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Considering these adaptations on their own terms can thus be challenging for Austen scholars.
Our stock in trade is, after all, close attention to Austens use of language, the subtlety of her characterization and plotting, and the rich social, historical, and political contexts on which she draws, often unobtrusively: the very elements that are most likely to disappear, or be radically re-envisioned, when her works are imported across significant distances of time, geography, and culture.
The investigation is carried out within Arjun Appadurai’s framework of global cultural flows and proposes that: (1) through the appropriation of Austen’s novel and its various adaptations, Black was able to connect to global mediascapes; (2) the director’s attempt to make a Latter-day – but then also a Christian – comedy located the film within global ideoscapes; and (3) his efforts to introduce a multi-ethnic context and to tailor this production to the currently fashionable chick flick genre lent the film important dimensions within ideologically positioned ethnoscapes.
The notion of globalization seems inescapable in a description of the complexities of our contemporary realities.
Here’s a sneak peek into what the book is about: Stephanie was starting to feel invisible. This is the vulnerable (and often mortifying) true story of a girl who tried really hard to find someone to fall in love with—even when she mostly just ended up falling flat on her face.
All around her, her friends were getting married, and she found herself decidedly alone. So she started praying in earnest for God to bring the right man into her life. But amid the cringe-worthy setups and awkward encounters, Stephanie found God’s grace and love meeting her there in ways she never could have imagined—once she opened her eyes to see., Stephanie’s funny, tender, and insightful words take the reader on a journey that points to God’s faithfulness and kindness at every stop along the road.
In other words, such adaptations implicitly rely on the perceived universality of Austens primary concerns.
These cross-cultural adaptations depend, of course, on the capacity of Austens central themes and characters to be transposed compellingly into other languages and cultures, as well as other media.When you click on a Sponsored Product ad, you will be taken to an Amazon detail page where you can learn more about the product and purchase it.To learn more about Amazon Sponsored Products, click here.It’s my story, but I hope you’ll find a bit of your own story in it too.While the details may be different, we all know what it’s like to wait, what it’s like to try to keep praying and hoping for something, what it’s like when God is silent about a desire that’s close to our hearts.
Sperling argues that in “a global economy in which language differences frequently inhibit communication, visual images appear to facilitate communication across language and cultural borders” (27).