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1
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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Russo, Sarah L. "Women's self-writing and medical science : Harriet Martineau, Charlotte Bronte, Harriet Jacobs, and Elizabeth Stoddard." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available, full text:, 2008. http://wwwlib.umi.com/cr/syr/main.
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Scalpato, Lauren Ann. "Overcoming Anonymity: The Use of Autobiography in the Works Of Jane Austen and Charlotte Bronte." Thesis, Boston College, 2004. http://hdl.handle.net/2345/452.
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Thesis advisor: Susan MichalczykIn nineteenth-century England, women were struggling to find an outlet for the intelligence, emotions, and creativity that the patriarchal society around them continuously stifled. For women such as Jane Austen and Charlotte Brontë, writing served as an opportunity to defy restrictive social structures and offered a needed public voice. By expressing their own thoughts and frustrations, Austen and Brontë helped to overcome the anonymity imposed upon women of their time, as they illuminated the female experience. The following paper takes a look at the ways in which Austen and Brontë imparted autobiographical elements to their female characters, as both authors underwent important catharses and inspired the women around them. To this day, their literature provides critical insight into the troubled existence of the nineteenth-century woman, while revealing their own struggles with their constricted identities
Thesis (BA) — Boston College, 2004
Submitted to: Boston College. College of Arts and Sciences
Discipline: English
Discipline: College Honors Program
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Watkins, Susan. "Epiphany and feminine subjectivity in the novels of Charlotte Bronte, D.H. Lawrence and Doris Lessing." Thesis, University of Sheffield, 1992. http://etheses.whiterose.ac.uk/10266/.
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The purpose of this thesis lies in establishing the importance of moments of epiphany in developing ways of understanding feminine subjectivity in Charlotte Bronte's Villette, D. H. Lawrence's Sons and Lovers, The Rainbow, and Women in Love, and Doris Lessing's Children of Violence series. The comparisons and contrasts in these texts' treatment of the feminine subject are elaborated. Epiphany's place in different narrative structures is considered, as is the issue of how the implicit gendering of those narrative patterns constructs the feminine subject, sometimes in ways that may conflict with the gender of the characters concerned. The conclusions of the thesis suggest that an understanding of feminine subjectivity in the novels considered is invaluably aided by examining the novels' epiphanies; and elaborate the previously implicit evaluative comparison of the three writers' novels from the perspective outlined below. The critical and theoretical approach of the thesis relies on the combination of a feminist commitment to understand and change patriarchal relations with poststructuralist theories about language and the subject that suggest the importance of language in constructing our ideas. Psychoanalytic models and theories are frequently used as they best address the Issues I. find interesting in these texts. The thesis is divided into four chapters. The first Is a history of epiphany's development as a concept from its appearance in the work of Joyce to its use as a critical term. The second deals with epiphany's disruption of established models of feminine subjectivity In Villette. The third discusses the differentiation of feminine and masculine epiphanies and languages in Sons and Lovers and The Rainbow, and that pattern's collapse in Women in Love; and the fourth chapter deals with the various models of the feminine subject in Children of Violence, and considers why they do not productively conflict with, or question each other.
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Massey, Ellen. "Boggley wollah and "sulphur-steams" colonialism in "Vanity fair" and "Jane Eyre" /." Click here for download, 2009. http://proquest.umi.com/pqdweb?did=1698507681&sid=1&Fmt=2&clientId=3260&RQT=309&VName=PQD.
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Menon, Patricia. "New Abelards : the mentor-lover in the novels of Jane Austen, Charlotte Bronte and George Elliot." Thesis, University of London, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.299888.
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Friedman, Betty McClanahan. "The princess in exile : the alienation of the female artist in Charlotte Bronte, George Eliot, and Virginia Woolf /." The Ohio State University, 1985. http://rave.ohiolink.edu/etdc/view?acc_num=osu1341333416.
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Nikkila, Sonja Renee. "Pseudonymity, authorship, selfhood : the names and lives of Charlotte Brontë and George Eliot." Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/17556.
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"Why did George Eliot live and Currer Bell die?" Victorian pseudonymity is seldom treated to any critical scrutiny - the only sustained interest has been in reading masculine pseudonyms as masks for "disreputable femininity," signs of the woman writer's "anxiety of authorship." This thesis proposes that pseudonymity is not a capitulation to gender ideology, but that a nom de plume is an exaggerated version of any authorial signature - the abstraction (or Othering) of a self into text which occurs in the production of "real" authors as well as fictional characters. After an introductory chapter presenting the theoretical issues of selfhood and authorship, I go on to discuss milieu - the contexts which produced Bronte and Eliot - including a brief history of pseudonymous novelists and the Victorian publishing and reviewing culture. The third and fourth chapters deal with pseudonymity as heccéité, offering "biographies" of the authorial personas "Currer Bell" and "George Eliot" rather than the women who created them, thus demonstrating the problems of biography and the relative, multiple status of identity. The three following chapters explore the concerns of pseudonymity through a reading of the novels: I treat Jane Eyre, Villette, and even Shirley as "autobiographical" in order to address the construction of self and narrative; I examine how Eliot's realist fictions (notably Scenes of Clerical Life, Romola, Middlemarch and Daniel Deronda) trouble the "reality"/"fiction" binary; and finally I read Bronte specifically for her engagement with "dress," using queer theories of performativity with Victorian theories of clothing and conduct to question "readability" itself. My final chapter is concerned with agencement (adjustment) and "mythmaking": the posthumous biographical and critical practices surrounding these two writers reveal that an author's "name," secured through literary reputation, is not static or inevitable, but the result of constant process and revision.
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Wright, Benjamin Jude. ""Of That Transfigured World" : Realism and Fantasy in Victorian Literature." Scholar Commons, 2013. http://scholarcommons.usf.edu/etd/4617.
