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Emma and her Relationship with Mr. Knightley, 2008.
A comparison of the character of Emma and her relationship with Mr. Knightley, from Jane Austen's novel, "Emma" with three film adaptations of the book.
1,873 words (approx. 7.5 pages), 0 sources, £ 30.95
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Abstract
This paper analyzes the character of Emma Woodhouse from Jane Austen's novel, "Emma." It specifically discusses the relationship between Emma and Mr. Knightley and describes the impact that he has on Emma's thoughts and behaviors. The paper compares the novel with three film adaptations of the book - Douglas McGrath's adaptation, the BBC film adaptation and Amy Heckerling's modern "Emma" set in present-day Beverly Hills, in the film, "Clueless."
From the Paper
"The relationship between Emma and Mr. Knightley are portrayed differently in the novel and each of the film adaptations, allowing the audience to develop their own ideas and opinions of them based on what they see or read. Like the novel, "Clueless" gives us a reigning narrative voice unlike the other films, which ultimately broadens our understanding of Emma and what she is truly about. The other films merely let us see what we believe we're reading in the novel, however, not necessarily being completely accurate to what Austen wanted to convey to her audience. "Clueless" suggests the most appropriate Emma and Mr. Knightley subplot, allowing the audience to see how Emma and Mr. Knightley in essence were truly compatible, regardless of any instances in which the audience was strayed to believe otherwise. After all, Emma is ultimately about her "metamorphosis" in the end, and it would not have been able to occur if it was not for Mr. Knightley finally being able to be her knight that swept her off her feet."
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"Emma", 2002.
A discussion of Emma's guidance through life in Jane Austen's novel "Emma".
2,889 words (approx. 11.6 pages), 6 sources, MLA, £ 44.95
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Abstract
This paper reviews Jane Austen's "Emma", a didactic novel whose chief lesson is that, although society as it was constituted at the time was well ordered, it was up to the individual to make more or less of her/his position within that order. It examines how Emma Woodhouse, with all her advantages, was simply not ready to marry until she learned how to learn, although conventionally Emma was fully ready to marry. Emma was unready because she was unable to accept guidance. The paper analyzes the guidance she receives from Mr. Knightley and others and how she learns to be a lady during the course of the novel.
From the Paper
"But the model of the lady Emma is to become does not exist at Highbury. There are a number of women who should either function as models or be fellow pupils in the art along with Emma but none of them suffices: not Miss Bates, Mrs. Elton, Mrs. Weston, Harriet Smith, nor even Jane Fairfax. In part this is the result of circumstance. Emma's mother is dead and her sister, never a strong influence, lives far away. Mrs. Weston was always "a rational, unaffected woman" as Knightley notes, but as Miss Taylor, Emma's governess and companion, she had been more dedicated to pleasing Emma, as he also notes, than to curbing her independence (Austen 11). "
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"Emma", 2007.
An analysis of the methods used by Jane Austen to develop the character of Emma Woodhouse in her book, "Emma."
1,648 words (approx. 6.6 pages), 3 sources, MLA, £ 27.95
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Abstract
This paper analyzes the construction and development of Emma Woodhouse's character in "Emma," by Jane Austen. It looks at the methods that Austen uses to develop the protagonist of her novel and her relationship with Mr Knightly. The paper also shows how Austen successfully distributed the descriptions and dialogues along with some internal monologues in different parts of the novel.
From the Paper
"Throughout the novel we as the readers observe how the author develops Emma's character by using different distribution of descriptions, dialogues and internal monologues throughout the length of the novel. Competently, Jane Austen shows us the transformation of Emma from a spoiled girl to a mature person who is able to look within herself and understand the world around her a lot better. In the beginning of the novel, Austen heavily used descriptions in order to introduce the main character of this story, Emma Woodhouse. After the original introduction, she relied on dialogues in order to let her audience understand and judge Emma's character and attitude from their own point of view. In particular, Mr.Knightly's conversations with Emma are the most important dialogues in the book because they make the story take some critical turns. Internal monologues play key roles in this novel as well, as they are the indicators of major transformations in Emma's character. By using internal monologues the author has allowed her readers to have direct access to Emma's feelings and inner thoughts. We can conclude the fact that Jane Austen has used three major methods of character introduction in this novel to connect her reader's to her main character, Emma Woodhouse, and allow the readers to be able to find out more about Emma by their own readings through dialogues and internal monologues."
