Ogród Jane Austen

A oto moja nowa praca. Wpierw orygina? dla angielskoj?zycznych:

Sunday Herald - 14 November 2004
A woman out of her time
By Lesley McDowell

Can a new adaptation of a 19th-century novel finally bring Elizabeth Gaskell the acclaim so long denied her?
It is 1854 and a young girl is looking out the window of a locomotive as it steams its way through a cold, grey world. She has left behind a land of such idyllic warmth and golden hues that when she recalls it in her mind it seems to be a dream; but it is not. It is her birthplace, the green and pleasant land of southern England, and she is unwillingly exchanging it for the bleak mills that loom up over the landscape of the industrial north.
This clever visual opens BBC1’s adaptation of Elizabeth Gaskell’s 19th-century novel North And South. The four-part series begins tonight and is based on a book that first appeared in 22 weekly instalments between September 1854 and January 1855 in Charles Dickens’s magazine Household Words. England’s topography may have changed but the issue of the north-south divide remains as relevant today as it was then; we sympathise with Margaret Hale (Daniela Denby-Ashe), whose father has removed his family from the quiet village of Helstone to the town of Milton as a result of his religious doubts, just as much as Gaskell’s 19th- century audience would have done. We see Margaret searching for lodgings for her family in a world of smog and dust; the house she secures is never clean because of the soot from nearby factories; out walking one day, she is jostled by a huge crowd of workers leaving the factory at clocking-off time.
But our heroine learns quickly the limits of these stereotypes. She adapts to her new surroundings, visits the impoverished employees of her father’s pupil, the mill-owner, John Thornton (Richard Armitage), and clashes passionately with Thornton himself when she argues for the rights of his workers about to go on strike over pay. There are many astute debates between Margaret and Thornton over working men’s rights versus managers’ interests, and Margaret’s political leanings are tested when she defends Thornton from a howling mob threatening his life. Her personal feelings are tried too when her heroic action sparks off feelings of desire in Thornton towards her, and he rather haplessly proceeds to woo his female adversary.
North And South is, says Glasgow University academic and Gaskell specialist Alison Chapman, “the perfect marriage of politics and romance, a major achievement for a woman writer at that time”. The explosive mixture is bound to be a ratings hit for the BBC (like their previous adaptation of Gaskell’s final novel Wives And Daughters in 1999), and a winner for publishers Penguin, who have just released a special television tie-in edition of the book. Yet the novel was not regarded as a success in its own time. Reviewers carped that women did not venture into the political arena; their literary concerns, if they really had had to have some, were “domestic and pastoral” only. Even Gaskell’s friend, Charlotte Bront??, had her doubts about the novel’s subject matter, and Dickens himself complained to a friend that he found it “too wordy” and “wearisome in the last degree”.
And things were no better in the early 20th century – North And South was, according to critic David Cecil, a mistake. Gaskell could not “have found a subject less suited to her talents”, which were for conveying “the pathetic and the charming.” Economics and history were, he said, “wholly outside the range of her Victorian feminine intellect”. Marxist critic Raymond Williams was a little better – he at least did not view Gaskell’s gender as prohibitive to an understanding of economics and history. But he saw North And South primarily as an “industrial novel”, which entirely disregarded the important relationship between Margaret Hale and John Thornton.
How could so many, from Bront?? to Williams, have got it so wrong? Elizabeth Gaskell, perhaps more than any other writer, has always confounded or divided critics. At a time when many women authors felt the need to use male-sounding pseudonyms (Currer Bell for Charlotte Bronte, George Eliot for Mary Ann Evans), Gaskell took the bold step of publishing under her own name. But even then, such a feminist advance was undermined by the appellation “Mrs”, a prefix which still adheres to her today and which emphasises her primary roles as wife and mother, preventing her being viewed as an artist. Gaskell herself was well aware of the division between home life and art that plagued women, when she wrote in 1850: “One of my mes is a true Christian, another of my mes is a wife and mother, and highly delighted at the delight of everyone else in the house … I try to drown myself (my first self) by saying it’s William [her husband] who is to decide, and his feeling it is right ought to be my rule. And so it is – only that does not quite do”.
