Mars vs. Venus – Identifying Male/Female Stereotypes

On a recent rerun of the TV show The Doctors, the featured physicians answered questions from audience participants on male/female stereotypes and comparisons. As a writer, those differences are forever part of one’s psyche. One cannot have an Alpha male responding to a situation as if he is a female. So, understanding some of the basics about male/female relationships is important.

So, these are “givens” when it comes to creating story lines:

Whereas men have excellent abstract orientation, women, for example, need landmarks to orient themselves. That is why women do not read maps well.

On the show, they showed an experiment that proved that women can multi-task better than men. Men are more linear. They must stay with one task at a time – until it is completed.

Women seek acceptance, where men seek respect.

Men who lie do it to cover up something or to build up their ego. Women lie to make someone feel better.

Women in a committed relationship report that they reach fulfillment only 20% of the time, where men say they satisfy their partners completely 55% of the time.

When a group of women eat out, they will divvy up the bill by calculating who owes what. Men, in a similar situation, will compete for the “honor” of paying the entire bill. They will toss money on the table and pretend they would not like some change.

When listening to a person of authority will maintain a neutral face, while women will show up to six distinct expressions.

Women can speak and listen at the same time. Men are totally lost in this type of situation.

Women smile more (showing their teeth) than men do.

Women talk through their stress, while men close up and withdraw to deal with his stress.

Women learn quickly in a cooperative setting, where men need competition. For YA authors, this means differences in a classroom setting (all female vs. traditional classrooms).

Women need the emotional bonding of hearing a man talk to them and to listen to them to be “turned on.” Men react to visual responses: nudity, sexy underwear, etc.

Women are interested in developing relationships; men are interested in the baser forms of recreation.

Women like to talk through their problems; men rarely speak of their problems to anyone.

Being more right brained, women are more in tune with their emotions.

They will, therefore, cry more often. Men have difficulty accessing the right brain centers, which control grief or sadness or depression. A man will seldom cry because of this. Plus, society looks down on a man who cries, saying he must “act like a man.”

For women, testosterone levels control her depression (literally, reducing her irritability, and her nervousness. Men with high testosterone levels, rarely suffer from sadness.

Women not on the pill, find masculine features attractive, but women on the pill find feminized male faces more attractive.

When men sweat, pheromones, which have no odor themselves, are mixed with the sweat to attract the opposite sex.

Males see a female’s waist to hip ratio instinctively when meeting the woman for the first time. It probably has something to do with childbearing and whether a woman might conceive easily.

Large amounts of dopamine and oxytocin surge in a woman’s body when she is talking/bonding with her partner.

Women pay more attention to the tone of a person’s voice and his body language when interpreting meaning. Men are likely to miss these cues to meaning because they need precision in word choice. 

Obviously, the woman’s nurturing center of the brain is more developed than a man’s, while his sexual center is more developed.

Women show their teeth when smiling. Men do not. In a man, showing one’s teeth is considered a weakness.

Women can recall the spoken word exactly. They have a better blood supply to that part of the brain. Men remember the “gist” of the conversation.

Women have a stronger sense of smell, and the chocolate cravings are natural for they also taste sugar better. Men have a better sense of taste for salty and bitter foods/drinks.

Women are physically and neurologically mature at 17; men not until age 22-24.

Women have better finger dexterity than a man, but he has better eye-hand coordination.

What do you think? Do these assumptions play true or not?

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Actions Speak Louder Than Words: Movie Discussion of 1995’s Pride and Prejudice

In reading Jane Austen, one can easily imagine the Austen children acting out a play created by the boisterous Jane. Her novels have all the elements of drama: a small cast, limited settings, and no special effects. In this manner, Austen writes cinematic novels – those easily adapted to the screen. We find in Austen’s works very precise stage directions (“Darcy shook his head in silent acquiescence.”) and characters who disclose their inner lives through dramatic interactions with others. Translation: Austen writes telling dialogue.

Today, we discuss Andrew Davies’ 1995 adaptation of Pride and Prejudice and, specifically, Colin Firth’s portrayal of Fitzwilliam Darcy. I do not wish to debate who was “the best Darcy.” What I wish to discuss is how Davies created the image of Darcy. Firth once said, “What Darcy doesn’t say” is as important as what he does say. As viewers, we observe Darcy looking disapprovingly at all the Meryton residents. He puts distance between himself and others. We watch Firth observe Jennifer Ehle’s character, and we have no doubt that as Darcy, Elizabeth Bennet’s disregard for him piques his interest. In reality, Firth has few lines in the first half of the series; yet, he “speaks” to us. He must convey Darcy’s thoughts and attitude with a raise of an eyebrow or a tightening of a jaw line.

