Emmy Elliott

2021.12.08 03:52 pleasedontfollowm3-5 Emmy Elliott

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2021.12.08 03:52 ExpertAccident Sounds fun

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2021.12.08 03:52 PayingHyip The Terra protocol’s native staking token that absorbs the price volatility of Terra

The Terra protocol’s native staking token that absorbs the price volatility of Terra. Luna is used for governance and in mining. Users stake Luna to validators who record and verify transactions on the blockchain in exchange for rewards from transaction fees. The more Terra is used, the more Luna is worth. http://www.luniofficial.com/
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2021.12.08 03:52 Annie_Hall96 5 months on isotretinoin. I took 20 mg for the first month followed by 10 mg for the next four. It's been a long process. I still have alot of scars, PIE and PIH but I am grateful for where I am today. I don't take even a single day of progress for granted anymore and I am thankful for everything. ❤

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2021.12.08 03:52 realHoboboss I Drew Kate with a Flashlight

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2021.12.08 03:52 SAtechnewsbot Added international value to high school students

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2021.12.08 03:52 SAtechnewsbot Public key infrastructure as a service

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2021.12.08 03:52 SAtechnewsbot Insurance risk managers must embrace technology disruption

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2021.12.08 03:52 ThatsNotMyAlt The first time Mods fell asleep, (1184 BCE)

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2021.12.08 03:52 mideonequalsratings Who would you consider the Daniel Day-Lewis of porn?

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2021.12.08 03:52 SAtechnewsbot Digital marketing tactics every entrepreneur can master today

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2021.12.08 03:52 Bulky-Importance-200 Shipped PS5 to friend, but it was not in the box once he picked it up at a UPS Store.

So, I shipped a package on November 29th at 4:54pm at my local UPS store. Box was in amazing condition with plenty of bubble wrap securing the PS5 at the time of drop off. Well fast forward to today, my friend tells me today that he went to the UPS store near him, signed for the package at the store, but he noticed the box was very damaged. He decided to open it up in the store and all that was there is bubble wrap and nothing else in the box. The box had different tape around it also. Tape that I did not put around the box when I packaged it. I filed a claim and uploaded pictures of the damaged box. Also used my own shipping label that was printed at home because it was cheaper than paying at the counter. Should we be worried that the PS5 is gone, and he will be out of the money? Any help or advice from anyone who experienced something similar would be great. Thank you.
Here is what the box looked like when he picked it up from the UPS and the damage done on the box during shipment.
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2021.12.08 03:52 SAtechnewsbot Mzansi’s lowest transaction rates help small businesses grow

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2021.12.08 03:52 WhatAreMen Synchronous Emma: 9 December: Harriet receives a very good letter

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Read: Vol 1, chs. 7–8; pp. 31–36 (“The very day of Mr. Elton’s going to London” through to “as much as possible just at present”).
Context Mr. Elton goes to London to frame Harriet’s portrait. Harriet tells Emma that Mr. Martin has proposed to her. Emma influences her answer. Harriet sleeps at Hartfield.
This must take place sometime in the beginning of December, given that Mr. Elton is not likely to delay his Emma-given commission for long, and counting backwards from events that occur in the “middle of December” (vol. 1, ch. 10; p. 54). “The very day” (and the series of constructions such as “the next day” and “the next morning” that surround it) emphasize the acceleration of the pace of events in the approach to Isabella and John Knightley’s visit.
The close reading that Emma performs of Mr. Martin’s letter, like the readings that the community in Highbury perform of Frank Churchill’s, take part in the context of a social discourse that assumed style to be indicative of a letter-writer’s character (Knoepflmacher; Domestico p. 231).
Readings and Interpretations Is It A Good Letter? After Frank Churchill’s, Robert Martin’s proposal is the second letter in Emma that is discussed by characters without being directly legible to the audience. Our only access to the letter is through Emma’s analysis, and she—in keeping with her pattern—accurately perceives something about her surroundings, only to attempt to deny this perception, or harness it into a pet narrative. Anthony Domestico, in an analysis of close readings in Emma, writes:

