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2020
genre=Comedy
info=Emma. is a movie starring Anya Taylor-Joy, Tanya Reynolds, and Josh O'Connor. In 1800s England, a well meaning but selfish young woman meddles in the love lives of her friends
2 h 4 m
directed by=Autumn de Wilde
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Emma watch video. Really liked it Average rating 4. 00 596, 432 ratings 15, 200 reviews, Start your review of Emma Loved it! Why don't I read more classics? I'll definitely need to read her other books. The BBC tv show was also adorable! This is a book about math, mirrors and crystal balls, and dont let anyone tell you otherwise. Village life? Sorta. The lives of the idle rich? I mean, sure, but only partially and incidentally. Romance? Barely. A morality tale of the Education of Young Lady? The young lady stands for and does many more important things than that. These things provide the base of the novel, the initial bolt of fabric, the first few lines of a drawing that set the limits of the author to writing about these... “I may have lost my heart, but not my self-control. ” Personally, I may have lost my self-control, but not my heart. My motivation to read this book stemmed from J. K. Rowling stating that this was one of her favourite books. A few years ago I read my first Jane Austen, which was Pride and Prejudice, and I really enjoyed it. I thought Emma couldn't be that bad, it's a popular classic and its rating is good. To be honest, it's not bad, exactly, but the fact that it took me one whole month to get... Austen paints a world of excess. Shes just so fucking brilliant. That much so I found the need to swear. The sarcasm is just oozing out of her words. She doesnt need to tell you her opinions of society: she shows them to you. Simply put, Emmas farther is a ridiculous prat. Theres no other word for it. He spends his day lounging around eating rich and expensive food and doesnt bother to exercise his body or mental faculties. The thought of visiting his recently departed governess, a... My interpretation of the first 60+ pages of Emma: Oh, my dear, you musn't think of falling for him. He's too crude and crass. Oh, my dear Emma, you are perfectly correct. I shan't give him another thought. Oh, my dear, that's good because I would have to knock you flat on your arse if you were considering someone of such low birth. Yawn. I tried, but life's too short. Plus, I like 'em crude and crass. Cross posted at This Insignificant Cinder My dear Jane Austen, I hope you dont mind that I write to you, expressing my gratitude for your brilliant handling of words. And as the post office is an object of interest and admiration in your novel “Emma”, I thought a letter would be the adequate way of communicating my thoughts. I must start by confessing that I dont like your heroine at all. Obviously, this sounds like a harsh judgment on a classic character like Emma Woodhouse, and I wouldnt have dared to be as honest with you as I am... Jane Austen famously wrote: I am going to take a heroine whom no one but myself will much like. My initial take: Truer words, Jane. Truer words. Emma is wealthy and beautiful, the queen bee of society in her town, and boss of her household (since her father is a hand-wringing worrywart, almost paralyzed by his fears. Shes prideful, self-satisfied and convinced she knows best, not just for herself but for pretty much everyone in her circle. When Emma decides shes got a gift for matchmaking... 936. Emma, Jane Austen Emma, by Jane Austen, is a novel about youthful hubris and the perils of misconstrued romance. The story takes place in the fictional village of High-bury and the surrounding estates of Hart-field, Randalls, and Donwell Abbey and involves the relationships among individuals in those locations consisting of "3 or 4 families in a country village. The novel was first published in December 1815 while the author was alive, with its title page listing a publication date of 1816... I must begin by stating that I may be utterly biased here. Emma is the novel that introduced me to the treasure that are Jane Austen's masterpieces. I read it when I was fourteen, and fell in love with it right there and then. People often tend to mention that Emma Woodhouse is the least likeable heroine Jane Austen has created. It may be so, since she is rather headstrong, spoiled and with a strong tendency to plan other people's lives, without giving a second thought to all possible... Emma woodhouse changes from being vain and self satisfied, blind to her own feelings and dangerously insensitive to the feelings of others, in a slow, painful progress towards maturity. Okay, when I first started the book and was reading how Emma was taking happiness away from Harriet Smith by telling her that Mr. Martin wasn't good enough for her - I didn't like Emma at all. Now I can understand how Emma only wanted to do good by Harriet and that was how it was back in those days. But, as Mr. Knightely pointed out, Harriet was not from some wealthy family and Emma was doing the wrong thing in trying to find her a great husband. Mr. Knightley went to the trouble to help Mr... 3. 5 stars rounded up because of the narration. I've noticed a lot of people hate Emma. She's spoiled by her circumstances and self-absorbed in a way that only someone who hasn't really known any sort of hardships can be. And I get why she isn't the heroine that anyone is really rooting for in a serious way. Because if the book had ended with Emma alone with her father, it wouldn't have really broken my heart. But here's the thing I found as I listened to this one: It wasn't really Emma that I... Emma, a young woman in Regency England lives with her rich, but eccentric widowed father Henry Woodhouse, in the rural village of Highbury, always concerned about his health (hypochondriac, in the extreme) and anybody else's, Mr. Woodhouse, constantly giving unwanted advise to his amused friends and relatives, they tolerate the kindly old man. Miss Woodhouse ( they're very formal, in those days) is very class conscious a bit of a snob ( but lovable) and will not be friends with people below... Oh my goodness, did I love. At one point, toward the end, when the thing that Austen was working toward happened, I literally fell down from the couch to the rug. Emma herself is a unique creation, a headstrong, misguided, self-confident girl who we can't help but love, because she is honest. The love complications are innumerable, the humor is excellent, and the writing is spectacular. Without the intensely crafted plot of Pride and Prejudice, say, Austen's sentences are left to carry the book... I can't do it! I can't finish it! I keep trying to get into Jane Austen's stuff and I just can't make it further than 150 pages or so. Everything seems so predictable and sooooo long-winded. I feel like she is the 19th century John Grisham. You know there's a good story line in there somewhere, and if you could edit out 60% of the words it would be fantastic. Sorry to all the Jane Austen fans-you inspired me to try one more time and I failed! Although using this trite doesn't mean that the fact is any less true, it is still at the risk of sounding cliché when I say that Jane Austen's classic, Emma, is like a breath of fresh air when juxtaposed to the miasmal novels in the publishing market today; especially for someone who has been on a YA binge of late. You see, the reason why I went for Emma as my first Austen read is because my mother has seen the latest movie adaptation, and she claims it to be her very favorite. Mind you, she... I'm beginning to put in more work in my hobby - my solitary one, reading - than I've put in my career. 