Relevant bibliographies by topics / Brontë, Charlotte, Brontë, Charlotte

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Academic literature on the topic 'Brontë, Charlotte, Brontë, Charlotte'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Brontë, Charlotte, Brontë, Charlotte"

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Drife, J. O. "Saving Charlotte Bronte." BMJ 344, jan25 1 (January 25, 2012): e567-e567. http://dx.doi.org/10.1136/bmj.e567.

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Hudriati, Andi, Muhammad Basri Dalle, and Chichi Indriany. "A Discourse Analysis of Lexical Cohesion In The Novel ‘Jane Eyre’ By Charlotte Bronte." Tamaddun 15, no. 2 (December 31, 2016): 105–12. http://dx.doi.org/10.33096/tamaddun.v15i2.63.

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The aims of this research were to describe the reiteration and to know the collocation in the novel ‗Jane Eyre‘ by Charlotte Bronte and it was analyzed by using the descriptive method. It was to indicate the lexical cohesion. This research described the methods which commonly consisted of two techniques, namely data collection and data analysis. Data collection consisted of the text of the novel Jane Eyre‘ by Charlotte Bronte and data analysis consisted of the tables of cohesive items through the novel, 80 sentences taken from the first chapter. The results of this study found out that there were two types of lexical cohesion, namely reiteration and collocation. It could be seen in the novel Jane Eyre‘ by Charlotte Bronte that there were 4 kinds of reiteration which had found, they were 5 items of repetition, 17 items of synonym, 4 items of superordinate, and 6 items of general word. Besides, there were 6 items of collocation. So that, the writer concluded that the author (Charlotte Bronte) mostly used synonym to avoid repetition in her novel especially in the first chapter under the title Gateshead. Meanwhile, this result hopefully would motivate the people to learn about discourse analysis moreover to know about lexical cohesion itself.
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Wheat, Patricia H., and Carol Bock. "Charlotte Bronte and the Storyteller's Audience." South Atlantic Review 58, no. 3 (September 1993): 134. http://dx.doi.org/10.2307/3200931.

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Gezari, J. "Charlotte Bronte: The Imagination in History." Essays in Criticism 54, no. 1 (January 1, 2004): 95–102. http://dx.doi.org/10.1093/eic/54.1.95.

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Keefe, Robert. ": Charlotte Bronte and Sexuality. . John Maynard." Nineteenth-Century Fiction 40, no. 2 (September 1985): 228–30. http://dx.doi.org/10.1525/ncl.1985.40.2.99p0487w.

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Kavaler-Adler, Susan. "Charlotte Bronte and the feminine self." American Journal of Psychoanalysis 50, no. 1 (March 1990): 37–43. http://dx.doi.org/10.1007/bf01253454.

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Lane, Christopher. "Charlotte Bronte on the Pleasure of Hating." ELH 69, no. 1 (2002): 199–222. http://dx.doi.org/10.1353/elh.2002.0008.

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Maynard, John. ": Charlotte Bronte and Victorian Psychology . Sally Shuttleworth." Nineteenth-Century Literature 53, no. 1 (June 1998): 117–22. http://dx.doi.org/10.1525/ncl.1998.53.1.01p00092.

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Mohammed, Mahameed. "The Effeminized Hero or Authorial Projection: Charlotte Bronte’s The Professor." English Language and Literature Studies 8, no. 1 (February 26, 2018): 120. http://dx.doi.org/10.5539/ells.v8n1p120.

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Charlotte Bronte in most of her novels, as suggested by Gilbert and Guber, in The Mad Woman in the Attic (1979), has worked out a vision of an indeterminate, usually female figure (who has often come “from the kitchen or some such place”) trapped—even buried—in the architecture of a patriarchal society and imagining, dreaming or actually devising escape routes, roads past walls, lawns, antlers, to the glittering world outside. Like Charlotte Bronte, many nineteenth century women almost wrote in “a state of “trance”, about their feelings of enclosure in “feminine” roles and patriarchal households. And wrote, too, about their passionate desire to flee such roles or houses” (313).
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MacKenzie, Scott, and Diane Long Hoeveler. "Gothic Feminism: The Professionalization of Gender from Charlotte Smith to Charlotte Bronte." South Central Review 17, no. 4 (2000): 113. http://dx.doi.org/10.2307/3190173.

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Dissertations / Theses on the topic "Brontë, Charlotte, Brontë, Charlotte"

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Malone, Catherine. "Charlotte Bronte : Gothic autobiographies." Thesis, University of Oxford, 1993. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385569.

