Alexx Zachary.
Whittier College.
Jane Austen in Context.
āI have faults enough, but they are not, I hope, of understanding. My temper I dare not vouch for. It is, I believe, too little yieldingā certainly too little for the convenience of the world. I cannot forget the follies and vices of other so soon as I ought, nor their offenses against myself. My feelings are not puffed about with every attempt to move them. My temper would perhaps be called resentful. My good opinion once lost, is lost forever.ā
She has been suffering from much from the headache and six leeches a day for ten days together relieved her so little that we thought it right to change our measures.
Jane Austen,Ā SanditonĀ (pg. 175)
Can we talk about the hypochondria prevalent in this beginning of a story? It's no wonder these women feel ill, treating themselves with leeches and pulling teeth out of their heads for no reason. I mean, there's that stereotype about bad teeth, but I find it hard to believe there was any real need for this insanity. Darn right it was time to change your measures. I may not support a trip for them to Sanditon quite as fervently as Mr. Parker, but maybe some salty airĀ would do them good.Ā
Austen, Jane.Ā Sanditon.Ā Ed. Margaret Drabble. London: Penguin 1974. Print.
He had been an elderly man when she married him; - her own age about thirty. - Her motives for such a match could be little understood at the distance of forty years, but she had so well nursed and pleased Mr Hollis, that at his death he left her everything - all his estates, and all at her disposal.
Jane Austen,Ā Sanditon (pg. 165).
What I'm getting from this is that Lady Denham was the first gold digger.
Austen, Jane.Ā Sanditon.Ā Ed. Margaret Drabble. London: Penguin 1974. Print.
Over the summer, the creators of the Emmy Award-winning web seriesĀ The Lizzie Bennet Diarieslaunched an experimental follow-up project based on an unfinished Jane Austen novel. InĀ Welcome to Sanditon, audience members were invited to assume roles as Sanditon residents while a modernized interpretation of Austenās final work unfolded as a web series.
[...] - though I am by no means the first of my family,
Jane Austen,Ā Sanditon (pg. 158-159).
Austen has this fascination with second sons, which apparently is now appearing again in Sanditon. I would have liked to have seen whether or not this was going to matter much, but it was Mr. Parker, and we've already pretty much gotten his measure, I think, by the time the beginning-of-a-novel comes to its abrupt end.
Austen, Jane.Ā Sanditon.Ā Ed. Margaret Drabble. London: Penguin 1974. Print.
āIt is only a novelā¦ or, in short, only some work in which the greatest powers of the mind are displayed, in which the most thorough knowledge of human nature, the happiest delineation of its varieties, the liveliest effusions of wit and humour, are conveyed to the world in the best-chosen languageāĀ
I finally got to finish watching Mansfield Park. Having no knowledge of the plot I thought that Fanny was actually going to marry Henry Crawford after the proposal scene. Maybe Iām just a bit too gullible. I am happy that she ends up with Edmund. I also liked the ball scene (first picture) where you can see that the Crawford siblings have individual interests in Edmund and Fanny, but you can see from the body language and eye contact that the connection is between Edmund and Fanny even as they switch partners. (These 4 are dancing partners. It was also nice to see them dance and switch off as we did in class)
"No, I think, Miss Woodhouse, I may just as well have it sent to Hartfield, and take it home with me at night. What do you advise?"
"That you do not give another half-second to the subject. To Hartfield, if you please, Mrs. Ford."
"Aye, that will be much best," said Harriet, quite satisfied. "I should not at all like to have it sent to Mrs. Goddard's."
- Jane Austen, EmmaĀ (pg. 163).
This whole shopping scene is so... domestic. It puts Emma and Harriet into the stereotypical roles of the indecisive woman, who takes forever to shop, and the uninterested "man" who eventually makes a call that influences both.
Note that Emma's directs Mrs. Ford, which I think has as much to do with her status as it does with her being the person in power specifically in this particular situation. And Harriet defers to Emma - it's not as though she suddenly comes to the conclusion that sending the packages to Hartfield was what she wanted all along, it's like she's trying to pat Emma on the back for having made an executive decision with little deliberation.Ā Of courseĀ it would be sent to Hartfield, any other destination would have been ridiculous.Ā
Austen, Jane.Ā Emma. Ed. George Justice. New York: W.W. Norton & Company, Inc., 2012. 325. Print.Ā
"Miller argues Emma suffers from a pathological narcissism; incapable of cathecting her ego onto a suitable object, she withdraws her libido from the world and attaches it instead onto her own ego. Consequently, she manipulates others as a means of releasing libido vicariously through her obsession with matchmaking."
A bit on sex, to go with the sexuality. More on power and Emma assuming the male role.
I could pick meaningful quotes out of this essay for days. But in short, after much searching, I found some support for the idea that Emma Woodhouse might be a lesbian, outside of the text itself, which really only drops hints thatĀ mustĀ be interpreted for this reading of the novel/character.
Emma "is not sexually submissive to and contingent upon men" (p. 123), and that she "assumes her own entitlement to independence and power--power not only over her own destiny, but, what is harder to tolerate, power over the destinies of others--and in so doing she poaches on what is felt to be male turf' (p. 125).
Critics consistently resist what Sedgwick refers to as "the rich, conflictual erotic complication of a homoerotic matrix"(11) present in Austen, refusing to take seriously the possibility of an alternative to the prescriptive heterosexual paradigm.Ā The fact that Emma possesses a measure of social and sexual power, and that she is a woman who, in a number of significant ways, "plays man"(12) throughout the novel, implies as much about Emma's place in the novel's sexual configurations as it does about her appropriation of masculine social prerogatives. Her relationships with Miss Taylor (later Mrs. Weston) and Harriet Smith exemplify her at traction to and infatuation with docile and malleable members of her own sex, women over whom she exerts control and influence, and in whose sexual destinies she evinces a passionate and active involvement; and her relationships with the male characters in the novel--Mr. Knightley, Frank Churchill, and even Mr. Elton--serve to demonstrate Emma's marked sexual indifference to men, and, more importantly, her strong sexual identification with them.
Emma firmly rejects the notion of passivity as her "expected state."
It is clear that Emma has come to objectify the maternal figure of Miss Taylor, a woman who "had devoted all her powers to attach and amuse her" for sixteen years (p. 6). Emma considers her an essential appendage to herself, "a friend and companion such as few possessed" (p. 6); and it is apparent in the first conversation we witness between Emma, Mr. Woodhouse, and Mr. Knightley, that Miss Taylor has long been considered a "possession" of the Woodhouse household (pp. 10-13)
Emma's erotic predilection for members of her own sex can be traced throughout the novel and in each of the relationships she has with other women, and it is in these relationships that the underlying dynamics of erotic domination are most in evidence. Emma clearly has identified with the dominant role in the "self-other relationship,"(37) a role that Benjamin suggests is usually occupied by the male, while both Miss Taylor and Harriet Smith can be seen to occupy the corresponding submissive role, the "traditionally female side of selfhood" with its characteristics of "dependency, connectedness, [and] yielding" (p. 294).
One million more quotes. Please read the essay for the full effect.
Korba, Susan M. ""Improper and Dangerous Distinctions": Female Relationships and Erotic Domination in 'Emma.' (Jane Austen)."Ā Studies in the NovelĀ 29.2 (1997): 139.Ā Academic OneFile. Web.
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