丹尼尔（马修·麦克费登 Matthew Macfadyen 饰）是个久不得志的作家，而且一直生活在名作家哥哥罗伯特（拉珀特·格雷夫斯 Rupert Graves 饰）的阴影之下。默默担负赡养父母义务的他这次主办父亲的葬礼，却同样被哥哥喧宾夺主。
　　本来严肃而又神圣的葬礼更是被堂姐的未婚夫，错食了迷幻药的可怜虫西蒙（艾伦·图代克 Alan Tudyk 饰），搅得一团糟。然而更大的危机在后面，一个神秘的侏儒男子（彼特·丁拉基 Peter Dinklage 饰）现身了，带着毁坏父亲所有声名的证据对丹尼尔进行敲诈。原来丹尼尔的父亲是同性恋，这个秘密眼看就要在他死后被揭开。
　　在一团混乱中，葬礼断断续续的进行着。戏剧化的悲伤和幽默悄然向我们揭示葬礼的意义——带着挚爱的心情缅怀死者，也让生者将不如意的过去埋葬在葬礼上。 ©豆瓣

威尔(休·格兰特 Hugh Grant 饰)是一个伦敦的有钱人。他继承了父亲的遗产，终日吃喝玩乐，游戏情场。然而，他内心却有着空虚和孤独。为了能够认识更多的女人，他想到了单亲家长会。那里单亲妈妈众多，他必然能游刃有余。带着这个目的，他假扮成单亲爸爸，加入了单亲家长会。
马克斯（尼古拉斯·霍尔特 Nicholas Hoult 饰）的母亲也是家长会里的成员。母亲每天早晨醒来，都会开始沮丧、落泪，想自杀。马克斯家庭不幸，加上常常受人欺负，身处劣境的他寄希望于威尔，把威尔当作可依赖的对象。他经常造访威尔家，坐在威尔身边默默的看电视。起初这一切让威尔觉得十分打扰。但是慢慢的，两颗孤独的心开始找到依靠，威尔和小男孩之间的友谊渐渐升温。

阿莉莎（杰西卡·巴登饰，《龙虾》）仍在应对第一季中各种事件带来的影响。第二季中添加了新人物邦妮，由荣获英国独立电影奖 (BIFA) 的娜奥米·阿基（《麦克白夫人》和即将上映的《星球大战 9：天行者崛起》）饰演。邦妮是一个有着复杂过往的局外人，并与阿莉莎有着神秘的联系。

这是剑桥大学梅特兰教授向学生讲授英格兰宪政史的课堂讲义的译著。原著作者将英格兰公法发展阶段划分为五个阶段，并对每个阶段立法的总体特征、王权、议会、中央及地方政府、司法等方面的宪政运作状况予以了总结介绍，并进行了深入细致的分析。清晰完美地梳理了英格兰法律发展和宪政运作脉络。本书虽非梅特兰精雕细琢之成熟作品，但并非简单的历史资料的堆砌，而是着眼于对法律运行过程的审视和探讨，背景资料翔实，分析细致入微并涵盖了大量的原创性观点，为我们学习和研究英格兰宪政史提供了很好的引领。其独特的阶段划分方法也为我们研究英国宪政史提供了不同寻常的观测点，对既有历史著述做出了重要补充。本书系统全面，条理清晰，翻译流畅，完全符合中国读者的阅读习惯。是广大比较法研究者、法学研究者以及法学爱好者、英国宪政史、法律发展史研究者以及英国政治爱好者不可多得的一本出色的著作。

What does persuasion mean - a firm belief, or the action of persuading someone to think something else? Anne Elliot is one of Austen's quietest heroines, but also one of the strongest and the most open to change. She lives at the time of the Napoleonic wars, a time of accident, adventure, the making of new fortunes and alliances. A woman of no importance, she manoeuvres in her restricted circumstances as her long-time love Captain Wentworth did in the wars. Even though she is nearly thirty, well past the sell-by bloom of youth, Austen makes her win out for herself and for others like herself, in a regenerated society.

