Mary Ann Gwinn, Seattle Times, December 10, 2003
Carroll's hall-of-mirrors children's tale and Steadman's "Fear and Loathing in Las Vegas" style make for an eerily perfect fit. --Ce texte fait référence à l'édition kindle_edition. Sunday Telegraph
"Cover to Cover's unabridged readings of classic novels are in a class of their own." --Ce texte fait référence à l'édition kindle_edition. Midwest Book Review, July 1998
"Irene Sutcliffe provides the passionate and strong reading of Austen's classic story." --Ce texte fait référence à l'édition kindle_edition. Gramophone
"Jane Austen's Pride and Prejudice is read here by Irene Sutcliffe and is a delight from beginning to end." --Ce texte fait référence à l'édition kindle_edition. Review
"Jane Austen is my favorite author! ... Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers." ?EM Forster
From the Trade Paperback edition. --Ce texte fait référence à l'édition kindle_edition. Novel by Jane Austen, published anonymously in three volumes in 1813. The narrative, which Austen initially titled "First Impressions," describes the clash between Elizabeth Bennet, the daughter of a country gentleman, and Fitzwilliam Darcy, a rich and aristocratic landowner. Austen reverses the convention of first impressions: "pride" of rank and fortune, and "prejudice" against Elizabeth's inferiority of family, hold Darcy aloof; while Elizabeth is equally fired both by the pride of self-respect and by prejudice against Darcy's snobbery. Ultimately, they come together in love and self-understanding. --Ce texte fait référence à l'édition kindle_edition. Book Description
Jane Austen's Emma (1816) tells the story of the coming of age of Emma Woodhouse, "handsome, clever, and rich," who "had lived nearly twenty-one years in the world with very little to distress or vex her." Typical for the novel's time, Emma's transition to womanhood is accomplished through courtship - both of those around her and, ultimately, her own. As in other Austen works, education and courtship go hand in hand, and Emma's process of learning to relinquish the power of having her own way is also a process of falling in love. However, in Emma this classic plot is both complicated by and reflective of a collection of contemporary issues, assumptions, and anxieties that highlight just how "political" even the most conventional of courtship plots can be. This Broadview edition includes a critical introduction and an extensive collection of historical documents relating to the composition and reception of the novel, the social implications of England's shift from a rural agrarian to an urban industrial economy, the role of women in provincial society, and the contemporary preoccupation with health and the treatment of illness.
--Ce texte fait référence à l'édition kindle_edition. Ashley Tauchert, University of Exeter
This is an excellent package of well-edited text and thoughtful introduction, notes and sources. --Ce texte fait référence à l'édition kindle_edition. Extrait
EMMA WOODHOUSE, handsome, clever, and rich, with a comfortable home and happy disposition seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her.
She was the youngest of the two daughters of a most affectionate, indulgent father; and had, in consequence of her sister's marriage, been mistress of his house from a very early period. Her mother had died too long ago for her to have more than an indistinct remembrance of her caresses; and her place had been supplied by an excellent woman as governess, who had fallen little short of a mother in affection.
Sixteen years had Miss Taylor been in Mr. Woodhouse's family, less as a governess than a friend, very fond of both daughters, but particularly of Emma. Between them it was more the intimacy of sisters. Even before Miss Taylor had ceased to hold the nominal office of governess, the mildness of her temper had hardly allowed her to impose any restraint; and the shadow of authority being now long passed away, they had been living together as friend and friend very mutually attached, and Emma doing just what she liked; highly esteeming Miss Taylor's judgment, but directed chiefly by her own.
The real evils, indeed, of Emma's situation were the power of having rather too much her own way, and a disposition to think a little too well of herself: these were the disadvantages which threatened alloy to her many enjoyments. The danger, however, was at present so unperceived, that they did not by any means rank as misfortunes with her.
Sorrow came—a gentle sorrow&mdashbut not at all in the shape of any disagreeable consciousness. Miss Taylor married. It was Miss Taylor's loss which first brought grief. It was on the wedding day of this beloved friend that Emma first sat in mournful thought of any continuance. The wedding over, and the bride people gone, her father and herself were left to dine together, with no prospect of a third to cheer a long evening. Her father composed himself to sleep after dinner, as usual, and she had then only to sit and think of what she had lost.
