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Journal articles on the topic 'Jane Eyre'

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Published: 4 June 2021
Last updated: 20 February 2023

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1

Mullis, Aileen. "Jane Eyre." Brontë Studies 42, no. 3 (July 3, 2017): 275–76. http://dx.doi.org/10.1080/14748932.2017.1330522.

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2

Rymer, Molly. "Becoming Jane Eyre." Leviathan: Interdisciplinary Journal in English, no. 6 (March 13, 2020): 117–27. http://dx.doi.org/10.7146/lev.v0i6.119256.

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This article explores the parallels drawn between the characters of Jane Eyre and Bertha Mason in Charlotte Bronte’s 1847 novel Jane Eyre, using Jean Rhys’ 1966 novel Wide Sargasso Sea to further this comparison. I use Sandra M. Gilbert and Susan Gubar’s argument that Bertha is Jane’s double, or other self, to argue that Jane and Bertha both possess a form of androgyny within their characters, Jane’s due to her class and Bertha’s due to her race. I suggest that these forms of androgyny prevent Jane, in particular, from becoming spiritually equal with Mr. Rochester, proposing that, due to their connection as doubles, Jane must be rid of both her own, as well as Bertha’s androgynous shadow, in order to enter into marriage with Rochester as his equal.
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3

Taylor, Susan B. "Brontë's Jane Eyre." Explicator 59, no. 4 (January 2001): 182–85. http://dx.doi.org/10.1080/00144940109597130.

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4

Rodas, Julia Miele. "Brontë's Jane Eyre." Explicator 61, no. 3 (January 2003): 149–51. http://dx.doi.org/10.1080/00144940309597789.

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5

Reger, Mark. "Brontë's Jane Eyre." Explicator 50, no. 4 (July 1992): 213–15. http://dx.doi.org/10.1080/00144940.1992.9935322.

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6

Rea, Joanne E. "Brontë's Jane Eyre." Explicator 50, no. 2 (January 1992): 75–78. http://dx.doi.org/10.1080/00144940.1992.9937904.

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7

Wilks, Brian. "Jane Eyre Revisited." Brontë Studies 41, no. 4 (October 2016): 283–99. http://dx.doi.org/10.1080/14748932.2016.1222705.

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8

Man, Haoye. "A Study about the Contradiction in Jane Eyre——Proto-feminism versus Anti-feminism." Advances in Education, Humanities and Social Science Research 1, no. 1 (May 9, 2022): 261. http://dx.doi.org/10.56028/aehssr.1.1.261.

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Jane Eyre is a complicated novel, which can be appreciated in multiple perspectives. To further explore the ideological implication in Jane Eyre, this article studys about the contradiction in Jane Eyre, explores whether Jane Eyre is a proto-feminist or antifeminist novel. It analyzes in what ways might Jane Eyre be considered a proto–feminist novel, such as Jane’s rebelliousness, desire to move physically and mentally, and the sprite to pursue equality. Meanwhile, it also raises the objection which can be interpreted as an anti-feminist novel with particular attention to the book’s treatment of marriage and the ending of Jane becoming “angel in the house”. In the process of analyzing, it also illustrates the treatment and position of women in Victorian society. Having analyzed the both sides of the debate, I still argue that Jane Eyre is a proto-feminist novel as it embodies Jane’s own spirit and achives what she’s longing for: love and happiness. This article provides a new perspective to interpret Jane Eyre and help readers to form a more comprehensive understanding from the perspective of proto-feminism and anti-feminism.
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9

Sternlieb, Lisa. "Jane Eyre: "Hazarding Confidences"." Nineteenth-Century Literature 53, no. 4 (March 1, 1999): 452–79. http://dx.doi.org/10.2307/2903027.

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This essay argues that Jane Eyre (1847) is an elaborate confidence game in which Rochester takes Jane into his confidence in order to lie to her and that Jane responds by first masquerading as his confidante and then taking the reader into her confidence to lie to her as well. Jane's retrospectively informed narration must be seen as working against her naive, romantic plot. Brontë has not written a conventional marriage plot but rather a revenge novel in which Jane reveals secrets that the blinded Rochester cannot read. Jane actively and consciously uses Bertha to draw attention away from her own act of revenge. Unlike Bertha's terrifying ineptitude, Jane's revenge works because it is controlled, sustained, articulate, and above all disguised. I argue against a correlation between Jane's acquisition of speech and her development as the writer of her story. Jane never writes within the pages of her novel; it is crucial to her success that Rochester fall in love with a silent listener, a woman he believes has no story of her own.
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10

Galán Rodríguez, Noelia. "Miss Jane and Miss Eyre: From student to teacher in Jane Eyre." DIGILEC: Revista Internacional de Lenguas y Culturas 7 (March 9, 2021): 61–72. http://dx.doi.org/10.17979/digilec.2020.7.0.7102.