Elizabeth Gaskell was born Elizabeth Stevenson in 1810, the daughter of a Unitarian minister who forsook the pulpit when he could not reconcile his faith with the acceptance of fees for preaching (an act recalled in North And South). When she was 13 months old, her mother died and she was passed into the care of an aunt (another autobiographical source mined for North And South), whom she loved dearly, and this relationship gave rise to her very modern view that “maternal love is not the natural attribute of every mother”. When she was 22 she married William Gaskell, whom she met through the Unitarian church and who was educated at Glasgow University. Theirs was a highly unusual marriage – Gaskell viewed it as a “working partnership”, although it was by all accounts a very loving one, and it was her husband who first encouraged her to write on the death of their infant son in 1845.
Many biographers have made much of this tragedy, precipitating her writing career. But her move to Manchester with her husband had just as much of an influence. According to one biographer, Gaskell “danced and played cards, drank wine and enjoyed the theatre, but she was also a prison visitor, she conducted a ‘ragged school’ in her home and she visited factories and mills”. Her religious principles encouraged her to mix with the working class and do what she could to help; her literary abilities allowed her to replicate their lives in her work. And while her first novel Mary Barton, written at the age of 38, propelled her to fame, it is probably North And South for which she is best known.
It was revolutionary of Gaskell to represent the opinions of the working class in that novel, argues Chapman. “Gaskell gives an accurate picture of their poverty but she also gives a romance to their lives – she shows the warmth of the community – as well as trying to be sympathetic to the prosperous middle-class mill owners. She wanted to show both points of view, to try to show a way out of class conflict. You can see the huge impact her Christian values had on her fiction. She wants to have mediation, not confrontation. There was a sense of exclusion in Gaskell herself, exclusion from the established church, and of being in Manchester away from the centre of the political or the literary world. She wants a negotiation to take place – a negotiation of fundamental values.”
For Sandy Welch, scriptwriter of the BBC production, the appeal of North And South lies in what she calls a very good love story in an unusual setting. “Gaskell’s great on domestic detail,” Welch says, “and on what passes between people in a smaller way, what people are really thinking. And people don’t appreciate why the north was such a jungle then, why it was such a lifestyle shift for Margaret. People are still quite ignorant about how people in this country lived.”
In the TV series, Welch has the newly arrived Margaret Hale walk right into the cotton mills, something that Gaskell did not do in her novel. “I just felt it was necessary for her to see the extraordinary new landscape along with the audience, and it also stops her being quite a priggish character. She is decent and brave but she takes offence to Thornton in the book straightaway for no good reason and we didn’t want the audience to be put off by that.”
Welch also tinkered with Gaskell’s portrayal of Margaret’s father’s religious doubts. “Modern audiences don’t understand why religious schisms happened; it’s very difficult to find an adequate reasons why the Hales had to leave Helstone.” To get round this, she dramatised it later than in the book, meaning that Margaret and her mother leave for the north without knowing why until they get there.
This newfound focus on the human aspect of Gaskell’s great novel, the love interest between Margaret and Thornton, and on the lives of the working-class families she meets is a much-needed and much deserved re-evaluation of North And South. Perhaps, too, critics will finally recognise the worth of a writer whom Chapman describes as “brave, radical and professional”. One hundred and fifty years late is better than never at all.

