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1
Melnick, Alan. "Emily Brontë : the mind of a visionary." Thesis, University of Cape Town, 2004. http://hdl.handle.net/11427/6749.
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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.
2
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'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
3
Manzoor, Sohana. "A Modernist Among the Victorians: The Case of Emily Brontë." OpenSIUC, 2015. https://opensiuc.lib.siu.edu/dissertations/1065.
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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.
4
Kalkwarf, Tracy Lin. "Questioning Voices: Dissention and Dialogue in the Poetry of Emily and Anne Brontë." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2571/.
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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.
5
Mason, Emma Jane. "Religious intellectuals : the poetic gravity of Emily Brontë and Christina Rossetti." Thesis, University of Warwick, 2000. http://wrap.warwick.ac.uk/4370/.
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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.
6
Celestrin, Yannel. "Re-Imagining the Victorian Classics: Postcolonial Feminist Rewritings of Emily Brontë." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3665.
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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.
7
Quinnell, James Thomas. "'The afflicted imagination' : nostalgia and homesickness in the writing of Emily Brontë." Thesis, Durham University, 2016. http://etheses.dur.ac.uk/11424/.
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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.
8
Iwami, Sylvia Beatriz Ramos. "Crueldade e melancolia em O morro dos ventos uivantes, de Emily Brontë." Universidade Federal do Amazonas, 2016. http://tede.ufam.edu.br/handle/tede/5675.
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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.
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Coste, Bénédicte. "Wuthering Heights : lectures." Montpellier 3, 1996. http://www.theses.fr/1996MON30054.
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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
10
Bhattacharya, Sumangala. "Wuthering Heights: A Proto-Darwinian Novel." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500893/.
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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.
11
Broome, Sean. "'Wuthering Heights' and the othering of the rural." Thesis, University of Derby, 2015. http://hdl.handle.net/10545/584017.
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This thesis explores the notion of rurality as a form of constructed identity. Just as feminist and postcolonial studies identify the formation of hierarchies within gender and ethnicity, I argue that the rural is constructed as inferior in opposition to its binary counterpart, the urban. The effect of this is the othering of the rural. This thesis takes Emily Brontë’s novel Wuthering Heights as a case study, using a critical approach to explore the ways in which it presents rurality, and to consider its role in the creation and reproduction of rural identity. The case study suggests that the adoption of a ‘rural reading’, in which an awareness of rural othering is fostered, can be a useful and productive strategy in textual analysis and interpretation. The first three chapters of this thesis focus on rural construction generally. Chapter 1 draws on semiotic theory to examine the creation of binaries, and Derridean notions of linguistic hierarchies to suggest reasons for the inferior position of the rural. Chapter 2 considers the historical location of the urban/rural binary in the late eighteenth and early nineteenth centuries, within the context of the Enlightenment, the growth of capitalism, industrialisation and rapid urban expansion. Chapter 3 explores rural othering as a feature of contemporary culture, examining the textual presence of idyllic and anti-idyllic versions of the rural. Chapter 4 introduces the methodology of the case study, explaining the relevance of Wuthering Heights to the study of rural othering, providing a précis of the novel and an overview of previous critical responses. Chapters 5, 6 and 7 explore the three themes of nature, deviance and space. These are derived from the examination of rural construction in Chapter 3. In Chapter 5, the representation of nature in Wuthering Heights is explored, and the presence of animals within the novel in particular. In Chapter 6, the depiction of deviance in Wuthering Heights is discussed, with special focus given to the presence of deviant speech patterns, reflecting changing expectations of behavioural norms in the early nineteenth century. Chapter 7’s consideration of the relationship between space and rurality within Brontë’s novel considers her representation of landscape. Chapter 8 argues that a similar rural reading can be applied to other texts, literary and otherwise, opening up a fresh set of perspectives and possibilities for interpretation.
12
Alarabi, Nour. "A God of their own : religion in the poetry of Emily Brontë, Christina Rossetti and Constance Naden." Thesis, University of Leicester, 2009. http://hdl.handle.net/2381/4795.
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This thesis aims to portray the different ways in which nineteenth-century women poets perceived God and religion, exemplified by the works of Emily Brontë, Christina Rossetti, and Constance Naden. From the 1960s onward, there have been considerable efforts to redefine Victorian women‘s spirituality, and to eliminate the ‘angel of the house‘ image that was attached to them by their male contemporaries. As a result, the works of many Victorian women poets have been revived and re-evaluated. Brontë and Rossetti have been the focus of many individual studies which have explored their religious orientations, mainly by identifying in their works the religious doctrines of the movements with which they were associated. In contrast, Constance Naden‘s status as an atheist scientist and a philosopher has made modern scholars overlook the representation of religion in her poetry. By focussing on the less familiar poems of Brontë (the Gondal poems) and Rossetti (the secular early poems), the thesis will offer a new interpretation of their relationship with God. This will not be based on a consideration of their religious beliefs but on the lack of them in their early works. The chapter on Naden, however, will demonstrate how her scientific training did not stop her from sympathizing with theists, and admiring prophets and mystics. The ultimate aim of the thesis will be to illustrate the individuality of these poets and the uniqueness of their thought. This will be achieved through a close analysis of the poems, with a minimal use of feminist and other literary theories. It will also demonstrate the problematic interpretations that may arise from associating these poets with one religious movement or one school of thought.
13
Gillman, Kathrine. "Symbol and theme : a study of natural imagery in selected novels of Emily, Charlotte and Anne Brontë." Master's thesis, University of Cape Town, 1994. http://hdl.handle.net/11427/21769.
