Emma: Power and Propriety
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Play Guide Table of Contents
PLAY GUIDE TABLE OF CONTENTS ABOUT ATC 1 INTRODUCTION TO THE PLAY 2 SYNOPSIS 2 SONG LIST 3 MEET THE CHARACTERS 4 MEET THE CREATORS: PAUL GORDON AND JANE AUSTEN 5 INTERVIEW WITH PAUL GORDON 7 THE NOVEL IN THE MUSIC 9 POLLOCK’S TOY THEATRES 11 LITERARY CATEGORIZATION OF AUSTEN 12 LITERARY TIMELINE 13 THE AUSTEN INDUSTRY 14 AUSTEN IN POPULAR CULTURE 15 FEMINISM IN EMMA 16 THE EMMA DEDICATION 18 HISTORICAL CONTEXT 18 HISTORICAL TIMELINE 22 DISCUSSION QUESTIONS AND ACTIVITIES 23 Jane Austen’s Emma Play Guide written and compiled by Katherine Monberg, Literary Assistant, and R Elisabeth Burton, Artistic Intern Discussion questions and activities provided by April Jackson, Associate Education Manager, Amber Tibbitts and Bryanna Patrick, Education Associates Support for ATC’s education and community programming has been provided by: APS JPMorgan Chase The Marshall Foundation Arizona Commission on the Arts John and Helen Murphy Foundation The Maurice and Meta Gross Bank of America Foundation National Endowment for the Arts Foundation Blue Cross Blue Shield Arizona Phoenix Office of Arts and Culture The Max and Victoria Dreyfus Foundation Boeing PICOR Charitable Foundation The Stocker Foundation City Of Glendale Rosemont Copper The William L and Ruth T Pendleton Community Foundation for Southern Arizona Stonewall Foundation Memorial Fund Cox Charities Target Tucson Medical Center Downtown Tucson Partnership The Boeing Company Tucson Pima Arts Council Enterprise Holdings Foundation The Donald Pitt Family Foundation Wells Fargo Ford Motor Company -
Adaptations of Austen: How Does Multimedia Impact Our Ability to Read Between the Lines of Pride and Prejudice and Emma?
Adaptations of Austen: How Does Multimedia Impact Our Ability to Read Between the Lines of Pride and Prejudice and Emma? Presented to the S. Daniel Abraham Honors Program in Partial Fulfillment of the Requirements for Completion of the Program Stern College for Women Yeshiva University May 6, 2020 Elka Basya Wiesenberg Mentor: Dr. Nora Nachumi, English Introduction “We’ve all seen it at least once,” says Devoney Looser, in The Making of Jane Austen, “A purist complains that Jane Austen’s fiction is being cheapened or even destroyed by film and television adaptations, [and by] vlogs” (13).1 Some readers of Austen feel that onscreen adaptations are ruining the novels. The characters, the story, the novels do not necessarily translate the way these readers imagined them, and this makes these adaptations undesirable to them, not giving them the experience that they want. Are these purists correct? Are modern adaptations destroying the authentic experience of a Jane Austen novel? Or is there something to be gained from a multimedia adaptation of Austen’s works? To begin to understand these questions, we must explore others. First, we must understand: What is the experience of an Austen novel? Second, we must discuss: How is this experience translated into a screen adaptation? What is different? These are questions that this paper will answer in order to understand the above complaints and prove them partially right-- and partially wrong. An Austen novel’s appeal lies heavily in its narrative voice, its narrator and style, as will be discussed, and this is what we will consider the Austen experience. -
The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019
Masthead Logo Scholar Works Honors Theses Honors 2019 Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker University of Maine at Farmington Follow this and additional works at: https://scholarworks.umf.maine.edu/honors_theses Part of the Comparative Literature Commons Recommended Citation Decker, Nichole, "Bricolage on the Upper East Side: The nI tertwining of Multimedia in Emma, Clueless, and Gossip Girl" (2019). Honors Theses. 5. https://scholarworks.umf.maine.edu/honors_theses/5 This Research Project is brought to you for free and open access by the Honors at Scholar Works. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholar Works. For more information, please contact [email protected]. 2 Bricolage on the Upper East Side: The Intertwining of Multimedia in Emma, Clueless, and Gossip Girl Nichole Decker Honors Scholar Project May 6, 2019 “Okay, so you’re probably going, is this like a Noxzema commercial or what?” - Cher In this paper I will analyze the classic novel Emma, and the 1995 film Clueless, as an adaptive pair, but I will also be analyzing the TV series, Gossip Girl, as a derivative text. I bring this series into the discussion because of the ways in which it echos, parallels, and alludes to both Emma and Clueless individually, and the two as a source pair. I do not argue that the series is an actual adaptation, but rather, a sort of collage, recombining motifs from both source texts to create something new, exciting, and completely absurd. -