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Jane Eyre is considered to be one of the most significant Victorian novels within the English literary canon as well as a governess novel. However, apart from her experience as governess, it must not be forgotten that, first of all, Jane was a student. Education has shaped the protagonist’s life and the plot of the novel making it one of the main topics of Jane Eyre and other Charlotte Brontë’s literary works such as The Professor (1857) and Villette (1853). The main aim of this essay is to study how education has shaped Jane Eyre both as a student and a teacher and how it has affected the outcome of the novel. In order to do so, a close reading of the novel is carried out along with a sociocultural background of Victorian society.
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11

ChungChungHo and 박선경. "Three Relationships between Jane Eyre and the others in Jane Eyre." English21 24, no. 4 (December 2011): 145–73. http://dx.doi.org/10.35771/engdoi.2011.24.4.007.

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12

Werner, Winter Jade. "All in the Family? Missionaries, Marriage, and Universal Kinship in Jane Eyre." Nineteenth-Century Literature 72, no. 4 (March 1, 2018): 452–86. http://dx.doi.org/10.1525/ncl.2018.72.4.452.

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Winter Jade Werner, “All in the Family? Missionaries, Marriage, and Universal Kinship in Jane Eyre” (pp. 452–486) As a number of critics have shown, Charlotte Brontë’s Jane Eyre (1847) has as a central theme the analysis of certain essential contradictions in a constellation of ideas concerning kinship and race. In this essay, I propose that these contradictions—which receive fullest exposition in the missionary St John’s determination to wed his kinswoman Jane—gesture toward the history of these issues as they were enacted in missionary literature. Jane Eyre, this essay contends, roots itself in a fraught phase of the Protestant missionary movement: the brief period of time prior to the 1820s when missionary societies, eager to realize what they termed “universal kinship,” not only permitted but encouraged missionaries to enter into interracial marriages. These marriages, however, proved more reciprocal in influence than missionary societies had anticipated. Ultimately they undermined assumptions of British Christians’ “natural” superiority over “natives”—the very assumptions that underwrote missionary work in the first place. Unnerved by the reciprocity and openness these unions appeared to establish between spouses, missionary societies began discouraging intermarriage and dissociated conceptions of “universal kinship” from actual racial mixing. This period of controversy unifies the novel’s anxious focus on family formation and interracial marriage. In exposing how intermarriages worked to legitimate and problematize evangelical understandings of universal kinship, Jane Eyre ultimately suggests that there exists a crucial link between St John’s proposed endogamous union with his kinswoman and Rochester and Bertha’s intermarriage—the former becomes the conceptual alternative to the latter.
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13

Yih-Dau, Wu. "Forgiveness in Jane Eyre." Tamkang review 47, Nо. 1 (2016): 1–18.

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14

Daughters, Carolyn. "Jane Eyre. CD-ROM." Rocky Mountain Review of Language and Literature 55, no. 2 (2001): 104. http://dx.doi.org/10.2307/1348266.

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15

Koo, Seungbon. "Jane Eyre and Forgiveness." British and American Language and Literature Association of Korea 143 (December 31, 2021): 1–23. http://dx.doi.org/10.21297/ballak.2021.143.1.

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16

Pearson, Sara L. "Critical Insights: Jane Eyre." Brontë Studies 42, no. 2 (March 9, 2017): 158–61. http://dx.doi.org/10.1080/14748932.2017.1280947.

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17

Law, J. K. "Jane Eyre. Michael Berkeley." Opera Quarterly 19, no. 4 (October 1, 2003): 833–35. http://dx.doi.org/10.1093/oq/kbg109.

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18

Gettelman, Debra. ""Making Out" Jane Eyre." ELH 74, no. 3 (2007): 557–81. http://dx.doi.org/10.1353/elh.2007.0024.

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19

Kees, Lara Freeburg. ""Sympathy" in Jane Eyre." SEL Studies in English Literature 1500-1900 45, no. 4 (2005): 873–97. http://dx.doi.org/10.1353/sel.2005.0041.

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20

Vejvoda, Kathleen. "IDOLATRY IN JANE EYRE." Victorian Literature and Culture 31, no. 01 (March 2003): 241–61. http://dx.doi.org/10.1017/s1060150303000123.

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21

Sternlieb, Lisa. "Jane Eyre: "Hazarding Confidences"." Nineteenth-Century Literature 53, no. 4 (March 1999): 452–79. http://dx.doi.org/10.1525/ncl.1999.53.4.01p0046g.