Book Description
The Wordsworth Classics covers a huge list of beloved works of literature in English and translations. This growing series is rigorously updated, with scholarly introductions and notes added to new titles.
Emma Woodhouse thinks a little too highly of herself, and entertains herself by meddling in the affairs of others. The results are not always as she would like. This novel describes the schemes and eventual humbling of Miss Woodhouse.
Amazon.com
Of all Jane Austen's heroines, Emma Woodhouse is the most flawed, the most infuriating, and, in the end, the most endearing. Pride and Prejudice's Lizzie Bennet has more wit and sparkle; Catherine Morland in Northanger Abbey more imagination; and Sense and Sensibility's Elinor Dashwood certainly more sense--but Emma is lovable precisely because she is so imperfect. Austen only completed six novels in her lifetime, of which five feature young women whose chances for making a good marriage depend greatly on financial issues, and whose prospects if they fail are rather grim. Emma is the exception: "Emma Woodhouse, handsome, clever, and rich, with a comfortable home and happy disposition seemed to unite some of the best blessings of existence; and had lived nearly twenty-one years in the world with very little to distress or vex her." One may be tempted to wonder what Austen could possibly find to say about so fortunate a character. The answer is, quite a lot.
For Emma, raised to think well of herself, has such a high opinion of her own worth that it blinds her to the opinions of others. The story revolves around a comedy of errors: Emma befriends Harriet Smith, a young woman of unknown parentage, and attempts to remake her in her own image. Ignoring the gaping difference in their respective fortunes and stations in life, Emma convinces herself and her friend that Harriet should look as high as Emma herself might for a husband--and she zeroes in on an ambitious vicar as the perfect match. At the same time, she reads too much into a flirtation with Frank Churchill, the newly arrived son of family friends, and thoughtlessly starts a rumor about poor but beautiful Jane Fairfax, the beloved niece of two genteelly impoverished elderly ladies in the village. As Emma's fantastically misguided schemes threaten to surge out of control, the voice of reason is provided by Mr. Knightly, the Woodhouse's longtime friend and neighbor. Though Austen herself described Emma as "a heroine whom no one but myself will much like," she endowed her creation with enough charm to see her through her most egregious behavior, and the saving grace of being able to learn from her mistakes. By the end of the novel Harriet, Frank, and Jane are all properly accounted for, Emma is wiser (though certainly not sadder), and the reader has had the satisfaction of enjoying Jane Austen at the height of her powers.
--Alix Wilber
Amazon.co.uk
"I should like to see Emma in love, and in some doubt of return; it would do her good," remarks one of Jane Austen's characters in Emma.
Quick-witted, beautiful, headstrong and rich, Emma Woodhouse is inordinately fond of match-making select inhabitants of the village of Highbury, yet aloof and oblivious as to the question of whom she herself might marry. This paradox multiplies the intrigues and sparkling ironies of Jane Austen's masterpiece, her comedy of a sentimental education through which Emma discovers a capacity for love and marriage.
From The New York Times, (2/15/97)
"An 'Emma' Both Darker and Funnier"
"I am going to take a heroine whom no one but myself will much like," Jane Austen wrote of Emma, vastly underestimating her readers' good taste. The trick of adapting Emma is to recapture Austen's delicate balance, which allows us to see why the heroine still has friends and social influence, despite being the worst matchmaker and busybody in the village of Highbury. In this smart and spirited new version, Kate Beckinsale's Emma walks that fine line beautifully. Her Emma meddles in her friends' lives with near-disastrous results, and of course remains blind to her own romantic feelings for her old friends Mr. Knightly. But her sure-fire social assumptions are innocently wrong-headed, not willfully arrogant.
