Emma and Clueless Notes

Marriage, a broad theme in this book, can be broken down throughout. Emma’s sister has gone off after getting married and left her alone. After her sister’s marriage, Emma proclaimed that she was not destined for love and made herself the town’s unofficial matchmaker. The entire novel is built around relationships and matchmaking, with Emma and Mr. Knightly, Harriet and Robert Martin/ Elton, and Jane Fairfax and Frank Churchill.

They are going through transitions in intellectual development and the process and transition of primary to secondary education.’ There are various intellectual skills that an adolescent will learn within this life stage. When in the adolescent life stage, the emotional development norms for an individual is to learn their personal identity and they must leant about who they are about how to control their emotions within the change of puberty. Low self-esteem and confidence issue is often something most teenagers struggle with. With adolescence secondary learning occurs, a person’s self-worth can change within this life-stage due to the social situations that an individual had to be within, also their use of clothing, language and religion etc. The introduction of hormones can often change how teenagers see themselves. Adolescent’s independence that they go through can affect their social and emotional development.

Jane Austen’s novel 'Emma' and Amy Heckerling’s Clueless, as significant and satirical reflections of Regency England and postmodern America respectively, indicate how the transformation process can shape and improve literacy, intertextual and logical importance. The transformation is evident in the compositions Jane Austen’s ‘Emma’ and Amy Heckerling’s ‘Clueless’ enabling us to investigate the assortment of logical subjects. Regarding ‘Emma’ the perspective throughout the Regency time frame examines the strict values of love and marriage inside the inflexible social hierarchy. Austen’s advances the significance of etiquette throughout the text. Austen reveals a neo-women’s activist perspective, shown in the female protagonist revealing the female protagonists’ scholarly capacity and social equity in an otherwise patriarchal society. However, the close resemblance of the story; ‘Clueless’, Heckerling composition conveys entirely transformed values, reflected through the actions of the current upper-working class of contemporary Los Angeles. The critical analysis of commercialism in the informal social class system of modern America reiterating social expectations of gender and social characterisation within the microcosm of the typical American educational system. The transformation in attitudes of Austen, reveals an exhaustive utilisation of setting, a close examination of dialect and various artistic procedure.

In a novel overflowing with misconstrued romance, “Emma” by Jane Austen succeeds in misleading the readers, as well as the actual characters on the matter of who is really in love with whom. Although it is teeming with romantic dialogue, the characters have a tendency to misunderstand confessions of love, as well as comments made in passing concerning the secret feelings of others. Through forms of narration and dialogue, Jane Austen forces the reader to interpret these subtexts and draw conclusions concerning the actual romantic intensions of her complex characters, while also deceiving readers on an adventure of romantic deception.

The universality of themes pervading both Emma and Clueless in correlation with the humanistic, obviously flawed protagonists in both texts, captivates and immerses responders. This engagement leads to an involvement and enjoyment in the composer’s craft, which enables the responders’ to obtain sophisticated insight into the text’s concerns on both subjective and objective levels. Critiques agree that the transformation enables an audience to “enjoy cultural capital and aesthetic knowledge” while retaining a “connection to the past through classic text and cutting edge post modernism.”

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.

Upon a comparative study of the texts Emma and Clueless, we can see that the quality of relationships in society bears strong similarities, despite their different contexts. Emma is set in 16th century England, where the rigid social structure dominated social interaction. This is contrasted to Clueless, which is set in 1990’s Beverly Hills where popularity was integral to determining a relationship. Being integral to modern society, relationships were used as medium to secure wealth and to find purpose in one’s life, in different contexts. Additionally, the restrictive nature of relationships has changed over the course of time despite still existing in a different sense. The strict class based society of the Regency Era limited relationships in Emma while social groups at school dictated the dynamics of relationships in Clueless. However, the popularity of marriages has decreased, with many teens opting to settle with dating before any further commitment. By discussing the different purposes and changes in relationships over the two texts we can develop clear ideas about the quality of relationships in society.

The heavy emphasis on physical appearance and the subsequent consumerism it promotes is reflected through the characterisation of the protagonist Cher. The extreme importance that Cher places on physical appearance is highlighted when she complains about how teenage boys “just jump out of bed and put on baggy pants and greasy hair”. Her disgusted tone reflects the shallowness of judging individuals by their appearance rather than by their character. Furthermore, the modern take on social status is confirmed when Cher’s group of friends silently mock Tai after meeting her for the first time. The extreme contrast between the costuming such as the matching black and white outfits that Cher’s group of girls wear with Tai’s baggy pants and flannel shirt only serves to highlight how appearance is crucial for social standing. Remarkably, this is just as shallow and snobbish as Emma’s belief she is above mixing with “the yeomanry.” Hence, an appropriation provides refreshing ideas because it is able to transform the idea of rigid social class into the modern democratic context, showing the paradoxes between our shallow actions and democratic

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

In Madame Bovary, Emma creates conspicuous goals based off romantic novels she reads. In reaching her goals, she requires a level of

Emma movie characters appears with very formal and correct. The movie is involved with lengthy dialogue conversations and formal addressing. Example - Emma describes Mr. Elton as “pretty” instead of word “handsome”. Sentences in the dialogue are very well balanced in the movie while Emma appeared in her character as sobbingly and patronizingly. Example - when Emma disapprove Mr. and Mrs. Elton’s marriage she says “She brought no name, no blood, no alliance.”

Emma, is the story of the education and growth process of Emma. Throughout majority of the novel, Emma involves herself in bad situations in which she misconstrues facts and blinds herself from the truth, at the expense of others. After Emma has discovered that she has been terribly wrong about Mr. Elton, and she was mistaken to encourage Harriet's affection of him, Emma says, "It was foolish, it was wrong to take so active a part in bringing two people together, it was adventuring too far, assuming too much, making light of what ought to be serious- a trick of what ought to be simple!." Emma

Though at first glance, Emma appears to be a generic romantic novel about virtue and ladyhood, Austen actually challenges what the meaning of “ladyhood” is to the reader. We view Emma’s follies, trials, and triumphs through the eyes of the omnipotent narrator who first describes Emma as a stereotypical, wealthy young lady who is “handsome, clever…with…a happy disposition” (1). Through the use of irony, Austen employs a series of situations in which Emma, a “lady” of high standing within her community, challenges conventional thinking of what it means to be a young woman in the early nineteenth century, particularly her ideas concerning marriage and

While her feelings towards her daughter show how Emma is controlled by her id, she also displays a lack of superego function, as she commonly is unconcerned with the rules of society. At the peak of her relationships with both Rodolphe and Leon, Emma defiantly chooses to not to care if she is seen in public with her lovers. This lack of discretion finally works against her when one day in Rouen, "Monsieur Lheureux met her as she was leaving the Hôtel de Boulogne on Leon's arm. She was frightened, for she was sure he would talk. But he was not foolish enough to do that.

she does not long to have. Emma had fantasies of how she wanted her life to be so she