Journal articles: 'Brontë, Charlotte, Brontë, Charlotte'

1

Drife, J. O. "Saving Charlotte Bronte." BMJ 344, jan25 1 (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 (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 (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 (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 (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 (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 (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 (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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11

Carlson, L. "Louisa May Alcott and Charlotte Bronte: Transatlantic Translations." American Literature 74, no. 1 (2002): 151–52. http://dx.doi.org/10.1215/00029831-74-1-151.

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12

Stoneman, P. "MARGARET SMITH (ed.). Selected Letters of Charlotte Bronte." Review of English Studies 59, no. 239 (2007): 306–8. http://dx.doi.org/10.1093/res/hgn021.

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Vallone, Lynne, and Christine Doyle. "Louisa May Alcott and Charlotte Bronte: Transatlantic Translations." New England Quarterly 75, no. 1 (2002): 162. http://dx.doi.org/10.2307/1559895.

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Holtz, William. ": The Early Writings of Charlotte Bronte. . Christine Alexander." Nineteenth-Century Fiction 39, no. 4 (1985): 471–74. http://dx.doi.org/10.1525/ncl.1985.39.4.99p0457n.

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Maynard, John. ": Charlotte Bronte and the Storyteller's Audience. . Carol Bock." Nineteenth-Century Literature 48, no. 2 (1993): 245–49. http://dx.doi.org/10.1525/ncl.1993.48.2.99p00082.

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16

Alexander, Christine. ""The Burning Clime": Charlotte Bronte and John Martin." Nineteenth-Century Literature 50, no. 3 (1995): 285–321. http://dx.doi.org/10.1525/ncl.1995.50.3.99p0168d.

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17

Stone, Donald D. ": An Edition of the Early Writings of Charlotte Bronte, Volume II: The Rise of Angria, 1833-1835. . Charlotte Bronte, Christine Alexander." Nineteenth-Century Literature 47, no. 3 (1992): 362–65. http://dx.doi.org/10.1525/ncl.1992.47.3.99p0460u.

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18

Pei, GAO. "Confrontation between Apollo and Dionysus—Re-read of Jane Eyre." Journal of Education and Culture Studies 4, no. 4 (2020): p62. http://dx.doi.org/10.22158/jecs.v4n4p62.

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Jane Eyre, the masterpiece of Charlotte Bronte, a famous British writer in the 19th century, is generally regarded as her autobiographical work, showing her “poetic life”. Jane Eyre, the protagonist of the novel, was orphaned at an early age and suffered a lot in her growing up. However, she pursued freedom and equality tirelessly, defended her personality and finally achieved her own happiness. In the process of creation, Charlotte Bronte is always in a dilemma, in order to let her passion and pursuit of the heart through the review of the patriarchal culture, she can only hide in the book, by creating a female image resisting and having to suppress her own inner passion to veil her ambiguous self and ambiguous attitude towards women passion. This article probes into Jane Eyre’s mind journey from the angle of the confrontation between the spirit of Apollo and the spirit of the Dionysus.

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현숙경. "Multiple Meanings of Silence in Charlotte Bronte¨’s Villette." Journal of English Language and Literature 56, no. 6 (2010): 1241–59. http://dx.doi.org/10.15794/jell.2010.56.6.011.

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20

Zhen, Zhang. "Searching for Identity—Analysis of Antoinette’s Identity Crisis from the Perspective of Lacan’s Theory of the Mirror Stage." Studies in English Language Teaching 9, no. 1 (2021): p30. http://dx.doi.org/10.22158/selt.v9n1p30.

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Wide Sargasso Sea, as a prequel to Charlotte Bronte’s Jane Eyre, has been very influential in English literary field. Its author, Jean Rhys, expressed what Charlotte Bronte hasn’t expressed in Jane Eyre: The author has given a thorough analysis about Antoinette’s life before she becomes insane from different aspects, which make the insane woman newly understood for the readers. This paper intends to analyze Antoinette’s journey of searching for her identity through interactions with different people and the functions of mirror as the object in real life by applying Lacan’s theory of the mirror stage.

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Kenjabayevna, Darvishova Gulchehra. "The notion of feminism in the works of charlotte bronte." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 1914. http://dx.doi.org/10.5958/2249-7137.2020.00327.4.

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22

Auerbach, Nina, Pauline Nestor, and Julia Swindells. "Female Friendships and Communities: Charlotte Bronte, George Eliot, Elizabeth Gaskell." Tulsa Studies in Women's Literature 6, no. 1 (1987): 119. http://dx.doi.org/10.2307/464165.

