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一般战友

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There has been much talk in recent years about the end of the book, but the Austen industry appears NOT to have heard the news. All four of the books under reviewing (REVIEW) are published in high-quality hardback editions, with Bharat Tandon’s annotated edition of Emma being the most handsome. Its large size and heavy weight, complemented by thick, wood-textured endpapers, acid-free cream-vellum paper, generous margins and woven bindings suggest an object important in their (ITS) own right, an object and a form that will not go quiet (QUIETLY) into the good night.
Holding a book of this size and weight, one is reminded not only of the book as a thing, but also of the important role that things themselves play in books. In literary studies, this has fostered a new method of criticism under the heading of “thing theory”. Taking its cue from THE (去掉) anthropology, this practice considers how objects are invested with meanings beyond their material existence.(这一句应该有错误,我把existence改成了existences,我猜是题目中写的是meaning而应该改成meanings,纯属猜测,完全不记得了。)
It would be a mistake, however, to read Austen’s fiction as primarily, or even predominantly, about things. In a letter, Austen famously concluded that “three or four families in a country village is the very thing to work ON”, and her novels focus not only on the courtship plots that structure her narratives, but also on the manners, the judgement, the subtlety and the tact requiring (REQUIRED) to negotiate day-to-day encounters with those whom, like Mrs Elton in Emma, one often loathes but of whom one will likely never be free. They are novels of social evaluation, of minutely (MINUTE) and careful observation, both of manners and of internal mental processes, novels in which ideas and thoughts matter. As James Wood notes, “Emma is one large mental chamber”. Austen’s works, however (THEREFORE), are novels in which even seemingly simple words bear multiple resonances, and in this context, Tandon’s notes are superb.
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