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"Of That Transfigured World" identifies a generally unremarked upon mode of nineteenth-century literature that intermingles realism and fantasy in order to address epistemological problems. I contend that works of Charles Dickens, Charlotte and Emily Brontë, Walter Pater, and Oscar Wilde maintain a realist core overlaid by fantastic elements that come from the language used to characterize the core narrative or from metatexts or paratexts (such as stories that characters tell). The fantastic in this way becomes a mode of interpretation in texts concerned with the problems of representation and the ability of literature to produce knowledge. Paradoxically, each of these authors relies on the fantastic in order to reach the kinds of meaning nineteenth-century realism strives for.
My critical framework is derived from the two interrelated discourses of sacred space theology and cultural geography, focusing primarily on the terms topos and chora which I figure as parallel to realism and fantasy. These terms, gleaned from Aristotle and Plato, function to express two interweaving concepts of space that together construct our sense of place. Topos, as defined by Belden C. Lane, refers to "a mere location, a measurable, quantifiable point, neutral and indifferent" whereas chora refers to place as "an energizing force, suggestive to the imagination, drawing intimate connections to everything else in our lives." In the narratives I examine, meaning is constructed via the fantastic interpretations (chora) of realistically portrayed events (topos). The writers I engage with use this dynamic to strategically address pressing epistemological concerns relating to the purpose of art and its relationship to truth.
My dissertation examines the works of Dickens, the Brontës, Pater, and Wilde through the lens of this conceptual framework, focusing on how the language that each of these writers uses overlays chora on top of topos. In essence each of these writers uses imaginative language to transfigure the worlds they describe for specific purposes. For Dickens these fantastic hermeneutics allow him to transfigure world into one where the "familiar" becomes "romantic," where moral connections are clear, and which encourages the moral imagination necessary for empathy to take root. Charlotte and Emily Brontës's transfigurations highlight the subjectivity inherent in representation. For Pater, that transfigured world is aesthetic experience and the way our understanding of the "actual world" of topos is shaped by it. Oscar Wilde's transfigured world is by far the most radical, for in the end that transfigured world ceases to be artificial, as Wilde disrupts the separation between reality and artifice.
"Of That Transfigured World" argues for a closer understanding of the hermeneutic and epistemological workings of several major British authors. My dissertation offers a paradigm through which to view these writers that connects them to the on-going Victorian discourses of realism while also pointing to the critical sophistication of their positions in seeking to relate truth to art. My identification of the tensions between what I term topos and chora in these works illuminates the relationship between the creation of meaning and the hermeneutics used to direct the reader to that particular meaning. It further points to the important, yet sometimes troubling, role that imagination plays in the epistemologies at the center of that crowning Victorian achievement, the Realist novel.
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Harjung, Anna Joy. "The Effects of the Evangelical Reformation Movement on Jane Austen and Charlotte Bronte as Observed in Mansfield Park and Jane Eyre." Thesis, Virginia Tech, 2019. http://hdl.handle.net/10919/93256.
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This thesis attempts to clarify how the authors incorporated their theological beliefs in their writing to more clearly discover, although modern audiences often enjoy both authors, why Charlotte Bronte was unimpressed with Jane Austen. The thesis is an examination of the ways in which Jane Austen and Charlotte Bronte interact with the Evangelical Reformation within the Anglican Church in their novels Mansfield Park and Jane Eyre, respectively. Both authors, as daughters of Anglican clergymen, were aware of and influenced by the movement, but at varying degrees. This project begins with a brief explanation of the state of the Anglian Church and beginnings of the Evangelical Reformation. The thesis then examines George Austen's influence on his daughter and the characters and text of Mansfield Park to observe the ways in which traditional Anglicanism and tenets of Evangelicalism are discussed in the novel, revealing more clearly where Austen's personal beliefs aligned. Similarly, the project then analyzes Patrick Bronte's influence on Charlotte Bronte and evaluates the characters and text of Jane Eyre to mark the significance of the Evangelical movement on Charlotte Bronte. After studying these works and religious components of their lives, the thesis argues that Austen's traditionally Anglican subtlety with the subject of religion did not appeal to Bronte's passion for the subject, clearly inspired by the Evangelical Reformation.Master of Arts
Charlotte Brontë was unimpressed with the writing of Jane Austen, which is surprising as the audience for one author usually also enjoys the other author as well. Although the specific reason for Brontë’s distaste for Austen is unknown, this thesis proposes that Brontë disagreed with how Austen portrayed Evangelicalism. Both Brontë and Austen were Anglican clergymen’s daughters, and they both grew up with an awareness of the Evangelical Reformation occurring in the Anglican Church. Brontë was influenced by the movement more, which this thesis shows after first outlining the Evangelical Reformation, exploring Austen’s relationship with it and how it appears in Mansfield Park, and then examining Brontë’s relationship with the Reformation and how it appears in Jane Eyre as well. This thesis contains brief historical and biographical sketches of the authors and their families, literary examinations of the novels Mansfield Park and Jane Eyre to study how the authors interacted with the Evangelical ideals, and an analysis that looks at faith in these two novels in a comparative way to explain why Brontë might have disagreed with and therefore disliked Austen’s writing.
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Henry, Meghan N. "Within and Without| Transmutable Dwellings in the Work of Mark Z. Danielewski, Charlotte Bronte, and Edgar Allan Poe." Thesis, University of Louisiana at Lafayette, 2019. http://pqdtopen.proquest.com/#viewpdf?dispub=10844135.