A Character Analysis in Jane Austen's Emma and Amy Heckerling's Clueless Through Intertextuality
SOCIAL MENTALITY AND RESEARCHER THINKERS JOURNAL Doı: http://dx.doi.org/10.31576/smryj.580 REVIEW ARTICLE SmartJournal 2020; 6(34):1286-1297 Arrival : 23/06/2020 Published : 20/08/2020 A CHARACTER ANALYSIS IN JANE AUSTEN’S EMMA AND AMY HECKERLING’S CLUELESS THROUGH INTERTEXTUALITY Jane Austen'nin Emma Ve Amy Heckerlıng'in Clueless’ında Metinlerarasılık Bağlamında Karakter Analizi Reference: Albay, N.G. (2020). “A Character Analysıs In Jane Austen’s Emma And Amy Heckerlıng’s Clueless Through Intertextualıty”, International Social Mentality and Researcher Thinkers Journal, (Issn:2630-631X) 6(34): 1286-1297. English Instructor, Dr Neslihan G. ALBAY Istanbul Sabahattin Zaim University, Foreign Languages Coordination, English Preparatory School, Istanbul / Turkey ABSTRACT ÖZET Based on the interaction between cinema and classical Sinema ve klasik eserler arasındaki etkileşime dayanarak, works, Jane Austen’s Emma and Amy Heckerling’s Clueless Jane Austen’in Emma ve Amy Heckerling’in Clueless adlı enable us to make an intriguing character analysis through eseri, yirminci yüzyılın merceğinden ilginç bir karakter the lens of the twentieth century. In her novels, Austen analizi yapmamızı sağlıyor. Austen romanlarında arazi embraced the themes of love and marriage in a society mülkiyeti, gelir ve sosyal statünün hakim olduğu bir dominated by land ownership, income and social status. She toplumda sevgi ve evlilik temalarını benimsemiştir. 19. dealt with the conflicts and problems arising from the yüzyılda yaşayan burjuvazinin ve orta sınıfın evlilik marriage issues of the bourgeoisie and middle class living in sorunlarından kaynaklanan çatışma ve sorunları ele the 19th century. Like many women writers she was almıştır. Birçok kadın yazar gibi eleştirildi, eserleri bu criticized, her works were not recognized or published sorunlar nedeniyle tanınmadı veya yayınlanmadı. -
USA -V- Julian Assange Judgment
JUDICIARY OF ENGLAND AND WALES District Judge (Magistrates’ Court) Vanessa Baraitser In the Westminster Magistrates’ Court Between: THE GOVERNMENT OF THE UNITED STATES OF AMERICA Requesting State -v- JULIAN PAUL ASSANGE Requested Person INDEX Page A. Introduction 2 a. The Request 2 b. Procedural History (US) 3 c. Procedural History (UK) 4 B. The Conduct 5 a. Second Superseding Indictment 5 b. Alleged Conduct 9 c. The Evidence 15 C. Issues Raised 15 D. The US-UK Treaty 16 E. Initial Stages of the Extradition Hearing 25 a. Section 78(2) 25 b. Section 78(4) 26 I. Section 78(4)(a) 26 II. Section 78(4)(b) 26 i. Section 137(3)(a): The Conduct 27 ii. Section 137(3)(b): Dual Criminality 27 1 The first strand (count 2) 33 The second strand (counts 3-14,1,18) and Article 10 34 The third strand (counts 15-17, 1) and Article 10 43 The right to truth/ Necessity 50 iii. Section 137(3)(c): maximum sentence requirement 53 F. Bars to Extradition 53 a. Section 81 (Extraneous Considerations) 53 I. Section 81(a) 55 II. Section 81(b) 69 b. Section 82 (Passage of Time) 71 G. Human Rights 76 a. Article 6 84 b. Article 7 82 c. Article 10 88 H. Health – Section 91 92 a. Prison Conditions 93 I. Pre-Trial 93 II. Post-Trial 98 b. Psychiatric Evidence 101 I. The defence medical evidence 101 II. The US medical evidence 105 III. Findings on the medical evidence 108 c. The Turner Criteria 111 I. -
Re-Viewing Mr. Elton & Frank Churchill Through the Circle Metaphors in Emma
Re-viewing Mr. Elton t & Frank Churchill :L Through the Circle i Metaphors in Emma MARGARET ENRIGHT WYE Margaret Enright Wye, an Assistant Professor at Rockhurst University, combines her metaphorical research with a life-long love of Jane Austen. She is the author of Jane Austen’s Emma: Embodied Metaphor as a Cognitive Construct. Jane Austen’s Emma consistently replicates and then challenges the very foundations of eighteenth- and nineteenth-century soci- ety; i.e., the social and family circles upon which any community must depend. The novel accomplishes its aim on two levels. First, the finely brushed language successfully imitates, in novel form, the discourse practices of Austen’s social milieu. These discourse practices, because of their metaphorical content, still structure today’s linguistic practices and are therefore easily understood by the modern reader. Second, the linguistically exposed discur- sive structure then stands as timeless testimony to an artist careful and powerful enough to trust everyday language use as a vehicle of social import. The research of George Lakoff and Mark Johnson concerning cognitive metaphor forms a backdrop to this critical assessment, especially as segmented into its volume structure (Figure 1, The Text as Circle Metaphor). The result- ing analyses offer new insights into the social constructs that inform what is arguably Austen’s most intricately patterned novel. Metaphor, according to Lakoff and Johnson, is the process in which ideational schemata are mapped from the domain of the 142 PERSUASIONS No. 21 Figure 1: The Text as Circle Metaphor physical experience onto the domain of the abstract. Metaphors represent our shared, embodied human comprehension of basic manipulations of everyday life, identified by Johnson as basic, con- ceptual metaphors. -