400 pages of this stuff is the strong stuff. I have little to analyze here. That is because a lot of the things that can be construed, can be true of any book. Like Sam Harris said, even a cookbook, if improperly analyzed, can yield truths that can seem profoundly benevolent. If I say that the mixture of oil and aniseed symbolizes the purity of the cookbook, that's not conductive to a balanced... Of all of Austen's books - and I've read them all several times - I learn the most from Emma. I believe that one of Austen's goals in writing is to teach us to view the rude and ridiculous with amusement rather than disdain. And in Emma we have the clearest and most powerful picture of what happens when we don't do this: when Emma speaks out against Miss Bates. Though rude on Emma's part, we can't help but love her for her mistake and feel her shame because we've all been there. When I feel I... I hope not to raise any of my friends sensibilities when I tell you that although I liked Emma, I did not love it. Emma simply did not move me. "With insufferable vanity had she believed herself in the secret of everybody's feelings; with unpardonable arrogance proposed everybody's destiny. She was proved to have been universally mistaken. She had brought evil on Harriet, on herself, and she too much feared, on Mr. Knightley. I liked the hilarity of her well-meaning but misdirected attempts... Jane Austen seems to be a rather divisive figure as of late. You love her for her wit, her irony, her gentle but pointed depictions of manners and love. Or you hate her because she seems to be harking back to an age of prescribed gender roles and stultifying drawing room conversation. I am of the former camp. Emma may be one of her more divisive novels and the title character one of her more controversial creations. Or perhaps that should be – one of her more irritating creations. She exasperates... "With insufferable vanity had she believed herself in the secret of everybody's feelings; with unpardonable arrogance proposed everybody's destiny. Regarded as one of Jane Austen's most important works, Emma is a novel about a handsome, clever and rich young woman - Miss Woodhouse - who lives on the fictional estate of Hartfield, in the Surrey village of... This was the perfect book to reread during my Christmas break. I am a devoted fan of Jane Austen's work, but even so, I find "Emma" to be particularly charming and insightful. The story of the "handsome, clever and rich" Emma Woodhouse, who is determined to be a matchmaker among her friends but is constantly making blunders, is one that always makes me smile when I read it. I especially like the descriptions of Emma's neighbors and of Highbury. Indeed, the novel is so vivid I feel as if I could... It took me longer to read this than any other Austen novel. It's a lot denser than her usual effortless breezy brilliance and it's also more nuanced and a little darker. For the first time she creates a central female character who isn't likeable. Emma is smug, she's a snob and she's a classic control freak. She tends to disapprove of any coupling she herself hasn't helped bring about. She herself, devoted to her ailing and rather tiresome father, maintains she will never marry. The narrative... ‘ Seldom, very seldom, does complete truth belong to any human disclosure; seldom can it happen that something is not a little disguised or a little mistaken. Emma Woodhouse, the heroine and namesake of Jane Austens last novel to be published within her lifetime, spends her days of leisure playing matchmaker and offering the reader her keen eye for the character of the locals of Highbury. However, this keen eye may not be as accurate as she would wish it to be. Through her inaccurate impressions... Still not the full review, just a warm-up exercise. You could not shock her more than she shocks me; Beside her Joyce seems innocent as grass. It makes me most uncomfortable to see An English spinster of the middle class Describe the amorous effects of "brass. Reveal so frankly and with such sobriety The economic basis of society. W. H. Auden, Letter to Lord Byron (1936) While twelve readings of Pride and Prejudie give you twelve periods of pleasure repeated, as many readings of Emma give you... Second revived review to celebrate the 200th anniversary of the death of Jane Austen. Sorry Jane, this is rather a feeble review. The only thing I can remember about this beloved novel is that I read it on the bus to work. That's it. On the bus. Sorry. The three stars is because I like reading on buses. If you're into stuff like this, you can read the full review. Such a Beautiful Hindquarter of Pork: Emma" by Jane Austen I wonder if a variation on the Unreliable Narrator is permissible here? Jane Austens Emma, while narrated solely by the author herself, is told exclusively from the title characters point of view (chime in and correct me if there are scenes in which she doesnt take part, however minor) so that Austen becomes Emmas interpreter, and our interlocutor. Its a very deliberate... All these beautiful rereads I'm forced to do because of university are going to mess with my avg rating of this year, but I DON'T CARE. Sometimes I think I like Emma even better than I like Pride and Prejudice. It's so fresh, so sparkly, so linguistically nimble, I would deem it impossible if I hadn't read it twice, bought three copies of it, and watched the movie far too many times to count. “I cannot make speeches, Emma:” -he soon resumed; and in a tone of such sincere, decided, intelligible... Upon my word! After reading a couple of chapters of Emma I do declare—with all due respect—that Miss Emma Woodhouse is one silly cow. I have sought assurance from my dear friend—the very learned Mrs. Roberts from a nearby vicarage—regarding correct usage of the term “silly cow”, and she has given me her approbation with the greatest felicity. Yes, Emma Woodhouse is clueless, so much so that the wonderful 1995 movie Clueless is entirely based on her story. Emma likes to make matches, and I dont... I'm pretty impressed with this busybody know-it-all. As a character novel, the entire thing is extremely dense and interesting and oh-so-convoluted. As a plot novel, it's not so much of anything. Fortunately, I was in the mood for something that would lift individual silly characters from the realm of the opinionated and silly and and arrogant to the level of real humanity with eyes flying open. Honestly, Austen is great at this kind of zinger. It's all about the self-realizations and the...

Ema watch movie cast. Ema Watch movie database. Production Notes from IMDbPro Status: Completed, See complete list of in-production titles  » Updated: 24 May 2019 More Info: See more production information about this title on IMDbPro. Videos Learn more More Like This Horror Thriller Successful author Veronica finds herself trapped in a horrifying reality and must uncover the mind-bending mystery before it's too late. Directors: Gerard Bush, Christopher Renz Stars: Janelle Monáe, Eric Lange, Jena Malone Drama Fantasy 1 2 3 4 5 6 7 8 9 10 6. 6 / 10 X Lost on a mysterious island where aging and time have come unglued, Wendy must fight to save her family, her freedom, and the joyous spirit of youth from the deadly peril of growing up. Director: Benh Zeitlin Yashua Mack, Devin France, Gage Naquin Comedy Romance While matchmaking for friends and neighbours, a young 19th Century Englishwoman nearly misses her own chance at love. Douglas McGrath Gwyneth Paltrow, James Cosmo, Greta Scacchi 5. 6 / 10 Satire about the world of the super-rich. Michael Winterbottom Asa Butterfield, Sophie Cookson, Isla Fisher 8. 1 / 10 A passionate coming-of-age tale set amidst the conservative confines of modern Tbilisi, the film follows Merab, a competitive dancer who is thrown off balance by the arrival of Irakli, a fellow male dancer with a rebellious streak. Levan Akin Levan Gelbakhiani, Bachi Valishvili, Ana Javakishvili Adventure A horror adaptation of the popular '70s TV show about a magical island resort. Jeff Wadlow Lucy Hale, Maggie Q, Portia Doubleday 7. 5 / 10 An extraordinary look at the lives of a middle-aged couple in the midst of the wife's breast cancer diagnosis. Lisa Barros D'Sa, Glenn Leyburn Liam Neeson, Lesley Manville, Amit Shah Action Mystery 5. 5 / 10 A woman seeks revenge against those who orchestrated a plane crash that killed her family. Reed Morano Blake Lively, Jude Law, Sterling K. Brown Sport A former HS basketball phenom, struggling with alcoholism, is offered a coaching job at his alma mater. As the team starts to win, he may have a reason to confront his old demons. But will it be enough to set him on the road to redemption? Gavin O'Connor Ben Affleck, Janina Gavankar, Michaela Watkins Set in the underworld of debt-collecting and follows the homegrown hustler Peg Dahl, who will do anything to escape Buffalo, NY. Tanya Wexler Zoey Deutch, Jai Courtney, Judy Greer War 7. 2 / 10 1945, Leningrad. WWII has devastated the city, demolishing its buildings and leaving its citizens in tatters, physically and mentally. Two young women search for meaning and hope in the struggle to rebuild their lives amongst the ruins. Kantemir Balagov Viktoria Miroshnichenko, Vasilisa Perelygina, Andrey Bykov A stormy reunion between scriptwriter Lumir with her famous mother and actress, Fabienne, against the backdrop of Fabienne's autobiographic book and her latest role in a Sci-Fi picture as a mother who never grows old. Hirokazu Koreeda Catherine Deneuve, Juliette Binoche, Ethan Hawke Edit Storyline Jane Austen's beloved comedy about finding your equal and earning your happy ending, is reimagined in this. Handsome, clever, and rich, Emma Woodhouse is a restless queen bee without rivals in her sleepy little town. In this glittering satire of social class and the pain of growing up, Emma must adventure through misguided matches and romantic missteps to find the love that has been there all along. Written by Focus Features Plot Summary Add Synopsis Taglines: Handsome, clever, and rich. Motion Picture Rating ( MPAA) Rated PG for brief partial nudity Details Release Date: 21 February 2020 (USA) See more  » Company Credits Technical Specs See full technical specs  » Did You Know? Trivia 4 different switchers were used during the making of this film See more » Connections Version of Emma  (1960) See more ».