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This thesis takes a look at three major texts: Mark Z. Danielewski’s House of Leaves (2000), Charlotte Brontë’s Jane Eyre (1847), and Edgar Allan Poe’s “The Fall of the House of Usher (1839). These texts are certainly linked by the gothic motif, past trauma (and thus memory), and also desire. However, I see these texts as a set for several reasons. These texts are representations of how the gothic motif can be used to supply the narrative, not supplement it. This means, for me, that the narratives of these texts are not just staples of “the gothic,” but their very architecture is founded upon the gothic tradition. Each text takes place within a house, in a sort of labyrinthine creation, haunting in nature with supernatural manifestations, and, on top of that, a theme of misery within the family. Although these three texts are connected by their treatment and reliance on the gothic motif, I’m drawn to them as a set because of 1) the characters’ transmutability of the spaces they inhabit and 2) the physicality of the publication themselves. I am concerned with the transformations that occur within and without these texts. By that, I mean I am a concerned with transformations within the minds of the characters (development) and the spaces they occupy, as well how these texts call readers to action. Above all, I am concerned with agency, that of the characters within these texts and of the texts themselves. I argue that these spaces within these texts as well as the texts themselves are posthuman. Though, where does regarding these texts as posthuman leave us as scholars?
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deCourville, Nichols P. IV. "The Punk-Rock Brontes." University of Akron / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=akron1491409983719254.
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Ramli, Aimillia Mohd. "Race, gender and colonialism in Victorian representations of North Africa : the writings of Charlotte Bronte, Guida and Grant Allen." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490126.
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Charlotte Bronte, Guida and Grant Allen are known for their novels that engage with the issue of gender, race and Empire within the context of nineteenth-century representations of French-colonised North Africa and Algeria. An analysis ofcolonial discourse, engaging specifically with Edward Said's Orientalism, is helpful in understanding the underlying anxieties and ambivalences regarding these issues that are present in these writers' works, and in particular Bronte's Villette, Guida's Under Two Flags and Allen's The Tents ofShem. Not only do the novels provide a chronological analysis ofthe gradual transformations underwent by representations ofArabs in English literature from their portrait as courageous freedom fighters, in the middle of the nineteenth century, to a mass of blood-thirsty savages less than fifty years later, they also demonstrate shifts in the types ofanxieties that colonial discourse underwent during this period; from fears regarding possible contaminative effect that the East was said to assert on the treatment of women in the West in Bronte's novel, through a more ambivalent attitude towards sexual practices in the region in Guida's work and, finally, the tension that results from racial encounters and the fear surrounding degeneration in Britain in Allen's novel. While novels by Bronte and Guida imply the sources ofthese anxieties as coming from outside Britain, Allen's writings reflect his fear that the future of the English race was being threatened by a surplus of childless and unmarried women within the metropolitan centre. In fact, the narratives studied here deeply imbricate the race and character of the English with gendered representations of North Africans during that period. Even though colonialism is perceived as consolidating the superiority of the English race in comparison to other races, increasing encounters between it and these 'others' at the periphery, in particular North Africa, inevitably expose anxieties to be a significant part of the English colonial identity.
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Ellis, Jeanne. "Patriarchal structures of control and female homosocial relationships in the novels of Charlotte Brontë." Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52396.
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Thesis (MA)--Stellenbosch University, 2001.ENGLISH ABSTRACT: In Charlotte Bronte's novels, the importance accorded to female homosocial relationships - such as friendship and the mother-daughter relationship - challenges the conventional structure of the Victorian realist novel, in which the focus of the female protagonist's development is almost exclusively on the eventual achievement of heterosexual marriage Structurally. heterosexual marriage at closure re-establishes the status quo that has been threatened or destabilised during the unfolding of the plot. Yet what Bronte's novels reveal, is that the status quo thus re-established also confirms patriarchy as a system in which the bonds between men are consolidated to maintain social, political and economic power as a male prerogative By contrast, the ideology that promotes marriage as the sine qua non of women's existence positions women as rivals and the representation of female homosocial relationships in the nineteenth-century novel is either relegated to the margins of the text or erased entirely. In Bronte's novels, the structural relationship between this conventional displacement of female homosocial relationships and the silencing and containment of female desire in heterosexual marriage at closure is consistently explored and subverted. In an increasingly complex process of rewriting the Victorian novel from a female perspective, Bronte's novels construct alternative plots that privilege the representation of female homosocial relationships even as they imitate conventional plot structure In so doing. the gendering of narrative voice as female lays claim to a female discourse of desire. which is rooted in female homosociality and inclusive of lesbian desire. Compulsory (female) heterosexuality which is exclusively domestic and maternal. IS therefore challenged by an alternative representation of female desire as defiant of the ngid categories Imposed by heterosexuality. because it is fiurd and multiple in Its expression This thesis explores the process of recuperation through which Bronte both places the representation of female hornosocial relationships at the centre of her novels and reveals patriarchal structures of control at work
AFRIKAANSE OPSOMMING: In die romans van Charlotte Bronte konfronteer the sentraliteit van vroulike homososiale verhoudings - soos vriendskap en die moeder-dogter verhouding - die konvensionele struktuur van die Victoriaanse realistiese roman. Volgens hierdie konvensionele struktuur is die fokus van die vroulike protagonis se ontwikkeling bykans uitsluitlik gerig op haar uiteindelike toetrede tot 'n heteroseksuele huwelik. Struktureel gesproke herstel die heteroseksuele huwelik by die sluiting van die roman die status quo wat bedreig of gedestabiliseer is gedurende die ontplooing van die roman. Wat Bronte se romans egter aan die lig bring, is dat die status quo wat so herstel word, ook die patriargale sisteem bevestig - waarbinne die bande tussen mans gekonsolideer word ten einde sosiale politieke en ekonomiese mag as 'n manlike prerogatief te waarborg Die ideologie wat die huwelik voorhou as die sine qua non van die vrou se bestaan posisioneer vroue as mededingers, en hierdeur word die uitbeelding van vroulike homososiale verhoudings in die negentiende-eeuse roman verskuif na die buitewyke van die teks, of word dit algeheel uitgewis. In Bronte se romans word die strukturele verwantskap tussen hierdie konvensionele verplasing van vroulike homososiale verhoudings en die demping of beheer van vroulike begeerte in die heteroseksuele huwelik voortdurend in die roman se sluiting ondersoek en ondermyn In 'n proses wat 'n toenemend ingewikkelde herskrywing van die Victonaanse roman vanuit 'n vroulike qesiqspunt inhou. stel Bronte se romans alternatiewc verwikkelinqsplanne saam wat voorrang gee aan die uitbeelding van vroulike hornososiale verhoudings terwyl hierdie storieplanne konvensionele struktuurplanne naboots. Ole manier waarop die verteller se stem so vervroulik word gee uiting aan 'n vroulike diskoers van begeerte wat gewortel IS In vroulike hornososialiteit en wat lesbiese begeerte insluit Verpliqte (vroullke) heteroseksualiteit. wat uitsluitlik huislik en moederlik IS, word dus gekonfronteer deur 'n alternatiewe uitbeeldinq van vroulike begeerte wat die rigiede kateqoriee opqele deur heteroseksualiteit verwerp en meer vloeibare en veelsoortiqe vorme van ultdrukklng daarstel Hierdie tests ondersoek die herstellinqsprcses waardeur Bronte die uitbeeldinq van vroulike hornososiale verhoudinqs sentraal plaas In haar romans, terwyl sy terselfdertyd die werkswyses van patriargale beheerstrukture aan die lig bring.