Davies creates scenes and emotions (not expressed in the novel) to “flush out” Darcy’s character. In truth, Darcy is a major minor character. In the novel, he meets Elizabeth at Michaelmas (the end of September) and is at Netherfield until the ball (end of November). Darcy then does not see Elizabeth until Easter at Rosings Park. They are together a fortnight before the disastrous proposal separates them once more, leaving the suspense to build to the fateful meeting at Pemberley during the first week of August. In other words, he has been in her company three months spread over a year before his second proposal. Yet, Davies was smart enough to know that the dominant female audience would want to experience Darcy’s falling in love with Elizabeth Bennet.

In the first half (up to the first proposal), Firth is invariably shown leaning against a mantle (usually with a mirror above) or staring out a window. Both stances are done in profile, indicating that he is shutting himself off from new experiences and new people – it is his distancing technique. Even at the Meryton assembly, Firth is shot in profile when he meets the Bennet sisters for the first time. Also, at the party at Lucas Lodge, Darcy remains in profile by a mirror. (Notice that he is seen reflected in an opposite mirror. I love those types of shots for they tell the story so well!) At Netherfield, Darcy remains in profile at the window as the Bingley sisters discuss Elizabeth.

We do not see Firth in full face until the scene about an “accomplished lady.” He stares at an unseen object/person, which we viewers assume is Elizabeth. This is a pivotal point in our definition of Darcy. He is watching Elizabeth, but we are watching him watch her. Immediately following this telling scene, Davies adds an unscripted Austen scene: Darcy is in his bath. When he steps to the window to observe Elizabeth with the dog, again we watch him observe her. Did you not develop an opinion of Darcy’s growing affections for Elizabeth without Davies telling you so in words? A simple visual effect told the story. From the bath scene onward, Darcy spends a great deal of time observing Elizabeth. This provides the viewer with characterization, but it was also a manipulative film technique to hook the obvious female audience. It was a glamorized framing of Firth as Darcy – offering him up to the feminine belief in true love. Even when Darcy returns to profile while he watches Elizabeth and Jane leave Netherfield, we know he observes her with growing interest. We automatically interpret his gaze.

From Elizabeth’s departure from Netherfield and up to the first proposal, Darcy retreats to the profile, indicating he is fighting his attraction for Elizabeth. At the Netherfield ball, we first discover Darcy in profile before he turns to look upon Elizabeth. At the Hunsford parsonage, he sits in profile when he visits with her and the Collinses, along with Col. Fitzwilliam. In the first proposal, he is back standing before a mirror; he moves in profile after the rejection and then returns to the mirror. All of this staring out windows and standing before mirrors is the filmmaker’s way of telling the viewers that Darcy’s character has never looked at his true self nor at Elizabeth as a true choice for a partner.

Davies displays Darcy’s sexual attractiveness, revealing the character as a sensitive man, as well as a physically fit one. Sensitivity is shown when he embraces a distraught Georgiana after her aborted elopement and with his distress when he discovers at Lambton Elizabeth’s grief over Lydia’s actions. Physically, this Darcy rides, hunts, fences, fishes, and swims. Although Darcy disappears from the novel for some time after the first proposal, Davies keeps the sexual tension by showing us Darcy fencing to fight his growing need for Elizabeth and then cooling his desires in the lake. Note that the fencing scene comes right before we first see Pemberley. It tell us who Darcy is, not what he owns.

When Darcy writes Elizabeth the letter of explanation (the beginning of the second half of this series), his anger and mortification is conveyed to the viewers through a man in shirt sleeves, with disheveled hair, and a grim countenance. He labors over the writing. This second half of the series creates a “new” Darcy. Even the opening shot (his leaving the parsonage) shifts the focus from Elizabeth to Darcy. Davies’ adaptation follows Austen’s book faithfully in most respects, except with Darcy. Those visual images to which we are introduced emphasize Darcy’s emotional rollercoaster. We are teased with an image of Wickham’s debauchery followed by the section of the letter where we shift scenes from Darcy’s writing to Elizabeth’s reading, creating sexual attraction.

Davies created an image of a determined Darcy, seeking Wickham and Lydia in London. Darcy is kept in our mind’s eye with images of this calculated search. Darcy buys information on the street from a penniless waif. He nearly forces his way into Mrs. Younge’s home. Later, we see Darcy standing up with Wickham at the church. Davies keeps Darcy’s character in the viewers’ minds even without Austen telling us these things. Note how Davies alternates between Elizabeth’s staring at Darcy’s portrait and Darcy’s dip in the lake. This alternation builds tension for their meeting.