Julian Assange Judgment
JUDICIARY OF ENGLAND AND WALES District Judge (Magistrates’ Court) Vanessa Baraitser In the Westminster Magistrates’ Court Between: THE GOVERNMENT OF THE UNITED STATES OF AMERICA Requesting State -v- JULIAN PAUL ASSANGE Requested Person INDEX Page A. Introduction 2 a. The Request 2 b. Procedural History (US) 3 c. Procedural History (UK) 4 B. The Conduct 5 a. Second Superseding Indictment 5 b. Alleged Conduct 9 c. The Evidence 15 C. Issues Raised 15 D. The US-UK Treaty 16 E. Initial Stages of the Extradition Hearing 25 a. Section 78(2) 25 b. Section 78(4) 26 I. Section 78(4)(a) 26 II. Section 78(4)(b) 26 i. Section 137(3)(a): The Conduct 27 ii. Section 137(3)(b): Dual Criminality 27 1 The first strand (count 2) 33 The second strand (counts 3-14,1,18) and Article 10 34 The third strand (counts 15-17, 1) and Article 10 43 The right to truth/ Necessity 50 iii. Section 137(3)(c): maximum sentence requirement 53 F. Bars to Extradition 53 a. Section 81 (Extraneous Considerations) 53 I. Section 81(a) 55 II. Section 81(b) 69 b. Section 82 (Passage of Time) 71 G. Human Rights 76 a. Article 6 84 b. Article 7 82 c. Article 10 88 H. Health – Section 91 92 a. Prison Conditions 93 I. Pre-Trial 93 II. Post-Trial 98 b. Psychiatric Evidence 101 I. The defence medical evidence 101 II. The US medical evidence 105 III. Findings on the medical evidence 108 c. The Turner Criteria 111 I. -
Emma by Jane Austen
Emma by Jane Austen Born- 16 December 1775 Steventon Rectory, Hampshire, England Died - 18 July 1817 (aged 41) Winchester, Hampshire, England Resting place- Winchester Cathedral, Hampshire, England Education- Reading Abbey Girls' School Period- 1787 to 1809–11 By:- Dr. Ritu Mittal Assistant professor JKP(PG) College Muzaffarnagar BIOGRAPHY Jane Austen was an English novelist whose books, set among the English middle and upper classes, are notable for their wit, social observation and insights into the lives of early 19th century women. Jane Austen was born on 16 December 1775 in the village of Steventon in Hampshire. She was one of eight children of a clergyman and grew up in a close-knit family. She began to write as a teenager. In 1801 the family moved to Bath. After the death of Jane's father in 1805 Jane, her sister Cassandra and their mother moved several times eventually settling in Chawton, near Steventon. Jane's brother Henry helped her negotiate with a publisher and her first novel, 'Sense and Sensibility', appeared in 1811. Her next novel 'Pride and Prejudice', which she described as her "own darling child" received highly favourable reviews. 'Mansfield Park' was published in 1814, then 'Emma' in 1816. 'Emma' was dedicated to the prince regent, an admirer of her work. All of Jane Austen's novels were published anonymously. • . • In 1816, Jane began to suffer from ill-health, probably due to Addison's disease. She travelled to Winchester to receive treatment, and died there on 18 July 1817. Two more novels, 'Persuasion' and 'Northanger Abbey' were published posthumously and a final novel was left incomplete. -
Unconscious Motives in Jane Austen's Emma
SYDNEY STUDIES Unconscious Motives in Jane Austen's Emma G.A. WILKES The words 'unconscious' and 'unconsciously' occur twenty times in Jane Austen's six novels, l with various levels of meaning. The simplest instance is the 'unconscious Marianne' of Sense and Sensibility (p. 333), unconscious because she has fallen asleep. The word is applied in a similar way to the trees of Norland Park, in "\larianne's romantic imaginings about them after her departure: 'you will continue the same; unconscious of the pleasure or the regret you occasion, and insensible ofany change in those who walk under your shade!' (p. 27). When Catherine Morland is despatched so unceremoniously from Northanger Abbey, and the post-chaise passes the turning to Woodston, she thinks of Henry Tilney 'so near, yet so unconscious' (p. 230), and her grief and agitation are excessive. In these instances 'unconscious' means inert, or unaware, or lacking the capability ofawareness. 2 On otheroccasions it applies to a state of abstraction, or of absorption in other things. Thus Marianne Dashwood is spared the impertinent stares of the young man selecting a toothpick-case which are felt by her sister, 'by remaining unconscious ofit all; for she was as well ableto collect her thoughts within herself, and be as ignorant of what was passing around her, in Mr. Gray's shop, as in her own bed-room' (p. 221). When at Uppercross Anne Elliot finds herself conveyed into the carriage through Captain Wentworth's intervention, and so spared the fatigue of the walking-party, she is so affected that 'her answers to the kindness and the remarks of her companions were at first unconsciously given. -