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Kaskinen, Saija M. "What is my God : the feminine dimension of God as perceived by Fredrika Bremer, Charlotte Bronte, George Eliot and Selma Lagerlöf /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/6617.
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Geary, Cynthia J. "Jane Eyre and the tradition of women's spiritual quest : echoes of the great goddess and the rhythms of nature in one woman's "private myth"." Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/544126.
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Thanks, in part, to critical studies like Sandra Gilbert & Susan Gubar's The Madwoman in the Attic and Patricia Beer's Reader, I Married Him, Jane Eyre by Charlotte Bronte has come to be regarded as the standard feminist text; that is, when someone wants to demonstrate a particular principle of feminist criticism or a traditionally feminine concern, she generally points to Jane Eyre. As critics like Gilbert and Gubar have shown us, Bronte's novel is not merely a Gothic romance; it reveals a feminine consciousness struggling to assert itself within the nineteenth-century patriarchal social and religious structures. Jane Eyre, therefore, would naturally lend itself to a critical study based on the concerns of feminist spirituality, especially the notion of women's communities and reflections of a feminine divinity. I propose a critical study of Jane Eyre, like the one Carol Christ conducted on the works of Kate Chopin, Margaret Atwood, Doris Lessing, Adrienne Rich and Ntozake Shange in Diving Deep and Surfacing: Women Writers on a Spiritual Quest, in which Christ examines spiritual awakening of a female consciousness in the writings of these five authors.Though Jane Eyre, seems at first glance to work within a standard Christian, or patriarchal, religious structure, there are elements of a feminine divinity, even an attempt to re-create (as Mary Daly would say) God so that He perhaps more closely resembles the early, androgynous Hebrew Yaweh: Iahu-Anat, or Ashtoreth (Diane Stein, The Women's Spirituality Book, Llewellyn Publications, 1987, pp. 78). Jane Eyre asks guidance from the Moon, who in turn addresses her as "daughter'; then too, she clearly rejects the Christian Church, as evidenced by her highly symbolic refusal of St. John's proposal of marriage, for instance. However, despite her intuitive recognition of the feminine power and wisdom that is hers to draw upon and her rejection of the institution of patriarchal religion, she does not ultimately, I believe, reject a masculine God, nor does she replace Him with an androgynous God. Yet the aspects of the feminine divinity she discovers and the women's community (the nurturing influence of her cousins Diana and Mary, so named for the archetypal moon and the virgin) in which she finds herself lead lead her to a subconscious acceptance of the feminine divinity within herself.I propose then to trace the development of a feminine divinity in Jane Eyre, which culminates in a rejection of the Church and follows the individuation process of Jane Eyre herself. Completion of this project will requires research into four principal areas:1) Feminist literary criticism on Jane Eyre--in order to familiarize myself with the feminine and feminist significance of such a reflection, and possibly place Jane traditions it falls into and those, like Gilbert & Gubar's, that center on it and also to determine to what extent the notion of a feminine divinity has been recognized in the novel.2) Archetypal psychology and criticism--strictly concerning the process of individuation and manifestations of the Goddess and those figures associated with Her; for example, near the end of the novel Mr. Rochester is compared to Vulcan and I would like to pursue to what extent he can be seen in light of a Hephesties/Demeter syzygy.3) Jane Eyre criticism that discusses the spiritual or religious aspects of the novel--since Jane Eyre has obvious religious implications, spiritual issues have not been ignored by the critics (I am most eager to read Elisabeth Jay's The Religion of the Heart: Anglican Evangelicalism and the Nineteenth Century Novel, for instance); however, my previous research has not unearthed a feminist spirituality critical approach to Jane Eyre.4) Issues of women's spirituality--particularly those concerning communities of women, Goddess worship and ritual behavior, and images and symbols of the Goddess. Such research will allow me to determine to what extent a sense of a feminine divinity is reflected in Jane Eyre, come to a conclusion about the meaning and Eyre into a tradition of women writers on a spiritual Research in community management of the severely mentally ill has been scarce. Two primary components of community care in particular need evaluation,residential arrangements and styles of "case management." The purpose of this study was to evaluate the interaction of two types of residential arrangements (single- and double-occupancy) and two types of case management ("assertive" and "limited") in a 2 X 2 design. Participants were individuals with a severe mental illness served by CMHS, Inc. Individuals were matched on DSM-III-R diagnoses and sex: 8 had roommates and received assertive case management, 5 had roommates and limited case management, 5 lived alone and received assertive case management, and 5 lived alone with limited case management. Data were obtained from three independent sources: (1) each client was interviewed using the Denver Community Mental Health Questionnaire (DCMHQ) and the Inventory of Socially Supportive Behaviors (ISSB) on four separate occasions over three consecutive months; (2) frequency of client contact with family members over the same time interval was tracked by case managers; and (3) concurrent attendance in day treatment sessions, diagnosis, number of previous hospitalizations, and approximate number of months of previous hospitalization were obtained from community mental health center records. DCMHQ scores for acute symptoms and interpersonal conflict were combined into an index called problems, while ISSB scores measured social support received. Monthly followups for. three consecutive months were used to obtain stable estimates of problems and support. Significant positive correlations were found between family involvement and problems, family involvement and residential arrangements, social support and problems, group attendance percentage and age, problems and social support, and a marginal relationship between residence and social support. Statistically significant negative correlations were found between case management and problems, social support and number of previous hospitalizations, group attendance percentage and problems, and residence and age. In multiple regression involving all predictors, the variables other than roommating and case management, (i.e., average family involvement, number of previous hospitalizations, program attendance, and age, considered together) predicted both problems reported and support received, while as second and third steps in the regression analysis case management and residence did not significantly predict problems or social support. In other words, once chronicity (i.e., number of previous hospitalizations), family contact, age, and group attendance were controlled, case management and residence both vanished as predictors. Future studies should consider these factors, and other aspects of the natural context, when evaluating community interventions for the mentally ill in a more controlled experimental design. With respect to developing new research for community adjustment, recommendations for more controlled studies were made and two new community intervention procedures were described.Department of English
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Haller, Elizabeth Kari. "“The Events of My Insignificant Existence”: Traumatic Testimony in Charlotte Bronte’s Fictional Autobiographies." Kent State University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=kent1248038837.