When Darcy returns to Longbourn, he reverts to that stiff, proud character. Again, he is seen in profile before he stares out the window. However, it is not just Darcy who reverts. Think how Elizabeth is once again embarrassed by her mother during Bingley’s proposal, during Lady Catherine’s visit, and with their first walk out together. Returning the characters to an earlier behavior builds suspense.

At the Netherfield ball (one of 15 different dances in this adaptation), there is a sense of challenge between Darcy and Elizabeth. Firth actually said of the scene, “We see an honesty and a playfulness in Elizabeth, while there’s something slightly comical about Darcy’s trying to maintain his formal manner while holding up his end of the repartee. She’ll say something that stings him, and he has an entire eight-step circle to do before he is permitted to respond.” (pg. 102 ofThe Making of Pride and Prejudice by Sue Birtwistle and Susie Conklin)

So, what did you think? Did you learn something new today? Are there similar secrets you might share with the rest of us? I could go on and on, and we will discuss other facets of this adaptation later because it is one of the most successful ones. One thing you will find about me is that I love movie trivia!!!

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British Thoroughbred Racing History

a modern Arabian

One of the more challenging aspects of writing historical romance is the amount of research one must do. It is not uncommon to spend 8 hours researching a fact that in less than a paragraph in the book. However, one must do it. Recently, I add the element of thoroughbred racing to a novella I was writing. I have always said that if I hit the lottery, I was going to move to KY and raise thoroughbreds. So, finding out about thoroughbreds was time consuming but oh, so exciting. Did you know that the origins of modern racing go back to the Crusades. Between the 12th and 16th centuries, Arab stallions were imported into England and mated with English mares to breed in speed and endurance.
Professional horse racing sprang to life in the reign of Queen Anne (1702-1714). By 1750, racing’s elite formed the Jockey Club at Newmarket. The Jockey Club still exercises complete control of English racing.
Since 1814, five races for 3-year-olds have been designated as “Classics”: The English Triple Crown, which includes the Epsom Derby, the 2000 Guineas, and the St. Leger Stakes, is open to both male and female horses. The Epsom Oaks and the 1000 Guineas is only for fillies.

Volume 6 of the General Stud Book, published in London in 1857.

Besides writing rules for racing, the Jockey Club designed steps to regulate horse breeding. James Weatherby traced the complete family history (pedigree) of every horse racing in England. In 1791, The Introduction to the General Stud Book was published. By the early 1800s only horses descended from those listed in the General Stud book could be called “thoroughbreds.”
Now this is the amazing fact!!! Thoroughbreds are so inbred that the pedigree of every single horse can be traced back to to one of three stallions, which are referred to as the “foundation sires.” These stallions are Byerley Turk (foaled c.1679); the Darley Arabian (foaled c.1700), and Godolphin Arabian (foaled c. 1724).

The three founding fathers of the turf

Following the family tree of the Godolphin Arabian, the Byerley Turk and the Darley Arabian is rather like compiling a ‘who’s who’ of racing champions!

The Godolphin Arabian

  • Foaled about 1724
  • Probably exported from Yemen via Syria to the stud of the Bey of Tunis
  • Initially given to Louis XV of France in 1730, he was then imported to Britain
  • Sired the best racehorse of the day, called Lath
  • The Godolphin Arabian’s line hasn’t won the Derby since Santa Claus in 1964, and has recently been overshadowed by the Darley Arabian’s descendants

The Byerley Turk, one of the progenitors of the Thoroughbred breed, may have been a Turkoman horse.

The Byerley Turk

  • Foaled about 1680
  • His line includes Herod, foaled in 1758, who was leading sire eight times
  • Descendent Highflyer and his sons were champion stallions 23 times in 25 years
  • The Byerley Turk’s line now has much less influence than that of the Darley Arabian

The Darley Arabian

  • Foaled about 1700
  • Amongst others, he sired Bartlett’s Childers whose great grandson was Eclipse
  • Over 80% of modern racehorses can trace their descent to Eclipse, including the great Canadian stallion Northern Dancer

The golden story of Eclipse

A descendent of the Darley Arabian, Eclipse was foaled in 1764, the year of the great eclipse of the sun. He won 18 races, never appearing the least bit stretched. Owners were reluctant to put their horses up against him and eight of his races were declared walkovers!

