Academic literature on the topic 'Emily Brontë'

Bibliography: leaves 216-226.<br>This dissertation is an investigation of the visionary and philosophical aspects of Emily Brontë's works. The first five chapters deal with the visionary process such as visions, spirit guides, dreams, imagination, encounters with the darker side of the self and a union with the divine. There is considerable evidence of these mystical avenues in both her poetry and in Wuthering Heights which have been explored. It is shown how Emily Brontë's mysticism is a direct result of personal experiences which augment her reputation as one of the leading mystics in the world of literature. There are however tensions in her works, such as the cynicism of her own intellect in accepting the visionary experiences as authentic and periods of suffering when her faith is tested. These tensions have been considered within the context of her mystical encounters and philosophy. The remaining four chapters deal with the philosophy of Emily Brontë per se. Her beliefs in respect of heaven and hell, mercy and justice, power and survival, and pantheism are considered in depth. It is argued that she is an unorthodox thinker who does not believe in an eternal hell and that she has drawn inspiration for this idea from Frederick Maurice and Ralph Waldo Emerson. It is also shown how issues of power have been of interest to her from a young age and how this needs to be integrated within her philosophy. To the writer power needs to be tempered by compassion if it is to be of use to society or the individual. Her pantheistic spirit is also investigated and related to the mystical ideas.

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'identité<br>The 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

Critics from Virginia Woolf and David Cecil to Lyn Pykett and U. C. Knoepflmacher, among others, have been mesmerized by the eccentric but transcendent world of Brontë’s Wuthering Heights and the Gondal poems. Despite allusions and references to various modernist elements in Emily Brontë’s novel and poetry, there has not been extensive analysis of her work in connection to modern writers of the early twentieth century. I believe that a multi-themed analysis of such components is necessary to reassess her position in the canon and establish her as a precursor to the modernists. This dissertation examines Brontë’s deliberate invitation of, and simultaneous resistance to, interpretation—qualities that align her novel and verse more with Modernist literature than that of her contemporaries. I argue that Emily Brontë had an unusual and forward-looking focus that is revealed in her treatment of children, women, and the struggles of isolated beings in the dark, foreboding and often impressionistic world of Gondal and Wuthering Heights. Her elucidation of the gap between the mundane and the spiritual, the use of farcical elements against the sublime are also precursory to modernism. This dissertation assesses the various themes, angles and techniques that Brontë employs in presenting a strange atmosphere that is representative of a future world.

My dissertation examines the roles of Emily and Anne Brontë as nineteenth-century women poets, composing in a literary form dominated by androcentric language and metaphor. The work of Mikhail Bakhtin, particularly concerning spoken and implied dialogue, and feminists who have pioneered an exploration of feminist dialogics provide crucial tools for examining the importance and uses of the dialogic form in the development of a powerful and creative feminine voice. As such, I propose to view Emily's Gondal poetry not as a series of loosely connected monologues, but as utterances in an inner dialogue between the dissenting and insistent female voice and the authoritative voice of the non-Gondal world. Emily's identification with her primary heroine, Augusta, enables her to challenge the controlling voice of the of the patriarchy that attempts to dictate and limit her creative and personal expression. The voice of Augusta in particular expresses the guilt, shame, and remorse that the woman-as-author must also experience when attempting to do battle with the patriarchy that attempts to restrict and reshape her utterances. While Anne was a part of the creation of Gondal, using it to mask her emotions through sustained dialogue with those who enabled and inspired such feelings, her interest in the mythical kingdom soon waned. However, it is in the dungeons and prisons of Gondal and within these early poems that Anne's distinct voice emerges and enters into a dialogue with her readers, her sister, and herself. The interior dialogues that her heroines engage in become explorations of the choices that Anne feels she must make as a woman within both society and the boundaries of her religious convictions. Through dialogue with the church, congregation, and religious doctrine, she attempts to relieve herself of the guilt of female creativity and justify herself and her creations through religious orthodoxy. Yet her seeming obedience belies the power of her voice that insists on being heard, even within the confines of androcentric social and religious power structures.