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Bibliography: pages 189-194.<br>This thesis comprises an in-depth study of Emily Bronte's Wuthering Heights, Charlotte Bronte's Jane Eyre and Villette, and Anne Bronte's Agnes Grey and The Tenant of Wild fell Hall, examining each sister's individual use of nature, and its related symbols and images. This thesis will show how the natural world provides the structural principle on which each of these novels is based, and how the Brontes' use of it reflects and enhances the thematic concerns of their novels. The individuality as writers of each of the sisters is upheld in the thesis, as it examines the novels as separate entities. This is done in order to show that whilst the Bronte sisters all placed an important emphasis on the natural world in their novels, they did so with varying emphasis and intentions. In Wuthering Heights nature is given a place of prime importance, both as provider of symbols and images, and as a tangible realm. Physically, nature is perceived as the moors that surround Wuthering Heights and Thrushcross Grange; symbolically, it is a realm of freedom from the human world of classification and differences. The thesis employs a Lacanian interpretation of the separation of Catherine and Heathcliff, and this illustrates how the natural world, for them, becomes a realm in which they can regain their childhood unity. It is eventually in the spiritual world, the supernatural realm, that they are united, and this realm is seen as an extension of nature. In Jane Eyre and Villette, the landscape over which the protagonists move is read as a reflection of their inner emotional states. It is this Romantic 'emotional reciprocity' that is emphasised in Charlotte's novel, and the thesis illustrates how the symbols and images drawn from the natural world enhance the novels' thematic concerns.
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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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Dias, Daise Lilian Fonseca. "A subversão das relações coloniais em o morro dos ventos uivantes: questões de gênero." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6161.
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Previous issue date: 2011-03-25<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES<br>The objective of this research is to analyze Wuthering Heights (1847), written by the English
writer Emily Brontë (1818-48), from a postcolonial perspective, based on Said (1994; 2003),
Ashcroft et al (2004), Loomba (1998), and Boehmer (2005), among others. It is noticed that
there is in the English literature a repetitive model of representation of the colonial
relationships mainly until 1847, when Brontë s romance was published which praises the
English people and their culture, disqualifying dark skinned people as well as their culture.
Those people are, in general, represented from a negative perspective and subjugated by the
English imperialism. Brontë romance subverts this kind of representation because the
protagonist, a foreign gypsy, Heathcliff, reverts the socio-economical relationships imposed
by his oppressors, the Englishmen who surround him and, consequently, subjugates them by
an analogical way to his own experience. The novel s subversive characteristic will be
highlighted, mainly the fact that the history takes place in England, which gives significance
to Heathcliff s actions, since he is well succeed in something that provokes fear to English
people: they become victims of dark skinned people in their own territory, England.<br>O objetivo desta pesquisa é analisar O morro dos ventos uivantes (1847), da escritora inglesa
Emily Brontë (1818-48), sob a perspectiva póscolonial, tomando como base os estudos de
Said (1994; 2003), Ashcroft et al (2004), Loomba (1998), e Boehmer (2005), dentre outros.
Percebe-se na literatura inglesa um padrão repetitivo de representação das relações coloniais
sobretudo até 1847, ano da publicação da obra em estudo - que enaltece os ingleses e sua
cultura, e que desqualifica os povos de pele escura, assim como suas respectivas culturas.
Esses povos são, em geral, representados de forma preconceituosa e sob o domínio do
imperialismo inglês. O romance de Brontë subverte esse tipo de representação porque o
protagonista, um cigano estrangeiro, Heathcliff, consegue reverter as relações
socioeconômicas impostas por seus opressores, os ingleses que o cercam, e,
consequentemente, subjuga-os de forma análoga à sua própria experiência. Destaca-se, nesta
obra, seu caráter subversivo, porque a narrativa passa-se na Inglaterra, o que confere ao feito
de Heathcliff um valor significativo, uma vez que ele obtém sucesso em relação a algo que
despertava grande temor para os ingleses: serem vítimas das forças de raças escuras em seu
próprio território, a Inglaterra.
16
Leaver, Elizabeth Bridget. "The Priceless treasure at the bottom of the well : rereading Anne Brontë." Thesis, University of Pretoria, 2013. http://hdl.handle.net/2263/33158.
Full textAbstract:
Anne Brontë died in 1848, having written two novels, Agnes Grey (1847) and The Tenant of Wildfell Hall (1848). Although these novels, especially The Tenant of Wildfell Hall, initially received a favourable critical response, the unsympathetic remarks of Charlotte Brontë and Elizabeth Gaskell initiated a dismissive attitude towards Anne Brontë’s work. For over a hundred years, she was marginalized and silenced by a critical world that admired and respected the work of her two sisters, Charlotte and Emily, but that refused to acknowledge the substantial merits of her own fiction. However, in 1959 revisionist scholars such as Derek Stanford, Ada Harrison and Winifred Gérin, offered important, more enlightened readings that helped to liberate Brontë scholarship from the old conservatisms and to direct it into new directions. Since then, her fiction has been the focus of a robust, but still incomplete, revisionist critical scholarship. My work too is revisionist in orientation, and seeks to position itself within this revisionist approach. It has a double focus that appraises both Brontë’s social commentary and her narratology. It thus integrates two principal areas of enquiry: firstly, an investigation into how Brontë interrogates the position of middle class women in their society, and secondly, an examination of how that interrogation is conveyed by her creative deployment of narrative techniques, especially by her awareness of the rich potential of the first person narrative voice. Chapter 1 looks at the critical response to Brontë’s fiction from 1847 to the present, and shows how the revisionist readings of 1959 were pivotal in re-invigorating the critical approach to her work. Chapter 2 contextualizes the key legal, social, and economic consequences of Victorian patriarchy that so angered and frustrated feminist thinkers and writers such as Brontë. The chapter also demonstrates the extent to which a number of her core concerns relating to Victorian society and the status of women are reflected in her work. In Chapter 3 I discuss three important biographical influences on Brontë: her family, her painful experiences as a governess, and her reading history. Chapter 4 contains a detailed analysis of Agnes Grey, which includes an exploration of the narrative devices that help to reinforce its core concerns. Chapter 5 focuses on The Tenant of Wildfell Hall, showing how the novel offers a richer and more sophisticated analysis of feminist concerns than those that are explored in Agnes Grey. These are broadened to include an investigation of the lives of married women, particularly those trapped in abusive marriages. The chapter also stresses Brontë’s skilful deployment of an intricate and layered narrative technique. The conclusion points to the ways in which my study participates in and extends the current revisionist trend and suggests some aspects of Brontë’s work that would reward further critical attention.<br>Thesis (DLitt)--University of Pretoria, 2013.<br>gm2014<br>English<br>Unrestricted
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Greczanik, Liza. "Att främmandegöra det välkända." Thesis, Malmö högskola, Lärarutbildningen (LUT), 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-32915.