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Wynne, Hayley. ""Leave Sunny Imaginations Hope": The Fate of Three Women in Charlotte Bronte's Villette." University of Toledo Honors Theses / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=uthonors1292456479.
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Rothhaas, Anne Hayley. "The Specter of Masochistic Mourning in Charlotte Brontë's Tales of Angria, The Professor, and Villette." Bowling Green State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1372033971.
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Baker, Laci J. "Motherless Women Writers: The Affect on Plot and Character in the Brontë Sisters’ Novels." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/honors/187.
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Through the use of biographical materials, and three selected works from Charlotte, Anne, and Emily Bronte, parallels were found between their lives, character design, and the plot of their works. The lack of a mother figure in the lives of the Bronte sisters caused their upbringing to differ from that of other children, and as a result influenced their perspective of the world. Motherless female characters were found in each of the three novels by the Bronte sisters and in each instance commonalities were shared with the author of the work, to a degree that indicates that the lives that the sisters led, was the inspiration for the stories they created. After investigating whether or not the novels created by the Bronte sisters were influenced by the lack of a mother figure, the conclusion reached, is that this absence had an immense influence throughout their lives, and based on more than one account, helped shape the design of each of their respective works.
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Hyun, Sook K. "Storytelling and Self-Formation in Nineteenth-Century British Novels." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2008-08-52.
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Cicero-Erkkila, Erica Eileen. "WOMENS CONTROL OF PASSION: LOUISA MAY ALCOTT'S REVISION OF CHARLOTTE BRONTE'S JANE EYRE AND SOCIETAL RESTRICTIONS OF PASSION IN THE NINTEENTH-CENTURY." Cleveland State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=csu1398184267.
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Drack, Sibylle Maria. "Discourse, power and gender in Charlotte Brontë's "Shirley" /." Bern : Selbstverl, 2000. http://www.ub.unibe.ch/content/bibliotheken_sammlungen/sondersammlungen/dissen_bestellformular/index_ger.html.
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Jones, Phyllis Kelson. "The religious beliefs of Charlotte Brontë as reflected in her novels and letters." Thesis, N.p, 1997. http://oro.open.ac.uk/19036/.
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Arvan, Andrews Elaine J. "The physiognomy of fashion : faces, dress, and the self in the juvenilia and novels of Charlotte Brontë /." Ohio : Ohio University, 2004. http://www.ohiolink.edu/etd/view.cgi?ohiou1107275437.
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Tate, Rosemary. "The aesthetics of sugar : concepts of sweetness in the nineteenth century." Thesis, University of Oxford, 2010. https://ora.ox.ac.uk/objects/uuid:960ac765-d21b-43d3-a26b-0188b4792186.
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My thesis examines the concept of sweetness as an aesthetic category in nineteenth-century British culture. My contention is that a link exists between the idea of sweetness as it appears in literary works and sugar as an everyday commodity with a complex history attached. Sugar had changed from being considered as a luxury in 1750 to a mass-market staple by the 1850s, a major cultural transition which altered the concept of sweetness as a taste. In the thesis I map the consequences of this shift as they are manifest in a range of texts from the period, alongside parallel changes in the aesthetic category of sweetness. I also assess the relationship between the material history of sweetness and the separate but related concept of aesthetic sweetness. In focussing on the relationship between sugar and sweetness in the Victorian period this thesis examines an area of nineteenth-century life that has previously never been subject to detailed study. Although several critics have explored the connection between sugar and concepts of sweetness as they relate to abolitionist debates in the eighteenth and nineteenth centuries, my focus differs in that I assert that other material histories of sugar played as significant a role in developing discourses of sweetness. Throughout this study, which spans the period 1780-1870, I draw on a range of sources across a variety of genres, including abolitionist pamphlets, medical textbooks, the novels of Charlotte Brontë and Wilkie Collins, the cultural criticism of Matthew Arnold and Walter Pater, and the poetry of Christina Rossetti and Algernon Charles Swinburne. I conclude that literary cultures in the nineteenth century increasingly use discourses of sugar to relate to the mass market and explore the commercialisation of literature, at a time when a growing commodity culture was seen as a threat to literary integrity.
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Hall-Godsey, Angela Marie. "By her Own Hand: Female Agency through Self-Castration in Nineteenth-Century British Fiction." Atlanta, Ga. : Georgia State University, 2008. http://digitalarchive.gsu.edu/english_diss/38/.