The event had every promise of happiness for her friend. Mr. Weston was a man of unexceptionable character, easy fortune, suitable age, and pleasant manners; and there was some satisfaction in considering with what self-denying, generous friendship she had always wished and promoted the match; but it was a black morning's work for her. The want of Miss Taylor would be felt every hour of every day. She recalled her past kindness—the kindness, the affection of sixteen years—how she had taught and how she had played with her from five years old—how she had devoted all her powers to attach and amuse her in health—and how nursed her through the various illnesses of childhood. A large debt of gratitude was owing here; but the intercourse of the last seven years, the equal footing and perfect unreserve which had soon followed Isabella's marriage, on their being left to each other, was yet a dearer, tenderer recollection. She had been a friend and companion such as few possessed: intelligent, well-informed, useful, gentle, knowing all the ways of the family, interested in all its concerns, and peculiarly interested in herself, in every pleasure, every scheme of hers; one to whom she could speak every thought as it arose, and who had such an affection for her as could never find fault.
How was she to bear the change? It was true that her friend was going only half a mile from them; but Emma was aware that great must be the difference between a Mrs. Weston, only half a mile from them, and a Miss Taylor in the house; and with all her advantages, natural and domestic, she was now in great danger of suffering from intellectual solitude. She dearly loved her father, but he was no companion for her. He could not meet her in conversation, rational or playful.
The evil of the actual disparity in their ages (and Mr. Woodhouse had not married early) was much increased by his constitution and habits; for having been a valetudinarian all his life, without activity of mind or body, he was a much older man in ways than in years; and though everywhere beloved for the friendliness of his heart and his amiable temper, his talents could not have recommended him at any time.
Her sister, though comparatively but little removed by matrimony, being settled in London, only sixteen miles off, was much beyond her daily reach; and many a long October and November evening must be struggled through at Hartfield, before Christmas brought the next visit from Isabella and her husband, and their little children, to fill the house, and give her pleasant society again.
Highbury, the large and populous village almost amounting to a town, to which Hartfield, in spite of its separate lawn, and shrubberies, and name, did really belong, afforded her no equals. The Woodhouses were first in consequence there. All looked up to them. She had many acquaintances in the place, for her father was universally civil, but not one among them who could be accepted in lieu of Miss Taylor for even half a day. It was a melancholy change; and Emma could not but sigh over it, and wish for impossible things, till her father awoke, and made it necessary to be cheerful. His spirits required support. He was a nervous man, easily depressed; fond of everybody that he was used to, and hating to part with them; hating change of every kind. Matrimony, as the origin of change, was always disagreeable; and he was by no means yet reconciled to his own daughter's marrying, nor could ever speak of her but with compassion, though it had been entirely a match of affection, when he was now obliged to part with Miss Taylor too; and from his habits of gentle selfishness, and of being never able to suppose that other people could feel differently from himself, he was very much disposed to think Miss Taylor had done as sad a thing for herself as for them, and would have been a great deal happier if she had spent all the rest of her life at Hartfield. Emma smiled and chatted as cheerfully as she could, to keep him from such thoughts; but when tea came, it was impossible for him not to say exactly as he had said at dinner:
'Poor Miss Taylor! I wish she were here again. What a pity it is that Mr. Weston ever thought of her!'
'I cannot agree with you, papa; you know I cannot. Mr. Weston is such a good-humoured, pleasant, excellent man, that he thoroughly deserves a good wife; and you would not have had Miss Taylor live with us for ever, and bear all my odd humours, when she might have a house of her own?'
'A house of her own! but where is the advantage of a house of her own? This is three times as large; and you have never any odd humours, my dear.'
'How often we shall be going to see them, and they coming to see us! We shall be always meeting! We must begin; we must go and pay our wedding-visit very soon.'
'My dear, how am I to get so far? Randalls is such a distance. I could not walk half so far.'
'No, papa; nobody thought of your walking. We must go in the carriage, to be sure.'