Full textAbstract:
Our modern swedish society is charactarized by peoples and cultures from all over the world. In this perspective I believe that young pupils of today need culture studies in school in order to understand themselves and further to recieve knowledge about different cultures, traditions and lifestyles. The present study is an attempt to investigate the potential of the ethnological culture analysis as a pedagogical method. The paper is divided into two sections; one in which I (a student teacher in swedish language training) have applied the culture analysis in a literary context. By using the culture analysis on Emily Brontë´s classic book Wuthering Heights I have tried to let typical elements from the Victorian era appear. This is only an example of how the method can be used in teaching. The second part is an investigation of the culture analysis from a didactic point of view. This section is an empirical study where four teachers and five ethnologists think of the ethnological culture analysis as a potential method in the upper department comprehensive school and the upper secondary school. My conclusion is that the teachers and ethnologists in my study believe in the ethnological culture analysis as a pedagogical method.The ethnologic method seems to have a few diffuculties though which probably is a deterrent. The teachers want to see more cultural approaches in school, despite this, they don´t seem to have developed any concrete strategies of how to integrate culture perspectives into their schoolteaching.
18
McGuire, Kathryn B. (Kathryn Bezard). "The Incest Taboo in Wuthering Heights : A Modern Appraisal." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc277599/.
Full textAbstract:
A modern interpretation of Wuthering Heights suggests that an unconscious incest taboo impeded Catherine and her foster brother, Heathcliff, from achieving normal sexual union and led them to seek union after death. Insights from anthropology, psychology, and sociology provide a key to many of the subtleties of the novel by broadening our perspectives on the causes of incest, its manifestations, and its consequences. Anthropology links the incest taboo to primitive systems of totemism and rules of exogamy, under which the two lovers' marriage would have been disallowed because they are members of the same clan. Psychological studies provide insight into Heathcliff and Catherine's abnormal relationship—emotionally passionate but sexually dispassionate—and their even more bizarre behavior—sadistic, necrophilic, and vampiristic—all of which can be linked to incest. The psychological manifestations merge with the moral consequences in Bronte's inverted image of paradise; as in Milton's Paradise, incest is both a metaphor for evil and a symbol of pre-Lapsarian innocence. The psychological and moral consequences of incest in the first generation carry over into the second generation, resulting in a complex doubling of characters, names, situations, narration, and time sequences that is characteristic of the self-enclosed, circular nature of incest. An examination of Emily Bronte's family background demonstrates that she was sociologically and psychologically predisposed to write a story with an underlying incest motif.
19
McGuire, Kathryn B. (Kathryn Bezard). "The Incest Taboo in Wuthering Heights." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500863/.
Full textAbstract:
Contemporary analysis of Wuthering Heights necessitates a re-appraisal in light of advancements in the study of incest in non-literary fields such as history, anthropology, and especially psychology. A modern reading suggests that an unconscious incest taboo impeded Heathcliff and Cathy's expectation of normal sexual union and led them to seek union after death. John Milton's Paradise Lost provides a paradigm by which to examine the consequences of incest from two perspectives: that of incest as a metaphor for evil, as represented in Heathcliff; that of incest as symbolic of pre-Lapsarian innocence, as represented in Cathy. The tragic consequences of Heathcliff and Cathy's incestuous fixation are resolved by the socially-condoned marriage of Hareton and Catherine, which illuminates Bronte's belief in the Miltonic theme that good inevitably triumphs over evil.
20
Moura, Caroline Navarrina de. "A walk with Catherine and Jane : the exposure of gothic conventions in Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172913.
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O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam.<br>This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.
21
Oliveira, Vinícius Domingos de. "Entre e vá para o diacho: O morro dos ventos uivantes enquanto obra dialética." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-30052018-115739/.