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Thesis (Ph. D.)--Georgia State University, 2008.Title from title page (Digital Archive@GSU, viewed July 15, 2010) Michael Galchinsky, committee chair; Calvin Thomas, Lee Anne Richardson, committee members. Includes bibliographical references (p. 204-212).
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Ferez, Yvonne. "La Solitude dans les romans de Charlotte Brontë." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb376050206.
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Ferez, Yvonne. "La solitude dans les romans de Charlotte Brontë." Paris 10, 1987. http://www.theses.fr/1987PA100116.
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Charlotte Brontë, retirée dans les landes désolées du Yorkshire, tente d'harmoniser ses personnages et leur environnement afin de donner une perception plus aigüe de leur isolement. Les héroïnes, surtout, cherchent une forme d'intégration par leur fusion avec le cosmos. Cette approche tout à fait personnelle met en relief tous les aspects de la vie intérieure : les émotions, les passions et les souffrances acquièrent une plus grande force évocatrice par le pouvoir de l'imagination. On peut remarquer, dans l'expression littéraire de Charlotte Brontë, deux aspirations contradictoires : à la fois désir intense et peur obsédante de la solitude ; la recherche de l'équilibre entre ces tendances antinomiques crée une névrose que seuls l'amour et l'amitié ont le pouvoir de guérir. L’aspect androgyne des personnages brontéens traduit en fait le malaise et la solitude de la femme écrivain dans le monde littéraire de l'époque. Ce que Charlotte Brontë montre (et dénonce parfois), c'est l'injustice du sort qui est fait aux femmes célibataires à l'époque victorienne et leur isolement insupportable : les héroïnes doivent lutter contre les préjugés de leur entourage et leur combat accentue cette solitude ; ces femmes étouffent stoïquement leurs désirs et leurs faiblesses afin de mieux surmonter les obstacles de l'existence. Les personnages brontéens accomplissent un pèlerinage qui les amène, après bien des souffrances, à une meilleure connaissance d'eux-mêmes ; ils atteignent une forme de sagesse et d'accomplissement après la rencontre avec "l'autre" qui peut les comprendre et communiquer avec euxCharlotte Brontë, withdrawn in the dreary "moors" of Yorkshire, tries to harmonize her characters and their background so as to give a keener perception of their isolation. The heroines especially, seek a form of integration by their fusion with the cosmos; this very personal approach brings out all the aspects of consciousness: emotions, passions and sufferings thus gain a greater suggestive force through the transforming power of imagination. There are, in charlotte Brontë's literary expression, two contradictory aspirations: at the same time a strong desire and a fear of solitude; the guest for a balance between these antinomic tendencies creates a neurosis that can only be cured by love and friendship. The androgynous aspect of the brontean characters reveals women writers' malaise and solitude in the literary world of the time. What Charlotte Brontë shows (and sometimes exposes) is single women's predicament and unbearable isolation in the victorian era: the heroines must struggle against prejudice and their fight increases their solitude; these women stifle their desires and weaknesses so as to overcome the obstacles of existence. The brontean characters perform a pilgrimage which brings them to a better knowledge of their inner self; they achieve a form of wisdom and fulfilment after they have met their "alter ego" who can understand them and communicate with them
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Postemsky, Diana. "Through the looking-glass reading and reflecting from Wide Sargasso Sea to Jane Eyre /." Diss., Connect to the thesis, 2003. http://hdl.handle.net/10066/647.
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Ng, Chi-mei. "Re-reading Jane Eyre and Wide Sargasso Sea." Click to view the E-thesis via HKUTO, 1996. http://sunzi.lib.hku.hk/hkuto/record/B42574493.
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Shave, Anne Elise. "Education in the novels of Anne and Charlotte Brontë." Thesis, University of Canterbury. English, 1997. http://hdl.handle.net/10092/7116.
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Charlotte and Anne Bronte were both educators and it is not surprising that education plays a prominent part in their fiction. It is more surprising that students and educators, who presumably share an interest in the processes and purposes of education, have not attempted, in previous studies, to provide a comprehensive coverage of the Brontes' approach to educational issues or to examine the function of teaching and learning interactions within their novels. My thesis traverses this relatively unexplored territory.
My argument is divided into six parts. First, I outline some of the educational issues of particular significance at the time the Bronte sisters were writing, including school conditions, content of curricula for girls and boys, and "the governess problem". In chapter two I consider the authors' responses to these contemporary issues and raise points of contrast between Anne and Charlotte's approaches to similar subjects. Anne's moral emphasis and desire to affect change is compared with her sister's ambiguous and often contradictory attitudes towards social issues. Next, the close connection between education and power (and characters' exploitation of this feature of education) is explored from several perspectives. I comment on the imbalance of power between the sexes that educational differences contributed to in early-Victorian society and demonstrate that those most desirous of educational power in the Brontes' work are often the most oppressed. Chapters four and five examine the ways in which education contributes to the central heterosexual relationships in the novels, and focus most closely on Charlotte's preoccupation with relationships between masters and pupils.
Finally I compare Anne and Charlotte's treatment of education in order to make some observations about their attitudes towards writing itself. I argue that the sisters' understandings of "truth" in fiction, the recurring conflict between reason and emotion in Charlotte's novels, and Anne's Christian world-view, contribute to the differing approaches to education - and, indeed, a vast number of other issues - within their fiction.
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Rocha, Patricia Carvalho. "A estética da dissonância nas obras de Charlotte Brontë." Universidade Federal de Minas Gerais, 2008. http://hdl.handle.net/1843/ECAP-7FVFKH.