This thesis examines the writing of Emily Brontë and Christina Rossetti in terms of its expression of religious culture and belief. It is my argument that Brontë and Rossetti experienced religion as intellectuals, questioning and exploring doctrine and dogma neither as sentimental lady Christians nor dismissive, secular critics. I contend that by close reading their poetry, the genre both women privileged as most appropriate for the consideration of religious matters, the reader may trace the sermons and theological works they read. Moreover, their writing, I suggest, evinces their intellectual response to theological, ecclesiological and ecclesiastical developments that took place in the nineteenth century. I thus label Brontë and Rossetti 'religious intellectuals,' a phrase suggestive of their intense understanding of, rather than their mild acquaintance with, religious debate. Many women writing within the nineteenth century found that religion granted them a field within which to freely read and research, but were denied the professional title of 'theologian.' Brontë and Rossetti are thus examples of a wider phenomenon wherein women encountered religion like scholars, one disregarded by current criticism unable as it is to categorize a female activity simultaneously religious and intellectual. I use Brontë and Rossetti as examples of what I call the 'religious intellectual' because they represent different sides of this classification. Where Brontë struggled away from her Methodist background, serving as a cultural commentator on its enthusiastic belief-system, Rossetti forged a scholarly identity as a late member of the High Church Oxford Movement. Both poets, I contend, wrote about religion in order to signal their intellectual ability. I conclude that Brontë's interest in Methodism and Rossetti's fascination with Tractarianism reveals the poets to be both independent of family pressures and false consciousness, and fully engaged with a subject central to their age.

ABSTRACT OF THE THESIS RE-IMAGINING THE VICTORIAN CLASSICS: POSTCOLONIAL FEMINIST REWRITINGS OF EMILY BRONTË by Yannel M. Celestrin Florida International University, 2018 Miami, Florida Professor Martha Schoolman, Major Professor Through a post-structural lens, I will focus on the Caribbean, specifically Cuba, Guadeloupe, Marie-Galante, and Roseau, and how the history of colonialism impacted these islands. As the primary text of my thesis begins during the Cuban War of Independence of the 1890s, I will use this timeframe as the starting point of my analysis. In my thesis, I will compare Emily Brontë’s Wuthering Heightsand Maryse Condé’s Windward Heights. Specifically, I will examine Condé’s processes of reimagining and rewriting Brontë’s narrative by deconstructing the notions of history, race, gender, and class. I will also explore ways in which Condé disrupts the hegemonic and linear notions of narrative temporality in an attempt to unsilence the voices of colonized subjects. I argue that Condé’s work is a significant contribution to the practice of rewriting as well as to the canon of Caribbean literary history. I argue that the very process of rewriting is a powerful mode of resistance against colonizing powers and hegemonic discourse.

This thesis discusses homesickness and nostalgia as conditions that ‘afflict’ to productive ends the writing of Emily Brontë. Homesickness and nostalgia are situated as impelling both Brontë’s poetry and Wuthering Heights. To elucidate these states, close attention is paid to Emily Brontë’s poetry as well as Wuthering Heights, in the belief that the poetry repays detailed examination of a kind it rarely receives (even fine work by critics such as Janet Gezari tend not to scrutinise the poetry as attentively as it deserves) and that the novel benefits from being related to the poetry. Building on the work of Irene Tayler and others, this thesis views Brontë as a post-Romantic, and particularly post-Wordsworthian, poet. Much of her writing is presented as engaging in dialogue with the concerns in Wordsworth’s poetry, especially his ‘Ode: Intimations of Immortality from Recollections of Early Childhood’; her poetry and prose eschew Wordsworth’s ‘simple creed’ and explore ‘obstinate questionings’. In so doing, they follow his own lead; Brontë brings out how complex the Romantics are. Chapter one focuses on the idea of restlessness as stirring a search for home. Chapters two and three, on Catholicism and Irishness respectively reflect on ways in which Emily Brontë used contemporary national debates in exploring imaginatively states of homesickness and nostalgia. The conceiving of another time and place to find a home in these chapters is developed in chapter four. This chapter considers Brontë’s internalisation of a home in her imaginative world of Gondal and argues for Gondal’s relevance. An imaginative home formed in childhood leads into chapter five which discusses Emily Brontë’s presentation of childhood; the chapter contends that Brontë imagines the child as lost and homesick, and rejects any ‘simple creed’ of childhood. Chapter six, which starts with the abandoned child in Wuthering Heights, focuses on the the novel as stirring a longing for home. The inability to find home, and particularly the rejection of heaven as a home, leads into a discussion of the ghostly as an expression of homesickness in the final chapter.