Jane Austen: a Study of Film Adaptations Megan Graham University of South Florida
University of South Florida Scholar Commons Outstanding Honors Theses Honors College 4-1-2011 Jane Austen: A Study of Film Adaptations Megan Graham University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/honors_et Part of the American Studies Commons Scholar Commons Citation Graham, Megan, "Jane Austen: A Study of Film Adaptations" (2011). Outstanding Honors Theses. Paper 20. http://scholarcommons.usf.edu/honors_et/20 This Thesis is brought to you for free and open access by the Honors College at Scholar Commons. It has been accepted for inclusion in Outstanding Honors Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Jane Austen: A Study of Film Adaptations Megan Graham Pat Rogers Spring 2011 1 Jane Austen’s novels have been adapted for film and television since 1938. This popularity is due to the fact that Austen’s novels tell timeless love stories, which are appealing to audiences. In the 1990’s there were massive quantities of movies or television mini-series made from her books. Today, most people know about the novels through the films they watch. It is hard for the modern reader to relate to the lifestyle and everyday events of the characters in Jane Austen’s books because of such a vast time span. The films help modern society to interpret Austen’s writings. In regards to film adaptation there are two schools of thought. The first school is the traditionalist school that believes that a film should mirror the original work, the novel, as closely and faithfully as possible. -
Anne Barker Phd Thesis
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by ANNE DARLING BARKER Submitted for the degree of Ph. D. of the University of St. Andrews. February 1984. I, Anne Darling Barker, hereby certify that this thesis which is approximately 65,000 words in length has been written by me, that it is the record of work carried out by me and that it has not been submitted in any previous application for a higher degree. Signed: Date: I was admitted as a research student under Ordinance No. 12 on 1st October, 1981 and as a candidate for the degree of Ph. D. on 25th June, 1982; the higher study for which this is a record was carried out in the University of St. Andrews between 1981 and 1984. Signed: jY 'ý" Date: ", "ý""i""f" :'ý "" .. """ I hereby certify that the candidate has fulfilled the conditions of the Resolution and Regulations appro- priate to the degree of Ph. D. of the University of St. -
Cohab IDC's Extension Lectures Professor Nilufer E. Bharucha's
University of Mumbai Indian Diaspora Centre CoHaB IDC’s Extension Lectures Professor Nilufer E. Bharucha’s online lecture on Jane Austen’s Emma for TYBA English students in Konkan region In the lockdown period, the CoHaB IDC, apart from conducting online lectures and webinars in diaspora studies, is broadening its scope of activities and reaching out to faculty and students in other related academic areas too. In this context Professor Nilufer E. Bharucha, Director, CoHaB Indian Diaspora Centre, delivered an online extension lecture on Jane Austen’s Emma for TYBA English Literature organized by Mumbai University’s Vijayalakshmi Vishwanath Dalvie College, Vishwbhushan Bharatratna Dr. Babasaheb Ambedkar College and Dombivli Shikshan Prasarak Mandal’s K. V. Pendharkar College on 21st September 2020. Professor Bharucha began the lecture by talking about the author Jane Austen. She discussed how there are different portraits available of the author but the one validated by her biographer Paula Byrne, known as ‘the Byrne Portrait’ is the most favoured one by many critics. Also available are the water colour sketches by Austen’s sister Cassandra and an Engraving commissioned by her nephew James Edward Austen-Leigh. Jane was one of the eight children born to Revd George and Cassandra Austen. Jane Austen was born on 16 December 1775 and grew up in Steventon, Hampshire. The Byrne Portrait: circa 1813-15, London Austen started writing by the age of 11 and between 1796 and 1798, she started working on Elinor and Marianne, First Impressions and Susan which were later published as Sense and Sensibility (1811), Pride and Prejudice (1813) and Northanger Abbey (1818, posthumous) respectively.