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Thuresson, Maria. "Jane Eyre by Charlotte Bronte : Janes journey through life." Thesis, Högskolan Kristianstad, Sektionen för lärande och miljö, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:hkr:diva-9170.

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The aim of this essay is to examine Janes personal progress through the novel Jane Eyre by Charlotte Bronte. It addresses the issue of personal development in relation to social position in England during the nineteenth – century. The essay follows Janes personal journey and quest for independence, equality, self worth and love from a Marxist perspective. In the essay close reading is also applied as a complementary theory.
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Sidhu, Amrita Kaur. "Subjectivity and haunting in the fiction of Charlotte Bronte." Thesis, Birkbeck (University of London), 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271019.

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This thesis offers an exploration of subjectivity in the work of Charlotte Bronte, and conceives of her unique subjective voice in terms of the ghostly. This particular vision of subjectivity is characterized by certain moments of intensity in the fiction, in which very powerful emotions such as grief and loss are figured as a type of psychical haunting. It therefore seeks a new understanding of self-representation in Bronte's first-person novels, through a poetics of haunting and spectrality. These moments of psychic intensity will be analysed partly through the use of certain key psychoanalytic models, such as Freud's 'The Uncanny' and Abraham and Torok's theories of secrecy and 'hiding' in texts, and through the 'spectral' as it is explained by Terry Castle in The Female Thermometer. Beginning with a discussion of 'Charlotte Bronte's Gothic,' it demonstrates that psychical haunting creates a kind of gothic mode in Villette, one that underlies the ideas in the proceeding chapters. The spectral is then examined in Bronte's novels as a function of pseudoscientific readings that often involve looking or 'seeing'. The subject in this case is positioned as an observer, and demonstrates how seeing can often be a kind of hallucination or even a form of ghost-seeing. Additionally, subjectivity will be analysed in relation to letters in the novels-texts that have a highly personal yet ambiguous role. They often become symbols of the intense emotion that are integral to Bronte's subjective voice. This intensity will be mapped out in the final chapter through its recurrence in the work of various poets from the nineteenth century to the nineteen-seventies. In these works Bronte is a troublesome ghost or presence that, despite their efforts to contain, is haunting in its evocation of the difficulties of responding to, or of representing, subjectivity in literature.
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Potgeiter, Erich Johann. "Meaning in the novel : the case of Charlotte Bronte." Thesis, University of Cambridge, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.280091.

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Day, Paula. "Nature and gender in Victorian women's writing : Emily Bronte, Charlotte Bronte, Elizabeth Barrett Browning, Christina Rossetti." Thesis, Lancaster University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293143.

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This thesis explores the ways in which four Victorian women writers - Emily Bronte, Charlotte Bronte, Elizabeth Barrett Browning, and Christina Rossetti - work with the gender associations implicit in the nature imagery of the male literary tradition. In the Introduction I explore the possible approaches available to the feminist literary critic. I then review the gender associations of nature symbolism in the male literary tradition, and the ways in which some Victorian critics used these to define the characteristics of women's writing. In Part One, I find that these writers re-affirm the idea of the fertile earth as 'mother na ture'. I argue, however, that in each case this projection functions to create a female space outside of patriarchal culture, in a symbolic relationship with a strong mother figure. Looking at Emily Bronte's construction of a 'male nature', I question how far this constitutes a reversal of the traditional pattern. I then examine some ways in which 'womanliness' is located in valley or mountain landscapes. In Part Two, I consider the moon as a symbol of femininity. Although, as in some of Christina Rossetti's poetry, it may become a metaphor for woman's dependence on the solar male God, it can also suggest female autonomy. In Emily Bronte's poetry, the moon of female vision is adhered to in preference to the 'sun' of male power. Charlotte Bronte exploits the moon's ambivalent associations to represent virginal autonomy and vengeful rage as different aspects of female psychic power. In Part Three, I turn to the image of woman as flower. Whereas Christina Rossetti uses this in conventional ways to expose women's sexual vulnerability, Elizabeth Barrett Browning subverts it to create images of strong female identity. My Conclusion emphasises the ideological, rather than archetypal, origins of literary symbolism, and the ways in which women writers negotiate successfully with the existing traditions.
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Azim, Firdous. "The novel's imperial past : subjectivity and sexuality in the fictional writings of Charlotte Bronte." Thesis, University of Sussex, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.271066.