We can be confident that it is Emma, and not the narrator, who gives way to the letter’s formal argument because the passage is written in free indirect style. The presence of multiple negatives (“There were not merely no grammatical errors, but . . . it would not have disgraced a gentleman”) writes Emma’s grudging acceptance of the merit of Mr. Martin’s letter into the very grammar of the passage. The seeming deprecations of the letter’s style (“It was short”) followed by recuperations of these potential criticisms (“but expressed good sense”) shows Emma struggling to read the letter fairly despite her deep desire to condemn it (p. 229).
Emma tries on and then is forced by her own integrity to discard the idea that the letter has been written by one of Mr. Martin’s sisters (“and yet it is not the style of a woman”; vol. 1, ch. 7; p. 32). She is nevertheless determined not to endorse Robert Martin as a match for Harriet: the “broken syntax” through this passage “reflects the tortured logical and rhetorical moves necessary to do justice to Mr. Martin while securing Harriet’s refusal of his proposal” (ibid., p. 230).
Similarly, Robert Miles points out that Emma’s understanding is better than the uses to which she is here putting it:
Lacking information, Harriet naturally fails to recognize it when she sees it. She is embarrassed by the shortness of Robert Martin’s letter, when brevity is material to its value […] Emma knows better, but prejudice warps her judgment. Robert Martin’s letter surprises Emma: [quotes from “The style of the letter” to “even delicacy of feeling”]. Emma tries to think through the conundrum: “I suppose he may have a natural talent for—thinks strongly and clearly…”. “Writing” ought to follow “for,” but Emma breaks off, because “writing” invokes cultural labor [associated with social elevation]. Instead, she attributes the letter’s virtues to nature or talent, which may seem generous, until one notices that Emma does this in order not to attribute “credit” for Robert Martin’s cultural work (p. 79).1
Persuasion Critics disagree about how culpable Emma’s exertion of influence is. Domestico writes that “Emma’s actions are ethically troubling because she knows that Harriet will follow her lead without question” (p. 230). More harshly, James Kissane calls Emma a “wishful and unscrupulous manipulator” (compared to whom Knightley “acts straightforwardly as a friend and adviser”; pp. 181–2). Marvin Mudrick accuses Emma of being a “confirmed exploiter” whose “urge to dominate” and “snobbery and vicarious snobbery for Harriet,” as well as the fact that she is “in love with her,” inform her actions in this scene (p. 206). Wendy Jones writes that Emma is guilty of attempting to enact a kind of “masculine violence against women” by ushering Harriet into a “forced marriage” (p. 325).
Mary Ann O’Farrell, in imagining this scene from Harriet’s point of view, emphasizes Emma’s manipulation of Harriet’s ignorance:
The scene in which Harriet tries so very hard to please Emma in determining how she might respond to Mr. Martin’s proposal, funny as it is, is also a festival of anxiety. Harriet’s adjustments and readjustments of her answers, as she approaches nearer and farther from what Emma wants her to say (what Emma wants her to want), reflect her experience of Emma as an exacting task-mistress. For Harriet, Emma is a repository of knowledge about what makes a desire appropriate, what makes a match suitable, what warrants a “no, thank you.” Here is a snippet of their conversation: [quotes from “‘Well,’ said the still waiting Harriet” to “‘and speedily’”]. Emma is letting Harriet hang. […]
In what is funny about all this […] we might lose sight […] of all the anxiety and the not knowing that envelop Harriet, and we might lose sight of the consequences for her of her not knowing how to be and to behave as a marriageable young woman in the betwixt-and-between social position she holds […]. At stake for Harriet are living and eating and having a roof and a household full of responsibilities […]. Emma is for Harriet both means and obstacle to all of this. And she is fun. For Harriet, Emma is a little bit of sunshine admitted to the drab parlor of the parlor-boarder, and she threatens the withdrawal of the sunshine if Harriet proves not to know how a woman so betwixt and between ought best to read, to evaluate, and to answer a proposal and if Harriet proves not to know how to please she who would be pleased (pp. 103–4).2
Claudia Johnson, on the other hand, seeks to recuperate Emma’s actions towards Harriet from this sort of criticism:
