| Papers [1-15] of 96 :: [Page 1 of 7] | | Go to page : 1 2 3 4 5 6 7 —> | Search results on "EMMA CLUELESS": |
|
|
"Emma" and "Clueless", 2004.
A comparison of the main female characters in the film, "Clueless", and the novel, "Emma".
2,000 words (approx. 8.0 pages), 2 sources, MLA, $ 63.95
»
Click here to show/hide summary
Abstract
This paper compares Jane Austen's "Emma Woodhouse" and Heckerling's
"Clueless" film counterpart, Cher Horowitz. The writer explores the characters' paths to self-knowledge, how they learn from their mistakes, and how both the film and novel tackle the issues involved with class divisions. The film is loosely based on the classic novel.
From the Paper
"The opening scenes of the movie and the first pages of the novel reveal a great deal about the characters and show their similarities from the start. Emma Woodhouse is a member of the rich, upscale society of a large village in nineteenth century England, while Cher Horowitz lives in a prominent, upscale home in Beverly Hills, California. In Highbury, the Woodhouses are "first in consequence there. All looked up to them (Austen, p. 7)." Cher?s father?s success as a litigation lawyer has brought them wealth and status in Beverley Hills."
| |
|
"Emma" and "Clueless", 2006.
A comparative analysis of the film version of the novel "Emma" by Jane Austen and the modern day movie adaptation "Clueless".
3,566 words (approx. 14.3 pages), 4 sources, APA, $ 99.95
»
Click here to show/hide summary
Abstract
This paper examines how Jane Austen appears to have enjoyed a revival in contemporary cinema and how her novel "Emma" has been adapted in two different ways - "Emma" the film and "Clueless". It discusses both films and the novel upon which they are based in order to draw parallels and to determine the nature of the works in their capacity as entertainment and art.
From the Paper
"The film Emma was released in 1996, with Gwyneth Paltrow and Jeremy Northam in the starring roles. It is a romantic comedy about Emma Woodhouse, a 19th century woman who attempts to play the matchmaker for her friends. She has succeeded in this by having a hand in the marriage of her governess, Anne Weston, who is played by Greta Schacchi. Her next target is Harriet Smith played by Toni Collette. In this task Emma picks various men as possible candidates for Harriet. One is Mr. Elton and the other is Frank Churchill. They are however occupied by other loves in their lives. When the two fall for the same man Emma is forced to choose between friendship and love."
| |
|
"Emma" vs. "Clueless", 2004.
The writer of this in-depth paper analyzes the similarities between Jane Austen's classic "Emma" and Amy Heckerling's film "Clueless," while focusing on whether or not traditional gender roles have changed over the years.
3,688 words (approx. 14.8 pages), 19 sources, MLA, $ 102.95
»
Click here to show/hide summary
Abstract
This paper discusses the film industry's recent trend of creating modern adaptations of classic literature. The writer of this paper focuses on Jane Austin's classic novel "Emma" and it's modern day counterpart, "Clueless," written and directly by Amy Heckerling. This well-researched paper discusses the many similarities in both stories while examining whether or not the roles of women and men have changed over the years. This paper delves into Heckerling's modern adaptation of "Emma" which closely parallels the original text from themes to characterization as well as characteristics in both societies. This paper details the plots and main characters of both works. This paper examines the gender roles of both men and women in various areas including marriage, family, society, education and career as depicted in modern times as well as the Regency period.
From the Paper
"At the beginning of the novel, it is established that Emma's mother died so long ago that her presence is only a vague memory. In Clueless, the death of Cher's mother has been modernized. Cher's mother died from a freak liposuction accident. It is remarkable how even the minutest details are present in both works. Mr. Woodhouse is preoccupied with his digestion and because of this Emma is very concerned about his health. In Clueless, Mr. Horowitz is constantly obsessing about his cholesterol. Out of concern, Cher restricts her father to a strict diet. Both the Woodhouses and the Horowitzes are members of the upper-class society. Emma's father is well-known and everyone holds the Woodhouse family in high esteem. Cher's father is a renowned litigation attorney. In today's society, a profession such as this is looked upon with a lot of respect."
| |
|
Comparison of 'Emma' by Austen and 'Clueless' by Heckerling, 2004.