'The carriage! But James will not like to put the horses to for such a little way; and where are the poor horses to be while we are paying our visit?'
'They are to be put into Mr. Weston's stable, papa. You know we have settled all that already. We talked it all over with Mr. Weston last night. And as for James, you may be very sure he will always like going to Randalls, because of his daughter's being housemaid there. I only doubt whether he will ever take us anywhere else. That was your doing, papa. You got Hannah that good place. Nobody thought of Hannah till you mentioned her—James is so obliged to you!'
'I am very glad I did think of her. It was very lucky, for I would not have had poor James think himself slighted upon any account; and I am sure she will make a very good servant; she is a civil, pretty-spoken girl; I have a great opinion of her. Whenever I see her, she always curtseys and asks me how I do, in a very pretty manner; and when you have had her here to do needlework, I observe she always turns the lock of the door the right way and never bangs it. I am sure she will be an excellent servant; and it will be a great comfort to poor Miss Taylor to have somebody about her that she is used to see. Whenever James goes over to see his daughter, you know, she will be hearing of us. He will be able to tell her how we all are.' --Ce texte fait référence à l'édition kindle_edition. Ingram
Thought by many critics to be Jane Austen's finest and most varied achievement, Emma is the witty story of a beautiful and confident young heiress who attempts to manage her life and the lives of those around her with all the wisdom of her 21 years. 4 cassettes. --Ce texte fait référence à l'édition kindle_edition. Library of Congress
In early nineteenth-century England, a spirited young woman copes with the suit of a snobbish gentleman as well as the romantic entanglements of her four sisters. Includes explanatory notes throughout the text, an introduction discussing the author and the background of the story, and a study guide. --Ce texte fait référence à l'édition kindle_edition. Publisher comments
Founded in 1906 by J.M. Dent, the Everyman Library has always tried to make the best books ever written available to the greatest number of people at the lowest possible price. Unique editorial features that help Everyman Paperback Classics stand out from the crowd include: a leading scholar or literary critic's introduction to the text, a biography of the author, a chronology of her or his life and times, a historical selection of criticism, and a concise plot summary. All books published since 1993 have also been completely restyled: all type has been reset, to offer a clarity and ease of reading unique among editions of the classics; a vibrant, full-color cover design now complements these great texts with beautiful contemporary works of art. But the best feature must be Everyman's uniquely low price. Each Everyman title offers these extensive materials at a price that competes with the most inexpensive editions on the market-but Everyman Paperbacks have durable binding, quality paper, and the highest editorial and scholarly standards. --Ce texte fait référence à l'édition kindle_edition. Quatrième de couverture
‘“Dear Papa, you cannot think that I will leave off match-making!”’ --Ce texte fait référence à l'édition kindle_edition. Back Cover copy
"Jane Austen is my favorite author! ... Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers." —EM Forster
--Ce texte fait référence à l'édition kindle_edition. Amazon.com
Of all Jane Austen's heroines, Emma Woodhouse is the most flawed, the most infuriating, and, in the end, the most endearing. Pride and Prejudice's Lizzie Bennet has more wit and sparkle; Catherine Morland in Northanger Abbey more imagination; and Sense and Sensibility's Elinor Dashwood certainly more sense--but Emma is lovable precisely because she is so imperfect. Austen only completed six novels in her lifetime, of which five feature young women whose chances for making a good marriage depend greatly on financial issues, and whose prospects if they fail are rather grim. Emma is the exception: "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her." One may be tempted to wonder what Austen could possibly find to say about so fortunate a character. The answer is, quite a lot. For Emma, raised to think well of herself, has such a high opinion of her own worth that it blinds her to the opinions of others. The story revolves around a comedy of errors: Emma befriends Harriet Smith, a young woman of unknown