Submitted by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-05-23T19:29:48Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Sylvia Beatriz R. Iwami.pdf: 1384390 bytes, checksum: 1b88409c4e07eedcec1ae56bfa42c030 (MD5)<br>Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-05-23T19:30:14Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Sylvia Beatriz R. Iwami.pdf: 1384390 bytes, checksum: 1b88409c4e07eedcec1ae56bfa42c030 (MD5)<br>Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2017-05-23T19:30:36Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Sylvia Beatriz R. Iwami.pdf: 1384390 bytes, checksum: 1b88409c4e07eedcec1ae56bfa42c030 (MD5)<br>Made available in DSpace on 2017-05-23T19:30:37Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Dissertação - Sylvia Beatriz R. Iwami.pdf: 1384390 bytes, checksum: 1b88409c4e07eedcec1ae56bfa42c030 (MD5) Previous issue date: 2016-06-15<br>The book Wuthering Heights (1847), by the English novelist Emily Brontë brings philosophical biases the theme of cruelty and melancholy, both of them, presented inside of a uncommon place with self-destructive characters whose psychological profile moves the plot. Besides, the philosophical tone raised the themes, the gothic nature of the book were the items that guided the interest in investigating the procedures adopted in the language and the novelistic techniques highlighted in it, since the author crumbles literary canons established, due to the high degree of experimentation with the language – the speech in Wuthering Heights is a clear marker of superiority and inferiority – the use of multiple narrators and also a protagonist with chances of being a bastard son with a gypsy origin who falls in love with a woman that belongs to the English middle class. All these aspects were quite inappropriate for a woman’s pen. Notably Brontë’s book corrupted the puritan values and it provoked a rebuke immediate from the nineteenth-century society. This research is based on the theories of Tzvetan Todorov about the fantastic narrative due to the Gothic nature of the book, in Clément Rosset by his literary studies present in The Principle of Cruelty, in Black Sun: Depression and Melancholy by Julia Kristeva and others.<br>A obra O morro dos ventos uivantes (1847), da romancista inglesa Emily Brontë traz como vieses filosóficos os temas da crueldade e da melancolia apresentados dentro de um cenário inóspito e composto por personagens autodestrutivas, cujos perfis psicológicos movimentam a trama. Além do tom filosófico suscitado pelos temas, as características góticas da obra foram a motivação que guiou o interesse em investigar os procedimentos adotados na linguagem bem como as técnicas romanescas nela evidenciadas, posto que a autora esboroa os cânones literários até então estabelecidos, por conta do elevado grau de experimentação com a linguagem – a fala em O morro dos ventos uivantes é marcador claro de superioridade e inferioridade – , da utilização de múltiplos narradores e ainda, de um protagonista com chances reais de ser um filho bastardo de origem cigana que se apaixona por uma mulher da classe média inglesa. Todos estes aspectos eram considerados bastante inapropriados para uma pena feminina. Notadamente a obra de Brontë corrompia os valores puritanos, e isto provocou uma reprovação da sociedade oitocentista imediata. Este trabalho de pesquisa está ancorado nas teorias de Tzvetan Todorov sobre a narrativa fantástica dada a natureza gótica da obra, em Clément Rosset por seus estudos literários presentes em O princípio da crueldade, em Sol Negro: Depressão e melancolia de Julia Kristeva e outros.

Lectures de Wuthering Heights : 1- à travers la situation d'Emily Brontë auteur ausein de l'atelier Brontë, à travers la mythologie et les mystifictions afférentes. 2- A travers la poésie révisant le Romantisme et pensant la subjectivité dans l'époché moderne. Les références au trouble et à l'orage seront reprises dans Wuthering Heights. 3- Mythe des feux traduisant les bouleversements épistémologiques apportés par la thermodynamique. Causalité, temporalité et vérité sont les catégories repensées par un récit explicitant les nouvelles conditions de possibilité de l'histoire. Le trajet du héros fictionnalise quant à lui la révolution permettant l'advenue d'un sujet soumis aux lois de l'évolution. Ayant brûlé son (hypo) Texte, Wuthering Heights devient le nouveau Testament de l'époque naturaliste<br>We shall be reading Wuthering Heights from Emily's standpoint within the Brontë workshop and using mythology and "mystifictions" that he Brontës have generated. Brontë's poetry can be read as a revision of Romanticism and as a meditation on subjectivity in the modern époché. References to trouble and storm will be seen in the context of both her prose and poetry. Wuthering Heights is a myth transformed by the epistemological change brought about by thermodynamics. Causality, temporality and truth are the categories which the narrative revises thus redefining the conditions of possibility of history. The hero's trajectory is used as a means of exploring the consequences of such a revolution. It also allows for the emergence of a new subject inscribed within an evolutionist scheme. Having burnt its (hypo) Text, Wuthering Heights becomes then the New Testament of the naturalist era

Wuthering Heights was significantly shaped by the pre-Darwinian scientific debate in ways that look ahead to Darwin's evolutionary theory more than a decade later. Wuthering Heights represents a cultural response to new and disturbing ideas. Darwin's enterprise was scientific; Emily Brontë's poetic. Both, however, were seeking to find ways to express their vision of the nature of human beings. The language and metaphors of Wuthering Heights suggest that Emily Brontë's vision was, in many ways, similar to Darwin's.