Representing gender in contemporary adaptations of canonical 19th century novels: the case of Pride & Prejudice

This MA thesis looks into contemporary adaptations of Jane Austen’s Pride & Prejudice and how they make use of the original work. Contemporary adaptations of classic canonical works still use the original work as a key signifier, but this is done in many ways. In regard to adaptation theory, it is relevant to research how this is done. This research focuses on the use of gender roles and how these gender roles are represented within the story. Gender is a concept that has undergone a historical change throughout the last two centuries, also as the understanding of these canonical works, such as Pride & Prejudice. Gender as such a clear focus for signifying a work has had little attention in adaptation theory and should be given more attention. This original work provides a very good case, since from all the adapted canonical works, which is a much adapted genre in itself, this is the most adapted one. The research answers the following question: how are gender roles represented in contemporary adaptations of Pride & Prejudice and how can the similarities and differences with the original work be explained? Through a qualitative textual analysis, based on the Narratology approach by Mieke Bal, three contemporary Pride & Prejudice adaptations are researched: the videogame Jane Austen: Pride and Prejudice, the vlog series The Lizzie Bennet Diaries and the film production Pride and Prejudice and Zombies. In the analysis characteristics of the personages, relationship between men and women and underlying gender ideology are researched, whilst also looking at the use of the ironic writing style of Austen and her ideas of an empowering heroine. As a result, it is found that even though at first sight the gender roles are divided in a progressive manner, patriarchal notions are still served. The naturalisation of characteristics that are ascribed to genders in still acted upon. Furthermore, the gaze and objectifying is done by both sexes, and perhaps even more by the women, making them progressive. However, since they do not use these tools that will empower them, the female characters remain passive and do not attribute to the narrative development, leaving them subordinate to the male characters. By not progressing assumptions on gender as much as possible, the adaptations serve a more conservative notion on regards towards gender as Jane Austen did in her time. Her use as a signifier for the adaptation is still very visible, but has not progressed with the zeitgeist regarding her ideas on gender. The contemporary adaptations are thus less progressive in regards to gender roles as detectable on first sight.