Full textAbstract:
Este trabalho tem por objetivo analisar o romance O morro dos ventos uivantes, de Emily Brontë, tendo como foco suas contradições internas, que, em conjunto, foram nomeadas estrutura de tensões. É essa estrutura de tensões que transforma tal romance em uma obra dialética, na qual as tensões existem não somente no plano do conteúdo como também no da forma. Nosso estudo se concentra, respectivamente, na questão estilística e na questão da estrutura narrativa, sabendo que há outras questões de interesse, mas vendo nelas uma importância mais primária, pois remetem a aspectos formais mais imediatos. Num primeiro momento, procuramos entender o funcionamento das tensões que diferentes formas góticas, míticas e fantasmagóricas instauram no tecido realista da obra. Num segundo momento, o objetivo foi compreender a problemática do foco narrativo, concentrando-nos especialmente no discurso não confiável do narrador primário Lockwood, ao qual a crítica pareceu não dar a atenção devida. Por fim, procuramos argumentar que a obra de Emily Brontë não somente nasce de uma crise histórico-social, como também coloca em evidência aspectos da crise da forma romance, logrando expor alguns de seus limites ideológicos.<br>This work aims at analysing the novel Wuthering Heights, by Emily Brontë, having as focus its internal contradictions, which, put together, were named structure of tensions. It is that structure of tensions that transforms the novel into a dialectical work, in which the tensions exist not only as far as the content is concerned, but also its form. Our study focuses, respectively, on the issue of style and also on the issue of the narrative structure, aware that there are other issues of interest, but seeing in them a more primary importance, because they are connected to more immediate formal aspects. At first, we sought to understand the functioning of the tensions that different gothic, mythical and phantasmagorical forms cause on the novels realist fabric. Secondly, our goal was to comprehend the problematics of the narrative focus, concentrating specially on the unreliable discourse of Lockwood, the primary narrator, to which critics have not paid due attention. Lastly, we sought to argue that Emily Brontës work is not only born from a socio-historical crisis, but that it also puts in evidence aspects of the crisis of the novel form, managing to expose some of its ideological limits.
22
Hutchins, Jessica. "Le Texte Déstabilisé : Les Effets de la réécriture et de la traduction dans Wuthering Heights, La Migration des coeurs, et Windward Heights." OpenSIUC, 2008. https://opensiuc.lib.siu.edu/theses/458.
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In La Migration des coeurs, Maryse Condé rewrites Emily Brontë's Wuthering Heights in a Caribbean context. Through its intertextual connection to Brontë's novel, Condé's text can be read in relation to Wuthering Heights according to the rhizomatic structure posited by Deleuze and Guattari, and further employed by Édouard Glissant in his Poétique de la Relation. The rhizome allows a comparison that resists a hierarchical comparison of the texts, and permits dialog and mutual influence between the two novels. Condé's critics, reinforcing this intertextual relation, have rarely considered La Migration des coeurs independently of Brontë's Wuthering Heights. However Windward Heights, Richard Philcox's English translation of Condé's novel, has not been previously considered worthy of a place in the rhizome. As a rewriting of Condé's own rewriting, Philcox's translation merits analysis in relation to the other two novels. This study will examine the nature of translation and rewriting in a postcolonial context. Primarily focusing on La Migration des coeurs, it will show how Condé uses the latent imperialist frame of Wuthering Heights to expose social inequalities in Guadeloupe, and how Philcox communicates this critique back to the English metropolis in Windward Heights.
23
Edström, John. "”I was anxious to keep her in ignorance” : - berättarperspektiv och makt i Emily Brontës Wuthering Heights." Thesis, Linköpings universitet, Avdelningen för svenska och litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-104253.
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Denna uppsats redogör för och undersöker berättarperspektiv och maktrelationer i Emily Brontës roman Wuthering Heights. På vilket sätt läsaren tar del av romanens komplexa berättande, om det är samma berättare genom hela romanen eller om det skiftar, vilka maktrelationer som existerar mellan romangestalterna och förhållanden mellan makt och berättarperspektiv undersöks genom analys av verket.
24
Graça, Eduardo Gerdiel Batista. "O corpo político e o corpo elétrico: mecanismos de poder e linhas de fuga em o morro dos ventos uivantes e Mrs. Dalloway." Niterói, 2017. https://app.uff.br/riuff/handle/1/3747.
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eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5)<br>Coordenação de Aperfeiçoamento de Pessoal de Nível Superior<br>O objetivo desta dissertação é a abordagem das relações entre os conceitos de mecanismos de
poder e de linhas de fuga – concebidos nas obras dos filósofos Michel Foucault e Gilles
Deleuze, respectivamente - e os romances de Emily Brontë e Virginia Woolf que intitulam
nosso trabalho. Os mecanismos de poder, segundo Foucault, seriam os dispositivos políticos e
filosóficos instalados na sociedade e no pensamento com o intuito de conduzir as relações de
conhecimento, as disposições, e os desejos humanos à afirmação e à conservação das relações
de poder vigentes. Interessados somente na manutenção das estruturas hegemônicas, os
mecanismos de poder investiriam no cultivo de nossas potências tristes e servis para subjugarnos aos desígnios dominantes, dirigindo-nos, assim, ora à adequação compulsória e à
reafirmação espontânea dos regimes hegemônicos, ora ao desespero, à loucura e à morte. As
linhas de fuga deleuzianas constituiriam movimentos de ruptura com tais regimes dominantes,
que possibilitariam novas relações com a sociedade, com a subjetividade, com a linguagem e
com o pensamento; o cultivo de potências ativas e criadoras; e, afinal, a emergência de uma
vida estética. Analisando os materiais narrativos de O morro dos ventos uivantes e Mrs.