parentage, and attempts to remake her in her own image. Ignoring the gaping difference in their respective fortunes and stations in life, Emma convinces herself and her friend that Harriet should look as high as Emma herself might for a husband--and she zeroes in on an ambitious vicar as the perfect match. At the same time, she reads too much into a flirtation with Frank Churchill, the newly arrived son of family friends, and thoughtlessly starts a rumor about poor but beautiful Jane Fairfax, the beloved niece of two genteelly impoverished elderly ladies in the village. As Emma's fantastically misguided schemes threaten to surge out of control, the voice of reason is provided by Mr. Knightly, the Woodhouse's longtime friend and neighbor. Though Austen herself described Emma as "a heroine whom no one but myself will much like," she endowed her creation with enough charm to see her through her most egregious behavior, and the saving grace of being able to learn from her mistakes. By the end of the novel Harriet, Frank, and Jane are all properly accounted for, Emma is wiser (though certainly not sadder), and the reader has had the satisfaction of enjoying Jane Austen at the height of her powers. --Alix Wilber
--Ce texte fait référence à l'édition kindle_edition. From School Library Journal
Grade 3 Up-A fresh visual interpretation of Carroll's classic. Oxenbury presents the unforgettable characters in a winning combination of black-and-white drawings and her recognizable softly shaded watercolors. Hers is a thoroughly modern Alice clad in a blue jumper and sneakers, a hefty and somewhat androgynous Duchess and Queen of Hearts, and the very colorful Mad Hatter in mismatched attire. Despite the contemporary twists, Oxenbury's droll, understated humor captures the essence of Carroll's fantasy world. Certainly, there is no shortage of "Alice" versions. Despite the plethora of choices, this edition is worthy of consideration. The original story is delivered with lively and appealing artwork in a package of impressive book design. Purists may prefer a more traditional interpretation, but most libraries will find this book to be a delightful addition to their collections.
Heide Piehler, Shorewood Public Library, WI
Copyright 2000 Reed Business Information, Inc. --Ce texte fait référence à l'édition kindle_edition. From Publishers Weekly
If Zwerger's Alice (reviewed above) is deliciously cryptic, Oxenbury's (Tom and Pippo books) brims with the fun and frights of a visit to an amusement park. In perhaps her most ambitious work to date, Oxenbury applies her finely honed instinct for a child's perspective to create an Alice accessible to all ages. With the opening scene of a tomboyish heroine slumped against her sister who is reading under a tree, the artist seems to answer Alice's first line: "What is the use of a book... without pictures or conversations?" Nearly every spread contains either a spot-line drawing or full-bleed full-color painting. The artist nods to Tenniel with her hilarious portrait of the waistcoated White Rabbit and even extends the metaphor of the "grin without a cat" with a quartet of watercolors as the Cheshire Cat begins to disappearAuntil only his grin remains. The villains here are more stoogelike than menacing, including the baby-throwing Duchess and the Queen of Hearts, and Oxenbury makes the most of such comic opportunities as the entangled powdered wigs of the Frog-Footman and Fish-Footman. A series of cleverly choreographed closing scenes shows Alice in the Queen's courtroom, pelted by the playing cards that, on the next spread, seem to have transformed into the falling leaves of the tree where Alice awakens and her sister gives her a kiss; a poignant parting shot of Alice's sister silhouetted at dusk under the tree, with sheep grazing in the field, acknowledges the shift in tone of Carroll's conclusion. An ideal first introduction to a lifelong favorite read. Ages 8-up. (Nov.)
Copyright 1999 Reed Business Information, Inc. --Ce texte fait référence à l'édition kindle_edition. Biographie de l'auteur
A. Walton Litz,American literary historian and critic, was for almost four decades a professor of English literature at Princeton University. He is the author or editor of more than twenty collections of literary criticism. --Ce texte fait référence à l'édition kindle_edition. From Library Journal
This is another case where a classic is being reprinted simply as a tie-in to a TV/feature film presentation. Libraries, nonetheless, can benefit by picking up a quality hardcover for a nice price.