Login • Instagram. Emma, fourth novel by Jane Austen, published in three volumes in 1815. Set in Highbury, England, in the early 19th century, the novel centres on Emma Woodhouse, a precocious young woman whose misplaced confidence in her matchmaking abilities occasions several romantic misadventures. Gwyneth Paltrow and Toni Collette in Emma Gwyneth Paltrow and Toni Collette in Emma (1996) directed by Douglas McGrath. 1996 Miramax Films Plot summary Emma s introduction of the character Emma Woodhouse is among the most famous in the history of fiction. According to the narrator: 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. The force of the verb seemed is pointed. Emma is indeed beautiful, wealthy, and smart. However, she is also spoiled, meddlesome, and self-deluded. Although she is convinced she will never marry, Emma believes she is an excellent matchmaker. As she tells her father and her dear friend Mr. Knightley, she practically arranged the recent marriage between her former governess, Miss Taylor, and the widower Mr. Weston. (She did, after all, introduce them. After such a clear “success, ” Emma is determined to make another match. This time, she has set her sights on the village vicar, Mr. Elton. Both Emmas father and Mr. Knightley caution her against interfering, but they ultimately fail to dissuade her. Get exclusive access to content from our 1768 First Edition with your subscription. Subscribe today Shortly thereafter, Emma befriends Harriet Smith, a 17-year-old student at a local boarding school. Harriets parentage is unknown; she is “the natural daughter of somebody” who many years ago placed her in the care of the schools headmistress, Mrs. Goddard. Despite the obscurity of her birth and her perceived inferior social status, Emma decides that Harriet is a perfect match for Mr. Emma sets about improving her friend, first, by discouraging her interest in Robert Martin, a young farmer whose family is renting land from Mr. Knightley. Harriet clearly has feelings for Robert (and Robert for her. Emma convinces her otherwise; she tells Harriet that Robert is beneath her. When Robert writes a letter asking for her hand in marriage, Harriet, with Emmas counsel, refuses him. When Mr. Knightley visits Emma, he excitedly tells her about Roberts intent to marry Harriet. After Emma informs him that Harriet has already rejected Roberts proposal (with her help) Mr. Knightley is furious. He criticizes Emma for interfering, claiming Robert is a respectable man and a good match for Harriet. Mr. Knightley storms out. He does not visit Emma again for some time. In his absence, Emma continues to push Harriet and Mr. Elton together. With Robert out of the way, and Harriet and Mr. Elton spending more and more time together, Emma begins to celebrate the success of her endeavour. All seems to be going well until Christmas Eve, when Mr. Elton reveals to Emma that he is in love with her, not Harriet, and has been spending time with Harriet only to please her. Humiliated by her attempt to pair him with Harriet, Mr. Elton resolves to retire to Bath. Emma is forced to tell Harriet about Mr. Elton and spends the next several days consoling her. Meanwhile, two new visitors arrive in Highbury: Jane Fairfax, the beautiful orphaned niece of Emmas neighbour Miss Bates, and Frank Churchill, the dashing young son of Mr. Initially, Emma dislikes Jane. She condemns her for being too “cold” and too “cautious. ” (The narrator suggests that Emma is in fact jealous of Jane, because Jane had previously met Frank, whom Emma has taken a liking to. Mr. Knightley defends Jane, reminding Emma that, whereas she is privileged, Jane has no fortune and must soon leave to work as a governess. Mrs. Weston suspects that Mr. Knightley harbours some romantic feelings for Jane. Emma adamantly denies this. Emmas initial interest in Frank does not last. After a while, she begins to imagine him as a potential match for Harriet, and, when Harriet confesses her love for a man of a higher social status, Emma assumes she means Frank. As it turns out, Harriet is in love with Mr. Knightley, who, at a recent village ball, saved her from the embarrassment of being snubbed by Mr. Elton and his new wife. Suddenly, Emma realizes that she, too, loves Mr. She realizes that if she had let Harriet marry Robert, she might have avoided this whole mess. And thus the denouement begins. Not long after Harriets confession, Frank makes a hasty departure from Highbury. As he later explains in a letter to Emma, he and Jane have secretly been engaged all along. His flirtation with Emma was just a ruse—a way to buy time until his relatives agreed to his marriage with Jane. Emma and Mr. Knightley discuss this surprise turn of events. To Mr. Knightleys surprise, Emma confesses that she never loved Frank. Knightley, in response, professes his love for Emma. She is overjoyed, and they implicitly agree to be married. Emma briefly worries about Harriet and how she will receive the news of their engagement. Emma is pleased to learn that Harriet has decided to marry Robert after all. The novel thus concludes with three marriages: Jane and Frank, Harriet and Robert, and Emma and Mr. Analysis and interpretation Marriage and social status are the two foci of Emma. Most of the drama in Austens novel revolves around who loves whom and what that means, given their social station. Social status in 19th-century England was determined by a confluence of factors, including, but not limited to, family name, sex, birthright, reputation, and wealth, and it dictated much about the course of a persons life. Members of the higher social classes were not expected to intermarry, let alone interact, with members of a lower class. In fact, in some cases, such marriages were considered inappropriate. Jane Austen Jane Austen. North Wind Picture Archives Through Emma, Austen subtly satirizes her societys obsession with social distinctions. At the beginning of the novel, Austens heroine is confident she knows who “the chosen and the best” are in Highbury and who constitutes the “second set. ” Keeping with her social code, Emma discourages Harriet from pursuing a relationship with Robert. As Emma explains, Robert is not a “gentleman. ” He is therefore destined to become “a completely gross, vulgar farmer, totally inattentive to appearances, and thinking of nothing but profit and loss. ” Emma is similarly appalled when Mrs. Elton presumes to call Mr. Elton and Mr. Knightley “Mr. E” and “Knightley. ” Mr. Knightley challenges Emmas notions of class distinction, pushing her to contemplate whether such distinctions truly matter. When Emma criticizes Robert for his ungentlemanly demeanour, Mr. Knightley impassionedly defends Robert, claiming that he “has more true gentility than Harriet Smith could ever understand. ” After all her attempts to make suitable matches fail, Emma finally begins to realize that social distinction does not equate to a constitutional difference in character. By the end of the novel, Emma has learned her lesson, and she decides that “[i]t would be a great pleasure to know Robert Martin. ” In terms of its subject matter, Emma was by no means revolutionary: Austen herself described the novels subject (“Three or four families in a country village”) as an ideal subject for any novel. However, Emma was revolutionary in terms of its form and style. Before Austen, novelists generally used either first- or third-person narration to tell their stories. Austen combined the two styles, first in Sense and Sensibility (1811) and then again in Emma. From the outset, Austen characterizes Emma as a self-deluded young woman. Austens style of narration allows the reader to share in Emmas delusions: The longer she considered it, the greater was her sense of expediency. Eltons situation was most suitable, quite the gentleman himself, and without low connections; at the same time not of any family that could fairly object to the doubtful birth of Harriet. He had a comfortable home for her, and Emma imagined a very sufficient income; for though the vicarage of Highbury was not large, he was known to have some independent property; and she thought very highly of him as a good-humoured, well-meaning, respectable young man, without any deficiency of useful understanding or knowledge of the world. Here Austen distinguishes the voice of the third-person narrator from that of the heroine. Using phrases like “quite the gentleman himself” and “a comfortable home for her, ” Austen evokes Emmas consciousness through a type of subjective narration called free indirect discourse. Its intended effect is to close the distance between the reader and the character, thereby helping the reader to see through the characters eyes. In this passage (and throughout Emma) Austen passes between Emmas own thought processes and a more straightforward, traditionally third-person narrative voice (“she considered it, ” “Emma imagined”. Emma was one of the first novels—if not the first novel—to employ sustained free indirect discourse. As such, some critics locate it among novels such as James Joyce s Ulysses (1922) and Virginia Woolf s