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"Emma", 2004.
An analysis of the character of Frank Churchill and 'reading' the moral qualities of men in Jane Austen's "Emma".
1,931 words (approx. 7.7 pages), 1 source, MLA, £ 31.95
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Abstract
This paper contends that one of the challenges posed by Jane Austen's heroine Emma Woodhouse, in the novel entitled "Emma", is how Emma must learn to be a good reader of both male and female characters. The paper discusses how the persona of Frank Churchill poses a constant series of challenges to Emma. The paper assesses that by becoming a better reader of the human character in general, Emma learns that Mr. Knightly is the better choice of the two male romantic prospects and also, by extension that she has misread the female characters of Harriet Smith and Jane Fairfax throughout the novel.
From the Paper
"That Emma begins the novel as a poor reader of the human character becomes immediately apparent in the first chapter of the book, which portrays the charming scene, whereby Mr. Knightly is seen teasing Emma, as she sits next to her invalid, hypochondriac of a father Mr. Woodhouse, by the fire late one night. Mr. Knightly notes that while Emma frequently drew up many improving reading lists for herself, while under the tutelage of her former governess, she hardly ever read the books on the lists. This indicates that Emma at the beginning of the novel is a creature of surfaces, rather than someone who knows how to look deeply into the moral text of a person's character. The moral education of Emma, and her ability to read prospective suitors better is eventually exemplified in her shifting of allegiances from the young and handsome Frank Churchill to the more staid Mr. Knightly, whom like a true knight in shining armor has been by her side all along, chiding her, and watching her grow up with a careful eye. In contrast, Frank is only alluded to through most of the first part of the novel, like a shadowy prince whom is hardly real."
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Social Forces in Jane Austen's 'Emma', 2000.
A look at the social forces and development of Emma Woodhouse in Jane Austen's novel, "Emma".
2,232 words (approx. 8.9 pages), 6 sources, £ 36.95
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Abstract
In this paper, the author analyzes "Emma" as a novel of manners and consults critics who have analyzed this novel to see how the customs and mores of Emma influence and shape her character.
From the Paper
"Emma is a member of the gentry class in English society. The gentry have land and money, are considered to be ladies and gentlemen, and are considered to be quite genteel. Emma's membership in this class is essential to the thesis of the novel because in the highly stratified society of 19th century England, the behavior of the upper social classes was controlled and dictated to the extreme by the member's social peers. People such as Robert Martins, a farmer, is so far below Emma's social class that she "cannot help him." It is not fitting for a woman of the gentry class to even consider his existence. Therefore, the context of Emma's social position and the rules of behavior that govern her rank are essential realities that shape Emma Woodhouse's development. "
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The Lazarus Model: Stress and Coping, 2008.
The author of this essay uses personal experience to evaluate the Lazarus model of stress and coping.
1,227 words (approx. 4.9 pages), 2 sources, MLA, £ 21.95
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Abstract
This essay states that the Lazarus' model is a very concise theory that explains how individuals try to make sense of a stressful situation from the initial impact of the event forward. It details the primary and secondary appraisals implemented to assess the event and promotes the idea that coping resources held by the individual affected are utilized to assist in overcoming the experience. Through personal experience, the author shows that overall, the Lazarus Model provided a clear understanding of the experience and the coping mechanisms used, either consciously or unconsciously to cope with trauma.
