Emma Locket Analysis

Students today undergo constant pressure for perfection, going through extreme efforts to meet this expectation. Alexandra Robbins, an investigative journalist and author of The Overachievers: The Secret Lives of Driven Kids, views modern educational culture as a danger to students because it advocates productivity over learning. On the other hand, Jay Mathews of the Washington Post believes that students today are more apathetic than stressed. Robbins perception of today’s schools is more accurate than Mathews’, for students cheat to appear smarter, burden themselves with grueling schedules to impress colleges, and develop mental disorders as a result.

Appropriations provide audiences with a relevant contemporary sense of culture, while simultaneously providing insight into consistent behaviours over time, from the era of the original text to the era of the appropriation. This paradigm is reflected in a comparison study involving Jane Austen’s novel Emma (1818) and Amy Heckerling’s Clueless (1995). In her novel Emma, Austen reflects on the rigid social structure that formed the basis of Regency Society. Similarly, Heckerling’s Clueless emphasises how physical image determines status. Likewise, Austen’s emphasis on arranged marriages and love marriages, is contrasted by how Clueless highlights the open love, lust and sex prevalent within modern relationships. By considering the context of

In Lofton’s book, she addresses that there is more to Oprah than meets the eye. Her thesis statement, “What is Oprah? Oprah is an instance of American astonishment at what can be” (Lofton 1), shows the reader that the author clearly sees Oprah as a significant figure in America and will proceed to show us how so throughout the book. Through several examples, Lofton conveys her point by pointing out the influence Oprah has had on others to help them live life to their full potentials religiously, economically, physically, emotionally and socially.

Chapter 24 – 1975 – This chapter marks Deborah’s intense questions — how much her relationship with her mother molds her fears and hopes. The diary entry on pages 195-6 is powerful — from Deborah’s reference to her upbringing which mandated silence to her tortured imaginings of her mother’s pain and aloneness on the day she died. Deborah’s research shows courage and tenacity.

Jane Austen's novel "Emma" published in 1815 and the film adaptation "Clueless" written and directed by Amy Heckerling in 1995 both share a similar interest in maintaining a high social status. Emma Woodhouse of the novel "Emma" and Cher Horowitz from the film "Clueless" are both spoiled young lady living in a high-class society. Emma Woodhouse is part of the rich, upscale society in a large and populous village in the nineteenth century England, while Cher Horowitz lives in a rich, upscale Beverly Hills, California USA. Both of the main characters, Emma and Cher shows arrogance and lack of acceptance to other social class due to their use of power and wealth, which they are unaware of it themselves. Emma and Cher's immaturity has resulted

After a brief discussion concerning the failure rates for African-American and Latino students in freshmen classes, Conradson began a discussion of the proposed schedule change. Conradson stated that Cheryl Lawton provided incorrect information. Conradson said, “Lawton says 9 schools are like Milpitas when in fact there are 13. I counted them myself.” She described the inconsistency as “deliberate manipulation.”

Emma Woodhouse, who begins the novel "handsome, clever, and rich, with a comfortable home and a happy disposition" (Austen 1), suffers from a dangerous propensity to play matchmaker, diving into other’s lives, for what she believes is their own good. Despite this, she is a sympathetic character. Her matchmaking leads only to near-disasters and her expressions of remorse following these mistakes are sincere and resolute. Jane Austen's Emma concerns the social milieu of a sympathetic, but flawed young woman whose self-delusion regarding her flaws is gradually erased through a series of comic and ironic events.

"You think because I am her mother I have a key, or that in some way you could use me as a key? She has lived for nineteen years. Over and over, we are told of the limitations on choice--"it was the only way"; "They persuaded me" and verbs of necessity recur for descriptions of both the mother's and Emily's behavior. " In such statements as "my wisdom ! came too late," the story verges on becoming an analysis of parental guilt. With the narrator, we construct an image of the mother's own development: her difficulties as a young mother alone with her daughter and barely surviving during the early years of the depression; her painful months of enforced separation from her daughter; her gradual and partial relaxation in response to a new husband and a new family as more children follow; her increasingly complex anxieties about her first child; and finally her sense of family balance which surrounds but does not quite include the early memories of herself and Emily in the grips of survival needs. In doing so she has neither trivialized nor romanticized the experience of motherhood; she has indicated the wealth of experience yet to be explored in the story’s possibilities of experiences, like motherhood, which have rarely been granted serious literary consideration. Rather she is searching for

Author and journalist, Italo Calvino once stated that, “a classic is a book that has never finished saying what it has to say”, the perennial feature of a classic novel is able to provide a sense of relatability to the modern reader regardless of societal contexts. The significance of reinterpretation of classical texts lays in its disclosure of the modifications in society; the transformation of attitudes and values is juxtaposed in various milieus making it applicable to a vast audience. The novel "Emma" by Jane Austen scrutinizes the numerous complications of dating, ranging from social hierarchy, family and friendship to love and matrimony. The loosely based adaptation "Clueless" utilizes Jane Austen's ability to decipher human emotion and refashioning it to a much more appealing and marketable American High School setting.

Queen Emma Kalanikaumakaʻamano Kaleleonālani Naʻea Rooke, born on January 2, 1836 in Honolulu, is best remembered for her efforts and dedications to establishing the Queen’s Medical Hospital. As the daughter of Fanny Kekelaokalani Young and George Naʻea, her bloodline was closely related to Kamehameha I. As was custom, Queen Emma was offered and adopted by her mother’s sister, Grace Kamaikui Rooke and her husband, Dr. T.C.B. Rooke. Her upbringing involved a mix of British and Hawaiian child rearing, and she grew up speaking English and Hawaiian. In 1856, Queen Emma became queen consort to Kamehameha IV, Alexander Liholiho. Throughout her life, Queen Emma had accomplished many humanitarian efforts for Native Hawaiians.

The missing mother explains her actions and how above all she wanted her daughter to receive mercy.Florens, a sixteen year old slave girl, is confessing to an unknown person. Don't be afraid. My telling can't hurt you in spite of what I have done and I promise to lie quietly in the dark—weeping perhaps or occasionally seeing the blood once more—but I will never again unfold my limbs to rise up and bare teeth.( 3)

The mother begins to rebel against tradition by taking an active role in educating and freeing herself. Through her radio, telephone and trips out with her sons she develops her own opinions about the world, the war, and the domination and seclusion of woman. She loses her innocence as a result to her new knowledge and experience.

to. So it defines one's rank to be at one of these social functions as

Though written over two centuries apart, the protagonists in Jane Austen’s Emma and Amy Heckerling’s Clueless, are very much alike. They are strong female characters of a certain social standing, that are expected to abide by a particular set of rules and adhere to societal norms. Unlike most young women, Austen’s Emma and Heckerling’s Cher are able to disregard social expectations¬ — like Emma’s idea of marriage, and Cher’s idea of sex — simply because they are privileged and socially stable enough to do so. In this way, both young women simultaneously embrace and reject the principles of female social expectations of their specific time periods. Both Austen and Heckerling confront the belief systems of their readers and viewers through characters that do not act “appropriately” within their respective social environments.

This image and atmosphere of mundane imperfection is a far cry from what Emma expects after reading the romantic novels she smuggled in at the convent. From those foppish texts she gathers the impression that ladies such as she should be “lolling on carriages” or “dreaming on sofas,” or perhaps embracing some dashing “young man in a short cloak” (Flaubert 32). Yet such is not the reality in which she lives.