Mrs. Dalloway (1925) as one of the great experimental novels of the 19th and 20th centuries. Publication and reception Austen began writing Emma in January 1814. She finished the novel a little over a year later, in March 1815. In the fall of 1815, Austen submitted Emma to London-based publisher John Murray. Murray offered Austen 450 in return for the copyrights of Emma and two of her previous novels, Sense and Sensibility (1811) and Mansfield Park (1814. Upon receiving his offer, Austen called Murray a “Rogue” and resolved to retain the copyright herself. Murray eventually published Emma on commission, with Austen herself paying for advertising and an initial print run of 2, 000 copies. First editions of the three-volume novel hit bookshop shelves in December 1815. Like her previous novels, Emma was published anonymously. Austens novel was received by friends and family members with mixed reviews. In general, they criticized the plot for its lack of action and romantic drama. Contemporary critics expressed more favourable views, praising the authenticity of Austens characters and, especially, her heroine. Critics also appreciated Austens “amusing” sense of humour. An anonymous reviewer for the Quarterly Review —long believed to be Sir Walter Scott —said of Austen and Emma: The authors knowledge of the world, and the peculiar tact with which she presents characters that the reader cannot fail to recognize, reminds us something of the merits of the Flemish school of painting. The subjects are not often elegant, and certainly never grand; but they are finished up to nature, and with a precision which delights the reader. Irish poet Thomas Moore wrote in a similar vein. He described Emma as “the very perfection of novel-writing. ” Legacy Austen did not expect readers to like the protagonist of Emma. About her, Austen famously said, “Im going to take a heroine whom no one but myself will much like. ” Generations of readers have proved Austen wrong. “Handsome, clever and rich, ” Emma is undoubtedly one of Austens most beloved characters. Modern readers have by and large embraced Emma and her flaws. Feminist critics have identified her as an archetype of the modern woman, whose prospects and future happiness do not depend on marriage. Austens novel continues to be tremendously popular with modern audiences. Emma has been adapted for the stage and screen several times. Notably, in 1995, Clueless was released, a contemporary take starring Alicia Silverstone as Cher (Emma) Paul Rudd as Josh (Mr. Knightley) Brittany Murphy as Tai (Harriet) and Jeremy Sisto as Elton (Mr. Elton. Unlike the original novel, Clueless is set in Beverly Hills, California, in the mid-1990s. The film achieved cult status in the 21st century. Other notable screen adaptations of Emma were released in 1996 and 2009. Haley Bracken.

Ema Watch movie page imdb. To save this word, you'll need to log in. Love words? You must — there are over 200, 000 words in our free online dictionary, but you are looking for one thats only in the Merriam-Webster Unabridged Dictionary. Start your free trial today and get unlimited access to America's largest dictionary, with: More than 250, 000 words that aren't in our free dictionary Expanded definitions, etymologies, and usage notes Advanced search features Ad free! History and Etymology for Emma from British signalmen's pronunciation of M (as in A. M. Learn More about Emma Cite this Entry “Emma. ” Dictionary, Merriam-Webster. Accessed 9 Feb. 2020. Comments on Emma What made you want to look up Emma? Please tell us where you read or heard it (including the quote, if possible. WORD OF THE DAY to strike out or mark for deletion Get Word of the Day daily email! Love words? Need even more definitions? Subscribe to America's largest dictionary and get thousands more definitions and advanced search—ad free! Merriam-Webster unabridged.

I n January 1814, Jane Austen sat down to write a revolutionary novel. Emma, the book she composed over the next year, was to change the shape of what is possible in fiction. Perhaps it seems odd to call Austen “revolutionary” – certainly few of the other great pioneers in the history of the English novel have thought so. From Charlotte Brontë, who found only “neat borders” and elegant confinement in her fiction, to DH Lawrence, who called her “English in the bad, mean, snobbish sense of the word”, many thought her limited to the small world and small concerns of her characters. Some of the great modernists were perplexed. “What is all this about Jane Austen? ” Joseph Conrad asked HG Wells. “What is there in her? What is it all about? ” “I dislike Jane … Could never see anything in Pride and Prejudice, ” Vladimir Nabokov told the critic Edmund Wilson. Austen left behind no artistic manifesto, no account of her narrative methods beyond a few playful remarks in letters to her niece, Anna. This has made it easy for novelists and critics to follow Henry Jamess idea of her as “instinctive and charming”. “For signal examples of what composition, distribution, arrangement can do, of how they intensify the life of a work of art, we have to go elsewhere. ” She hardly knew what she was doing, so, implicitly, the innovative novelist like James has nothing to learn from her. There have been scattered exceptions. The year after he published More Pricks Than Kicks, the young Samuel Beckett told his friend Thomas McGreevy, “Now I am reading the divine Jane. I think she has much to teach me. ” (One looks forward to the scholarly tome on the influence of Jane Austen on Samuel Beckett. Contemporary novelists have been readier to acknowledge her genius and influence. Janeites felt a frisson of satisfaction to see that the most formally ingenious British postmodern novel of recent years, Ian McEwans Atonement, opens with a lengthy epigraph from Northanger Abbey. McEwan alerts the reader to the fact that his own novel learns its tricks – about a character who turns fictional imaginings into disastrous fact – from the genteel and supposedly conservative Austen. Emma, published 200 years ago this month, was revolutionary not because of its subject matter: Austens jesting description to Anna of the perfect subject for a novel – “Three or four families in a country village” – fits it well. It was certainly not revolutionary because of any intellectual or political content. But it was revolutionary in its form and technique. Its heroine is a self-deluded young woman with the leisure and power to meddle in the lives of her neighbours. The narrative was radically experimental because it was designed to share her delusions. The novel bent narration through the distorting lens of its protagonists mind. Though little noticed by most of the pioneers of fiction for the next century and more, it belongs with the great experimental novels of Flaubert or Joyce or Woolf. Woolf wrote that if Austen had lived longer and written more, “She would have been the forerunner of Henry James and of Proust”. In Emma, she is. Saoirse Ronan and James McAvoy in Atonement (2007) Photograph: Ronald Grant Archive To measure the audacity of the book, take a simple sentence that no novelist before her could have written. Our privileged heroine has befriended a sweet, open, deeply naive girl of 17 called Harriet Smith. It is a wholly unequal relationship: Emma is the richest and cleverest woman in Highbury; Harriet is the “natural daughter of someone”, left as a permanent resident of the genteel girls boarding school in the town. While cultivating their relationship, Emma knows very well that Harriet is her inferior. “But in every respect as she saw more of her, she was confirmed in all her kind designs. ” The sentence is in the third person, yet we are not exactly being told something by the author. “Kind designs” is Emmas complacent judgment of herself. Even the rhyme in the phrase makes it sound better to herself. In fact, the kindness is all in the mind of the beholder. Emma has set out to mould Harriet. Emmas former companion, Miss Taylor, has got married and become Mrs Weston, leaving her solitary and at a loose end. Harriet will be her project. Her plans are kind, she tells herself, because she will improve this uninstructed and wide-eyed young woman. We should be able to hear, however, that her designs are utterly self-serving. Soon she is persuading Harriet to refuse a marriage proposal from a farmer who loves her, and beguiling her with the wholly illusory prospect of marriage to the smooth young vicar, Mr Elton. Take another little sentence from much later in the novel. By now Emma is convinced that Harriet, scorned by Mr Elton, can be paired off with the highly eligible Frank Churchill. The only impediment seems to be the inflexible Mrs Churchill, Franks adoptive mother, who expects him to find a much grander wife. Then news arrives of Mrs Churchills sudden death. Emma meets Harriet, who has also heard. “Harriet behaved extremely well on the occasion, with great self-command. ” Obviously she is learning self-possession from her patron. “Emma was gratified to observe such a proof in her of strengthened character. ” Except that this is all