An analysis of the transformation of Jane Austen's novel "Emma" into the 20th century film "Clueless", directed by Amy Heckerling.
1,898 words (approx. 7.6 pages), 4 sources, MLA, $ 60.95
»
Click here to show/hide summary
Abstract
This paper examines how although times have changed in between Jane Austen's novel "Emma" (1816) and Amy Heckerling's film "Clueless" (1995), the vales of humanity remain the same. It looks at how what has changed with the times is the attitude society has taken such values as tolerance and relationships and shows how through examination of these two main values, both composers use satire to criticize the society they live in.
From the Paper
"Before the values of humanity and the composers are addressed, the way in which times have changed must first be examined. Jane Austen wrote her novel in a time of social upheaval and revolution from the Napoleonic wars and the French revolution as well as the examining of values during the Enlightenment. The Enlightenment values rationalism and empiricism, direct emotion and removal of obstacles to correct and clarify understanding. These are the values of civic humanism, which means active and patriotic citizenship as well as an ethos and educational ideal."
| |
|
Two Literary Lovemakers, 2005.
This paper briefly discusses the parallels between Jane Austen's "Emma" and the film "Clueless" directed by Amy Heckerling.
800 words (approx. 3.2 pages), 2 sources, MLA, $ 28.95
»
Click here to show/hide summary
Abstract
This paper explains that the didactic approach is strong in both Jane Austen's "Emma" and the film "Clueless" because each of the protagonist characters, Emma and Cher respectively, works to help others in her social circle obtain true love without regard for her own need for love. The author points out the similarities in the main characters: Emma is part of the rich, upscale society of a "large and populous village" in nineteenth century England; whereas, Cher lives in rich, upscale Beverly Hills. The paper relates that in both the novel and the film the minor characters work to illustrate the main characters and continue the pace of the storyline.
From the Paper
"Because of their wealth, both Emma and Cher are spoiled, in control socially, and tend to think too highly of themselves. This is a result of the lack of a maternal figure in their lives, as well as their fathers' over-indulgence. Cher has everything a teenage girl could want: money, her own Jeep, a huge wardrobe, et cetera. Like a lot of girls, she spends a large amount of time and money at the mall; however, she spends hundreds and thousands of dollars on her clothes, not the kind of money a typical teenager would spend."
| |
|
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, $ 59.95
»
Click here to show/hide summary
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."
| |
|
?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, $ 85.95
»
Click here to show/hide summary
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). "
| |
|
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, $ 69.95
»
Click here to show/hide summary
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. "
| |
|
"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, $ 61.95
»
Click here to show/hide summary
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."
| |
|
"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, $ 53.95
»
Click here to show/hide summary
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."
| |
|
"Emma" from Page to Screen, 2005.
An examination of Jane Austen's novel "Emma" and its translation to film.
920 words (approx. 3.7 pages), 5 sources, MLA, $ 31.95
»
Click here to show/hide summary
Abstract
This paper examines Jane Austen's novel "Emma" and the different emphasis of novel and film versions, including the adaptation of the film starring Gweneth Paltrow and Amy Heckerling's film, "Clueless."
From the Paper
"Often when filmmakers create modern film adaptations of classic texts, much of the subtext and symbolism of the original manuscript is lost on the screen. Though the film adaptation of Jane Austen's novel Emma-first published in is ..."
| |
|
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, $ 34.95
»
Click here to show/hide summary
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?"
| |
|
?Emma?, 2002.
A review of Jane Austin's novel "Emma".
2,140 words (approx. 8.6 pages), 4 sources, MLA, $ 66.95
»
Click here to show/hide summary
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."
| |
|
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, $ 59.95
»
Click here to show/hide summary
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."
| |
|
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, $ 62.95
»
Click here to show/hide summary
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?"
|
|
|