Outline:
Description of the Incident
Description of My Emotional Experience
How Lazurus' Model Helps Make Sense of This Experience
The Aspects of My Experience Lazarus' Model Fails to Explain
How Lazarus' Model Could be Modified to Fit My Experience
Conclusion
From the Paper
"When assessing my coping resources via the secondary appraisal phase in Lazarus' model, I discovered my coping mechanisms were quite healthy. I was able to take control of the situation and the stressors involved by realizing that future harm of this nature could be avoided by ending the toxic relationship I was in. Further, I realized the challenges faced by experiencing such a trauma could be turned into positive benefits, as from this negative transaction, I received all the strength and knowledge I could glean from this experience."
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Jane Austen's "Emma", 2002.
A discussion of Mr. Knightley's questionably fair attitude towards Emma.
964 words (approx. 3.9 pages), 10 sources, MLA, £ 17.95
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Abstract
A discussion of the famous Box Hill scene in Jane Austen's "Emma." Mr Knightley asks Emma: "How could you be so unfeeling to Miss Bates? How could you be so insolent in your wit to a woman of her character, age and situation? Emma, I had not thought it possible." It discusses the extent that Mr Knightley was being fair to Emma with his patronizing attitude.
From the Paper
"Mr Knightley's comments follow Emma's immature and presumptuous remark towards Miss Bates. Mr Knightley's reprimand initially appear to be downright self righteous and ostentatious. It is therefore hard to judge face value whether he is being fair to Emma. It is questionable whether his commentary is pardonable, even essential or merely patronizing and judgemental?"
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"Emma", 2002.
A review of Jane Austin's novel "Emma".
2,140 words (approx. 8.6 pages), 4 sources, MLA, £ 34.95
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Abstract
This paper examines Jane Austen's "Emma", a novel about a young woman's education in the true nature of marriage, which, as she learns, is much more than the shallow, somewhat materialistic, ideas that she holds at first. It discusses how at the novel's beginning Emma Woodhouse is clever but spoiled and rates her own understanding of the world much higher than it deserves. It looks at how her attempts to manipulate others into marriages that she believes are suitable for them are disastrous and how, through her failures and her growing self-knowledge she gradually comes to understand what marriage really means. It shows how only once she has acquired this knowledge, and only when she has it, Emma herself is ready to marry.
From the Paper
"Elegance, therefore, far from being an antiquated notion, was used to describe a person who truly knew how to behave in society with ease and honesty. Emma Woodhouse, despite her social standing and her basic intelligence, is not such a person when the novel opens. The narrator lets the reader understand this very clearly in the description of Mr. Knightley as "one of the few people who could see faults in Emma Woodhouse, and the only one who ever told her of them" (Austen 8). This was not, the narrator continues, "particularly agreeable to Emma herself" but she tended to pay attention to Mr. Knightley's chiding only when it suited her (8). Yet it is the influence of Knightley and the lessons he teaches that bring about Emma's education and the pedagogical relationship between them, which turns into, or reveals to them, their love for each other is the central relationship in the novel."
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Tintoretto's "Raising of Lazarus", 2007.
Description of Tintoretto's famous painting, "The Raising of Lazarus."
2,808 words (approx. 11.2 pages), 5 sources, MLA, £ 43.95
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Abstract
This paper gives a detailed description and historic background of Venetian artist Jacopo Tintoretto's master-work "The Raising of Lazarus." The author highlights Tintoretto's life and career, pointing out his stylistic development. The paper then describes "The Raising of Lazarus" as the pinnacle of Tintoretto's career, commenting on the style, composition and iconography of the piece. The author concludes that "The Raising of Lazarus" has artistic value centuries later and is well worth a thorough evaluation by modern audiences.
From the Paper
"Tintoretto, who was born in 1519 and lived until 1594, was one of the most prolific painters of his time and place. His real name was Jacopo Robusti. He received his name as a painter, Tintoretto, from his father's profession of being a dyer (wga). Tintoretto's vivid use of color in his paintings may come from his father's occupation as well. Tintoretto lived and worked in Venice nearly his whole life where he was said to aggressively pursue artistic commissions. This did not make him popular with his fellow painters as he frequently undercut their prices. Although he may have made enemies among his peers, his business methods did make him a busy and successful artist. Since he frequently received commissions in his native city, many of his paintings can still be seen in the various churches and buildings for which they were originally painted (wga). "
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Emma Bovary and the Failure of Sentimental Romanticism, 2002.