twaddle. Harriet does not give a fig for Frank and never has. Emma has elaborately deluded herself again. The narration follows the path of Emmas errors. Indeed, the first-time reader will sometimes follow this path too, and then share the heroines surprise when the truth rushes upon her. Yet it is still a third-person narrative; Emma is not telling her own story. We both share her judgments and watch her making them. Austen was the first novelist to manage this alchemy. She was perfecting a technique that she had begun developing in her first published novel, Sense and Sensibility. It was only in the early 20th century that critics began agreeing on a name for it: free indirect style (a translation from the original French: style indirect libre. It describes the way in which a writer imbues a third-person narration with the habits of thought or expression of a fictional character. Before Austen, novelists chose between first-person narrative (letting us into the mind of a character, but limiting us to his or her understanding) and third-person narrative (allowing us a God-like view of all the characters, but making them pieces in an authorial game. Austen miraculously combined the internal and the external. Scholars have raked through the fiction of predecessors and contemporaries such as Fanny Burney and Maria Edgeworth, and found a few flickerings of this technique, but nothing more. In our own time, novelists use it almost as second nature, without necessarily giving it a name or thinking that they have learned it from somewhere. Yet, though its pioneer, Austen used it with an assurance that has never been surpassed. David Lodge has observed how odd Jamess condescension is, given that he came to specialise in the very technique Austen had pioneered: “Telling the story through the consciousness of characters whose understanding of events is partial, mistaken, deceived, or self-deceived. ” It has been easy for sophisticated readers – especially rival novelists – to miss her sophistication. Romola Garai as Emma in the BBCs 2009 adaptation. Photograph: BBC By the time that she began writing Emma, Austen was no longer responding to other novelists, she was in new territory, in dialogue with her own earlier novels. She had been steeped in the fiction of the 18th and early 19th centuries, and in her earliest work she wrote against the novels of sensibility or the gothic fiction that she knew so well. But in the creative furore that saw her complete her last four novels in five years, she left the conventions of existing fiction behind. She began work on Emma before she had even received the proofs of  Mansfield Park. That novels heroine, Fanny Price, was reticent, self-abnegating, powerless and often silent or absent. As if in response to her own experiment, she now created a heroine who is assertive, dominant, all too powerful. Emma Woodhouse thrusts herself forward in the novels title and its very first sentence. Her viewpoint is so dominant that it takes several readings before you realise how subtly we are invited to imagine how Emma looks to some of the other characters. How Mr Elton imagines that she is egging him on to propose to her (“I think your manners to him encouraging”, warns Mr John Knightley, to no avail. How Jane Fairfax dreads her inquisitiveness and hates her monopolising of Frank Churchill. How the Martin family must regard her as the heartless snob who has torn Harriet away from the man who loves her. All this is intimated through Emmas own glimmerings of insight – which she duly crushes. Austens narrative enacts her heroines victories over her own better self. There is, however, one carefully calculated chapter in the whole novel narrated from another characters viewpoint. Deep in the third volume, Austen jolts the reader with a chapter from Mr Knightleys point of view. It comes at a crucial point, where Frank uncharacteristically blunders by mentioning an item of parochial gossip that he can only know from his secret correspondence with Jane: Mr Perry the apothecary is getting a carriage (because he is making so much money from the maladies imaginaries of Highbury. How could he know? “It must have been a dream, ” laughs Frank. Emma is “out of hearing”, but Mr Knightley is observing. He watches as all the major characters sit down to play a word game (the novel is full of games and puzzles) and Frank selects the letters for the word “blunder”. Mr Knightley sees and suspects. “Disingenuousness and double-dealing seemed to meet him at every turn. ” The spell of Emmas consciousness has been so powerful that Austen has to wake us up for a moment. But the chapter ends with Mr Knightley suggesting to Emma that there might be some intimate “degree of acquaintance” between Frank and Jane – only to have his suspicions routed by her. “There is no admiration between them, I do assure you. ” No one can say she was not given the chance to see the truth. Austen has several different ways of getting us to read through Emma. At key moments, free indirect style becomes something closer to dramatised thought. Austen develops her own system of punctuation for this. Here is our heroine, back home after the Westons Christmas Eve dinner party, reflecting on Mr Eltons marriage proposal (“actually making violent love to her”) in the carriage home. She had persuaded herself that he was amorously interested in Harriet; worse, she had persuaded Harriet of this too. The hair was curled, and the maid sent away, and Emma sat down to think and be miserable. —It was a wretched business indeed! —Such an overthrow of every thing she had been wishing for! —Such a development of every thing most unwelcome! —Such a blow for Harriet! —that was the worst of all. Every part of it brought pain and humiliation, of some sort or other; but, compared with the evil to Harriet, all was light; and she would gladly have submitted to feel yet more mistaken—more in error—more disgraced by mis-judgment, than she actually was, could the effects of her blunders have been confined to herself. Austens idiosyncratic punctuation, that system of exclamation marks and dashes, allows for a kind of dramatised thought process. Yet because it is still in the third person, we can judge Emma even as we share her thoughts. She is a person worth our sympathy because she is capable of acknowledging and feeling sorry for her mistakes. But, by the unprecedented subtlety of Austens narrative technique, we sense that Emma regrets the scotching of her plans (“Such an overthrow of everything she had been wishing for! ”) as much as (or more than. the impending pain for Harriet. We can even hear her trying to persuade herself (“she would gladly have submitted … ”) of her unselfishness. Alan Cumming (Mr Elton) Juliet Stevenson (Mrs Elton) Polly Walker (Jane Fairfax) and Ewan McGregor (Frank Churchill) in the 1996 film, which starred Gwyneth Paltrow as Emma. Photograph: Allstar/Cinetext/Miramax The novels stylistic innovations allow it to explore not just a characters feelings, but, comically, her deep ignorance of her own feelings. Out of vanity, encouraged by the promptings of Mr and Mrs Weston, Emma has persuaded herself that Frank, whom she has never met, might be the perfect partner for her. When he finally turns up he proves handsome and humorous and intelligent. Understandably, she soon starts seeing the signs that he must be falling for her; better still, she also starts convincing herself that “she must be a little in love with him”. A few amusing confidences shared with smooth Frank Churchill, and she presumes it is the real thing. “Emma continued to entertain no doubt of her being in love. ” Her capacity for self-congratulation deceives her about even the workings of her own heart. Austen does not tell us this, as George Eliot would eloquently tell us: she simply lets us inhabit Emmas consciousness, simply lets us see the world according to Emma. Even better is her self-deception about the man whom she does love. When Mrs Weston suggests that Mr Knightleys evident admiration of Jane presages their likely marriage, the narrative tells us of Emmas response, but also stages her self-deception. She could see nothing but evil in it. It would be a great disappointment to Mr. John Knightley; consequently to Isabella. A real injury to the children—a most mortifying change, and material loss to them all;—a very great deduction from her fathers daily comfort—and, as to herself, she could not at all endure the idea of Jane Fairfax at Donwell Abbey. A Mrs. Knightley for them all to give way to! —No—Mr. Knightley must never marry. Little Henry must remain the heir of Donwell. How natural, then, that when our heroine does realise what love is, it is as a nasty shock. Her erstwhile puppet – now her Frankensteins monster – Harriet reveals that she (no longer quite so modest) has her heart set on Mr Knightley and has good reason to think that he returns her affection. Why is the idea of Harriet marrying Mr Knightley so unacceptable? “It darted through her, with the speed of an arrow, that Mr. Knightley must marry no one but herself! ” What a brilliant sentence that is! With