Dalloway observamos como tanto os jogos narrativos dos dois romances quanto os próprios
enredos e personagens narrados se engajam nestas mesmas discussões a respeito do confronto
entre forças conservadoras e libertárias, do cultivo de potências diminutivas e aumentativas, e
da produção de corpos servis e elétricos<br>The aim of this dissertation is an approach of the relations between the concepts of
mechanisms of power and lines of flight – conceived in the works of Michel Foucault and
Gilles Deleuze, respectively – and the novels by Emily Brontë and Virginia Woolf that entitle
our work. Mechanisms of power, according to Foucault, would be the political and
philosophical devices installed in our society and in our thought with the intent of driving our
relations with knowledge, our disposition and our desire towards the affirmation and
conservation of established relations of power. Interested only in the maintenance of
hegemonic structures, mechanisms of power would invest on the cultivation of our sad and
servile potencies to submit us to the dominant designs, driving us either to compulsory
adequacy and to the spontaneous reassurance of hegemonic regimens, or to despair, insanity
and death. The deleuzian lines of flight would consist in rupturing movements with such
dominant regimens, that would enable new relations with society, subjectivity, language and
with thought; the cultivation of active and creative potencies; and the eventual emergency of a
aesthetic life. Analyzing the narrative materials of Wuthering Heights and Mrs. Dalloway we
observe that both the narrative strategies of the novels and their plots and characters engage
on these same discussions about the confrontation between conservative and libertarian
forces; the cultivation of diminutive and augmentative potencies; and the production of servile
and electric bodies
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Belser-Tröger, Virginie. "L'écriture du diabolisme dans le roman féminin : Wuthering heights d'Emily Bronte͏̈ et Precious Bane de Mary Webb." Paris 3, 2003. http://www.theses.fr/2003PA030089.
Full textAbstract:
Le thème du diabolisme dans Wuthering Heights et Precious bane intègre les héritages gothique et romantique. Le terme de diabolisme est pris selon son sens étymologique, " diabolos " : division. Il désigne alors la division intérieure des êtres (principalement des femmes) empêchés de vivre librement par une société patriarcale qui désigne le bien et le mal en se fondant sur des valeurs morales et religieuses. En tant qu'instrument de rébellion contre ces valeurs, le mal est valorisé. Le mythe biblique de la chute auquel il renvoie également est ainsi ré-interprété. L'affrontement des forces destructrices et créatrices permet un dépassement du conflit, par lequel le mystique et le mythique retrouvent leur énergie première, et le renouveau devient possible<br>The theme of diabolism in Wuthering Heights and Precious Bane contains many elements inherited from the gothic novel and Romantic literature. Diabolism is understood according to its etymology, "diabolos" : division. It then refers to the inner division of individuals (especially women) who are prevented from living freely by a patriarchal society which designates good and evil according to moral and religious values. As an instrument of rebellion against those values, evil is given positive value. The Biblical myth of the Fall to which it also refers is thus re-interpreted. The confrontation of destructive and creative forces leads us beyond their conflictual relation ; the mystical and the mythical recover their original energy, and renewal becomes a possibility
26
Ouvrard, Elise. "Expériences pédagogique et salutaire dans les romans des sœurs Brontë : l’engagement féminin." Caen, 2006. http://www.theses.fr/2006CAEN1453.
Full textAbstract:
Les études consacrées aux Brontë prennent souvent le parti de juxtaposer des chapitres concernant tout à tour chacune des trois sœurs ou de ne traiter que de l’une d’entre elles. Le présent travail se propose d’appliquer une méthode comparative à l’ensemble des romans des sœurs Brontë : Wuthering Heights (1847) d’Emily, Agnes Grey (1847) et The Tenant of Wildfell Hall (1848) d’Anne, Jane Eyre (1847), Shirley (1849), Villette (1853) et The Professor (écrit avant Jane Eyre, mais publié de façon posthume en 1857) de Charlotte, et de les replacer dans le contexte du renouveau évangélique qui marque, par son activisme, le macrocosme victorien, mais aussi le microcosme de Haworth, où Patrick Brontë, leur père, est alors pasteur. L’analyse de la (ré)formation des enfants et des adultes dans les trois œuvres, à la lumière de leur contexte culturel et dans le respect de leur logique interne, permet de constater que les romans partent d’une vision similaire du monde, à savoir celle d’un monde déchu. En revanche, les orientations que choisissent les romancières pour faire échec à cette déchéance initiale sont différentes et rendent compte du rapport distinct qu’elles entretiennent avec leur tradition religieuse d’origine ainsi qu’avec certains mouvements littéraires comme le romantisme. Les sœurs Brontë n’accordent pas la même importance au rôle de la formation et de la réforme et n’abordent pas non plus de manière identique la question du salut qui y est associée. C’est en réalité la définition de l’engagement des personnages principaux, c’est-à-dire des héroïnes, qui pose problème
27
Randriambeloma-Rakotoanosy, Ginette. "Le roman féminin victorien et son rayonnement : Jane Eyre, Wuthering Heights et leurs lectrices à Madagascar, notamment en Imerina dans les années soixante." Dijon, 1987. http://www.theses.fr/1987DIJOL020.