Emma’s faults with respect to Harriet are imputed to be more serious than mere bossiness. Even granting, as characters in the novel do, that Emma’s wish to improve Harriet’s situation is not intrinsically wrong, Emma is held to be deluded in supposing Harriet worth the trouble at all, and in treating her as anything more than an irredeemably silly girl who ought to remain in the set to which she was born. Thus not only are Emma’s attempts to “author” people according to her intentions held at fault, but so are her related efforts to “read” them: Emma is rebuked alternately as a dominatrix or as an “imaginist” and “female quixote.” […]
“Imaginism” of Emma’s sort […] refuses to rest content with placid surfaces defenders of public order call reality, and it arrogates to itself the [masculine] right to penetrate […] secrets some would not wish to see brought to light [i.e. the sexual indiscretion of the gentleman who Emma believes must be Harriet’s father] (pp. 132, 133).
Frances Ferguson similarly avoids mention of the strategies that Emma uses to talk Harriet into her refusal, lightly citing Emma’s “misplaced disparagement of Robert and excessive optimism about Mr. Elton as prospective spouses for Harriet” (p. 170).
Supposing Her Real Motive Readings of Emma often assume that Emma’s attempt to match Harriet with Mr. Elton shows that she is using Harriet as a proxy for herself, or using their courtship as a way to indirectly experience romance. Joseph M. Duffy, for example, writes in 1954 that “Emma attempts to control and thus experience vicariously a romantic relationship between two people whom she selects as suitable for each other” (p. 41). Similarly, per Mary Tobin, “Emma plays with Harriet as if Harriet were a doll, using her to act out roles Emma is not prepared to play herself, using her to experience vicariously the flirtation and flattery of courtship” (p. 419).
Kissane stresses the “control” rather than the “romantic” aspect of this formulation, arguing that “Emma is not out to appease her own sexual vanity, as Duffy suggests, but to exercise her powers of influence” (FN 10, p. 182):
With Elton, Emma is merely a matchmaker who does not imagine herself the object of courtship any more than she thinks of marriage as a personal possibility. Her self-appointed role is that of creator and manipulator who plays the game of romance using her “creature,” Harriet Smith. To characterize Emma’s relation to romance in this first phase either as incipient lesbianism (as Mudrick does) or as a desire to enjoy “a vicarious love affair” with Mr. Elton would be, however, to purchase sophistication at the price of imprecision. It is not only more accurate but more fruitful […] to stress the irony that in managing the loves of others Emma is evading the issue of love for herself; her prideful inclination to assert mastery is, in fact, a measure of her immaturity (p. 175).3
In all three of these readings, though, there is an assumption that Emma’s lack of desire to enter into a heterosexual romance is indicative of an immaturity that must later be corrected.
In readings that interpret Emma as a lesbian (with varying degrees of literalness), Emma’s desire to control Harriet is still an element of her sexuality, but one that is genuinely directed towards Harriet rather than one that uses her as a proxy.4 Susan Korba, for example, argues that Emma has a “marked sexual indifference to men” and “a strong sexual identification with them”:
[Emma’s] relationships with Miss Taylor (later Mrs. Weston) and Harriet Smith exemplify her attraction 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. […]
Emma, in fact, manages to “win” Harriet away from a male rival. When she comes to realize that Robert Martin poses a serious threat to her relationship with Harriet, her amused tolerance of Harriet’s connection to the Martin family changes, and “other feelings arose.” Emma coolly manipulates the girl into re-evaluating Martin’s desirability, and although she encourages her to compare the “very clownish” manners of the young farmer to those of Mr. Knightley, Mr. Weston, and Mr. Elton, it is obvious that it is Emma […] whom Martin is being matched against. […] The choice Harriet makes is between intimacy with herself, or marriage to Martin—and, in this instance, Emma, not Robert Martin, “gets the girl” (pp. 141, 149).5
  1. For another reading of this scene, see Knoepflmacher (pp. 643–4).
  2. See also Zaman on Emma’s “persuasive tactics” as “exert[ing] cognitive control,” p. 69.
  3. For other formulations of Emma as vicariously experiencing romance or sexuality through matchmaking, see Mudrick; White (p. 57); Merrett (p. 58); Wiesenfarth (p. 12); Restuccia (p. 453).