absolute daring, Austen shows us that love can be a discovery of what a person has unknowingly felt for many a long month or year. Now, suddenly and for the first time, Emma understands the plot of her own story. But even at this moment of self-knowledge Austen lets us hear or feel the characters imperiousness, her overpowering sense that events “must” meet her desires. Which is why those who condemn the novel by saying that its heroine is a snob miss the point. Of course she is. But Austen, with a refusal of moralism worthy of Flaubert, abandons her protagonist to her snobbery and confidently risks inciting foolish readers to think that the author must be a snob too. Emmas snobbery pervades the novel, from that moment when we hear Mrs Goddard, the mistress of the little girls boarding school, and Mrs and Miss Bates described as “the most come-at-able” denizens of Highbury (meaning that they are at the beck and call of Emma and her hypochondriac father. Austen has the integrity to make Emma snobbish even when she is in the right. When Mr Elton proposes to her she recognises what the reader has always known: he is vain, cold-hearted and repulsive. But her enlightenment is also affronted dignity: But—that he should talk of encouragement, should consider her as aware of his views, accepting his attentions, meaning (in short) to marry him! —should suppose himself her equal in connexion or mind! —look down upon her friend, so well understanding the gradations of rank below him, and be so blind to what rose above, as to fancy himself shewing no presumption in addressing her! —It was most provoking. Similarly, her run-ins with Mrs Elton, some of the best comic dialogues in all fiction, show her to be perceptive and socially arrogant in equal measure. Mrs Elton, newly arrived in Highbury, visits Emma and talks of her introduction to Mr Knightley. “I must do my caro sposo the justice to say that he need not be ashamed of his friend. Knightley is quite the gentleman. I like him very much. Decidedly, I think, a very gentleman-like man. ” Only when Mrs Elton leaves can Emma “breathe” her indignation. “A little upstart, vulgar being, with her Mr. E., and her caro sposo, and her resources, and all her airs of pert pretension and underbred finery. Actually to discover that Mr. Knightley is a gentleman! I doubt whether he will return the compliment, and discover her to be a lady. I could not have believed it! And to propose that she and I should unite to form a musical club! ” Emma is right – and yet Emma too is full of herself. She even, unconsciously, uses the same vocabulary as her foe, who assures her, “I have quite a horror of upstarts”. The magnificently ghastly Mrs Elton makes herself known through her voice and, in Emma, Austen discovers new and unprecedented ways of making a human voice live in print. Some of her techniques foresee the ingenuities of modernism. When Mrs Elton picks strawberries at Mr Knightleys party at Donwell Abbey, a paragraph of fractured monologue brilliantly dramatises what must be at least half an hours worth of bossy babble. “The best fruit in England—everybodys favourite—always wholesome. These the finest beds and finest sorts. —Delightful to gather for ones self—the only way of really enjoying them. Morning decidedly the best time—never tired—every sort good—hautboy infinitely superior—no comparison—the others hardly eatable—hautboys very scarce—Chili preferred—white wood finest flavour of all—price of strawberries in London—abundance about Bristol—Maple Grove—cultivation—beds when to be renewed—gardeners thinking exactly different—no general rule—gardeners never to be put out of their way—delicious fruit—only too rich to be eaten much of—inferior to cherries—currants more refreshing—only objection to gathering strawberries the stooping—glaring sun—tired to death—could bear it no longer—must go and sit in the shade. ” A ludicrous progress from know-all enthusiasm to sun-struck exhaustion. For garrulous Miss Bates, Highburys good-hearted resident bore, Austen invents a different kind of monologic outpouring that some have called Joycean. Here is just a little sample, as Miss Bates arrives for the ball at the Crown Inn. “Thank you, my mother is remarkably well. Gone to Mr. Woodhouses. I made her take her shawl—for the evenings are not warm—her large new shawl— Mrs. Dixons wedding-present. —So kind of her to think of my mother! Bought at Weymouth, you know—Mr. Dixons choice. There were three others, Jane says, which they hesitated about some time. Colonel Campbell rather preferred an olive. My dear Jane, are you sure you did not wet your feet? —It was but a drop or two, but I am so afraid:—but Mr. Frank Churchill was so extremely—and there was a mat to step upon—I shall never forget his extreme politeness. ” And so on. There are other people here, not just listening but speaking, or trying to speak. And yet Miss Batess voice, self-generating and unstoppable, becomes for a while the only one you can hear. Emma hardly listens to her “prosing”, and there have been readers who have likewise skipped the details of her speech. But one of Austens tricks is to embed many a clue as to the real ruses of other characters in the unsuspicious outpourings of this much-ignored old maid. “What is before me, I see, ” she says, typically declaring herself incapable of perceiving what is indirect or implicit. But what she says is truer than what anyone hears: she is the reliable witness to what is really going on. Even that passage above offers clues as to what Frank is really up to. If this is a detective story, then Miss Bates is the foolish bit-part player offering the apparently trivial testimony that is dangerously ignored. Phyllida Law (Mrs Bates) and Sophie Thompson (Miss Bates) in the 1996 film. Photograph: Rex/Moviestore Collection Frank is, of course, conducting a covert romance with Jane, Miss Batess orphan niece, but he is so clever that it is easy to miss his tricks. Sharing Emmas perspective, we sometimes get fooled too. Perhaps on a second reading of the novel we are properly suspicious of Franks motives in volunteering to mend the rivet in Mrs Batess spectacles: Jane is staying at the Batess tiny flat and he is always finding excuses to visit. But it will probably take more than two readings for most readers to notice how he has managed to get Miss Bates out of the flat – she bustles over the street to invite Emma in – so that he is alone with Jane and the sleeping (and stone deaf) old Mrs Bates. When we enter the front door with Emma we see through her eyes. The appearance of the little sitting-room as they entered, was tranquillity itself; Mrs. Bates, deprived of her usual employment, slumbering on one side of the fire, Frank Churchill, at a table near her, most deedily occupied about her spectacles, and Jane, standing with her back to them, intent on her pianoforte. Emma sees nothing untoward – but what has really been going on? Why is Frank so “deedily occupied” and Jane “intent” on a musical instrument? Surely they have been in a close embrace. It is as if there is a Charlotte Brontë story going on under Emmas nose. “The Passions are perfectly unknown to her, ” Brontë declared, sounding like a character whom Austen would have delighted in depicting. She had been recommended Pride and Prejudice by George Eliots partner, George Henry Lewes, who was partly responsible for Eliot holding Austen in higher regard than most of the other great novelists of the 19th century. Lewess 1859 essay in Blackwoods Magazine is still one of the most perceptive analyses of Austens powers. But instead of description, the common and easy resource of novelists, she has the rare and difficult art of dramatic presentation: instead of telling us what her characters are, and what they feel, she presents the people, and they reveal themselves. In this she has never perhaps been surpassed, not even by Shakespeare himself. Yet Lewes was rare among serious writers in giving her this status. But then, with Emma, Austen almost seems to be tempting inattentive readers to overlook her technical audacity – to miss her tricks. None of Austens novels is as full of tricks as Emma, and many of them are carefully concealed to reward the rereader. I remember the moment, after many readings over the years, when I finally saw what she was doing with Mr Perry, the apothecary. Everyone is always quoting him, especially Emmas valetudinarian father Mr Woodhouse: “as Perry says …”; “… This is just what Perry said”; “Ah! my dear, but Perry had many doubts about the sea doing her any good. ” Mr Perry is always being spotted passing by (all those lucrative house calls) and his views are always being reported. Yet not a single word that he ever says is actually given us in the novel. Of course not! He is the echo to every persons existing prejudices; no wonder he is so successful. It is a joke buried by Austen for posterity to discover. As she told her sister Cassandra, she only wrote for those who had “a great deal of ingenuity themselves”. • What Matters in Jane Austen. Twenty Crucial Puzzles Solved by John Mullan is published by Bloomsbury.