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Bemelmans, Josephus Wilhelmus Maria. "Charlotte Bronte and the uses of creative writing : a study in function and form." Thesis, University of Hull, 1988. http://hydra.hull.ac.uk/resources/hull:7027.

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This study examines the functions of Bronte's "scribblemania" at each stage of her intellectual and emotional development, as well as the narrative forms, many originating in the exceptional visual qualities of her imagination, which she employed to shape her thoughts into fictional correlatives. Young Bronte, while indifferent to contemporary fiction, aspired to become a painter, and looked upon her prose writings as a diary. Between 1829 and 1833, she recorded her visions of the realm of artists and poets in which she hoped one day to participate. In 1834 and early 1835, while the career in painting was becoming progressively elusive, she was baffled in her attempts to share in her imaginary Athens, but drew comfort from watching it through her narrator's eyes. During the Roe Head crisis, while at home for the holidays, she withdrew to the margin of Angria in order to allow her exhausted imagination to recover. Having failed in the later novelettes to devise a means of overcoming the burdensome reserve which shielded her imagination against an indifferent outer world, she resolved to leave Angria, but only for a while. Her half-hearted attempt to write a novel at the age of twenty-four was inspired by the hope of earning some money. In The Professor, another financial venture, she charted the struggles of an imaginative person who, like herself, was determined to win a stake in life. She returned to this theme in Jane Eyre. While writing Volume One of Shirley, she perceived a role for herself as a social reformer. The project collapsed after Emily's death. In Villette, she affirmed her faith in her memory and imagination. Three appendices discuss It is all up!, the dating of But it is not in Society (April 1839), and the dating of Bronte's letter to Hartley Coleridge (December 1841).
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Segura, Laura S. "Down the Garden Path| The Gardens and Natural Landscapes of Anne and Charlotte Bronte." Thesis, University of Louisiana at Lafayette, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10680834.

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Victorian culture was constantly engaging with nature and garden imagery. In this thesis, I argue that the literary gardens of Anne and Charlotte Brontë function as a trope that enables an examination of nineteenth-century social concerns; these literary gardens are a natural space that serve as a “middle ground” between the defense of traditional social conventions and the utter disregard of them. In Agnes Grey (1847), Jane Eyre (1847), and The Tenant of Wildfell Hall (1848) the female characters have significant encounters within the gardens and outdoor spaces; Agnes, Jane, and Helen venture into these environments and emerge changed—whether by experiential knowledge or from the temptation of social and moral transgression. In AG, Anne Brontë uses the image of the garden and natural landscapes, in order to explore Agnes’s education within her governessing experience. In JE, the garden functions as a space that appears to offer Jane a reprieve from the Gothic terror of the house, yet it actually extends that influence. The entire estate is a literal boundary point for Jane in her life, but it also represents the metaphorical barrier between Jane and potential social transgression—one that she must navigate because of her romance with Rochester. In Tenant, the house, the garden, and the landscape symbolize Helen’s identity, as the widowed artist Mrs. Graham, an identity that only exists during her time at Wildfell. Helen’s identity as a professional female artist living in a wild landscape accentuates Gilbert’s sexual desire towards her. Anne Brontë critiques Victorian marriage and class expectations through Helen’s final circumvention of social rules. In these novels, the scenes in the gardens and natural landscapes serve as a way for these authors to engage with the complexities of “The Woman Question” through the characterization of the governess and the artist.

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Montgomery, Katherine Frances. ""Drear flight and homeless wandering": gender, economics, and crises of identity in mid-Victorian women's fiction." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/6809.