Eclipse retired to stud in 1771 and sired three Derby winners but his ability to sire offspring that were well adapted to the new shorter races for two and three year olds ensured him a place in the racing history books.

However, due to terrific competition from Herod and the Byerley Turk line, Eclipse was never actually declared champion.

After his death, Eclipse was dissected to try to work out the secret of his success – it was decided that his huge heart pumped blood around the body more effectively, while his back legs gave plenty of leverage. Powerful lungs completed the winning combination. His skeleton is still owned by the Royal Veterinary College and can be seen at the National Horseracing Museum in Newmarket.

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Profiling a Janeite – Are You a Typical Jane Austen Fan?

Anatomy of a Janeite
Do You Fit the Bill?

In 2008, JASNA put together a survey of the “typical” Janeite. I was wondering how many items match with my viewers/readers.

Part 1: Participant Demographics. The first half of the survey focused on the survey participant. What portrait emerges from these responses?

• Gender: 96% Female; 4 % Male
• Age: 33% age 1-29; 35% age 30-49; 32% age 50+ (with a median age of 40) There were 335 teenagers and 215 respondents aged 70 or over.
• Nationality: 90% from English-speaking countries
• 67% U.S.; 6% Canada; 16% U.K, Australia, New Zealand & Ireland (combined)
• Occupation: 75% of Janeites are typically working women/men. The top ten career fields are education, business administration (manager/HR/secretary, etc.), business services/worker/retail, library/archivist, finance, science/engineering, writing/publishing, medical, arts, law and IT. (More than one-third are been teachers or librarians.)
• Education: 81% over the age of 20 have a 4-year (or higher) college degree; almost half have achieved a master’s (33%) or a doctorate (12%). Surprisingly, 71% did not major in English/Literature.
• Religious: 41% said they were religious; 38% not religious.
• Politics: Janeites are more likely to view themselves as liberal (55%) than conservative (25%), and on the topic of feminism, to have a favorable (67%) rather than unfavorable (11%) opinion.
• Hobbies: More than 50% involved in reading (98%); watching movies (80%); listening to music (72%); attending theater/concerts (61%); walking/yoga/other exercise (60%); visiting museums (60%); and traveling (56% to other countries; 54% within own country).
• Traveling: 47% of all respondents have visited Austen sites in England, including 40% of U.S. respondents and 53% of Canadians. More than half the respondents have visited Western Europe (69%), England/Wales/Scotland (68%) or traveled extensively in the U.S. (65%) and Canada (52%). Many have also been to Mexico and the Caribbean. The least-visited area from the survey list was India (4%), followed by Russia (7%), and China (8%).
• Favorite Afternoon Drink: 63% tea; 46 % coffee
• Pets: tabbies rule – 58% of respondents have pets, with cats at 36% and dogs at 30%
• Reading: 86% read at least 2 books per month; 33% read five or more per month
• Preferred Genre (non-Austen, of course): 29% mystery; 15% historical fiction
• Favorite Authors (not Jane Austen): Charles Dickens, Charlotte Brontë, Mrs. Gaskell, J.K. Rowling, J.R.R. Tolkien, William Shakespeare, Anthony Trollope, Georgette Heyer, and Agatha Christie.
• Tech Savvy: 57% described themselves as tech smart; 1% as clueless

Part 2: Janeite Land. The second half of the survey looked into the participant’s relationship to Jane Austen and her work.

• Age When You Discovered Jane Austen: over 50% before age 17; 13% younger than age 12
• How Often Do You Read Austen Novels? 33% read 3+ per year; 11% read all six every year
• Favorite Austen Book: 53% Pride and Prejudice; 28 % Persuasion; 7% Emma; 5% Sense and Sensibility; 4% Mansfield Park; 4% Northanger Abbey.
• Favorite Heroine: 58% Elizabeth Bennet; 24% Anne Elliot; 7% Elinor Dashwood; 5% Emma Woodhouse; 3% Fanny Price; 2% Catherine Moreland; 1% Marianne Dashwood
• Favorite Hero: 51% Fitzwilliam Darcy; 17% Frederick Wentworth; 14% Mr. Knightley; 10% Henry Tilney; 5% Colonel Brandon; 1% Edward Ferrars; 1% Edmund Bertram [Interestingly, males are a good bit less likely to choose Darcy as their favorite hero. The least-liked hero by some measure is Edmund Bertram (40%).]
• Favorite Bad Boy: 33% Wickham; 28% Willoughby; 16% Henry Crawford; 10% Frank Churchill; 7% William Elliot; 6% General Tilney
• Worst Parents: 54% Sir Walter Elliot; 16% Mr. & Mrs. Price; 15% Sir Thomas and Lady Bertram
• Four Comic Characters Who Delight Us: 74% Mrs. Bennet; 70% Mr. Collins; 56% Admiral Croft; 50% Mrs. Bates  

For the complete results and analysis, please go to JASNA Persuasion On-Line sources. http://www.jasna.org/persuasions/on-line/vol29no1/kiefer.html

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What Price Beauty???

