical gifsets. Sophisticated and engaging, this study demonstrates that Austen fans of today have a great deal in common with those who loved the English novelist long before the term “fan” came into use. Performing Jane analyzes three ways fans engage with Austen and her work: collecting material related to the writer, whether in physical scrapbooks or on social-media platforms; creating and consuming imitative works, including fanfiction and modernized adaptations such as The Lizzie Bennet Diaries; and making pilgrimages to Steventon, Hampshire, Chawton Cottage, and even to annual meetings of Jane Austen societies. Key to Glosson’s exploration of Austen fans is the notion that all of these activities, whether occurring in private or in public, are fundamentally performative. And in counterbalance to studies that center on fans with a tendency to transform and disrupt the original text, this study provides much-needed understanding of a fandom that predominantly reaffirms Austen’s works. Because Austen’s writing has bridged the realms of both literary and popular culture, this fandom serves as an excellent case study to understand the ways in which we draw distinctions between fandom and other forms of intensive engagement and, more importantly, to appreciate how fluid those distinctions can be. Performing Jane embraces a holistic view of the long history of Austen fandom, relying on archival research, literary and visual analyses, and ethnographic study. This groundbreaking book not only demonstrates the ways in which fan practices, today and in the past, are performative, but also provides fresh perspectives into fandom and contributes to our understanding of the ways readers engage with literature.

This is the first exploration of the performative and theatrical force of Austen’s work and its afterlife, from the nineteenth century to the present. It unearths new and little-known Austen materials: from suffragette novels and pageants to school and amateur theatricals, passing through mid-twentieth-century representations in Scotland and America. The book concludes with an examination of Austen fandom based on an online survey conducted by the author, which elicited over 300 responses from fans across the globe. Through the lens of performative theory, this volume explores how Austen, her work and its afterlives, have aided the formation of collective and personal identity; how they have helped bring people together across the generations; and how they have had key psychological, pedagogical and therapeutic functions for an ever growing audience. Ultimately, this book explains why Austen remains the most beloved author in English Literature.

Performing Music Research is a comprehensive guide to planning, conducting, analyzing, and communicating research in music performance. The book examines the approaches and strategies that underpin research in music education, psychology, and performance science.

What does it mean to "fail" in performance? How might staging failure reveal theatre’s potential to expand our understanding of social, political and everyday reality? What can we learn from performances that expose and then celebrate their ability to fail? In Performance Theatre and the Poetics of Failure, Sara Jane Bailes begins with Samuel Beckett and considers failure in performance as a hopeful strategy. She examines the work of internationally acclaimed UK and US experimental theatre companies Forced Entertainment, Goat Island and Elevator Repair Service, addressing accepted narratives about artistic and cultural value in contemporary theatre-making. Her discussion draws on examples where misfire, the accidental and the intentionally amateur challenge our perception of skill and virtuosity in such diverse modes of performance as slapstick and punk. Detailed rehearsal and performance analysis are used to engage theory and contextualise practice, extending the dialogue between theatre arts, live art and postmodern dance. The result is a critical account of performance theatre that offers essential reading for practitioners, scholars and students of Performance, Theatre and Dance Studies.

This book helps to bridge the gap between science and literary scholarship. Building on findings in the evolutionary human sciences, the authors construct a model of human nature in order to illuminate the evolved psychology that shapes the organization of characters in nineteenth-century British novels, from Jane Austen to E. M. Forster.

"Do look after my music!" Irene Wienawska Polowski exclaimed before her death in 1932. And from the urgency of that sentiment the authors here have taken their cue to reveal and "look after" the previously neglected contributions of women throughout the history of Western art music. The first work of its kind, Women Making Music presents biographies of outstanding performers and composers, as well as analyses of women musicians as a class, and provides examples of music from all periods including medieval chant, Renaissance song, Baroque opera, German lieder, and twentieth-century composition. Unlike most standard historical surveys, the book not only sheds light upon the musical achievements of women, it also illuminates the historical contexts that shaped and defined those achievements.