https://rhg.com/research/global-fossil-fuel-demand/

https://www.liberation.fr/checknews/devrons-nous-produire-60-delectricite-en-plus-dici-dix-ans-comme-le-dit-emmanuel-macron-20220218_NDXIZTW33RAB7HUET7U4N3QSGQ/?redirected=1

Ah, the seduction of the nuclear family! What parallels are there between Fanny in MP and Harriet I wonder? Additionally, Emma and Harriet are perhaps more similar than Emma realizes as both women choose marital partners with the concern of familial acquisition or preservation in the end.

Like a shiny kettle! I'm more and more curious about the way Emma- however consciously- objectifies Harriet throughout the novel through the lens of both class and internalized misogyny. What Emma most valued in Harriet (at least initially) is her beauty and her mailability. Freud would probably have something to say about penis envy here honestly as the way Emma superimposes herself into Harriet's life as her keeper echoes the way Mr. Knightley administers unsolicited guidance to Emma on the basis of age and- more significantly- gender.

The poor do not deserve to observe beauty? Maybe not that, but there's the social elevation of a pretty face again. Emma's inner thoughts about Harriet reveal a lot about how she esteems female value within her societal constraints.

Is the fact that Frank Churchill, the product of Mr. Weston's first marriage, is the effective villain a critique of imprudent marriage? Or more specifically a union that disrupts an existing family structure? By them marrying, the late Miss Churchill and Mr. Weston created a rift with her family and their son Frank Churchill will later reveal himself in this novel to be duplicitous and inattentive to familial responsibility and honor. Lends a sort of "live by the sword, die by the sword" note to a potential cause for Frank's behavior. He is also the foil to the stable patriarch Mr. Knightley presents in that sense. In some ways, Emma chooses family above all else by marrying Mr. Knightley. Especially as it is also understood that- realistically- her sole friend will be largely unavailable to her at the end of the novel when neither of them are single women any longer- and due to class separation now that Emma has admitted Harriet is not a secret lady of nobility. What also does it mean that Emma so struggles with what could be equitable relationships- moreso with Jane Fairfax who she envies- but is more comfortable in the patriarchal oversight of Knightley?

Is there an added element of an overriding imbalance of class (even over age) here that also contributes to Miss Taylor's lack of authority with Emma?

It is interesting that one of Emma's first intimate friends- outside of her sister- is employed by the family and Miss Taylor would on some level have to comply to Emma's whims as the daughter of her employer. I wonder how this influences the dynamics of Emma's relationship with Harriet later in the novel.

This starts like a fairytale and Emma is the princess. But who is telling us this tale? Is this how Emma sees herself? How her society sees her? We learn as we go into the novel that Emma isn't as perfect as she's percieved.

See also Emma "A woman may not marry a man merely because she is asked, or because he is attached to her" (chapter 7) and Mansfield Park "I think it ought not to be set down as certain that a man must be acceptable to every woman he may happen to like himself" (Chapter 35)

Anne could have been Emma Woodhouse: "...handsome, clever, and rich" (E, Ch1).

Consider Miss Taylor (later Mrs Weston) "who had fallen little short of a mother in affection" towards Emma (Emma Chapter 1) but unlike Lady Russell the "mildness of her temper had hardly allowed her to impose any restraint; ... and Emma [continued] doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own." (Emma Chapter 1)

Note that Miss Hamilton's situation is like that of Harriet Smith in Emma, no relations and no where to go so they stay at school

We can assume that all Austen's heroines performed charitable duties but the only one we ever witness directly is Emma.

This is the only Austen novel (I think! please correct me) set in a definite stated time. It's because there's a lull in the war which readers know will impact the Navy after the events of the novel conclude. (Do check out Synchronous *Emma* a project tracking the events of the novel in real time)

The pelisse, a popular garment most recently revived through the iconic yellow model worn by Ana Taylor-Joy in Autumn de Wilde’s Emma (2020), might be included as a footnote in the twin history of fashion and ecological degradation.