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Charlotte Brontë (1816-1855), one of the most prominent figures in the questioning of the ideology of the feminine in the literature of the nineteenth century, shows in her works not only a concern with the arbitrariness of the notion of gender, but also a discussion about this notion through the portrayal of protagonists that can be said to be dissonant in the relation to the ideology of the period. In The Professor, Jane Eyre, Shirley and Villette, Brontë portrays characters that do not conform to idealized notions of gender in the period and that explicitly reflect upon the established parallelism between sex and gender, questioning the subservient position ascribed to women in society. With a view to presenting a more contemporary reading of Brontës work, I focus on gender theories that emphasize social and performance aspects, especially Judith Butlers concept of gender as performance, in my reading of Brontës novels. These works require an analysis based on new paradigms that might encompass th
e fragmentation and multiplicity of the possibilities of performance regarding issues of gender, as presented by the author.Charlotte Bront (1816-1855), figura importante no questionamento da ideologia do feminino na sociedade vitoriana, evidencia em suas obras não apenas uma preocupação com a arbitrariedade atrelada ao conceito de gênero no século XIX, mas também uma reflexão sobre esse conceito por meio de personagens construídas em dissonância com a ideologia do período. Em 'The Professor', Jane Eyre, Shirley e Villette apresentam personagens à margem dos ideais de gênero comuns no século XIX e que questionam explicitamente o paralelismo vigente na época entre sexo e gênero, assim como a crença em uma suposta essência do feminino capaz de justificar uma postura submissa da mulher perante o homem. Objetivando uma leitura contemporânea das discussões apresentadas por Bront em seus romances, valho-me de teorias de gênero de cunho social e performático, mais especificamente da vertente proposta por Judith Butler, nas quais se vislumbra um novo paradigma capaz de abarcar a fragmentação, o pluralismo e a multiplicidade de possibilida des performáticas nas questões de gênero, conforme apresentado pela autora.
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RODRIGUES, S. N. "O travestismo narrativo em O professor de Charlotte Brontë." Universidade Federal do Espírito Santo, 2016. http://repositorio.ufes.br/handle/10/9170.
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Previous issue date: 2016-09-29Em O professor, seu primeiro romance escrito com vistas à publicação, Charlotte Brontë, escritora inglesa que viveu no século XIX, faz uso de uma técnica literária denominada travestismo narrativo. Este recurso se caracteriza pelo uso de um narrador autodiegético do sexo oposto ao de quem escreve. Com vistas à análise do emprego dessa técnica, faço inicialmente um levantamento biográfico da autora, assim como da crítica que essa obra e a autora têm recebido desde a publicação. Em seguida, faço um estudo sobre a narrativa, como preparação para o levantamento sobre as diversas denominações do travestismo narrativo por diferentes escritores e teóricos e analiso o uso da técnica em estudo. Como conclusão, apresento a minha leitura de três partes do enredo, com o auxílio de textos especializados sobre a escritora e a obra selecionada.
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Borie, Charlotte. "La poétique de l'intériorité chez Charlotte et Emily Brontë." Toulouse 2, 2009. http://www.theses.fr/2009TOU20041.
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Au cœur de l'écriture de Charlotte et Emily Brontë se trouve la question de la formation de l'identité et du saisissement de soi par le sujet (essentiellement féminin). Dans Jane Eyre, Villette, Wuthering Heights et la poésie d'Emily Brontë, le lecteur suit personnages principaux et personae tout au long d'un parcours qui les amène à prendre possession d'eux-mêmes, à trouver leur place dans le monde, à s'y inscrire et à pouvoir transmettre une vision de leur intériorité. Le processus d'intériorisation comprend quatre phases. La première s'organise autour de la perception. Les sujets découvrent le monde et apprennent à son contact la nécessité de rechercher, voire de créer la sensation d'appartenance pour atteindre le bonheur. Déçus par le monde, ils se replient alors sur eux-mêmes, et commence alors la phase de ressenti. Les sujets passent de la perception à l'intellection, forment leurs schémas mentaux, et tentent de recréer en eux-mêmes, virtuellement, les conditions du bonheur. L'imagination joue un rôle majeur dans cette entreprise, mais à terme, le refuge intérieur devient un enfermement, par l'expansion pathologique de l'intériorité et le manque de réel. Les sujets ressentent alors l'impérieuse nécessité d'extérioriser. La troisième phase s'amorce donc autour des problématiques d'expression. Les sujets, à travers la prise de parole, l'écriture et la pratique picturale, trouvent des canaux pour épancher leur intériorité autant que pour la mettre en forme. Le résultat de leur extériorisation donne lieu à la quatrième phase, celle du reçu, au cours de laquelle les lecteurs intimes et performants continuent l'entreprise de construction de l'identitéThe development of identity and the process of self-possession is at the heart of Charlotte and Emily Brontë's writing. In Jane Eyre, Villette, Wuthering Heights and Emily Brontë's poetry, the reader follows the characters and personae (who are essentially female) through the life-voyage which brings them to get to know themselves, find their place in the world, inscribe themselves in it and transmit a vision of their interiority. The process of interiorisation consists in four phases. The first phase is about perception. The subjects discover the world and learn from this contact the necessity of searching for, and even recreating, the sense of belonging in order to gain happiness. Disappointed in the world, they withdraw into themselves, and the phase of feeling starts. The subjects shift from perception to intellection, shape their mental patterns, and try to recreate within themselves, virtually, the conditions of happiness. Imagination plays a major part in this process, but eventually, the inner shelter becomes a prison through the pathological expansion of interiority and the lack of reality. The third phase then begins, revolving around the idea of expression. The subjects, through speech, writing or painting, find ways to let out as much as frame their interiority. The result of their exteriorisation brings about the fourth phase, that of reception, during which intimate and competent readers carry on the process of the construction of identity
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Mitchell, Barbara. "The bibliographical process : writing the lives of Charlotte Brontë." Thesis, University of Leeds, 1994. http://etheses.whiterose.ac.uk/5489/.