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23

Chialant, Maria Teresa, and Pauline Nestor. "Female Friendships and Communities: Charlotte Bronte, George Eliot, Elizabeth Gaskell." Modern Language Review 83, no. 3 (1988): 693. http://dx.doi.org/10.2307/3731323.

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24

Blake, K. "Female Friendships and Communities: Charlotte Bronte, George Eliot, Elizabeth Gaskell." Modern Language Quarterly 47, no. 1 (1986): 72–74. http://dx.doi.org/10.1215/00267929-47-1-72.

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25

Stoneman, Patsy. "The Letters of Charlotte Bronte, Volume Two: 1848-1851 (review)." Victorian Studies 44, no. 4 (2002): 692–94. http://dx.doi.org/10.1353/vic.2003.0037.

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26

Malone, C. "Review: The Letters of Charlotte Bronte. Volume II, 1848-1851." Review of English Studies 52, no. 207 (2001): 463–65. http://dx.doi.org/10.1093/res/52.207.463.

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27

Van Tassel‐Baska, Joyce. "Study of life themes in Charlotte Bronte and Virginia Woolf." Roeper Review 18, no. 1 (1995): 14–19. http://dx.doi.org/10.1080/02783199509553690.

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28

Kromm, Jane. "Visual Culture and Scopic Custom in Jane Eyre and Villette." Victorian Literature and Culture 26, no. 2 (1998): 369–94. http://dx.doi.org/10.1017/s1060150300002461.

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Art making and art viewing activities steeped in assumptions about gender recur throughout Jane Eyre and Villette. This paper will argue that Charlotte Bronte developed these fine arts devices as part of a carefully crafted feminist critique of spectatorship and representation. Bronte pursued this end by demonstrating that incidents relating to the production and reception of visual culture were relevant for visual experience more broadly understood by linking these events in the narrative to “scopic custom”; that is, the art experiences of Bronte's characters are presented as occurring in relation to the customary, gendered patterns of looking and being looked at which dominated Victorian society. This strategic interweaving of visual culture with scopic custom allows Bronte to accentuate their interdependence as a socio-cultural dynamic of critical significance, and to illuminate their share in the cultural and social constraints affecting women as producers and objects of representation.

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29

Price, Leah. "The Life of Charlotte Bronte and the Death of Miss Eyre." Studies in English Literature, 1500-1900 35, no. 4 (1995): 757. http://dx.doi.org/10.2307/450764.

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30

Foley, June. ""The Life of Charlotte Bronte" and Some Letters of Elizabeth Gaskell." Modern Language Studies 27, no. 3/4 (1997): 37. http://dx.doi.org/10.2307/3195391.

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31

Kucich, John. "Passionate Reserve and Reserved Passion in the Works of Charlotte Bronte." ELH 52, no. 4 (1985): 913. http://dx.doi.org/10.2307/3039472.

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32

Lambdin, Laura, and Patricia H. Wheat. "The Adytum of the Heart: The Literary Criticism of Charlotte Bronte." South Atlantic Review 58, no. 1 (1993): 145. http://dx.doi.org/10.2307/3201120.

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33

Alexander, Christine. ""That Kingdom of Gloom": Charlotte Bronte, the Annuals, and the Gothic." Nineteenth-Century Literature 47, no. 4 (1993): 409–36. http://dx.doi.org/10.1525/ncl.1993.47.4.99p0476t.

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34

Rahman, Fadlul, and Santi Kurniati. "Communication Strategies of Warning in Novel Jane Eyre by Charlotte Bronte." JURNAL ARBITRER 8, no. 1 (2021): 51. http://dx.doi.org/10.25077/ar.8.1.51-58.2021.

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Jane Eyre’s novel was published in 1847 written by (Charlotte, 1983), in the early years of the Victorian period. This research sample is all of the communication strategies of warning that find in the novel Jane Eyre. It can be informed of dialogue between characters or inform of phrases and words related to politeness and communication strategies (Brown & Levinson, 1987). The results show that each character of Jane Eyre can be different from one to another in delivering a warning statement. They tend to give greetings before warning their addressee to respect the addressee, give information or advice toward the addressee, or impose the addressee with a threatening word. Based on basis finding data from 65 forms of speech acts of warning, it is concluded that Brown and Levinson’s communication strategies exist in the way of characters’ communication in warning their hearer. The strategies are classified into four strategies; bald on the record appear 8 times or 12,3%, positive politeness appears 32 times or 46,2%, negative politeness appears 18 times or 28,6%, and off the record appear 7 times 10,7%. Positive politeness strategy is the most frequent strategy used by characters with the elaboration of several sub-strategies. The sub- strategy most often used is to give reason 7 times or 10.7%.