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My dissertation begins with the central crisis of Jane Eyre, in which Jane flees Thornfield Hall after her failed marriage, is unable to find work, and almost dies of exposure and starvation on the moors. She finds herself asking "What was I to do? Where to go? Oh, intolerable questions, when I could do nothing and go nowhere!" I suggest that this passage, and others that echo it in Villette and works by Elizabeth Barrett Browning, Mary Elizabeth Braddon, and George Eliot can be read in terms of early Victorian anxieties over middle-class women's inability to support themselves should they need to. Most literary criticism on women and work focuses on the end of the century, which saw an explosion of the topic in public debate and literature of the time; in my work, I explore how these discussions and anxieties about women's work were developing much earlier than is usually discussed. While the fin-de-siècle figure of the New Woman characteristically moves through urban landscapes in ways that emphasize her independence (alone, on bicycles, on buses, to and from places of work and her own domicile), earlier middle-class Victorian women walk out of domestic spaces that are not their own, and any brief sense of freedom is swiftly followed by a sense of desperation or need. These women wander through economic landscapes in ways that point to their profound state of dependence and their inability to support themselves. Given that women are still, today, the first economic victims of a recession, I am interested in tracing how women writers started responding to this vulnerability almost as soon as it became visible with the establishment of an industrial economy and the rise of the middle class in early- and mid-Victorian England. While some extant criticism examines Victorian gender and economics in literature on a text-by-text basis, I propose a comprehensive model with four modes for understanding how woman move through economic and physical landscapes in Victorian fiction: 1) in a mode of desperation that points to a fundamental problem with middle-class women's vulnerable economic position (Bronte's Jane Eyre and Villette); 2) in a mode of learning to better understand their limited but relative privilege compared to working-class women (Barrett Browning's Aurora Leigh); 3) in a problematized mode of successful self-reinvention, prompted by economic aspirations, that poses a danger to conventional social hierarchy and therefore marks the woman as errant or evil (sensation fiction, Braddon's Lady Audley's Secret and Aurora Floyd); and 4) in a mode of self-revelation in which a woman comes to realize how her own perpetual state of dependence has affected her choices (Eliot's Daniel Deronda and Middlemarch). Desperation, comprehension, problematic self-invention, revelation: Victorian women's wanderings consistently point to, through the movement of the woman's body, the ways that the woman is an economic subject, perhaps before she is anything else.
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Swan, Julia Mary. "Single blessedness, representations of the spinster in Charlotte Bronte, Wilkie Collins and selected periodical essays." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/NQ66655.pdf.

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Books on the topic "Brontë, Charlotte, Brontë, Charlotte"

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Myer, Valerie Grosvenor. Charlotte Bronte: Truculent spirit. Totowa, N.J: Barnes & Noble, 1987.

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Campbell, Susie. Charlotte Bronte: Jane Eyre. Harmondsworth: Penguin, 1988.

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Charlotte Bronte: Truculent spirit. London: Vision, 1987.

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Shuttleworth, Sally. Charlotte Bronte and Victorian psychology. New York: Cambridge University Press, 1996.

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Gordon, Lyndall. Charlotte Bronte , a passionate life. London: Chatto & Windus, 1994.

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Fraser, Rebecca. Brontes Charlotte Bronte & Her. Crown, 1988.

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Charlotte Bronte. Mandarin, 1989.

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Bronte, Charlotte. Northcote House Publishers Ltd, 2000.

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Boumelha, Penny. Charlotte Bronte. Prentice Hall Europe (a Pearson Education company), 1990.

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Elbert, Hubbard. Charlotte Bronte. Kessinger Publishing, LLC, 2005.

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Book chapters on the topic "Brontë, Charlotte, Brontë, Charlotte"

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Drews, Jörg, and Gesa Stedman. "Charlotte Brontë." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 73–77. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_11.

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Baumann, Uwe. "Brontë, Charlotte." In Englischsprachige Autoren, 31–33. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_14.

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Martin, Brian. "Charlotte Brontë." In The Nineteenth Century (1798–1900), 419–23. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20159-4_37.

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Pond, Kristen. "Brontë, Charlotte." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–8. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-02721-6_31-1.

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Stedman, Gesa. "Brontë, Charlotte." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8075-1.

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Nestor, Pauline. "Charlotte Brontë’s Life." In Charlotte Brontë, 1–24. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18612-9_1.

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Nestor, Pauline. "Charlotte Brontë’s Fiction." In Charlotte Brontë, 25–36. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18612-9_2.

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Nestor, Pauline. "Jane Eyre." In Charlotte Brontë, 50–67. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18612-9_4.

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Nestor, Pauline. "Shirley." In Charlotte Brontë, 68–82. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18612-9_5.

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Nestor, Pauline. "Villette." In Charlotte Brontë, 83–98. London: Macmillan Education UK, 1987. http://dx.doi.org/10.1007/978-1-349-18612-9_6.

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Conference papers on the topic "Brontë, Charlotte, Brontë, Charlotte"

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Wei, Xinyang. "Female Rebelliousness on the Economy and Gender Relations in the 19th Century British Literature: From Jane Austen to Charlotte Brontë." In 2020 3rd International Conference on Humanities Education and Social Sciences (ICHESS 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201214.485.

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You might also be interested in the extended bibliographies on the topic 'Brontë, Charlotte, Brontë, Charlotte' for particular source types:
Journal articles Dissertations / Theses Books
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