One of the things I had to research for my  “cozy” mystery, The Phantom of Pemberley: A Pride and Prejudice Murder Mystery, was women’s make-up. In an image drenched society (both now and in the Regency), the use of  or lack of cosmetics to enhance a woman’s appearance played daily. As one of the characteristics of a cozy is poison is often used to commit the crime, I used poison in the form of makeup.

Here are some facts I discovered in researching makeup:
* Pale skin from the Middle Ages to the early 1900s was a sign of wealth.
* To achieve the look of pale skin, women sometimes actually let blood.
* Lead paint was used to lighten the skin.
* Arsenic was used in face powder during the Italian Renaissance.
* Women during the time of Queen Elizabeth wore egg whites for a “glazed” look on their faces.
* By the time of the French Restoration of the 1700s, red rouge and lipstick were popular.
* However, the “French” ways were not so acceptable with the Napoleonic era, and many other countries shunned the heavier makup.
* In the Regency era (the one I address most often in my books), a little rouge was still acceptable.
* Hair dyes were used. To prevent a low hairline, a forehead bandage dipped in vinegar in which cats dung had been steeped was worn.

* White skin indicated wealth and gentility. Women often “bleached” their skin. These products were made of white lead and mercury. George IV (the Prince Regent) used a variety of creams on his skin.

*A known poison, Belladonna, was often used on the eyes.

*Some makeup contained nitric acid, and coal tar was used in hair dye.

From “The History of Makeup” come these recipes.

Here are some beauty-tip recipes utilized during the late 1800’s:
*For freckle removal: bruise and squeeze the juice out of chick-weed, add three times its quantity of soft water, then bathe the skin for five to ten minutes morning and evening.
*As a wash for the complexion: one teaspoon of flour of sulphur and a wine glassful of lime water, well shaken and mixed with half a wine-glass of glycerine and a wine-glass of rose-water. Rub on the face every night before going to bed.
*To keep hair from turning gray: four ounces of hulls of butternuts were infused with a quart of water, to which half an ounce of copperas was added. This was to be applied with a soft brush every two to three days.
*For wrinkle removal: melt one ounce of white wax, add two ounces of juice of lily-bulbs, two ounces of honey, two drams of rose-water, and a drop or two of ottar of roses and use twice a day.

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Vampiric Legends

In 2010, I wrote a vampire version of Pride and Prejudice entitled Vampire Darcy’s Desire. However, unlike many books of the recent “vampire” craze, my book is set in Regency England (1800-1820). Even the legend of Dracula could not serve as a basis because Bram Stoker’s classic was not released until 1897. Therefore, it took me some time to sort out how I wanted to handle the “vampirism” in the book. I admit to being influenced by several other vampire stories over the years.
As a teacher of English for many years, I know that in Dracula, Stoker really is using Count Dracula as a combined symbol of Old World superstitions and modern economic improvements. It was the Victorian era, and the people had many fears, among them the fear of sexuality and the British fear of being conquered by an “outsider.” Both are evident in the book.

Bela Lugosi as Count Dracula (1931)

Dracula is a member of the noble class who must mingle with those of a lower class to survive. As far as feminism is concerned, please recall that in Dracula, all vampires are female (except Count Dracula). Vampirism gives them the male trait of being the perpetrator. However, Stoker’s vampires bear little resemblance to humans. Dracula, for example, has an insatiable thirst for blood. When he kills, he does so purely to sustain his own existence. He has no guilt or moral qualms about killing. Dracula’s immortality imprisons him; he has no companions except those he captures and entraps in his home. A stake or a crucifix or clove garlic are the weapons of choice to be rid of the Count, where fire does not affect him.
At one time, I read Anne Rice regularly. We all remember Lestat De Lioncourt, Rice’s main character in her Vampire Chronicles. With Lestat, the reader had a different type of vampire. Lestat possessed the human qualities of having a mind and a spirit. We found in him a vampire who did not kill just to kill. The “hunt” was part of the experience. One might find Lestat discussing philosophy or politics. In fact, he has an unusual collection of talents, and we find him to be very passionate. He makes his “lovers” people we might never associate with vampirism (a nun, for example). He seeks friendship from the mortals he turns. Lestat has an eternal soul. Unlike Count Dracula, Lestat cannot be killed by a stake or a crucifix. Lestat even slept in a church in one of the books. Rice has her vampires killed by fire or by being placed in sunlight, where they ignite into flames.
Vampire legends say that the vampire must be an animated corpse, who claws out of his grave to feed upon human blood. He is dirty and foul-smelling. Yet, the modern vampire is an immortal creature, who retains his youth and lives forever, something very appealing to our youth and sex obsessed culture. He is the eternal bad boy, forever able to indulge in dark desires and sexual urges.