Ema Watch movie reviews. Ema watch movies 2017.

Ema Watch movie. Ema watch movie reviews. What does Emma mean? An English name derived from the Old German for "whole" or "universal. popular since the 19th century. Well-known Emmas: the title character in Jane Austen's Emma; actresses Emma Thompson, Emma Stone, and Emma Watson. Origin German Popularity #2 in 2020 No change from 2019 Source: BabyCenter user data advertisement, page continues below Related names Like Emma? What about: Olivia, Ella, Ava, Sophia, Isabella, Mia, Amelia, Charlotte, Emily, Grace, Lily, Chloe Common sibling names SISTERS Olivia, Hannah, Abigail, Ava, Grace, Sophia, Anna, Lily, Madison, Sarah, Ella, Elizabeth BROTHERS Ethan, Jacob, Noah, Jack, Matthew, Andrew, Ryan, Joshua, Luke, Caleb, Logan, Benjamin Popularity over time Learn more about a name See name meaning, origin, popularity, and related names Discuss names in our Community.

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If you supply the MSRB (or our contractors or agents) with any information, including but not limited to feedback, data, questions, comments or suggestions, it shall not be deemed confidential, and the MSRB shall have no obligation to keep it confidential. By submitting such information you hereby grant to the MSRB a worldwide, royalty-free, fully paid up, non-exclusive, perpetual, irrevocable, transferable and fully sublicensable license, without additional consideration to you or any third party, to copy, reproduce, store, disclose, display, distribute, redistribute, transfer, adapt, modify or otherwise use and exploit such information, in any format or media now known or hereafter developed, and for any purpose and in any manner. In furtherance and not in limitation of the preceding, the MSRB may use any ideas, concepts, know-how or techniques contained in such information for any purpose whatsoever, including enhancing the Website or otherwise developing products and services based on or containing such information. The MSRB may use aggregated and statistical data derived from Website usage. You hereby represent and warrant that you have all necessary rights to grant the preceding license. You shall not infringe, misappropriate or violate the rights of anyone else by your submission to us of any information, feedback, data, questions, comments, suggestions or the like. Moreover, in certain circumstances, in light of the MSRB's statutory obligations and role as a self-regulatory organization, the MSRB may share information provided by you with other governmental or regulatory organizations or agencies. Disclaimers and Limitation of Liability THE WEBSITE, CONTENT AND SERVICES ARE PROVIDED "AS IS" AND "AS AVAILABLE" WITHOUT ANY REPRESENTATIONS OR WARRANTIES OF ANY KIND. THE MSRB EXPRESSLY DISCLAIMS ALL WARRANTIES, WHETHER EXPRESS OR IMPLIED, TO THE FULLEST EXTENT PERMISSIBLE UNDER APPLICABLE LAW, INCLUDING THE WARRANTIES OF MERCHANTABILITY, FITNESS FOR A PARTICULAR PURPOSE, NONINFRINGEMENT AND TITLE. YOUR USE OF THE WEBSITE, CONTENT AND/OR SERVICES IS AT YOUR SOLE RISK, AND YOU SHALL BEAR ALL RISK, RELATED COSTS AND LIABILITY AND BE RESPONSIBLE FOR YOUR USE. THE MSRB ASSUMES NO RESPONSIBILITY FOR ANY INTENTIONAL OR UNINTENTIONAL ERROR, OMISSION, INACCURACY, INCOMPLETENESS, UNAVAILABILITY, INTERRUPTION, DELAY, SLOW STREAMING, SLOW DOWNLOADING SPEED, OR UNAUTHORIZED ACCESS IN OR WITH RESPECT TO THE WEBSITE, CONTENT OR SERVICES OR FOR THE CONSEQUENCES OF USE THEREOF. EXCEPT FOR CLAIMS THAT CANNOT BE EXCLUDED BY APPLICABLE LOCAL LAW, WE AND OUR AFFILIATES, DIRECTORS, OFFICERS, EMPLOYEES, AGENTS, CONSULTANTS, LICENSORS AND THIRD-PARTY PROVIDERS SHALL NOT HAVE ANY LIABILITY, WHETHER IN TORT, CONTRACT OR OTHERWISE, TO YOU OR ANY THIRD PARTY FOR ANY REASON ARISING OUT OF, RELATING TO, IN CONNECTION WITH, OR RESULTING FROM THE WEBSITE, CONTENT OR SERVICES OR USE OF OR ACCESS TO THE THEM. THE MSRB (AND ITS LICENSORS AND THIRD PARTY PROVIDERS) WILL NOT BE LIABLE FOR ANY INDIRECT, INCIDENTAL, CONSEQUENTIAL, SPECIAL, EXEMPLARY OR PUNITIVE DAMAGES OF ANY KIND (WHETHER UNDER CONTRACT, NEGLIGENCE, STRICT LIABILITY OR OTHER THEORY) INCLUDING DAMAGES FOR LOSS OF PROFITS, USE, DATA OR OTHER INTANGIBLES OR FOR SECURITY OF INFORMATION YOU PROVIDED OR UNAUTHORIZED INTERCEPTION OF ANY SUCH INFORMATION BY THIRD PARTIES, EVEN IF ADVISED IN ADVANCE OF SUCH DAMAGES OR LOSSES AND WHETHER OR NOT FORESEEABLE. YOUR SOLE AND EXCLUSIVE REMEDY FOR DISSATISFACTION WITH THE WEBSITE, CONTENT OR SERVICES, IS TO STOP USING THEM. THE MAXIMUM AGGREGATE LIABILITY OF THE MSRB FOR ALL DAMAGES, LOSSES AND CAUSES OF ACTION, WHETHER IN CONTRACT, TORT (INCLUDING NEGLIGENCE) OR OTHERWISE, SHALL BE THE TOTAL AMOUNT, IF ANY, PAID BY YOU TO THE MSRB TO USE THE WEBSITE. THE PRECEDING LIMITATION OF LIABILITY SHALL APPLY TO THE FULLEST EXTENT PERMITTED BY LAW. The transaction data (including trade price information) provided on the Website is submitted to the MSRB by unrelated third parties. It may not exist for all municipal securities transactions and may not be required to be submitted for certain types of municipal securities transactions. The MSRB does not review transaction data submitted by submitters for accuracy, completeness or reliability, and does not warrant or guarantee the accuracy, completeness, reliability or any other aspect of any such transaction data or related information. Disclosure documents, other documents and related information (such as official statements, preliminary official statements, advance refunding documents, financial statements, material event notices and other continuing disclosure documents) provided on the Website are submitted to the MSRB by unrelated third parties, such as brokers, dealers, municipal securities dealers, banks, issuers, obligated persons and their agents. Such documents may not be required to be submitted to us for certain types of offerings and such documents may not exist for certain offerings of municipal securities. There is the possibility of failures by persons to submit documents in a timely manner or at all, or of errors or delays in the submission and/or processing of such documents by third parties or us. We do not review the information contained in such documents for accuracy, completeness or any other purpose, and we do not warrant or guarantee the accuracy, completeness or any other aspect of any information contained in such documents. The MSRB also does not review that a continuing disclosure document has been filed under the correct type of continuing disclosure filing category (such as the correct event filing or the correct financial filing. In furtherance, and not in limitation, of the preceding provisions of this section, it is noted that we, our affiliates, directors, officers, employees, agents, consultants, licensors and third party providers shall not be liable or responsible to you or anyone else for any losses, liabilities, damages, costs, expenses, suits, actions, proceedings or claims caused by, arising out of, relating to or in connection with: a) acts, omissions, occurrences or contingencies beyond our or their reasonable control, including service interruptions or performance failures, such as those that result from the use of telecommunications facilities that are outside our control, including the Internet; b) negligence, gross negligence or willful misconduct in procuring, compiling, interpreting, editing, writing, reporting or delivering any of the Content and, if any, the Services; c) lost, stolen, late, corrupted, misdirected, failed, incomplete or delayed transmissions by anyone using the Website, including technical malfunctions, human error, computer viruses, lost data transmissions, omissions, interruptions, deletions, defects, hyperlink failures or line failures of any telephone network, computer equipment, software or any combination thereof; or (e) damage to your computer systems, equipment, software, data or other tangible or intangible property resulting from or sustained in connection with your use of the Website, Content and/or Services. We and our affiliates, officers, directors, employees, agents, consultants and licensors make, and have made, no recommendations regarding any of the securities or other investment vehicles identified, referred to or described on the Website. We cannot and do not guarantee, represent or warrant that the Website, Content or Services are compatible with your computer system. Further, we cannot and do not guarantee, represent or warrant that the Website, Content or Services will be free of harmful or destructive computer programs, such as viruses, worms, Trojan horses or disabling devices. You alone are responsible for implementing safeguards to protect the security and integrity of your computer system. You are also