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35

Maurer, Sara L. "A Stranger Within the Gates: Charlotte Bronte and Victorian Irishness, and: The Brontes and Religion (review)." Victorian Studies 44, no. 3 (2002): 529–32. http://dx.doi.org/10.1353/vic.2002.0066.

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36

Suryanovika, Citra, and Irma Manda Negara. "SPEECH ACTS OF THE BRONTE SISTERS’ CHARACTERS." HUMANIKA 25, no. 2 (2018): 75. http://dx.doi.org/10.14710/humanika.v25i2.20519.

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The study was under descriptive qualitative research to identify the most dominant speech act of the Bronte Sisters’ characters. The researchers collected 3,322 utterances from six characters of Charlotte Bronte’s Jane Eyre (Jane Eyre and Edward Rochester), Emily Bronte’s Wuthering Heights (Heathcliff and Catherine Earnshaw), and Anne Bronte’s The Tenant of Wildfell Hall (Gilbert Markham and Helen Graham). MAXQDA 2018 supported the data analysis procedure; thus, coding was used in identifying speech acts. After coding implemented, the researchers analyzed the coding by using qualitative and quantitave compare groups, as well as document comparison chart in MAXQDA 2018 to check the most dominant use of speech acts in all characters. The study found that directive speech act is the most dominant speech act found in the Bronte sisters’ characters, while the declarative speech act is the least speech act. Speech acts of the Bronte sisters’ characters was expressed in declarative, interrogative and imperative forms. Besides, speech acts in these novels highlight the use of address term, epithet, expression (verb, adjective, modal verbs), exclamation, conditional clauses, hedges and affirmative answer.

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37

Mihailă-Lică, Gabriela. "Education of Children in the Tenant of Wildfell Hall by Anne Bronte." International conference KNOWLEDGE-BASED ORGANIZATION 26, no. 2 (2020): 314–18. http://dx.doi.org/10.2478/kbo-2020-0097.

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AbstractThe paper analyses the manner in which the education of children was done in the beginning of the 19th century and how this is revealed in the pages of “The Tenant of Wildfell Hall”, the second and also the final novel written by the English writer Anne Bronte, the youngest of the famous Bronte sisters. Despite enjoying enormous success after its publication in 1848, after its author’s death, Charlotte Bronte - Ann’s eldest sister - refused to republish it. She considered it to be too shocking as it dealt with themes like alcoholism, the ability of women to have paying jobs that enabled them to support not only themselves, but also their families, themes that were considered taboo or the “inhibited, polite, orderly, tender-minded, prudish and hypocritical” Victorian society [1]. We focus on the observations as well as on the subtle mentionings and allusions made in the novel with regard to some of the most important aspects of the Victorian Era education: the schooling of children, the differences between the education of boys and that of girls, the educational differences between the social classes.

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38

Alexander, C. "Charlotte Bronte and the Duke of Wellington: Further Evidence of Hero-Worship." Notes and Queries 54, no. 2 (2007): 142–45. http://dx.doi.org/10.1093/notesj/gjm069.

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39

Fromm, Harold. "The Lives and Deaths of Charlotte Bronte: A Case of Literary Politics." Hudson Review 40, no. 2 (1987): 233. http://dx.doi.org/10.2307/3851097.

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40

Lansbury, Coral. ": Female Friendships and Communities: Charlotte Bronte, George Eliot, Elizabeth Gaskell. . Pauline Nestor." Nineteenth-Century Literature 42, no. 1 (1987): 110–11. http://dx.doi.org/10.1525/ncl.1987.42.1.99p0080w.

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41

Litvak, Joseph. "Charlotte Bronte and the Scene of Instruction: Authority and Subversion in Villette." Nineteenth-Century Literature 42, no. 4 (1988): 467–89. http://dx.doi.org/10.1525/ncl.1988.42.4.99p0132w.

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42

Watt, George. ": Holy Ghosts: The Male Muses of Emily and Charlotte Bronte. . Irene Tayler." Nineteenth-Century Literature 45, no. 4 (1991): 517–19. http://dx.doi.org/10.1525/ncl.1991.45.4.99p0350m.

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43

Hess, Natalie. "Code switching and style shifting as markers of liminality in literature." Language and Literature: International Journal of Stylistics 5, no. 1 (1996): 5–18. http://dx.doi.org/10.1177/096394709600500102.