  4. Mudrick seems to hint that he is reading Emma as a lesbian, though he also writes that Emma’s love for Harriet is “unphysical” (p. 203).
  5. This, of course, opens up the question of why Emma would want to match Harriet with Mr. Elton. The reasons Korba provides are threefold: firstly, “the power to decide who does [“have” Harriet] in some measure satisfies [Emma’s] unexpressed sexual desire”; secondly, “Harriet’s connection to someone whom Emma will be able to interact with socially will ensure Harriet’s continued accessibility”; and, thirdly, Mr. Elton “present[s] no threat to Emma’s proprietorship” (p. 153; this last reason seems to suppose that Emma is on some level cognizant of Mr. Elton’s lack of interest in Harriet).
Discussion Questions
  1. What do you think are Emma’s motivations for persuading Harriet to reject Robert Martin? How blameable is this action?
  2. How does Harriet feel about Emma, and about Robert Martin? Why does she decide to reject him?
  3. What textual strategies (in terms of point of view and syntax, for example) are used to communicate characters’ state of mind in this section?
Bibliography Amigoni, David. “Reading Jane Austen’s Emma and Samuel Richardson’s Pamela.” In The English Novel and Prose Narrative. Edinburgh: Edinburgh University Press, 2000, pp. 17–53.
Austen, Jane. Emma (Norton Critical Edition). 3rd ed. New York: W. W. Norton & Company, [1815] 2000.
Domestico, Anthony. “Close Writing and Close Reading in Emma.” Persuasions 37 (2015), pp. 226–36.
Duffy, Joseph M. “Emma: The Awakening from Innocence.” ELH 21.1 (March 1954), pp. 39–53. DOI: 10.2307/2871932.
Ferguson, Frances. “Jane Austen, Emma, and the Impact of Form.” Modern Language Quarterly 61.1 (March 2000), pp. 157–80. DOI: 10.1215/00267929-61-1-157.
Johnson, Claudia L. “Emma: Woman, Lovely Woman, Reigns Alone.” In Women, Politics and the Novel. Chicago: University of Chicago Press (1988), pp. 121–43. Excerpted in Austen [1815], pp. 400–13.
Jones, Wendy S. “Emma, Gender, and the Mind-Brain.” ELH 75. 2 (Summer 2008), pp. 315–43.
Kissane, James. “Comparison’s Blessed Felicity: Character Arrangement in Emma.” Studies in the Novel 2.2 (Summer 1970), pp. 173–84.
Knoepflmacher, U.C. “The Importance of Being Frank: Character and Letter-Writing in Emma.” Studies in English Literature, 1500-1900 7.4 (Autumn 1967), pp. 639–58. DOI: DOI:10.2307/449531.
Korba, Susan M. “‘Improper and Dangerous Distinctions’: Female Relationships and Erotic Domination in Emma,” Studies in the Novel 29.2 (1997), pp. 139–63.
Merrett, Robert James. “The Concept of Mind in Emma.” English Studies in Canada 6.1 (Spring 1980), pp. 39–55. DOI: 10.1353/esc.1980.0046.
Miles, Robert. “‘A Fall in Bread’: Speculation and the Real in Emma.” Novel: A Forum on Fiction 37.1–2 (Fall/Spring 2004), pp. 66–85. DOI: 10.1215/ddnov.037010066.
Mudrick, Marvin. Jane Austen: Irony as Defense and Discovery. Princeton: Princeton University Press (1952).
O’Farrell, Mary Ann. “Meditating Much upon Forks: Manners and Manner in Austen’s Novels.” Persuasions 34 (2012), pp. 99–110.
Restuccia, Frances L. “A Black Morning: Kristevan Melancholia in Jane Austen’s Emma.” American Imago 51.4 (Winter 1994), pp. 447–69.
Tobin, Mary Elisabeth Fowkes. “Aiding Impoverished Gentlewomen: Power and Class in Emma.” Criticism 30.4 (Fall 1988), pp. 413–30.
Wiesenfarth, Joseph. “The Civility of Emma.” Persuasions 18 (1996), pp. 8–23.
White, Edward M. “Emma and the Parodic Point of View.” Nineteenth-Century Fiction 18.1 (June 1963), pp. 55–63. DOI: 10.2307/2932334.
Zaman, Mira Sengupta. “‘Your Reasonings Carry My Judgment’: Deception, Mischief, and Satanic Persuasion in Austen’s Emma.” ANQ 29:2 (2016), pp. 67–71. DOI: 10.1080/0895769X.2016.1212182.
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2021.12.08 03:52 Nakoshi_Niyander Redbull racing moment

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2021.12.08 03:52 IrenPornArt [Homemade] my humble dinner. juicy turkey steak and rice. cabbage salad, cherry tomatoes, sauce and onions. the second spicy salad of cabbage and carrots

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2021.12.08 03:52 lkk808 BP hub. Hey! Can’t believe I just found this Reddit. I’m 40F, diagnosed at 18 with BP1. Just want to say I appreciate this space. It can feel so lonely sometimes, trying to navigate this illness. My younger sister has BP1 too but somehow it presents less severely for her. All that to say, thank you.

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2021.12.08 03:52 Astrobody There are few things in life that will bring you this much joy

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2021.12.08 03:52 sekoitoilet 猫のトイレをLINEで確認 NEC、新興と協業

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