Gosiu jeste? Wielka

Caroline, Margarett, dzieki Jak milo z Waszej strony ..
Ale ja jak widzicie, mam braki, niektore sformulowania sa dla mnie nie do przejscia , po prostu nie wiem o co chodzi.
Ale z reszty jestem troszeczke dumna, ze mi sie udalo.

Ale za literatur? piekn? za nic bym sie nie wzi??a, to wy?sza szko?a jazdy, zarezerwowana dla mistrzow

Naprawde wiele zawdzi?czam temu nowemu slownikowi, ktory sobie pozyczylam, jest dosc obszerny i znajduje w nim rozne slowa, ktorych w innych nie bylo.
Chyba go sobie nabede, choc drogi piekielnie ...

Dzieki

Ale profesjonalisci te bledy widza

Hehe
Bede! I promise you!
Nawet jesli nie bedziecie chcialy

Dzieki Caroline, wszystkie adresy sobie zapamietam

Kolejna porcja wiadomosci, dziewczynki

Orygina?:

"The Journal, Newcastle, December 2004
Stepping out of the shadows
By Jane Hall, The Journal

Type Richard Armitage's name into any internet search engine and you will come up with hundreds of hits.
Unfortunately, few of them will have anything to do with Richard Armitage the actor. Most refer to a senior US politician of the same name.
This is proving frustrating for thousands of women fans. To see how frustrating you just have to log on to the BBC drama message board.
The following is typical: "Help! I have a new crush. I need to feed my addiction to Richard Armitage. Can anyone point me to his website? Signed `Besotted'."
"Richard makes my toes curl in anticipation," adds another. "He's much more exciting than Colin Firth as Darcy."
Other fans are more risque still - it seems that all red blooded women want to talk about is the man playing handsome and charismatic mill owner John Thornton in North and South, the BBC's adaptation of Elizabeth Gaskell's tale of riots and romance in a mid-Victorian cotton town.
But the man in question says he is blissfully unaware of the excitement he is generating.
"Oh God," he says. "Are they really saying all that? I have made a point of not reading any reviews. My experience making North and South was so good I don't want it tainted”.
"I don't know what to say. I will read it all eventually, but I think I'd better wait until the fuss dies down."
Richard, 33, has certainly struck a chord as Thornton. And it was with a collective sigh of relief from the seven million women who have sat down to watch the four-part drama, that Thornton last night eventually won the heart of feisty and outspoken Margaret Hale.
Many will have no doubt wished they were in former EastEnders star Daniela Denby-Ashe's dainty Victorian shoes when Thornton finally took the woman of his dreams into his arms.
It's a decade since Colin Firth in Pride and Prejudice emerged from a lake dripping-wet and with his breeches sculpted to his body to spark `Darcymania'.
Richard, who fans will be thrilled to hear is currently single ("There is no-one interested as far as I am aware,") says he is "extremely flattered by all the attention." But he seems down to earth enough not to get carried away.
Thornton is but one character played in a career stretching back 12 years and including a stint with the RSC - he played Angus in Macbeth and Delio in the Duchess of Malfi - which brought him to Newcastle
And while there are elements of Richard's character in Thornton, he says: "He isn't me."
But he adds: "I can see his appeal for women. He is courageous. He has suffered great tragedy in his life and kept his family together. He has this reputation that precedes him, based on his ruthlessness with his workers, and I think that's quite an exciting dynamic to start with.
"But during the course of the story his layers get peeled back and he reveals somebody else inside who is actually quite sensitive and lonely. He needs a lot and he finds it through Margaret.
"That dichotomy between the powerful, almost monstrous, entrepreneur and this kind of vulnerable boy is really exciting to look at."
Like many in his profession Richard has had to wait many years for his big break, and isn't about to get carried away by his newfound fame. North and South represents the actor's biggest role to date - and a part he desperately wanted to get. "I just couldn't get this part out of my head and I kept reading the book.
I tortured myself with thinking I hadn't got the part. I was one of the first people they saw - and one of the last. They went off in all sorts of directions looking for the character but then it came back around and they decided to go with me, which was great."
Richard was drawn by the fact North and South isn't just a love story in the Pride and Prejudice vein, but an appeal on Mrs Gaskell's part for humanity and understanding between masters and their men.
There is also his family background. "My father is from Leeds, and my mother is from the south.
"My father's family were weavers and spinners. It is where I came from and it was exciting to think I could be a part of it.
"I've also worked in the North a lot, more than anywhere else. My mill was in Keighley where I really found the character."
He was exhaustive in his research of Thornton's character, and looked at the early socialists.
He was also keen to portray Thornton as authentically as possible. "We found an accent which was not a modern city accent, or a country accent. It was old-fashioned, but still an industrial accent."
His own accent couldn't be further removed from Thornton's. A graduate of the London Academy of Music and Dramatic Art, Richard's can best be described as nondescript Southern.
His speech is peppered with jokes and little asides. He seems to enjoy being interviewed but it is a relatively new experience. While he has rarely been short of work he says: "Most of my roles have tended to be contrasting. I'm sort of there in the background."
He is unlikely to remain in the background now.

