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Excerpted from Emma by Jane Austen Copyright © 2007 by Jane Austen. Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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|About the Series||v|
|About This Volume||vii|
|About the Text||xi|
|Part 1||Emma: The Complete Text in Cultural Context|
|Introduction: Biographical and Historical Contexts||3|
|The Complete Text||21|
|Contextual Documents and Illustrations||382|
|from Unfortunate Situation of Females, Fashionably Educated, and Left without a Fortune. (1787)||387|
|from Letter to His Son (1750)||389|
|from Essays on the Picturesque (1810)||390|
|from Our Domestic Policy. No I. (1829)||391|
|Opinions of Emma (Ca. 1816)||392|
|Crossed Letter from Jane Austen to Cassandra (June 20, 1808)||398|
|The Frolics of the Sphynx (1820)||399|
|Square Pianoforte (1805)||400|
|A Barouche Landau (1805)||401|
|A View of Box Hill, Surrey (1733)||401|
|The Lincolnshire Ox (1790)||402|
|Part 2||Emma: A Case Study in Contemporary Criticism|
|A Critical History of Emma||405|
|Gender Criticism and Emma||425|
|What Is Gender Criticism?||425|
|Gender Criticism: A Selected Bibliography||437|
|A Gender Studies Perspective: Claudia L. Johnson, "Not at all what a man should be!": Remaking English Manhood in Emma||441|
|Marxist Criticism and Emma||456|
|What Is Marxist Criticism?||456|
|Marxist Criticism: A Selected Bibliography||470|
|A Marxist Perspective: Beth Fowkes Tobin, Aiding Impoverished Gentlewomen: Power and Class in Emma||473|
|Cultural Criticism and Emma||488|
|What Is Cultural Criticism?||488|
|Cultural Criticism: A Selected Bibliography||503|
|A Cultural Perspective: Paul Delany, "A Sort of Notch in the Donwell Estate": Intersections of Status and Class in Emma||508|
|The New Historicism and Emma||524|
|What Is the New Historicism?||524|
|The New Historicism: A Selected Bibliography||538|
|A New Historicist Perspective: Casey Finch and Peter Bowen, "The Tittle-Tattle of Highbury": Gossip and the Free Indirect Style in Emma||543|
|Feminist Criticism and Emma||559|
|What Is Feminist Criticism?||559|
|Feminist Criticism: A Selected Bibliography||569|
|A Feminist Perspective: Devoney Looser, "The Duty of Woman by Woman": Reforming Feminism in Emma||577|
|Combining Perspectives on Emma||594|
|Combining Perspectives: Marilyn Butler, Introduction to Emma||597|
|Glossary of Critical and Theoretical Terms||615|
|About the Contributors||635|
1. Describe the class and rank of various characters in the village of Highbury. Compare the positions of Mr. Weston, Mr. Elton, Miss Taylor, Harriet, and Emma with others in Highbury. How do matters of class affect the interaction of these characters, and would you describe class as being rigid or flexible as it is depicted by Jane Austen? To what extent can class be said to be of central importance to the development of the novel, since it is one of the most important considerations in marriage? Does class seem to be treated differently by those in Highbury than it does by outsiders, for example Frank Churchill and Mrs. Elton? Do you think it is significant that no woman in Highbury is of Emma's age and rank?
2. How does the relationship between Mr. Knightley and Emma change throughout the course of the novel? Although Austen does not directly tell us what their relationship was like during Emma's childhood, their long and intimate friendship is established at the novel's opening. In light of their occasional quarrels and Knightley's criticisms of Emma, for example, the criticism he made on Box Hill, how does Mr. Knightley feel about Emma? Do Mr. Knightley's feelings change as the novel progresses? If they do, what incidents account for the changes in his feelings?
3. Does Emma act as a good friend to Harriet Smith? Are Emma's concerns for Harriet's education and refinement born of an honest desire to help, or is it something less altruistic? Are Mr. Knightley's criticisms of Emma's interference with Mr. Martin's marriage proposal justified? Does Harriet ultimately benefit from Emma's friendship or her attempts to help her?
4. While matchmaking isthe central device in Emma, both for the plot and as a backdrop to develop characters, not all of the matches made in the novel are good. Compare the matches made between Mr. Weston and Miss Taylor, Emma and Mr. Knightley, Harriet and Mr. Martin, Jane Fairfax and Frank Churchill, and Mr. Elton and Mrs. Elton. Which are good matches and which are bad? What character traits in the couples make them suited or unsuited for each other? Why are the mismatches so important to the story?
5. In the final analysis, is Emma a sympathetic character? Does she seem to have good intentions only marred by a slight desire to interfere with other people's lives, or is she thoughtless and unconcerned with the effects she has on others? In your estimation, is Emma ultimately moral or immoral? What specific incidents in the novel lead you to that conclusion?