responsible for the entire cost of any service, repairs or connections of and to your computer system that may be necessary as a result of your use of the Website, Content or Services. Indemnification Except to the extent prohibited under applicable law, you shall indemnify, defend and hold harmless the MSRB and its directors, officers, employees, consultants, contractors, service providers and agents from and against all suits, actions, proceedings and claims (whether threatened or actual) and all losses, liabilities, damages, judgments, costs and expenses (including reasonable attorneys' fees) arising out of, relating to or in connection with: a) your use (or misuse) of and access to the Website, Content and/or Services; b) any violation of these Terms by you; c) any violation of applicable law, rule or regulation by you; d) any claim that any information provided by you to the MSRB in connection with the Website, including the Content, caused damage to, infringed upon, misappropriated or otherwise violated the rights of a third party, including infringement, misappropriation or other violation of third-party intellectual property rights, or violation of any right of privacy; and/or (e) any dispute that you have with any third party relating to or in connection with the Website, Content and/or Services. The MSRB reserves the right, at its own cost, to assume the exclusive defense and control of any matter otherwise subject to indemnification by you, in which event you will fully cooperate with the MSRB in asserting any available defenses and in the conduct of such defense. Leaving the Website; Links to Other Sites After leaving the Website, whether via a link contained on the Website or through the use of your web browser or some other navigational tool, the information you view is not provided by us. We are not responsible for, have no control over and do not review the content at any other website. We make no guarantees, representations or warranties as to any content or material or any other aspects of any other website, including websites that may be reached by links on the Website. A link to a third-party website does not imply sponsorship, approval, affiliation or endorsement by the MSRB of the linked third party website or of that third party's products or services. Your use of links to third party websites at your own risk, and the MSRB shall not be responsible or liable, directly or indirectly, for any damage or loss cause or alleged to have been caused by, relate to or in connection with use of or reliance on any third-party websites, or content or goods/services available on or through any third-party website(s. Third-party websites typically have their own terms, conditions, agreements, requirements or the like relating to their access and use, and you would be subject to those of that website once you go on it. Modification of the Website At any time and in the MSRB's sole discretion, the MSRB may (in whole or in part) modify, suspend or discontinue the Website, Content or Services without notice, for any reason. We shall have no liability to you or to any third party for any modification, suspension or discontinuance. Changes to these Terms We may revise these Terms from time to time, without prior notice. You are bound by any changes to these Terms upon our posting of such changes on the Website. You should check these Terms often to make certain that you are aware of the most current Terms. Your access to or use of the Website acknowledges that you read, understand and accept these Terms and conclusively shall constitute your agreement to be bound by them, and your continued access or use after the posting of a revised version of these Terms conclusively shall constitute your acceptance of and agreement to it as revised. On and after the date updated Terms are posted on the Website, your use of the Website will be governed by such updated Terms. Violations of these Terms The remedies available to the MSRB in these Terms are cumulative and in addition to any others available to the MSRB. The MSRB may seek all remedies available to it at law and in equity for any violation of these Terms. The MSRB may suspend, terminate or block your access to the Website (in whole or in part) for any violation or suspected violation as we determine, without notice to you. Your violation of these Terms shall be considered a breach of contract. We may investigate suspected violations of these Terms. In addition, we shall be allowed to cooperate with: a) law enforcement authorities in the investigation of suspected criminal violations; b) financial regulators, including the U. Securities and Exchange Commission; c) system administrators at Internet service providers, networks or computing facilities; and (d) licensors and/or third-party vendors in order to enforce these Terms. You consent that such cooperation may include providing information relating to you and/or your use of the Website, including without limitation email address, IP address or other identifying information, to law enforcement authorities, financial regulators, third-party licensors, vendors or system administrators. Further, we may disclose any information we think necessary to comply with all applicable law, regulation, subpoena or other legal process or governmental or regulatory request. Governing Law; Submission to Jurisdiction These Terms shall be governed by and construed in accordance with federal law and the laws of the District of Columbia, without regard to any principles of conflicts of law. You agree that any action arising out of, relating to or in connection with the Website, Content, Services, and/or these Terms shall be brought in a court of competent jurisdiction located in Washington, DC, and you further irrevocably submit to the exclusive jurisdiction of such court and waive any objection to jurisdiction and venue (including on the basis of forum non-conveniens. You acknowledge that any breach of any of the section above titled "Use Restrictions" or "Copyright and Trademark Rights" would cause immediate and irreparable harm to the MSRB for which monetary damages would not adequately compensate and that, in addition to all other remedies available at law or in equity, the MSRB shall be entitled to injunctive relief without proof of damages or the posting of bond or other security in the event of such a breach or threatened breach. Complete Agreement; Survival; Severability; Assignment; Headings; Interpretation These Terms, together with the Privacy Policy and, if applicable, the MyEMMA Terms of Use and the Gateway Supplemental Terms of Use, constitute the entire agreement between you and us relating to your use of the Website and Content and, if any, Services. Provisions of these Terms which by their nature should survive termination of your access to our use of Website (or any Content or Services) shall survive, including this Section and Sections titled "Use Restrictions. Copyright and Trademark Rights. Indemnification" Disclaimers and Limitation of Liability" and "Governing Law. If any provision of these Terms shall for any reason be invalid or unenforceable, the remaining provisions of these Terms shall be interpreted to reasonably effect the intent of the parties. Any such invalid or unenforceable provisions in these Terms shall be deemed replaced with valid and enforceable provisions that, to the extent possible, fulfill the business purposes and intent of such invalid and unenforceable provisions. In addition and without limiting the preceding paragraph, some U. states and foreign countries may provide rights in addition to those provided in the above "Disclaimers and Limitation of Liability" section or do not allow the exclusion or limitation of implied warranties or liability for incidental or consequential damages. Therefore, the limitations set forth in the above Disclaimer and Limitation of Liability section may not apply to you in whole or in part or there may be state or country specific provisions that superseded such limitations in whole or in part. Any provision of the above Disclaimer and Limitation of Liability section that is declared invalid shall be deemed severable and shall not affect the validity or enforceability of the remainder. You may not assign or transfer these Terms, or assign, transfer or sublicense any or all of your rights or obligations under these Terms, and any attempted assignment, transfer or sublicense shall be null and void. Any heading or section title contained herein is for convenience of reference only and shall not affect the meaning or interpretation of these Terms. The terms "include" and "including" are deemed to include the phrase "without limitation" immediately thereafter.

 

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