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This article focuses on the artistic function of code switching in literature. In particular, it showcases code switching as a marker of liminality - the state of creative in-betweenness which serves as an underpinning for unconscious literary designs. Particular examples of liminality in literature are illustrated through the works of John Steinbeck, Harper Lee, and Charlotte Bronte. The states of transition that form the central core of the works analysed are bolstered through the use of code switching, which.underscores the love/hate alliances, gender placements, and cultural dissonances of literary craft.

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44

Murtiningrum, Afina. "�WEALTH OR LOVE, WHAT DOES A WOMAN WANT?� AN IRONIC LOOK AT THE MIDDLE CLASS NORMS IN CHARLOTTE BRONTE�S JANE EYRE." EduLite: Journal of English Education, Literature and Culture 2, no. 1 (2017): 334. http://dx.doi.org/10.30659/e.2.1.334-346.

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Jane Eyre is a novel written in the early nineteenth century (1847). It depicts the English society of the upper, middle and lower class and their habits and attitudes towards life. The opening of the novel points to social class, wealth and marriage as its major theme. Throughout the novel, the relationship between social awareness of class and marriage, especially dealing with money or property are highlighted, the reason why society tends to consider about social class, money and property in finding a suitable partner to marry. This paper relies on the examples from the novel to show how nineteenth-century women imagined their marriage. In terms of women�s social rights and roles, Charlotte Bronte tries to open readers' eyes to the idea that women's abilities should not be limited only to the sphere of the family. Bronte�s novel does not only attack Victorian class structure but also the issue of gender. �Keywords : marriage, wealth, property, women�s roles, gender

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45

Alexander, Christine. "A Bible With Original Poem Presented by Charlotte Bronte to her sister Emily." Notes and Queries 67, no. 1 (2020): 106–8. http://dx.doi.org/10.1093/notesj/gjz187.

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46

Armstrong, Nancy. ": Repression in Victorian Fiction: Charlotte Bronte, George Eliot, and Charles Dickens. . John Kucich." Nineteenth-Century Literature 44, no. 4 (1990): 556–59. http://dx.doi.org/10.1525/ncl.1990.44.4.99p0279m.

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47

Warwick, David. "Squire and 'She Authors': Sir James Kay-Shuttleworth, Charlotte Bronte and Elizabeth Gaskell." Brontë Society Transactions 23, no. 2 (1998): 159–69. http://dx.doi.org/10.1179/030977698794126804.

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48

Suryanovika, Citra, and Irma Manda Negara. "The Identification of Slurs and Swear Words in Bronte Sisters’ Novels." Lingua Cultura 13, no. 1 (2019): 11. http://dx.doi.org/10.21512/lc.v13i1.5190.

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This research aimed at identifying the categories of slurs, presenting how swear words expressed in male or female characters of Bronte sisters’ novels, and examining the social status scale in presenting slurs. The research was a qualitative content analysis of which process was categorizing, comparing, and concluding. The researchers employed MAXQDA 2018.1 (the data analysis tool) for analyzing the samples of five female and male main characters of the novel of Emily Bronte (Wuthering Heights), Charlotte Bronte (Jane Eyre), and Anne Bronte (The Tenant of Wildfell Hall). The research has shown three out of nine Thurlow’s pejorative items (social personality, phallocentric, and sexist), the possible formation of social personality slurs, the identification of swear words for showing speakers’ emotional states, and the influence of social status scale on the expression of slurs. It proves that slurs and swear words are used to deliver a derogatory attitude. The sexist slurs are not only delivered from male characters to female characters, but it is also found in Catherine Earnshaw targeting Nelly although they have similar gender background (female). Slurs are found in the characters from both high and low social rank since the plot develops the relationship amongst the characters. One unexpected finding is the different swear words between the characters. Swear words found in the novel are not only dominated by the word devil, damn, or by hell, but also the word deuce and humbug. The varied swear words proves that the male characters do not dominantly produce swear words, but also euphemistic expression.

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Alexander, Christine. ": The Adytum of the Heart: The Literary Criticism of Charlotte Bronte. . Patricia H. Wheat. ; A Life of Anne Bronte. . Edward Chitham." Nineteenth-Century Literature 48, no. 1 (1993): 108–15. http://dx.doi.org/10.1525/ncl.1993.48.1.99p05067.

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Shohruhovna, Ulugova Shohida. "Socio pragmatic aspects of the occurrence of metaphors in the works of charlotte bronte." ACADEMICIA: An International Multidisciplinary Research Journal 10, no. 5 (2020): 199. http://dx.doi.org/10.5958/2249-7137.2020.00372.9.

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

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