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Un tour d'horizon de l'étendue de la diffusion de Jane Eyre et de Wuthering Heights et de la qualité de leur réception à l'échelle mondiale de 1847 à 1969, une approche de l'imagination et de la sensibilité de leurs auteurs dans le cadre de l'évolution du roman féminin et de la société au début de l'ère victorienne ont été nécessaires pour mieux comprendre leur présence à Madagascar et les éventuelles réactions de leurs lectrices dans cette partie du monde. Il est alors apparu que ceci est fonction des thèmes qui y sont développés. Touchant la femme, ses aspirations amoureuses, ses fonctions, son comportement au sein de la société victorienne, ces thèmes ont été regroupés sous trois rubriques : représentations de la femme, romantisme, idéologies victoriennes. Avant d'analyser leur impact, nous avons étudié les moyens de leur pénétration et le contexte de leur réception en Imerina, mettant en relief les résultats d'une enquête auprès de leur public, l'importance des structures de diffusion, celles de l'enseignement et de la langue française, outil de leur propagation. Cette réceptivité repose sur trois facteurs : - la communauté des évidences : Charlotte et Emily Brontë sont des femmes évoquant des problèmes spécifiquement féminins la communauté de culture liée, d'une part, à des analogies culturelles entre l’Angleterre et l’Imerina et d'autre part, à la venue au 19eme siècle de missionnaires protestants britanniques à Madagascar qui a laissé un impact profond sur les mentalités, entrainant une adhésion aux valeurs victoriennes, véhiculées<br>For more than a century (1847-1969), Jane Eyre and Wuthering heights had been the objects of a world-wide attention as the impressive number of translations, editions, adaptations and critical works concerning those attests. This had led us to examine their most striking features within the context of the feminine novel in England. It then becomes obvious that such a popularity was due to their authors ‘views on women and their social functions, on romanticism (with an emphasis on love) and on Victorianism in so far as the two novels are representative of the trends and ideas of the Victorian era (conservatism, evangelism, sentimentalism, didacticism, prudery). A scrutiny of the way they were introduced in Imerina together with a general portrait of their Malagasy women readers in the 60 help to a better understanding of their impact. These reveal the importance of commercial exchange, literacy, education, translation and that of French language. Our conclusion is that three elements account for their popularity: - first, a community of interests their main subject being the eternal dilemma of women torn apart between their aspirations to more freedom and consideration and their feminine conditions - second, a community of culture: the presence of British protestant missionaries in Imerina in the nineteenth century has left an enduring influence on the minds causing a spontaneous identify
28
Singh, Jyoti. "The presentation of the orphan child in eighteenth and early nineteenth century English literature in a selection of William Blake's 'Songs of innocence and experience', and in Charlotte Brontë's 'Jane Eyre', and Emily Brontë's 'Wuthering Heights'." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1005628.
Full textAbstract:
This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.
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Denford, Joanna Rachel. "Tidy minds and untidy lives, the intertextual relationship between Stella Gibbons' Cold comfort farm and the novels of Jane Austen and Charlotte, Emily, and Anne Brontë." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq22523.pdf.
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Angel-Cann, Lauryn. "Stretched Out On Her Grave: The Evolution of a Perversion." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2586/.
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The word "necrophilia" brings a particular definition readily to mind that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecrafts Mary, A Fiction, Mary Shelleys Frankenstein, Emily Brontës Wuthering Heights, and Bram Stokers Dracula and The Jewel of Seven Stars.
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Sáber, Rogério Lobo 1989. "Justa vingança : uma leitura aproximativa dos romances "Crônica da casa assassinada" e "O morro dos ventos uivantes"." [s.n.], 2014. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270103.
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Orientador: Mário Luiz Frungillo<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem<br>Made available in DSpace on 2018-08-24T10:22:46Z (GMT). No. of bitstreams: 1
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Previous issue date: 2014<br>Resumo: As obras Crônica da casa assassinada e O morro dos ventos uivantes - escritas, respectivamente, pelos autores Lúcio Cardoso (1912-1968) e Emily Brontë (1818-1848) - podem ser lidas como textos que, além de explorarem elementos da estética gótica literária, partilham uma trama que se movimenta a partir dos planos de vingança executados por seus protagonistas Nina e Heathcliff. Em primeiro lugar, desejamos delimitar quais elementos e temas são explorados pelos textos que nos permitem compará-los com os romances pertencentes à literatura noir dos séculos XVIII e XIX. Por fim, prevemos a aproximação de ambos os romances, de maneira que possamos compreender as razões da vingança de cada um dos agentes, os instrumentos utilizados, o modo de execução do plano e, por fim, as consequências do ataque levado a cabo. A aproximação proposta, além de confirmar que os textos podem ser lidos como obras góticas, indica-nos conclusões de ordem filosófica a respeito do tema em estudo (vingança)<br>Abstract: The literary works Crônica da casa assassinada and Wuthering Heights - respectively written by Lúcio Cardoso (1912-1968) and Emily Brontë (1818-1848) - can be read as texts that explore elements from the literary gothic aesthetics as well as a plot that animates itself through the revenge plan executed by their protagonists Nina and Heathcliff. In the first place, we want to delineate the elements and themes that are explored in the texts and that allow us to compare them to the novels that belong to the 18th and 19th centuries literature noir. In conclusion, we foresee an approximative reading of both novels in order to understand the reasons of the revenge of each protagonist, the instruments used, how the plan was executed and, finally, the consequences of the attack. Our approximative reading confirms that the texts can be read as gothic novels and it indicates us philosophical conclusions on the elected theme (revenge)<br>Mestrado<br>Teoria e Critica Literaria<br>Mestre em Teoria e História Literária
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Uusitalo, Kemi Julia. "Gender Construction in Wuthering Heights and Jane Eyre : A Comparison." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35365.
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This essay analyses and compares gender construction in Wuthering Heights by Emily Brontë and Jane Eyre by Charlotte Brontë. The focus is on the construction of the female and male gender of selected female and male characters. Using the knowledge that gender is highly dependent on the social and cultural environment and that family relations often impact gender, the aim of the essay is to examine if the two authors use similar methods to construct gender. Additionally, the aim is to analyse if the novels are critical towards Victorian gender norms. As feminist criticism specializes in gender analysis, this literary critical approach is used. Furthermore, additional information about the historical context was used to analyse and compare the novels. The comparison demonstrates that Emily Brontë and Charlotte Brontë mainly use the same methods to construct the female and male gender in their novels. It also illustrates that both novels are critical towards Victorian gender norms.
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Faste, Ingrid. "Resor och möten i Wuthering Heights : immram, echtrae & Leabhar Gabhála Éireann." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2411.