By donning a pelisse, Mrs. Allen and Mrs. Thorpe, whatever their rivalries, were both at the cusp of early nineteenth-century fashion. Austen herself owned at least two pelisses, as historian Hilary Davidson has demonstrated. The pelisse, an overdress, was developed partly in response to the new Empire-period silhouette and partly due the “muslin disease” or influenza that ailed young women wearing fashionable lightweight fabrics in freezing weather.

In the colder months, pelisses could be lined with fur, so Mrs. Allen’s observation that Mrs. Thorpe’s lace is not as handsome would indicate that this scene takes place in the warmer months. The pelisse’s popularity led it to replace the fur cloaks of the earlier eighteenth century. Soon, though, pelisses themselves would be replaced with fur coats, which gained popularity throughout the nineteenth century, reaching a high point in the 1850s. Their popularity was in large part due to new methods of processing fur, which made it more supple (Fashioned 86). The consumption of fur and sealskin jackets, as well as feathers and cotton, throughout the period would lead to the devastation (e.g., India’s cotton industry) of ecosystems (71).

As we read these lines, then, we are reminded, of Austen’s critical eye for the consumer habits of her time. Although her critique here pertains to petty fashion rivalry, when reading about fashion items in her novels, we might find ourselves considering not only how little our fashion rivalries have changed but also how fashion and environmental degradation are historically linked.

For more on the pelisse, the spencer, and muslin, head over to Austenprose to read Hilary Davidson's post on Regency fashion in Emma (2020).

Works Cited

My disillusionment in Russia - Emma Goldman

Wow, that's a very big influential name in showbiz there. When others in Fairfax regurgitated this story, they regurgitated her quotes on the Queen Quest's value.

You may have missed that, but here's what niche womens issue publication 'Womens Agenda' said in its article titled 'This councillor wanted to debate beauty pageants. They called him a wanker' - here's the relevant section:

*But can these pageants actually be a positive platform to build a career?

Emma Watkins, also known as the Yellow Wiggle, thinks so. Ryde City Council has run these pageants for 30 years and several famous names have emerged as prior festival queens, with Watkins being one who won not one but 2 pageants, in both 2005 and 2009.

Watkins said that winning is more focused on community involvement than beauty.

“As a little girl I just aspired to be a Granny Smith Festival Queen,” said Watkins, now age 25. “[Judging is] definitely all about contestants’ involvement in the community.

Watkins says that the pageant improved her self-confidence, instead of the popular belief that it is harmful for young girls self esteem: “Winning improved my confidence and pubic speaking and self-esteem in the middle of those teenage years.”

• That article even got the basic context right: * "Simon proposed the motion to debate the Council’s support for beauty pageants after reading – week after week – stories in the local paper about the competitions.........

"It wasn’t the debate he got."*

Clara Brereton bares a striking resemblance to Jane Fairfax from Emma. This similarity is exhibited through their mutual reserve as well as their current situations. Both Clara and Jane are dependent on family members and may become governesses if they are not married. Additionally, they also have similar love stories in that both their love interests publicly show affection for the other prominent female character in the novel despite their own clandestine relationship.

This phrase is often used in Austen's works, referring to the particular society or selected families a person interacts with, and which usually indicates a level of social class. In Pride and Prejudice, Mrs. Gardener says she "moved in different circles" from the Darcys, and in Emma, Mrs. Elton hopes to install Miss Fairfax as a governess in a better circle than she might be able to procure on her own.

