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In addition, the course also aimed to give insight into the Austen culture industry and the ways in which Austen’s novels have functioned to secure or subvert the boundaries between high and popular culture.

According to Herendeen: [Phyllida and the Brotherhood of Philander] took a traditional Georgette Heyer form of the Regency romance —- a witty, drawing-room comedy of manners -- sexed it up, and queered it by making the hero “slightly bisexual” ....Jennifer Crusie, Pam Rosenthal, Lauren Willig, Jayne Ann Krentz) and academics to take genre romance seriously as an object of study, and not only through the lens of sociology.Herendeen has delivered talks and participated in panels at conferences devoted to her genre.In producing their own post-texts, my students affirmed both their own identities and their collective investment in Austen today—any expectations of gentle ‘Janeism’ are demolished by their witty, ironic, sophisticated takes on Austen’s novels.Before we get to the stories themselves (found in the Appendix and accessible by clicking on the titles), some contexts are necessary.

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