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Syftet är att fastställa gemensamma drag och paralleller, som återfinns i dels keltiska myter/keltiska texter och dels i Wuthering Heights, för att sedan kunna diskutera hur dessa gemensamma drag möter och interagerar med varandra.Resultat: Jag har funnit att det i Wuthering Heights’ ramberättelse återfinns gemensamma drag och paralleller, mellan voyage-genrerna immram & echtrae och Wuthering Heights. I Wuthering Heights ’ kärnberättelse har jag funnit gemensamma drag och paralleller mellan berättelserna hämtade från Leabhar Gabhála Éireann och Wuthering Heights (samtligt mytologiskt material är hämtat ur den mytologiska cykeln). I diskussionen om det innehållsliga mötet, kommer jag fram till att Mr. Lockwood förändrats i och genom sin resa. Jag finner också att Wuthering Heights förändrats i sitt möte med Mr. Lockwood. Lägger man sedan det mytiska filtret uppe på det innehållsliga mötet kan man tolka in ett att kulturellt möte mellan det keltiska/gamla och det europeiskt-kristna/nya som en fruktbar förening, där ingen av parterna är att ringakta. Genom att låta polariteter som dåtid/nutid, hedniskt/kristet och ödemark/civilisation beblanda sig med varandra, både textmässigt strukturellt sker en sammansmältning. Detta är något som ligger helt i linje med den mytologiska cykelns världsuppfattning, där element från vår värld beblandas med element från the Otherworld.
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Wu, Min-Hua. "La dialectique victorienne : une interprétation sociopolitique de Jane Eyre et de Wuthering Heights des sœurs Brontë." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040083.
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Cette thèse analyse les notions dialectiques incarnées dans Jane Eyre et dans Wuthering Heights afin d’éclairer les phénomènes dialectiques littéraires, sociopolitiques, et/ou subjectifs présents dans les deux romans. Le mot “dialectique,” approprié dans cette recherche, porte au moins trois connotations: étymologique, marxiste et kristévane. D’abord, la perspective dialectique est appelée à analyser les formes littéraires rivales, le romantisme rémanent et le victorianisme dominant, qui convergent vers la grande ligne de démarcation poétique dans les deux romans. Puis, en faisant référence au concept de l’interpellation et à la notion des “Deux Nations” qui caractérise la société victorienne, cette thèse s’engage dans une interprétation dialectique sur l’interaction entre le sujet et l’idéologie dominante afin d’explorer comment les idéologies du « getting on » et du « self-help » à l’ère victorienne influencent les vies de la famille Brontë, comment les deux romancières reflètent ces valeurs sociopolitiques dominantes dans leurs créations de Jane Eyre et de Heathcliff, et comment les sœurs Brontë dépeignent la lutte et le pèlerinage à travers lesquels le héros et l’héroïne transcendent le fossé social qui reste posé entre les deux nations. Finalement, fondée sur l’héréthique de Julia Kristeva, cette thèse enquête sur l’identification Heathcliff-Catherine en l’interprétant comme une autre éthique de subjectivité. Globalement, la thèse met en lumière trois niveaux remarquables de significations dialectiques des palimpsestes brontëens en dévoilant la profondeur de leur art<br>This doctoral thesis analyzes the dialectic notions incarnated in Jane Eyre and Wuthering Heights so as to shed light on the literary, sociopolitical, and/or subjective dialectic phenomena epitomized in the two novels. The word “dialectic,” appropriated in this research, carries at least three connotations: etymological, Marxist and Kristevan. At first, the dialectic perspective is drawn on to analyze the rival literary forms, the residual Romanticism and the dominant Victorianism, that converge at the great divide of poetics in the two novels in a similar yet subtly different manner. Then, referring to the concept of interpellation and the notion of the “Two Nations” that so well characterizes the Victorian society, the thesis engages in a dialectic interpretation of the interaction between the subject and the dominant ideology of his/her time with an aim to explore how the “getting on” and “self-help” ideologies of the Victorian age influence the lives of the Brontë family, how Charlotte and Emily Brontë reflect the dominant sociopolitical values in the creation of Jane Eyre and Heathcliff, and how the Brontë sisters depict the struggle and pilgrimage through which their hero and heroine transcend the social chasm that lies between the Two Nations. At last, based on the herethics of Julia Kristeva, this dissertation probes into the Heathcliff-Catherine identification and interprets it as an otherwise ethics of subjectivity. Altogether, the thesis scrapes three significant layers of the Brontëan palimpsests of dialectic significations and lays bare the profundity of their art
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Wall, Anna-Lena. "Maktspel och död i två gotiska verk : En analys av Catherine Earnshaw och Madeleine Usher med fokus på makt och temat döden." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-106996.
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Day, Jennifer A. Carleton University Dissertation English. "The gondal poems of Emily Bronte as a fantasy structure." Ottawa, 1985.
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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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Myburgh, Jan Albert. "Space and borders in Emily Brontë’s Wuthering Heights." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/79289.
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Critics such as Elizabeth Napier and Lorraine Sim explore some aspects of space and borders in their discussions of Emily Brontë’s Wuthering Heights, presumably to demonstrate that the novel is a representative nineteenth-century text that depicts and comments on fundamentally nineteenth-century debates and concerns. However, the existing critical work on Brontë’s novel does not include analyses that incorporate spatial theories such as those of Henri Lefebvre, Edward Soja, Michel Foucault, and Henk van Houtum in their discussion of Brontë’s narrative as a seminal nineteenth-century work of fiction. These spatial theories maintain that those who occupy positions of power in society shape and remodel the spaces and borders in which society exists and of which it consists, and impose these constructs on the other members of society to ensure social order and to safeguard their own position of authority within the structure of society. In this dissertation, such theories have been used to emphasise the significance of the portrayal of space and borders as social constructs in the narrative, and to show that such an investigation presents alternative or more nuanced interpretations of some of the events and characters in the novel.