A study of how French author Gustave Flaubert maintains through his character Emma Bovary that a romantic cannot survive in a realistic world.
1,971 words (approx. 7.9 pages), 5 sources, MLA, £ 32.95
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Abstract
Hailed as the first modern realistic novel, Gustave Flaubert's "Madame Bovary" details the life of Emma Bovary and the failure of sentimental romanticism. The paper show how Flaubert, a model for Emma, was a romantic who, longed for deeper experiences of emotion, whether these experiences were ones of love or of intellectual passion. The paper shows, however, that unlike his fallen heroine who dies an unfulfilled romantic, Flaubert became a pessimist in an effort to assuage his suffocating soul. The paper concludes that through Emma's self-destruction via self-corruption, Flaubert maintains in "Madame Bovary" not only that a romantic cannot find contentment in a realistic world, but also that a romantic cannot survive in a realistic world.
From the Paper
"With such high expectations of love, Emma enters into a marriage destined to disappoint her, and only loses herself in romantic escapism. Unable to adjust to the realities of her life, Emma allows her fascination with romantic dreams to evolve into an obsession, and she devotes her energies exclusively to the creation of a world immune to ennui, futile efforts indeed. She quickly tires of wifehood and, as daydreams replace any useful endeavors, abandons her household duties, as well as her drawing and piano playing. She wonders "just what was meant, in real life, by the words felicity, passion and intoxication" (33; pt.l, ch.5), believing she must have been mistaken about her love for her husband Charles because "the happiness which ought to have resulted from that love . . . [had] failed to materialize" (33; pt.l, ch.6). Continuously comparing her dull, routine environment with the glamorous "if-only" worlds in her dreams, her situation seems utterly intolerable. How can her life be beautiful unless she can make plans while gazing at the stars from the balcony of a Swiss chalet?"
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"Lady Lazarus", 2002.
An examination of the theme of social deviance and intolerance of difference in "Lady Lazarus" by Sylvia Plath.
829 words (approx. 3.3 pages), 1 source, MLA, £ 15.95
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Abstract
This paper discusses how Sylvia Plath's poetry mostly portrays the theme of social deviance and society's intolerance to differences portrayed by individuals, especially women. It shows how the poem, "Lady Lazarus", in particular, illustrates these themes. It looks at how the poem uses a character named Lady Lazarus in order to illustrate to the audience the effects of the marginalization of women in a repressive society. It examines how the poem is divided into two phases: the first, the establishment of Lady Lazarus's condition and apparent insanity, while the second phase is more complex, since there are numerous implied meanings embedded that show the duplicity of the woman's character.
From the Paper
"Lines 74-78 shows symbolisms used to illustrate social status, which Lady Lazarus shuns: "You poke and stir/ Flesh, bone, there is nothing there--/ A cake of soap/ A wedding ring/ A gold filling." In this passage, the character shows how social statutes determined in the society is meaningless, represented by material wealth that is but trivial to the true meaning of life. Plath displays antagonism in her society by addressing individuals as "Herr Doktor," "Herr Enemy," "Herr God," and "Herr Lucifer." The use of 'Herr' in the poem reflects the evil character of the Nazis; thus, using this form of address shows Lady Lazarus' perception that the people in her society are no different from the Nazis."
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Emma Bovary, 2004.
A discussion of whether Emma Bovary can be considered a victim in Flaubert's "Madame Bovary".
1,873 words (approx. 7.5 pages), 3 sources, MLA, £ 30.95
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Abstract
This paper examines how Gustave Flaubert's "Madame Bovary" is the portrait of a woman trapped in an unsatisfactory marriage in an ordinary bourgeois town. Her attempts to escape the monotony of her life through adulterous relationships with other men are ultimately disillusioned by the reality that the men she has chosen are shallow and self-centered and that she has overstretched herself financially. In despair, Emma resolves her dilemma by taking her own life. It discusses how, following the end of the novel, "Madame Bovary" can be considered a story of one woman's faulty perception of reality; namely, Emma is a victim of her own romanticism. It also discusses whether it is possible to consider Emma as a woman crushed by a materialist and complacent century; that is, she is a victim of the "bourgeois century."