In this and almost every other way, this new television film called Jane Austen's Emma represents the flip side of last year's movie with Gwyneth Paltrow. Though both are faithful to Austen's plot, the earlier film was all about brightness and pretty gardens. It was a slick commercial Emma, whose appeal depended on My. Paltrow's graceful looks; not a bad idea, but not nearly what Austen had in mind. Among the flood of recent Austen Movies, this new Emma has the most in common with Persuasion, sharing a smaller scale, a darker tone, and a focus on psychological nuance.
Ms. Beckensale's Emma is plainer looking than Ms. Paltrow's, and altogether more believable and funnier. She came to the role well prepared, after playing another socially self-assured comic figure in the recent film Cold Comfort Farm.
The screenplay by Andrew Davies (who also did the wise television adaptations of Pride and Prejudice and (Moll Flanders) does a deft job of letting viewers pick up the social cures that Emma misses. We see, as she should, the glances between the eligible Frank Churchill and the poor Jane Fairfax. We can guess that the clergyman Mr. Elton has designs on Emma and her dowry, not on her penniless friend Harriet.
This version also makes it clear why Emma and Knightly are such a good match. Like Ms. Beckinsale's Emma, Mark Strong's Knightly does not have movie-star looks, but these two make excellent verbal sparring partners, vehemently matching wits and social observations. Prunella scales also stands out as Miss Bates, the flibbertigibbet, motor-mouthed neighbor whom Emma callously insults at a picnic.
Occasionally, this film plays out Emma's fantasies. There is a brief glimpse of Harriet marrying Mr. Elton, and Frank Churchill's portrait comes alive and speaks to Emma, saying, "Miss Woodhouse, we meet at last." The device is used just enough to add an imaginative touch without becoming a useless gimmick.
After so many Austen films, it would be easy to overlook this latest, but its charms are those Austen herself might have valued. It is understated and sly, loaded with a sense that even as society as well-ordered as Emma's leaves plenty of room for comic misjudgments and happy endings.
From Library Journal
This is another case where a classic is being reprinted simply as a tie-in to a TV/feature film presentation. Libraries, nonetheless, can benefit by picking up a quality hardcover for a nice price.
From AudioFile
The luxury of the unabridged edition requires a certain commitment. But a luxury it is. Jenny Agutter's reading is perfectly suited to the story, both in tone and pace. She brings out the comic insight that is the hallmark of Austen's stories, making one laugh out loud at times, so well has she caught the moment or the temperament of the characters. The genius of Austen's wit often depends, not on what is said, but on how it is said, and Agutter has given the perfect voice to this lighthearted classic, delicately differentiating each character's personality. A glorious way to experience the essential Austen. K.R.
From 500 Great Books by Women; review by Chris Kellett
First published in 1816, Emma is generally regarded as Jane Austen's most technically brilliant book. But that's not the reason to read it. Read it to see how a scheming heiress who is determined not to marry ends up embracing love and growing in maturity without dying or becoming impossibly insipid, the fate of so many nineteenth-century heroines. As her fourth novel was taking shape, Jane Austen noted "I am going to take a heroine whom no one but myself will much like." She was wrong. It is easy to love Emma Woodhouse. She is a snob, a meddler, and a spoiled child - she is also smart, funny, generous, and compassionate. Determined to control the arrangements of other people's lives, Emma takes on the self-appointed role of matchmaker in a world that grants little public power to women. Small wonder that Emma, who has a "mind lively and at ease," wastes her considerable creative powers dreaming up romantic scenarios that consistently and comically fail all reality checks. As in all of Jane Austen's works, the simple theme of courtship belies the complexity of her vision of human nature and of our need for power. Technical brilliance? Yes. Moral brilliance? Most definitely.
Book Dimension :
length: (cm)19.8 　　　 　　　　　 　　　　　 width:(cm)12.6
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爱玛