Particular attention is paid to Brontë’s reworking of earlier literary traditions and tropes, such as the distinction between nature and civilisation, to depict and examine problems in the society of nineteenth-century Britain. The study also considers the relations between nineteenth-century Britain and the other communities within the British Empire, the three-tier structure of nineteenth-century British society, the male bodily ideal, the representation of socially acceptable behaviour, and the places assigned to those who do not conform to social norms. Lastly, ideas about death and the afterworld, as they are portrayed in the narrative, are examined, as well as the link between society and the shaping of locations of death such as heaven, hell, and purgatory.<br>Dissertation (MA)--University of Pretoria, 2013.<br>English<br>MA<br>Unrestricted
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Ayrton, Patricia Anne. "Study of the 'post genetic' : Emily Brontë's 'EJB' notebook, 1844 to the present." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33031.
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Emily Brontë began transcription of two poetry notebooks in February 1844. The title of one, 'Gondal Poems' is self-explanatory in its content and focus. But the purpose of the second, simply headed 'EJB. Transcribed Febuary [sic] 1844' has never been fully explored. It has not been recognised as a discrete piece of work, nor has it been printed in a complete edition of Emily's work with the exact text, and in the sequence in which she created it. In this thesis I ask what Emily's composition of her EJB notebook reveals about her as a writer and thinker, and why readers have never had the opportunity to read the poems in the context that she created for them. Chapter One examines the critical history of the poems, and here I describe the 'lexicon' created by Charlotte Brontë, Emily's first posthumous editor, through which much of Emily's work is still interpreted. I propose that the continued use of elements of this 'lexicon' impedes a recognition of Emily as a rigorous intellectual and thinker. In Chapter Two I show how a sequential reading of the EJB poems places her within her contemporary intellectual world. I propose that her purposeful creation of the notebook provides evidence of an engagement with the philosophies and literature of early nineteenth-century Europe, and reveals not only a profound understanding of the thought-systems of the time, but also a capacity to use those systems to develop a unique philosophy through poetry, a philosophy which she then employed in her creation of Wuthering Heights. The EJB holograph is not currently available for examination but this investigation is supported by my own transcription of the notebook which is based on a set of photographs taken over eighty years ago. Chapters Three, Four and Five are supported by a series of 'post genetic' diagrams which describe the textual development of the poems from the first publication of fifteen of them in 1846, to the most recent collected edition published in 1995. These chapters elucidate the effects of the activities and decisions of the editors, collectors and scholars who have influenced the texts and the presentations of the poems since the beginnings of transcription in 1844. This thesis proposes that in creating her EJB notebook Emily constructed a discrete piece of work which should stand alone as evidence of her distinctive philosophical engagement with her contemporary intellectual world. It demands a new vocabulary through which to interpret Emily and her work, and it requires an end to the 'lexicon' which has shaped Emily Brontë scholarship since her death in 1848. The evidence presented in this thesis supports the need for a new and definitive edition of Emily's poems, and particularly for a contextual presentation of the EJB notebook. This will enable a new conception of her as a systematic, methodical and abstract thinker, a philosopher-poet who has engaged with some of the foremost ideas of the early nineteenth-century.
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Voroselo, Brian P. "The Non-Specificity of Location in Emily Bronte's Wuthering Heights." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1281457765.
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Matzker, Faith Lynn. "Wuthering Heights, Plato's Symposium, and the Unity of Being." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1220.
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The purpose of this thesis is to investigate the potential influence of Plato's Symposium on Emily Brontë's Wuthering Heights, by analyzing similarities between the two texts. Such comparisons, I argue, enhance our reading and understanding of Brontë's novel as a specifically philosophical discourse on metaphysical concepts. By examining the infrastructure of Wuthering Heights, I propose that its specific complexity adheres to models of philosophical inquiry as presented in the Symposium. After my introduction, Chapter 2 investigates the resonances of Aristophanes' speech in Plato's work that are manifest in Brontë's conceptualizations of love: Platonic love, the divided self, and unity of being. Chapter 3 details structural similarities between the two texts, the most important being narrative progression and complexity, are closely examined. Chapter 4 explores similarities between Plato's and Brontë's representations of punishment and discipline, including instances of physical, bodily punishment and examples of punishment aimed at individual reform. In approaching Brontë's novel in terms of, and as, philosophical discourse, this thesis highlights the fair amount of homogeneity between it and the Symposium, and illustrates the validity of an approach to Wuthering Heights which seeks both to clarify and to respect its complexity by searching out its constituent ideas.
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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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Roberts, Suzanne L. "The ecogothic pastoral ideologies in the gendered Gothic landscape /." abstract and full text PDF (UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3316380.
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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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Herrera, Avelin Jessica. "Characters and landscape: towards new expressions of subjectivity in Emily Brontë's Wurthering Heights." Tesis, Universidad de Chile, 2017. http://repositorio.uchile.cl/handle/2250/148299.
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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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Lewis, Alexandra. "Thorns in the Victorian spirit : trauma and the unquiet mind in the works of Emily Brontë, Charlotte Brontë and George Eliot." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611652.
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Yeasting, Jeanne E. "Double trouble : romantic idealism in the novels of Mary Shelley, Emily Brontë, and Angela Carter /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9401.
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Prieto, Prieto Claudia. "The confluence of gender and its influence: towards a new vision of characterisation in Emily Brontë's Wuthering Heights." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137779.
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Magie, Lynne Adele. "The daemon Eros : Gothic elements in the novels of Emily and Charlotte Brontë, Doris Lessing, and Iris Murdoch /." Thesis, Connect to this title online; UW restricted, 1988. http://hdl.handle.net/1773/9448.
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