The vampire who exhibits self-control is a new phenomenon. Add a bit of compassion, and one has Twilight. The post 9/11 world does not look favorably on people or beings who hide in plain sight, yet, have the ability to kill us. Therefore, our recent vampires are less likely to be portrayed as monsters. I, seriously, believe that the paranormal literature we are currently experiencing is an aftermath of our youth growing up reading the Harry Potter series. Paranormal books are a more sophisticated fantasy.

My novel is based on the original tales of vampires from the British Isles. Of the BaoBhan Sith, or Scotland’s Legendary Vampires.

The Baobhan Sith, pronounced Baa’-van shee, are one of the oldest forms of vampirism in Scotland. Mostly found within the Highland regions, the Baobhan Sith invariably take the form of a beautiful woman. The vampire is usually dressed in green, the colour of magic and the fairies.

This ghost-vampire was always deemed to be very dangerous to humans. They also have a number of things in common with the classic vampire:

  • They are creatures of the night.
  • They drink human blood.
  • They sometimes have fangs like the classic vampire.
  • They are seductive.
  • They cannot tolerate daylight.
  • At will, they can shape-shift into another animal form.
  • They are telepathic and can read thoughts.

However, there are some interesting differences:

  • The baobhan sith only rises once a year from their graves.
  • Other names include ‘The White Woman.’
  • These vampires are all female.
  • They stalk their prey in forests and other natural locations.
  • They shun society, keeping to rural areas.
  • They stalk and hunt in groups.
  • They invite men to dance with them, before attacking.
  • Their sharp fingernails draw blood from the victim rather than fangs. These nails turn into talons when they attack.
  • They reportedly have cloven hooves for feet that their long dresses hide.
  • A man bitten by a baobhan sith will not turn into a vampire.
  • Any woman who is attacked and killed by a baobhan sith will return as one of them.
  • Building a stone cairn over their grave was thought to stop them from rising.
  • Iron is one of the main weapons used against these vampires.
  • They are afraid of horses, particularly if the horses are shod with iron shoes. So anyone who remained sitting on his horse while confronting the baobhan sith would be safe.
  • What brings you to paranormal literature? Do you prefer werewolves to vampires? Or are zombies your “cup of tea”?
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Cinematic Jane Austen

Cinematic Versions of Jane Austen

Recently, I blogged about the latest film version of a Jane Austen novel to be released. I write Austen-related adaptations/sequels, as well as contemporary and Regency era books, but many of my readers come to me via an Austen film. They see the movie/TV adaptation and become hooked on the story lines.

Below, you will find a listing of as many Austen-inspired pieces that I could compile. If you know of others, please share them with me. 

2011 – Scents and Sensibility – TV movie

2011 From Prada to Nada  – Film adaptation of Sense and Sensibility

2010 – Aisha – Film adaptation of Emma

Pride and Prejudice: A Modern Day Tale of First Impressions (2011) – Film

Jane Austen Handheld (2010) – Film based on Pride and Prejudice – comedy/drama told through a documentary-style film format

“Emma” (2009) a BBC TV mini-series

Sense and Sensibilidad (2008) – Film

“Lost in Austen” (2008) – TV mini-series that takes the main character into the novel’s pages

“Sense and Sensibility” (2008) – TV mini-series

Jane Austen Trilogy (2008) – a documentary with bibliographic intentions

Miss Austen Regrets (2008) – a made-for-TV show based on Austen’s letters

The Jane Austen Book Club (2007) – film based on the popular best-selling book

Mansfield Park (2007) – TV movie

Northanger Abbey (2007) – TV movie

Persuasion (2007) – TV movie

Becoming Jane (2007) – popular film based on Austen’s letters

Pride and Prejudice (2005) – Film

Bride and Prejudice (2004) – Bollywood film

Pride and Prejudice (2003) -modern adaptation film

The Real Jane Austen (2002) TV movie based on Jane Austen’s letters

Kandukondain, Kandukondain (2000) Film based on Sense and Sensibility

Mansfield Park (1998) – Film

“Wishbone”- “Pup Fiction” (1998) -an episode of the popular TV show based on Austen’s work