Copyright 1997 Reed Business Information, Inc. --Ce texte fait référence à l'édition kindle_edition. The luxury of the unabridged edition requires a certain commitment. But a luxury it is. Jenny Agutter's reading is perfectly suited to the story, both in tone and pace. She brings out the comic insight that is the hallmark of Austen's stories, making one laugh out loud at times, so well has she caught the moment or the temperament of the characters. The genius of Austen's wit often depends, not on what is said, but on how it is said, and Agutter has given the perfect voice to this lighthearted classic, delicately differentiating each character's personality. A glorious way to experience the essential Austen. K.R. (c)AudioFile, Portland, Maine --Ce texte fait référence à l'édition kindle_edition. Rarely is the word "masterpiece" used in reviewing anything, but this unabridged edition of a classic definitely brings the word to mind, in hushed and reverent tones. Oxenbury has boldly offered a fresh look at Alice and her friends. The soft palette, creamy colors interspersed with engaging line drawings, and creative page layout, draw one hypnotically to the story. The double-page spreads pleasantly startle, often with a grand feel of movement. When choosing for a home library, consider this one and the original Tenniel drawings. Buy both - a win/win situation! A 2000 Parents' Choice® Gold Award winner.Reviewed by Yvonne Coleman, Parents' Choice® 2000
--Ce texte fait référence à l'édition kindle_edition. Midwest Book Review
This oversized, lavish, unabridged edition of Carroll's classic joins the works of Spanish artist Angel Dominguez with the Carroll fairy tale. Over seventy new watercolor illustrations blend Dominguez's unique style with the Alice story: the full-page color leaps from the page and makes this a very special edition suitable for all ages. --Ce texte fait référence à l'édition kindle_edition. About the author
Kristin Flieger Samuelian teaches in the Department of English at George Mason University. She has published articles on Jane Austen, Charles Dickens, and Elizabeth Gaskell. --Ce texte fait référence à l'édition kindle_edition. Booklist
British illustrator Oxenbury, best known for her acclaimed depictions of baby and toddler life, has undertaken the ambitious challenge of illustrating Carroll's classic dreamscape. This is the second new edition of Alice this season, and though it is a welcome addition, it suffers a bit by comparison with Lisbeth Zwerger's version . Oxenbury's Wonderland is a soft, beautiful springtime world that is a pleasure to observe, but it lacks Zwerger's sense of mystery and Carroll's intellectual angularity. As for Oxenbury's Alice, she's pretty and blonde, but she lacks personality and may be too jarringly contemporary in appearance for some readers. Nevertheless, Oxenbury is a brilliant watercolorist, and her pictures are beautifully designed, as is the book itself. The thick, elegant, cream-colored paper is a visual and tactile delight. Michael Cart --Ce texte fait référence à l'édition kindle_edition. First published in 1816, Emma is generally regarded as Jane Austen's most technically brilliant book. But that's not the reason to read it. Read it to see how a scheming heiress who is determined not to marry ends up embracing love and growing in maturity without dying or becoming impossibly insipid, the fate of so many nineteenth-century heroines. As her fourth novel was taking shape, Jane Austen noted "I am going to take a heroine whom no one but myself will much like." She was wrong. It is easy to love Emma Woodhouse. She is a snob, a meddler, and a spoiled child - she is also smart, funny, generous, and compassionate. Determined to control the arrangements of other people's lives, Emma takes on the self-appointed role of matchmaker in a world that grants little public power to women. Small wonder that Emma, who has a "mind lively and at ease," wastes her considerable creative powers dreaming up romantic scenarios that consistently and comically fail all reality checks. As in all of Jane Austen's works, the simple theme of courtship belies the complexity of her vision of human nature and of our need for power. Technical brilliance? Yes. Moral brilliance? Most definitely. -- For great reviews of books for girls, check out Let's Hear It for the Girls: 375 Great Books for Readers 2-14. --Ce texte fait référence à l'édition kindle_edition. Description
The Chicago Sun-Times
A charmer! The humor is sharp, the characters are deftly drawn and the story gallops along. --Ce texte fait référence à l'édition kindle_edition. Revue de presse
"Jane Austen is my favorite author! ... Shut up in measureless content, I greet her by the name of most kind hostess, while criticism slumbers." —EM Forster --Ce texte fait référence à l'édition kindle_edition. 
![Emma (English Edition) par [Jane Austen]](https://m.media-amazon.com/images/I/51bNkTbUvpL._SY346_.jpg)
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