  This chapter establishes familiar character dynamics that might elucidate the trajectory of the personas Austen presents in this unfinished text. The chapter begins with the introduction of Miss Esther Denham and Sir Edward Denham, a scheming sibling pair reminiscent of Mansfield Park’s The Crawfords and Northanger Abbey’s The Thorpes. Austen explicitly establishes the bald aim of the two to obtain wealth and status from advantageous matrimony, a characteristic that similarly mirrors the Crawfords and Thorpes. Sir Edward, in particular, resembles Austen’s past villainous men; throughout the Austen canon, coxcomb-esque behaviors are the cardinal sins of bachelors. Indeed, Willoughby, Wickham, Henry Crawford, Mr. Elton, Thorpe, and Mr. Elliot all receive biting characterizations by Austen, and thus, given the fates of these men in their respective novels, we can predict that Sir Edward is not the male love interest of this story. 
 Sir Edward’s dynamic with, and apparent longing for the affection of, Clara Brereton, additionally reverberate into the Austen canon in a meaningful way. Other Austen works present relationships between gentried men and pseudo-adopted young women; notably, Emma features Jane Fairfax and Frank Churchill’s secret engagement and Mansfield Park depict Henry Crawford’s arguably predatory pursuit of Fanny Price. These relationship both demonstrate wealth and class incongruities as interpersonal complications. Further, these dynamics are also characterized by the ignorance of other characters to the details of the relationship. Therefore, we cannot know from this unfinished account of Charlotte’s observations if Clara Brereton is a Fanny Price or a Jane Fairfax; we cannot fully know if the behaviors and dispassion Charlotte Heywood witnesses are evidence of a painful resistance to unwanted advances or red herrings to disguise an intimacy. Since speculation is the nature of this activity, however, it is notable that in both Mansfield Park and Emma, outside perceptions of the aforementioned relationships were incorrect. Therefore, paradoxically, Charlotte’s perception of Clara’s distaste for Sir Edward might in fact evince a returned affection and eventual marriage between the two. 

Links to common words/themes throughout the annotations

This is promising but could do with development. It needs more explanation of RM's claims and the rhetorical characteristics she assigns demagoguery, as well as more analysis of the details of the target text.

Interesting discussion of Miller. Good overview of claims and some useful evaluation. This part of the evaluation seems a bit general (he could have used more pathos).

Yes, good point. Good discussion of sources. You pose many important questions. I think there is more that could be said about these sources, but this shows good evaluative instincts.

Smart discussion of Shieh. Nice.

But could go further and address RR2 questions regarding critical digital literacy.

This is stronger reading response. You provide a more detailed, precise account of the author's claims, making important distinctions as you proceed. You also cover of the reading response questions - nice job.

Excellent - you capture this central insight well.

Need to formulate this as a claim - this seems to describe a comparison.

Well put. This is indeed one of her main claims.

Nice intro - I like the way you find so many personal connections to illustrate Boyd's claims.

I don't think this is quite his point. He admits a lot of the new writing is bad, but he suggests that 90% most things are bad, and we are seeing an explosion of good writing.

This shows a lot of promise. You understand Ong's concepts well. In future homework assignments try to include more analysis of the text - more quotes and some more detailed investigation of these quotations.

I look forward to reading more of your blog posts.

Good - a key element of the performance.

A little awkward - I think you just need to say that it is an example of an oral composition.

Yes, this is hard for literate folks to imagine.

Good point, but I believe Thompson is talking about how often ordinary people wrote for fun. he talks about how professionals and "creative types" have always written a lot, and these people have over-estimated how much ordinary people wrote (as opposed to read).

Nice connection to your own experience

Thanks for sharing this Emma!

OST: La La Land [ooo]

VÖ: 13.1.2017

Charts: 16 Wochen

AppleMusic / iTunes

This is also ethos because she uses the word 'we' again to show us that there is more than one person working on this problem.

Emma wants you to trust her with this issue, so she is using words such as 'we' and 'make sure' to gain her audience's trust that she'll help this issue.

Emma Zunz ha inventado una mentira al crear pruebas para incriminar a Lowenthal. ¿Crees que lo ha hecho por venganza o por justicia? ¿Te parece Emma una justiciera o una mentirosa?

When comparing the Johnston and Muir translation of Metamorphosis, there are subtle differences in word choices which can shift the tone or meaning of the story. One of the first word choice variations in the section is Johnston’s use of “electrified” compared to Muir’s use of “magnetized”. The word “electrified” connotes more randomness in terms of movement, while “magnetized” is more specific and targeted to certain pushes and pulls with respect to an object. The next word difference is “collided” versus “cannoned”. Johnston’s employment of “collided” evokes a much more scattered tone where conversely, Muir’s translation of “cannoned” creates a more direct effect. Overall, the Johnston translation is more sporadic seeming in terms of diction and in contrast Muir’s translation is more focused and precise.