Emma / Jane Austen.
By: Austen, Jane.
Material type: BookSeries: Wordsworth classics: Publisher: Ware : Wordsworth Classics, 1994Description: viii, 358 p. ; 20 cm.ISBN: 1853260282 .Subject(s): Young women -- England -- Fiction | England -- Social life and customs -- 19th century -- FictionDDC classification: 823.7Item type | Current library | Call number | Copy number | Status | Date due | Barcode | Item holds |
---|---|---|---|---|---|---|---|
General Lending | MTU Bishopstown Library Lending | 823.7 (Browse shelf(Opens below)) | 1 | Available | 00010245 |
Enhanced descriptions from Syndetics:
With an Introduction and Notes by Dr Nicola Bradbury, University of Reading.
Jane Austen teased readers with the idea of a 'heroine whom no one but myself will much like', but Emma is irresistible. 'Handsome, clever, and rich', Emma is also an 'imaginist', 'on fire with speculation and foresight'. She sees the signs of romance all around her, but thinks she will never be married.
Her matchmaking maps out relationships that Jane Austen ironically tweaks into a clearer perspective. Judgement and imagination are matched in games the reader too can enjoy, and the end is a triumph of understanding.
Bibliography: p.vii-viii..
Table of contents provided by Syndetics
- About the Series
- About This Volume
- About the Text
- Part 1 Emma: The Complete Text in Cultural Context
- Introduction: Biographical and Historical Contexts
- The Complete Text
- Cultural Documents and Illustrations
- A Riddle
- Unfortunate Situation of Females, Fashionably Educated, and Left without a Fortune (1787)
- Letter to his Son (1750)
- Essay on the Picturesque (1810)
- Our Domestic Policy No. 1 (1829)
- Opinions of Emma (Ca. 1816)
- Crossed Letter from Jane Austen to Cassandra (June 20, 1808)
- The Frolics of the Sphinx (1820)
- Square Pianoforte (1805)
- A Barouche Landau (1805)
- A View of Box Hill, Surrey (1733)
- The Lincolnshire Ox (1790)
- Part 2 Emma: A Case Study in Contemporary Criticism
- A Critical History of Emma
- Gender Studies and Emma
- What Is Gender Studies?
- Gender Studies: A Selected Bibliography
- A Gender Studies Perspective:
- âÇ£Not at all what a man should be!âÇ : Remaking English Manhood in Emma
Excerpt provided by Syndetics
Reviews provided by Syndetics
Library Journal Review
Though very practical, Emma Woodhouse is often a proper romantic, trying to match her protégé Harriet with a worthy spouse. While Emma sincerely cares for her hypersensitive father, endures the minister's incredibly annoying wife, and maintains close relationships with family and friends, her matchmaking, though well intended, is sometimes misguided. However, Austen rewards readers with happy endings for all the story's couples, including Emma herself. Austen's adored classic paints a charming portrait of the social constraints of 18th-century English gentry. Anna Bentinck delivers an excellent narration, infusing a varied cast of characters with lively personalities. Verdict This beloved and enduring novel is a wise choice for all library collections.-Barbara Wysocki, formerly with Cora J. Belden Lib., Rocky Hill, CT © Copyright 2017. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.School Library Journal Review
Gr 7 Up-Austen's unlikable and meddling leading lady gets the shuojo treatment in this manga adaptation of Emma. The match-making society lady, riding on the high of having recently paired up her governess and a wealthy neighbor, attempts to unite all of the single denizens of Highbury, in Regency-era England. The key players (Emma, Mr. Knightley, Harriet Smith, Jane Fairfax, and Frank Churchill) are given most of the screen time in this version. After some misunderstandings and entanglements, romances end happily and mysteries are solved. Chan keeps the essence of the original, complete with flirtatious banter, social commentary, and Emma's character growth from self-centered and condescending diva to slightly more humble and good-intentioned heroine. The work's Mr. Knightley is more self-righteous than the classic's, but the manga's dreamy depiction of him will quickly win over readers. Discerning teens will be able to catch the clues hidden within the gray-toned illustrations as to the characters' true feelings. The variation in panel design and use of the format's traditional chibi form add to the narrative's dynamic pacing. Many of the original title's interior monologue is presented in striking visuals, such as Emma's realization of the nature of her affection for Mr. Knightley, which is expressed in a wordless multiple-panel scene of her pricking herself with a rose and dropping its vase to the floor. Character sketches and adapter's and artist's notes give context for their creative choices, offering an in-depth look at the manga format. VERDICT A wonderful interpretation of the classic for reluctant readers and purists alike.-Shelley Diaz, School Library Journal © Copyright 2015. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.Kirkus Book Review
A ""fragment"" of a story called Emma appeared in a magazine shortly after Charlotte Bronte's death. And certainly there are moments in the opening chapter of this comfy 18th-century tale--about a redeemed orphan child, perfidious plots, and silver arrows of romance--that burn with the Bronte genius. After that, however, convincing period tone flattens out (phrases like ""sense of security"" creep in), though the tale remains entertaining enough through to the end. The child Matilda, a ""wretched little soul,"" is brought to the ladies' school run by Miss Wilcox--a cool lady with thin lips and a fervor for the well-being of wealthy pupils--by handsome toff Conway Fitzgerald, who is apparently Matilda's father. But weeks later it becomes obvious that Fitzgerald has disappeared for good, and poor Matilda, hitherto given ""princess"" treatment, is ordered forth in a tattered hand-me-down. Her savior is kind Mr. Ellin, ""very harmless and quiet, not always perhaps so perfectly unreserved and comprehensible as might be wished."" He whisks Matilda off to young widow Arminel Chalfort (who narrates the story), and Ellin and Mrs. Chalfort attempt to discover the child's history despite the fact that Matilda is silenced by an unknown terror. Eventually, after initial detective work by Ellin and reminiscences by Mrs. Chalfort about her grim marriage and persecution by step-children (including the dreadful Emma), Matilda becomes a cheerful, happy little girl who adores her new guardians. Finally, then, there's a kidnapping, a secret tale about a dead baby, a night visit to a tomb, flights, two deaths, and blackmail. Plus: a fairy-tale ending. Some minor fun for literary detectives, some lively diversion for romance-gothic traditionalists. Copyright ©Kirkus Reviews, used with permission.Author notes provided by Syndetics
Jane Austen's life is striking for the contrast between the great works she wrote in secret and the outward appearance of being quite dull and ordinary. Austen was born in the small English town of Steventon in Hampshire, and educated at home by her clergyman father. She was deeply devoted to her family. For a short time, the Austens lived in the resort city of Bath, but when her father died, they returned to Steventon, where Austen lived until her death at the age of 41.Austen was drawn to literature early, she began writing novels that satirized both the writers and the manners of the 1790's. Her sharp sense of humor and keen eye for the ridiculous in human behavior gave her works lasting appeal. She is at her best in such books as Pride and Prejudice (1813), Mansfield Park (1814), and Emma (1816), in which she examines and often ridicules the behavior of small groups of middle-class characters. Austen relies heavily on conversations among her characters to reveal their personalities, and at times her novels read almost like plays. Several of them have, in fact, been made into films. She is considered to be one of the most beloved British authors.
(Bowker Author Biography)