★ 2017诺奖得主石黑一雄迄今为止最感人的作品
★ 一部笔触细腻、技艺娴熟的经典巨作
★ 一场史无前例的情感体验 一部生物工程时代的《一九八四》
★ 2010年翻拍为同名电影，英国女星凯拉·奈特莉主演
★ 2016年翻拍为10集日剧，绫濑遥、三浦春马等主演
《莫失莫忘》是石黑一雄一部具有反乌托邦色彩的科幻小说，曾入围2005年布克奖和美国书评人协会奖决选名单。英格兰乡村深处的黑尔舍姆学校中，凯西、露丝和汤米三个好朋友在这里悠然成长。他们被导师小心呵护，接受良好的诗歌和艺术教育。然而，看似一座世外桃源的黑尔舍姆，却隐藏着许多秘密。凯西三人长大后，逐渐发现记忆中美好的成长过程，处处都是无法追寻的惶惑与骇人的问号……

该剧描述一个功能失调的家庭如何确保自身的稳定。花儿一家人的性格全都古里古怪，导致他们难以团结一致。他们住在一间拥挤、肮脏、凌乱、破败、总是吱吱呀呀乱响的老房子里。毛瑞斯（Julian Barratt饰）是个儿童书作家，他的妻子狄波拉（Olivia Colman饰）是个 音乐教师。他们有一对双胞胎子女艾米（Sophia Di Martino饰）和唐纳德（Daniel Rigby饰），但他们爱上了同一个女孩阿比格（Georgina Campbell饰），天天争风吃醋。毛瑞斯的母亲海蒂（Leila Hoffman饰）也住在他们家中。狄波拉和毛瑞斯的婚姻很久以前就破裂了，但他们仍然没有离婚。毛瑞斯深受心魔和秘密折磨，狄波拉怀疑丈夫与给他的儿童书绘制插画的日本人瞬（Will Sharpe饰）在搅基。

《糟糕历史》是CBBC出品的一档儿童节目，但吸引到了各个年龄段的观众，在IMDB上有高达9.1的评分。该节目用喜剧的视角向观众朋友们展示历史上最囧的一面，涉及到古希腊、古罗马、阿兹台克、印加、世界大战以及英国历史上各王朝等，内容丰富，寓教于乐。几位演员可谓全才，对各种类型的角色的塑造堪称经典，并且能歌善舞。《糟糕历史》中的歌舞桥段，可谓一大看点。总之，一句话形容，就是“外表荒诞无节操，内心高洁学问高”。

影片讲述一个多世纪前，英国妇女为了争取选举权而不懈斗争的故事。斯特里普在片中饰演的埃米琳·潘克赫斯特是一位著名的妇女选举权倡导者。她与几位同盟者发起成立了“妇女议会”，在国会开会时，她们也开会，与议会唱对台戏。由于采取了激进的斗争措施，潘克赫斯特同她的同盟者们曾多次入狱，在社会上造成了很大的反响。

艾迪（尼克·莫伦）思维敏捷，是个玩牌高手。在三个好友的支持下，艾迪携巨资参加了黑社会的高额赌局，不想落入圈套，欠下50万的赌债。为了还清赌债，艾迪和朋友们绞尽脑汁，最终算计到一群毒贩身上，并为打劫购买了两杆老式烟枪。
不想这群不安分的毒贩，正惦念着他们毒品供应商的钱，并在同一天实施了打劫。在毒贩们费尽周折，把毒品供应商熨的整整齐齐的钱款拿到手后，艾迪他们幸运的坐享其成。可是他们不知道，这看似简单的抢劫案背后，更有厉害的角色参与其中。他们手里的两杆破烟枪也隐藏着不少故事。
在无知与莽撞中置身漩涡的他们能侥幸脱身么？笑料迭出的偶发事件里，穿插着小人物与大人物的辛酸幽默。

28岁的女子凯西（凯瑞·穆丽根 Carey Mulligan 饰）自幼生活在校风严谨的寄宿学校海尔森，汤米（安德鲁·加菲尔德 Andrew Garfield 饰）和露丝（凯拉·奈特莉 Keira Knightley 饰）是她最重要的两个朋友。少男少女们在英国乡间那温暖阳光的沐浴下，度过了人生最青涩浪漫的时刻，也收获着真挚的友情。然而某天，少男少女们却从露西老师（莎莉·霍金斯 Sally Hawkins 饰）的口中得到一个令人震惊的消息：海尔森的终极目标是将他们培养成器官捐献者，他们必须无私地奉献自己的一切，直到年轻的生命之花凋零。在18岁之际，他们得以走出海尔森，去往各地的寄宿学校。黯然的命运如影随形，在短暂的生命中他们还将经历更多……
本片根据英国日裔小说作家石黑一雄的同名原作改编，并荣获2010年英国独立电影节最佳女主角奖（Carey Mulligan）。