Nie no, Gosia! Jestes wielka!! Swietne te twoje tumaczenia, a i ciekawe artyku?y znajdujesz. Gratuluje!! I dzieki.

To by sie zgadzalo, bo nie bylam pewna czy dobrze zrozumialam ta kwestie w artykule, ale teraz juz moge spokojnie poprawic to zdanie, usuwaj?c watpliwosc.

Dzieki wszystkim za mile slowa

Hmmm, przes?ucha?am sobie wywiad z Richardem, ten ostatni, po którym Gosia zaplanowa?a desant na South-East London
Lubi? go?cia za rol? Thorntonika oczywi?cie, ale jako on sam sprawia niesamowicie sympatyczne wra?enie, uj?? mnie tym jak mówi? o fankach. Ten prezenter taki sztywny troch?, nabija? si? z Armitage Army i raczej szyderczo si? wypowiada? o tych wszystkich objawach euforii, a Rysiu si? do niego nie przy??czy?, wr?cz przeciwnie, przynajmniej dwa razy pad?o okre?lenie "very nice ladies". No du?y plus dla chopaka.

Du?o o projekcie "Impresjoni?ci" i o samych impresjonistach, (ciekawie si? ten serial zapowiada btw). Na pytanie co wiedzia? o impresjonistach przed kr?ceniem, powiedzia?, ?e jego mama mia?a podk?adk? na stó? z "Nenufarami" Moneta
Troszk? o Robin Hoodzie, nie wie jeszcze, czy b?dzie si? z kim? ca?owa?, bo nie widzia? scenariusza i nie b?dzie nosi? rajstop (ech ten Errol Flynn)
Na razie nie wyst?puje na scenie, bo jest zaj?ty Robin Hoodem.
Pod koniec sobie ?artowali, ?e nast?pnym razem przyjdzie do studia z Armitage Army, a ten prezenter mówi?, ?eby tego nie robi?, jaki? niemi?y by? naprawd?, drugi ratowa? sytuacj? mówi?c, ?e nie zmie?ci?yby si? w studio. Jeszcze a propos A.Army, powiedzia?, ?e bardzo dobrze jest mie? swoj? prywatn? armi? na wypadek wojny.
Reszty nie zrozumia?am albo nie zapami?ta?am, mog? pos?ucha? jeszcze raz i co? wy?apa?, bo mi?o si? go s?ucha, niesamowity ma g?os, cho? w filmie jeszcze lepszy.

A propos SouthEastLondon to zdaje sie, ze on mowi,
ze zdarza mu sie czasem podrozowac pociagiem?
Jakas wiec szansa istnieje
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Przesluchalam jeszcze kilka razy wywiad i rozumiem juz troche wiecej.
W mailach fanki zamiast zadawac mu pytanie, wyrazaly swoje gorace uczucia do Richarda (uzywajac wielu wykrzyknikow co prezenter podkreslal), pewnie ten prezenter byl zazdrosny o powodzenie Richarda, bo sam takich listow nie dostaje

Zdaje sie ktos (z Belgii chyba) pytal go juz o date ukazania sie DVD z "Impresjonistami", a on na to sie rozesmial, bo przeciez film jeszcze nie ukazal sie w TV (premiera TV bedzie podobno 30.04 na BBC One) i powiedzial zartem, ?e ukaze sie za dwa tygodnie, co oczywiscie jest niemozliwe. Ale przy okazji tego pytania Richard dowiedzial sie, ze fani z innych krajow juz czekaja na wersje DVD, bo przeciez nie odbieraja tego kanalu BBC.

Oooo! Dzieki
Hehe, ja tez stwierdzilam, ze pewnie przypomnial sobie sprawe DVD z N&S. Bo wydanie tego filmu to sprawka Armitage Army

Caroline, moze cos tam jeszcze uslyszysz?
Dzieki za ta nazwe obrazu, nigdy bym jej nie zrozumiala. I nie przypuszczalabym, ze akurat ten obraz moze mu sie podobac ...

A w ogole to on uroczo sie smieje

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