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Focusing on multiple versions of the life of Charlotte Bronte, I explore the development of biography over a period of 140 years, examining a range of biographical forms, the process of re-visioning the subject, and the relationships between biographies and their historical placement. Eight versions of the life of Charlotte Bronte, from Elizabeth Gaskell’s first Life published in 1857 to Rebecca Fraser’s 1988 biography, are examined in detail, with consideration of ten additional Bronte biographies. The impact of the discoveries of new documents is noted, but of particular interest is how strategies of interpretation and form have altered, thereby influencing the conceptualization of the subject. A study of versions of Charlotte Bronte’s life illustrates that, within one relatively stable set of documents, there can be numerous stories. Versions of Bronte biographies interact with one another manifesting an interesting development from competitive displacement to complementary inclusiveness. In following the development of the genre, I examine the impact on biography of changing attitudes to subjectivity and objectivity, completeness and definitiveness, the relationship of the biographer to the subject, the construction of self, and the use and types of novelistic strategies. One dominant mode of conceptualization, the view of Charlotte as a divided personality, has significantly changed over this period, particularly as a result of the different emphases adopted by feminist biographers and by the postmodern challenges to the concept of a unitary self. Each chapter of the thesis deals with specific developments in the genre, illustrating the particular contributions of individual biographers and the correlation between interpretation, form and historical placement.
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Wah, Sarah Jane. "Fame and the female author : Charlotte Brontë and George Eliot." Thesis, University of Cambridge, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.615010.
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Kvistad, Erika. "The point of agony : sex and power in Charlotte Brontë." Thesis, University of York, 2012. http://etheses.whiterose.ac.uk/3679/.
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This thesis reads sexual power dynamics – taking pleasure in being hurt by or hurting someone, wanting to control someone sexually or to be controlled, and enjoying power struggles and negotiations of roles – as central elements of Charlotte Brontë’s four mature novels. The argument explores the intersections of sex, play, power and agency in Brontë’s work, drawing out the intricate, shifting, and often unexpected dynamics that underlie what can seem like stark, gender-based power differentials between her characters. While there is a long critical history of examining how erotic relationships in Brontë’s novels develop through power struggles, such readings often cast these patterns of desire as either pathological, or (particularly in the case of submissive or masochistic female characters) as responses created wholly by societal strictures on female power and sexuality. Taking a reparative, sex-radical approach, this thesis rethinks literary intersections of sex and power as productive, not just problematic, and as ways of undermining and playing with, rather than just reinforcing, societal and gendered power structures. The introduction examines the critical history of reading sex and power in Brontë’s work, situates non-normative sexual desire in Brontë’s mid- nineteenth-century context, and shows how reading reparatively can create new insights into sexual power dynamics in literature. The argument examines embodied power and the erotics of mutual infliction of pain in Jane Eyre, shows how material things used as sexual mediators widen the erotic scope of Villette, reads the negotiation of sexual roles in Shirley as a way of managing and transcending the pain of its novel-world, and explores the idea of fantasy as an uncontrollable, unsettling form of intimacy in Jane Eyre, The Professor and the Roe Head journal.
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Lamonica, Drew Dianne. "'We are three sisters' : self and family in the writings of the Brontes." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325135.
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Hanser, Gaïane. "Intrication textuelle, et déchiffrement du sens dans l'oeuvre de Charlotte Brontë." Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030146/document.
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L'enfance des jeunes Brontë a été marquée par leurs jeux littéraires : ils ont créé un monde imaginaire dans lequel s'affrontaient héros réels et fictifs, en consignant leurs aventures dans de minuscules manuscrits. L'étude de ces textes permet d'observer chez Charlotte Brontë le processus de formation d'une écriture dialogique, qui se maintient dans les romans de maturité. Sa nouvelle situation énonciative lorsqu'elle soumet ses écrits au public amène toutefois un changement dans son rapport au lectorat, car ses nouveaux critiques ne dissocient pas dans leur réponse la femme de l'artiste. Ceci se traduit par la construction de deux Lecteurs Modèles, qui se voient chacun attribuer un rôle spécifique au sein d'un même texte. Les narrateurs font appel à la clémence du Lecteur Modèle / Juge, tandis qu'ils sollicitent – parfois simultanément – l'aptitude au déchiffrement du Lecteur Modèle / Interprète. Cette thèse a pour ambition d'identifier et d'analyser les différentes stratégies narratives résultant de cette création textuelle d'un double Lecteur Modèle, ce qui permet dans un second temps d'éclairer le sens des romans. Ces stratégies incluent notamment l'insertion de textes seconds ou de références intertextuelles, ainsi que la sémantisation d'éléments non-textuels, tels que les arts visuels ou les artisanats féminins. Cette intrication de plusieurs objets de déchiffrement crée des espaces d'équivoque et d'indécidabilité, qui doivent alors être investis par le lectorat empiriqueThe Brontës' childhood was informed by their literary games: they created an imaginary world where they staged the confrontations between their heroes, real or fictitious, and which they used as a setting for numerous tales. A close study of these early writings sheds light on the formation, in Charlotte Brontë's work, of a dialogical mode of writing, which remains present throughout her later novels. Her new enunciative situation as she submits her work to the public at large leads to a shift in her perception of her readership: her new critics do not dissociate in her the woman from the writer, and assess her texts accordingly. This results in the creation of two Model Readers, each of whom is given a specific role within the frame of a same text. Brontë's narrators ask for the leniency of the Model Reader / Judge, at the same times as they call upon the Model Reader / Interpretant's aptitude at deciphering signs. This thesis aims at identifying and analysing the narrative strategies resulting from the creation of a double Model Reader, which help understand the meaning of the novels. These strategies include the insertion within the text of secondary texts or intertextual references, as well as the semanticisation of non-textual elements, such as visual arts or accomplishments. This intrication of various cyphers creates a locus of equivocation and undecidability, which must be invested by the empirical readership
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Cho, Sonjeong. "An ethics of becoming : configurations of feminine subjectivity in Jane Austen, Charlotte Brontë, and George Eliot /." New York : Routledge, 2006. http://catalogue.bnf.fr/ark:/12148/cb40168592p.
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