Book contents
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 “Je suis Voltaire,” or, Appropriating the Philosophe in the Social Media Age
- 2 “Who Lives, Who Dies, Who Tells Your Story?”: The Uses of Hamilton in Special Collections Pedagogy and Public Engagement
- 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines
- 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom
- 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill’s Mother Clap’s Molly House (2001)
- 6 Teaching with The Pilgrim’s Progress Video Game
- 7 Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
- 8 Teaching Eighteenth-Century Literature through Eighteenth- Century Adaptations: Adaptive Structures
- 9 “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
- 10 Fifty Shades of Pamela in the Undergraduate Classroom
- 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters
- 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses
- 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century
- 14 The Crusoeiana: Material Crusoe
- 15 Adaptation in Strange Places: Terrence Malick’s To the Wonder and the Narrative Effect and Form of Samuel Richardson’s Pamela
- 16 Adapting the Tombeaux des Princes: A Study in Media Variations
- 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie
- 18 “Lookin’ for a Mind at Work”: Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum
- Notes on the Contributors
- Index
9 - “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
Published online by Cambridge University Press: 26 April 2020
- Frontmatter
- Dedication
- Contents
- Acknowledgments
- Introduction
- 1 “Je suis Voltaire,” or, Appropriating the Philosophe in the Social Media Age
- 2 “Who Lives, Who Dies, Who Tells Your Story?”: The Uses of Hamilton in Special Collections Pedagogy and Public Engagement
- 3 Performing Frankenstein in the South: Sex, Race, and Science across the Disciplines
- 4 French Fairy Tales and Adaptations in the Twenty-First-Century Classroom
- 5 Select Trials at the Sessions-House in the Old-Bailey (1742) and Mark Ravenhill’s Mother Clap’s Molly House (2001)
- 6 Teaching with The Pilgrim’s Progress Video Game
- 7 Eliza Haywood’s “Bad Habits”: Teaching Adaptations of Fantomina: or, Love in a Maze and The Distress’d Orphan; or, Love in a Madhouse
- 8 Teaching Eighteenth-Century Literature through Eighteenth- Century Adaptations: Adaptive Structures
- 9 “A Private Had Been Flogged”: Adaptation and the “Invisible World” of Jane Austen
- 10 Fifty Shades of Pamela in the Undergraduate Classroom
- 11 Teaching the Austen-Monster-Mashup: Sense and Sensibility and Sea Monsters
- 12 Learning to Adapt: Teaching Pride and Prejudice and Its Adaptations in General Education Courses
- 13 Race and Romance: Adapting Free Women of Color in the Long Eighteenth Century
- 14 The Crusoeiana: Material Crusoe
- 15 Adaptation in Strange Places: Terrence Malick’s To the Wonder and the Narrative Effect and Form of Samuel Richardson’s Pamela
- 16 Adapting the Tombeaux des Princes: A Study in Media Variations
- 17 Experiential Pedagogy to Join the Thread of Conversation with Paul et Virginie
- 18 “Lookin’ for a Mind at Work”: Hamilton, Adaptation, and Enlightenment Ideals for the Core Curriculum
- Notes on the Contributors
- Index
Summary
In the first season of Outlander, Starz's 2014 series based on Diana Gabaldon's time-travel novel of the same title, the Scottish Highlander hero Jamie Fraser (Sam Heughan) in the 1743 narrative is flogged by the British army offi- cer Jonathan “Black Jack” Randall (Tobias Menzies). Within the context of the series, the graphic brutalization of the improbably buff and hairless body of Jamie is told in flashback, prompted when the time-traveling nurse Claire (Caitriona Balfe) asks about the scars on his back. The flogging, a scene showrunner Ronald Moore describes as “truthful and awful, without being gratuitous,” powerfully presents the physical effects of that violence, the English attitude toward the Scots, and the relative impunity with which British military officers could act. (The flogging is by no means the only vio- lence enacted by the British military on Scots in the series.) The scene vividly reminds viewers that during the long eighteenth century, institutionalized military brutality was public, common, and widely known.
This episode first ran while I was teaching a senior seminar on Jane Austen's Pride and Prejudice (1813) titled The Persistence of Pride and Prejudice. The course looked at Austen's originating text and a series of twen- tieth- and twenty-first-century adaptations and remediations that followed. We were discussing the moment from chapter 12 in Austen's novel when Kitty and Lydia return to Longbourn and report the “information” from the militia stationed in the town of Meryton: “Much had been done, and much had been said in the regiment since the preceding Wednesday; several of the officers had dined lately with their uncle, a private had been flogged, and it had actually been hinted that Colonel Forster was going to be married.” It is easy for the inattentive reader to miss the reference to flogging in that line, situated as it is between dining and a prospective marriage. (Indeed, that is precisely Austen's point.) When brought to their attention, twenty- first-century college students have, at best, an abstract understanding of what flogging would actually entail. The three-minute scene from Outlander not only illustrates the physical punishment, but also makes students consider that the violent act committed by a British officer upon a Scotsman he sus- pects of treasonous activity in Outlander is, in Jane Austen's text, committed by a British officer upon one of his own men.
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- Information
- Adapting the Eighteenth CenturyA Handbook of Pedagogies and Practices, pp. 141 - 157Publisher: Boydell & BrewerPrint publication year: 2020