Jane Austen … Now with Ultraviolent Zombie Mayhem

Nelson, Camilla

doi:10.1093/adaptation/apt014

Cited by 5 publications

(1 citation statement)

References 4 publications

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“…(p. 30) However, all this being said, in spite of providing the historical contexts of both national and international upheavals in Austen's time, she does not illustrate how zombies embody the lower classes and the French invaders (since her focus is on a feminist reading of PPZ). Camilla Nelson (2013) points out that the class dimensions are exacerbated. Wealth and social class assume an increased importance because only the wealthy and the privileged are able to have a large training hall, employ a large number of ninjas and spend time training, and wealth, class and combat skills make someone like Lady Catherine worthy of respect (p. 344).…”

Section: The London Of Ppzmentioning

confidence: 99%

The London in Pride and Prejudice and Zombies (2009) and its 2016 Filmic Adaption

Uttama

2021

THTS

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This paper aims to read the zombies in Pride and Prejudice and Zombies (2009) and its 2016 filmic adaption by Burr Steers as embodiments of the lower classes and foreign invaders in Austen's novels. Zombies, as popular monsters, are linked with social disorder, filth and disease, all of which the upper social strata in Jane Austen's time believed to be associated with the lower classes. By the addition of a zombie outbreak to Austen's Pride and Prejudice, Grahame-Smith manifests Austen's or the lateeighteenth-century gentry's and the upper classes' anxiety about the lower social classes and the masses in London with their tendency to stage riots and spread disease. In the filmic adaption, the zombies embody foreign invaders attempting to destroy London which stands for the nation. The collapse of London suggests that the film follows the popular cinematic representation of the city in apocalyptic zombie films. To achieve its aim, this paper employs a socio-historical approach by analyzing Austen's works against the socio-historical context of the late eighteenth and early nineteenth centuries with regard to the lower social orders and foreign invasion, revealing the threats they pose and illustrating how these threats are captured by zombies.

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Section: The London Of Ppzmentioning

confidence: 99%

The London in Pride and Prejudice and Zombies (2009) and its 2016 Filmic Adaption

Uttama

2021

THTS

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“Now with Ultraviolent Zombie Mayhem!” The Neo-Victorian Novel-as-Mashup and the Limits of Postmodern Irony

Bruin-Molé¹

2017

Neo-Victorian Humour

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This article situates the novel-as-mashup, first popularised by Seth Grahame-Smith's Pride and Prejudice and Zombies (2009), within twenty-firstcentury neo-Victorianism. Using several key examples of these mashup texts, it embarks on a discussion of postmodernism's ironic nostalgia, exploring the limits of such irony through questions of hermeneutics and ethics that are currently relevant in the field of neo-Victorian studies. Is it possible to find any stable meaning (or meaningful irony) in a text that is made up of other texts? What happens when texts are wilfully or inadvertently misread, and how do we approach instances where misreading causes harm, or reproduces problematic ideologies? Can texts that do not use the past seriously still be ironic, and if not, what does this mean for commercial, parodical genres like the novel-as-mashup?

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Serial Austen. Mashingups with Zombies

Federici

2017

Between

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Jane Austen … Now with Ultraviolent Zombie Mayhem

Cited by 5 publications

References 4 publications

The London in Pride and Prejudice and Zombies (2009) and its 2016 Filmic Adaption

The London in Pride and Prejudice and Zombies (2009) and its 2016 Filmic Adaption

“Now with Ultraviolent Zombie Mayhem!” The Neo-Victorian Novel-as-Mashup and the Limits of Postmodern Irony

Serial Austen. Mashingups with Zombies

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