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"Indeed, the sisters’ letters are at the heart of what we know-and will never know-about the bond they shared. As a testament to the intimacy between them, we have Cassandra’s eloquent expression of grief after having been present at her sister’s death, in which she calls Jane “the sun of my life, the gilder of every pleasure, the soother of every sorrow” (20 July 1817). Yet, of course, Cassandra’s decision to destroy the majority of her sister’s letters prevents us from being able to look more closely not only at their sisterhood but at all aspects of Jane’s life and authorship".
"I will examine two films and four novels, all of which were commercially released in 2007 and 2008. (Two of the novels were republished in American editions from slightly earlier U.K. publication dates.) Thanks to the prominence of its star, Anne Hathaway, and the efforts of its studio, Miramax, Becoming Jane (2007) reached the widest audience of any of these sources, though the film was not notably successful in commercial terms. Directed by Julian Jarrold from a screenplay by Sarah Williams and Kevin Hood, Becoming Jane takes its inspiration from Jon Spence’s inventive Becoming Jane Austen (2003). Like Spence’s biography, Becoming Jane elaborates on the episode of Austen’s young womanhood in which she flirted with Tom Lefroy. Cassandra, played by Anna Maxwell Martin, serves as a decidedly plain contrast to her radiant, passionate sister. The last years of Austen’s life are the focus of Miss Austen Regrets (2008), a television film directed by Jeremy Lovering from a screenplay by Gwyneth Hughes, for which Austen’s letters are a primary, though uncredited, source".
"Portrayals of Jane and Cassandra allow lovers of Austen to imagine themselves as participants in Austen’s most intimate relationship: to imagine themselves, in other words, as her sister. What Cassandra says to Jane in these novels and films conveys, at least at one level, what fans would like to be able to say to Austen. Representations of the Austen sisters serve an additional purpose, too: of airing and addressing present-day readers’ reactions to the real Cassandra Austen’s guardianship of her sister’s legacy".
"Veronica Bennett declares at the conclusion of Cassandra’s Sister that “Jane would appreciate the irony that it is Cassandra, who, by keeping the facts from us, has given us what Jane herself so cherished-the power of imagination”.
Цитаты из очень хорошего эссе - The Closeness of Sisters: Imagining Cassandra and Jane (текст на английском).
"I will examine two films and four novels, all of which were commercially released in 2007 and 2008. (Two of the novels were republished in American editions from slightly earlier U.K. publication dates.) Thanks to the prominence of its star, Anne Hathaway, and the efforts of its studio, Miramax, Becoming Jane (2007) reached the widest audience of any of these sources, though the film was not notably successful in commercial terms. Directed by Julian Jarrold from a screenplay by Sarah Williams and Kevin Hood, Becoming Jane takes its inspiration from Jon Spence’s inventive Becoming Jane Austen (2003). Like Spence’s biography, Becoming Jane elaborates on the episode of Austen’s young womanhood in which she flirted with Tom Lefroy. Cassandra, played by Anna Maxwell Martin, serves as a decidedly plain contrast to her radiant, passionate sister. The last years of Austen’s life are the focus of Miss Austen Regrets (2008), a television film directed by Jeremy Lovering from a screenplay by Gwyneth Hughes, for which Austen’s letters are a primary, though uncredited, source".
"Portrayals of Jane and Cassandra allow lovers of Austen to imagine themselves as participants in Austen’s most intimate relationship: to imagine themselves, in other words, as her sister. What Cassandra says to Jane in these novels and films conveys, at least at one level, what fans would like to be able to say to Austen. Representations of the Austen sisters serve an additional purpose, too: of airing and addressing present-day readers’ reactions to the real Cassandra Austen’s guardianship of her sister’s legacy".
"Veronica Bennett declares at the conclusion of Cassandra’s Sister that “Jane would appreciate the irony that it is Cassandra, who, by keeping the facts from us, has given us what Jane herself so cherished-the power of imagination”.
Цитаты из очень хорошего эссе - The Closeness of Sisters: Imagining Cassandra and Jane (текст на английском).