“Wishbone”- “Furst Impressions” (1997) – an episode of the popular TV show based on Austen’s work

“Emma” (1996) – TV movie

Emma (1996) – Film

Sense and Sensibility (1995) – Film

Persuasion (1995) – TV movie

“Pride and Prejudice” (1995) – TV mini-series

Sensibility and Sense (1990) – TV movie

Northanger Abbey (1987) -TV movie

Mansfield Park (1983) – TV mini-series

Sense and Sensibility (1981) – TV movie

Jane Austen in Manhattan (1980) – Film

“Pride and Prejudice” (1980) – TV mini-series

“Emma” (1972) – TV mini-series novel

“Novela” – “Persuasión” (1972) -TV series episode

Sense and Sensibility (1971) – TV movie

“Persuasion” (1971) -TV mini-series

“Novela” – “La abadía de Northanger” (1968) -TV series episode

“Pride and Prejudice (1967) – TV series

“Novela” – “Emma” (1967) – TV series episode

“Novela” – “Orgullo y prejuicio” (1966) -TV series episode

“Vier dochters Bennet, De” (1961) – TV mini-series based on Pride and Prejudice

Emma (1960) – TV movie

“Camera Three” (1960) – TV series based on Emma

“Persuasion” (1960) – TV mini-series

“Pride and Prejudice” (1958) – TV series

Pride and Prejudice (1958) – TV film

“General Motors Presents: Pride and Prejudice” (1958) – TV series episode

“Orgoglio e pregiudizio” (1957) – TV mini-series

“Matinee Theater: Pride and Prejudice” (1956) _ TV series episode

“Kraft Television Theatre: Emma” (1954) – TV series episode

“Pride and Prejudice” (1952) – TV mini-series

“The Philco Television Playhouse: Sense and Sensibility” (1950) – TV series episode

“The Philco Television Playhouse: Pride and Prejudice” (1949) – TV series episode

Emma (1948) -TV film

Pride and Prejudice (1940) – Film

Pride and Prejudice (1938) -TV

Jane Austen’s novels have never been out of print. It would seem that we might say the same thing of cinematic adaptations.

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The Library of Congress is Collecting Our Tweets

From America Now comes the news that the The Library of Congress is cataloging our Tweets on Twitter. Eventually, “tweeting” will not be the “in” thing to do in our leisure time.

However, the Library of Congress is currently collecting EVERY tweet from EVERY individual.

America Now cyber expert, Theresa Payton, says that “digital is forever.  The Library of Congress collects information that might be vital to our Nation’s history.  That mission extends to digital data, but they usually don’t collect everything digital and hold it forever.  Tweets are the exception and Payton tells us why:

‘The Library of Congress said they are not collecting ‘private’ tweets, which might mean the direct message function,’ Payton explains. ‘But they are collecting all tweets, regardless of topic, and storing them forever.'”

Check out the complete story at http://www.americanownews.com/story/17410107/library-of-congress-collects-and-stores-tweets


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Jane Austen’s Hollywood Appeal

Hollywood can’t get enough of Jane Austen

Jane Austen (1775-1817) is closer to Shakespeare, in calendar time, than to us. Yet her world is much closer to ours than his — which helps explain her astonishing ongoing popularity and why she’s not far below the Bard in the number of film adaptations of her work.

People are divided between wanting the past to feel strange and wanting it to feel familiar, said Henry James, and every effort to film the proverbial “period piece” is challenged by the same paradox.

But in Austen’s case, audiences can’t seem to get enough and supply is growing to meet demand: Some 40 feature films and television shows or series have been based on her works. (No. 1 Shakespeare has 400 features alone, with Dickens not a close second.) Rankings aside, Austen is clearly a cult favorite, especially among critics and academics.

But these days, she also has become a pop-culture phenomenon, her face and quotations available on everything from greeting cards and T-shirts to mousepads. “Masterpiece Theatre” on PBS will run adaptations of all six of Austen’s novels next year, plus a new drama based on her life.

What can explain such enduring fascination and eternally fresh appeal?

“Like Shakespeare, she understood human nature, which never changes,” says Joan Ray, University of Colorado English professor and longtime president of the Jane Austen Society of America. But Austen’s universality comes equipped with specificity, as well.

