Stories of the Past

1 Introduction
1.1 Stories of the Past
1.2 History and Fiction
1.3 Beyond the Novel
1.4 A Fiction ‘Process’
1.5 Overall Structure

2 The Literary Tourism Process
2.1 Introduction
2.2 Thomas Hardy – Wessex and Dorset
2.3 Jane Austen – Interpretation through Association
2.4 Conclusion: Literary Tourism and the Classic Fiction Process Model

3 The Adaptation Process
3.1 Introduction
3.2 The ‘Classic’ Novel Canon and Film and TV adaptations
3.3 Far from the Madding Crowd – Recreating Wessex
3.4 North and South – Consumer Perceptions of Milton
3.5 Conclusion: Adaptation and the Classic Fiction Process Model

4 The Critical Process
4.1 Introduction
4.2 Thomas Hardy and the London Critics
4.3 Elizabeth Gaskell and William Rathbone Greg
4.4 Conclusion: Criticism and the Classic Fiction Process Model

5 The Writing Process
5.1 Introduction
5.2 Jane Austen and Hampshire
5.3 Elizabeth Gaskell and Manchester
5.4 Conclusion: Writing and the Classic Fiction Process Model

6 J.B. Priestley’s The Good Companions – Discerning History
6.1 Introduction
6.2 J.B. Priestley and The Good Companions
6.3 Mind Mapping the World of The Good Companions
6.3.1 Mind Maps as a technique
6.3.2 Mind Mapping – Analysis and Summary
6.4 Textual Interpretation of the Yorkshire of The Good Companions
6.4.1 Interpretive Footnotes as a technique
6.4.2 Textual interpretation – Analysis and Summary
6.5 Analysing Adaptations of the World of The Good Companions
6.5.1 The Good Companions on Film
6.5.2 Comparing adaptations – Faithfulness to the Novel
6.5.3 Comparing Adaptations – Faithfulness to the Period
6.5.4 Comparing Adaptations – Summary
6.6 Visiting Priestley’s World
6.6.1 Priestley and Bradford
6.6.2 Visiting the Bradford of The Good Companions and Bright Day
6.6.3 Visiting Priestley’s World – Summary
6.7 Conclusion: The Good Companions as a Historical Resource

7 Stories of the Past: Conclusions