From the Paper
"It seems that the mistake in involving too deeply in romanticism is the fact that it fosters a fundamentally false understanding of the world. As Emma says, "what I love now is the kind of story which one can read at a single sitting, which one can give one a thrill of terror. I hate low heroes and lukewarm sentiments of the sort one finds in real life" (Flaubert, 73). It encourages expectations that have no reasonable hope of ever being realized. This sets up a pattern which recurs throughout the novel: Emma dreams of one thing but gets something else. Marriage, motherhood, and adultery all fall short of Emma's expectations, and she seems constantly destined to disillusionment. For instance, the flat Norman landscape that surrounds her is in conflict with the exotic lands of romantic fiction; on the other hand, Tostes, Yonville and even Rouen are no match for the erotic and artistic promise of Paris; and finally, Emma's men fail to correspond to her fantasies of the perfect lover despite their initial promise."
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Emma and Evelyn in "Ragtime", 2006.
This paper examines the relationship between Emma Goldman and Evelyn Nesbit in E.L. Doctorow's "Ragtime", as well as the impact this friendship has on the other characters in the novel.
730 words (approx. 2.9 pages), 1 source, MLA, £ 13.95
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Abstract
The writer of this brief, yet concise, paper details the intimate friendship of Emma Goldman and Evelyn Nesbit, both products of capitalism, as depicted in E.L. Doctorow's classic novel "Ragtime." This paper describes Emma and Evelyn's relationship starting with their first accidental meeting. The writer delves into how the relationship between the two women impact on all the characters in the novel. This paper examines Emma's attraction to Evelyn, for she sees in Evelyn a version of herself. This paper also reviews the plot and main characters in "Ragtime."
From the Paper
"Emma is drawn to Evelyn, for she sees a version of herself. Both women are products of capitalism. Evelyn uses money and the status it can buy, whereas Emma sees the perverted results of capitalism. Both women are tied inextricably to men in their lives, for they know that as individuals they are powerless. Evelyn uses men (and their money) for support and Emma allows men to use her as a political mouthpiece. Both are in the media spotlight, Evelyn because of her insane husband and Emma for her overt beliefs. Emma confesses, "but there are correspondences, you see, our loves correspond, our spirits touch each other like notes in harmony, and in the total human fate we are sisters." They are sisters since they are women and live the same exploited life, despite their superficial differences."
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The Raising of Lazarus, 2004.
An analysis of the New Testament story of the raising of Lazarus.
1,632 words (approx. 6.5 pages), 4 sources, MLA, £ 27.95
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Abstract
This paper discusses the miracle performed by Jesus of the raising of Lazarus from the dead. The paper contends that this miracle, as it is described in the Gospel of John, holds some very key elements for the true Christian. First, it confirms that Jesus Christ was indeed capable of performing miracles that not only helped his fellow people, but also supported his divine nature as the one and only 'Son of God'. But most importantly, the resurrection of Lazarus, the eventual raising of Jesus Christ from the dead, and his ascent into heaven reinforces the faith of all believers that someday they too will follow in his footsteps to become one with God, and thus conquer death to live eternally as Jesus himself had promised in the Gospels of the New Testament.
From the Paper
"Of all the miracles ascribed to Jesus Christ in the New Testament, the raising of Lazarus from the dead is clearly the most inspiring and "miraculous." For Christians, all of the promises prescribed by God are fulfilled in the death and resurrection of Lazarus, for it represents "the final and definitive action by God for the sake of the human race and illustrates His divine power in what we have come to recognize as reality" (Fuller 87). The raising of Lazarus also represents the culmination of New Testament theology and symbolizes the ultimate transformation of all things connected to the divinity of Jesus Christ."
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