“She stands for England,” says Ray, citing the first superb movie version of “Pride and Prejudice” (1940), with Greer Garson and Laurence Olivier, among such other films of the period as “Mrs. Miniver” (1942, also starring Garson) intended to prod America into entering World War II “to save Jolly Old England.”

Not least of the reasons why Austen’s novels lend themselves so wonderfully to the screen is that she renders her stories largely in conversation. The dialogue comes ready-made. “I think she could’ve made great money today as a scriptwriter,” says Ray. In which regard, she once wrote her sister Cassandra, “I will write only for money!”

Certainly not for fame. All of her books were published anonymously. Only after her death at age of 41 did her brother Henry make her authorship known.

To read the complete article, visit http://www.post-gazette.com/stories/ae/movies/hollywood-cant-get-enough-of-jane-austen-496735/

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Baby Avery Loses Her Battle to Spinal Muscular Atrophy

Several days ago, I became aware of a 5-months-old little girl, whose parents had found a unique way to honor their dying child. As Baby Avery was only days younger than my grandson, the story touched my heart. Please consider a donation in this angel’s name.

“Bucket List” baby Avery Canahuati dies

By
Ryan Jaslow
avery canahuati, sma, spinal muscular atrophy(Credit: CBS KHOU)

(CBS News) Avery Canahuati, a baby who inspired countless readers as she raised awareness while struggling with a rare disease, has died. Her father Michael wrote of his daughter’s passing on the blog he and his wife had created for her, “Avery’s Bucket List.”

Avery’s Bucket List: Parents pen blog for baby dying of spinal muscular atrophy

The blog, written in Avery’s voice, encourages readers to share the story and to raise awareness about spinal muscular atrophy (SMA). The newest post was introduced by Avery’s dad, who said one of her lungs had collapsed and she went into cardiac arrest on Monday afternoon. Her father performed CPR and brought her back to life for a brief period of time before she passed away shortly after arriving at the hospital. Avery’s doctors had initially said the 5-month old girl may live as long as 18 months.

“Avery’s passing this quickly came as a complete shock to all of us, as she had just been given a thumbs up at her last doctor’s appointment only three days ago,” her father wrote. “While we were aware of the severity of her diagnosis, we never lost hope for Avery and even in her passing, we still have hope for our daughter and all of her friends.”

HealthPop reported yesterday that her parents decided to create the bucket list to make the most of her time alive and to spread awareness on the rare disease with no treatment yet.

“We can watch her die, or we can let her live,” her father Michael said. “And through letting her live we’re going to try and educate other people about this so they don’t have to go through it too.”

At 5-months-old Avery was able to scratch many items off her bucket list: The girl got her first kiss, a tattoo (temporary), her first trip to a baseball game, and other milestones aimed at spreading SMA awareness and encouraging parents to get screened for the SMA gene.

For the complete story, visit http://www.cbsnews.com/8301-504763_162-57425332-10391704/bucket-list-baby-avery-canahuati-dies/

From The Inquisitor comes this excerpt from Avery’s father, Michael

Michael then shared a letter that his 5-months-old daughter “wrote” to him before her passing. Avery writes:

“If you’re reading this it’s because I’ve gone to take care of my Uncle Bryant, Nana Carolyn, Papa George, and all my great Grandparents.  I love you veeeeeeeeeery much.  Also, tell Nana & G-Pa I love them too.  In fact, tell everyone who loved me that I love them and I appreciate them caring about me.… When I started writing my blog, I thought I’d only be speaking to my closest friends and family members.  Little did I know soooooooo many people would care about me and while I’m flattered to have so many people who love me, I hope they will also take time to love and care about all of my friends out there with SMA.

“When people think of me, I hope they’ll also think of all my friends who have been through this and who are going through this now.  But what I really hope for is that when people think about me, they will not waste time sitting there feeling sorry for me, rather I hope they will STAND UP in honor of me and all of my friends (past, present, and future).  And they can do so by spreading awareness and helping to fund a cure for my friends.

Mommy.  Daddy.  I love you every bit as much as you love me.  And while I’m not here physically, I will forever live in your minds, as you will mine. Love always, Avery, Aviator, Aves, Scuttlebutt.”

Avery also asked for people to donate to Dr. Kaspar’s SMA Gene Therapy program in order to help find a cure for SMA. (If you’d like, you can donate to the fund here.)
Read more at http://www.inquisitr.com/228359/bucket-list-baby-avery-loses-battle-with-sma/#D1B1uZJUS7KBetEs.99

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