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22

Fuller, Jennifer D. "Seeking Wild Eyre: Landscape and the Environment in Charlotte Brontë’s Jane Eyre // En busca de la salvaje Eyre: paisaje y medioambiente en Jane Eyre de Charlotte Brönte." Ecozon@: European Journal of Literature, Culture and Environment 4, no. 2 (September 30, 2013): 150–65. http://dx.doi.org/10.37536/ecozona.2013.4.2.534.

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Applying techniques from the growing field of ecocriticism, this article uses Jane Eyre to explore a growing environmental awareness among middle-class Victorians and demonstrate how their need to preserve a “wild” or “natural” landscape coincides with ideas of liberty and freedom prevalent in the novel. By looking at Jane’s changing interactions with and interpretations of the natural world, we can gain a better understanding of the value and interpretation of landscape to the Victorians. In Jane Eyre, Jane’s journeys continually lead her to finding a way to balance her human wants and needs with the “wildness” of the natural world. Resumen Aplicando técnicas del creciente campo de la ecocrítica, este artículo utiliza Jane Eyre para explorar una conciencia ambiental cada vez mayor entre los victorianos de clase media y demostrar cómo su necesidad de preservar un paisaje "salvaje" o "natural" coincide con las ideas de libertad en la novela. Al observar las interacciones cambiantes de Jane con el mundo natural y sus interacciones con éste, podemos comprender mejor el valor del paisaje y cómo se interpretaba en la época victoriana. En Jane Eyre, los viajes de Jane continuamente la llevan a encontrar una manera de equilibrar sus deseos y necesidades humanos con el "salvajismo" del mundo natural.
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23

Losano, Antonia. "Thing Jane: Objects and Animals in Jane Eyre." Victorians: A Journal of Culture and Literature 125, no. 1 (2014): 51–75. http://dx.doi.org/10.1353/vct.2014.0003.

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24

De Freitas, Viviane. "Jane Eyre e o projeto imperialista: uma leitura contrapontual." Letras Escreve 9, no. 2 (March 2, 2020): 35. http://dx.doi.org/10.18468/letras.2019v9n2.p35-47.

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Este trabalho se propõe a fazer uma “leitura contrapontual” (SAID, 1995) do romance <em>Jane Eyre</em> tendo como foco o projeto imperialista inglês e a posição ocupada pelos personagens Jane Eyre, Rochester e Bertha Mason. O trabalho coloca em primeiro plano a imbricação entre identidade e questões como raça, nacionalidade, classe e gênero, a partir da interlocução com os escritores McLeod (2010), Spivak (1995) e Said (1995). Esse enfoque busca evidenciar o contexto colonial no romance de Charlotte Brontë, os fatores que determinaram a trajetória de progresso da protagonista Jane Eyre e a condição de exílio da personagem caribenha Bertha Mason. O trabalho examina a relação entre a origem colonial de Bertha e o seu (não) lugar tanto na sociedade inglesa quanto no romance inglês do século XIX. Por outro lado, a ascensão social e o prestígio do casal protagonista Jane Eyre e Rochester, bem como a posição de Jane como heroína individualista da ficção britânica do século XIX são abordadas diante do contexto do imperialismo e sua missão civilizatória.
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25

Han, Catherine Paula. "Picturing Charlotte Brontë’s Artistic Rebellion? Myths of the Woman Artist in Postfeminist Jane Eyre Screen Adaptations." Adaptation 13, no. 2 (March 29, 2020): 240–69. http://dx.doi.org/10.1093/adaptation/apz034.

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Abstract Charlotte Brontë’s Jane Eyre: An Autobiography (1847) has been regularly adapted for the screen since the silent era. During the 1990s, a trend emerged in which cinematic and television versions of Brontë’s novel paid increased attention to the protagonists’ identities as amateur artists. To explain this phenomenon, this article examines Jane Eyre (Franco Zeffirelli, 1996), Jane Eyre (ITV/A&E, 1997), Jane Eyre (BBC, 2006), and Jane Eyre (Cary Fukunaga, 2011). It proposes that these productions contribute to the evolution of Brontë’s authorial mythology by heightening their heroines’ similarities with the writer, another amateur artist. In so doing, these adaptations benefit from the reputations of Brontë and her work as rebelliously feminist. Nevertheless, these women artists’ rebellions are distinctly postfeminist. To demonstrate its argument, the article contextualizes contemporary Jane Eyre adaptations within their postfeminist cultural landscape. Postfeminism, however, is a contested term. Hence, this analysis participates in broader debates that interrogate postfeminism as a concept and its persistent fascination with nineteenth-century creative women. Through comparisons of the adaptations, this article will delineate the development of the woman artist trope to reveal how postfeminist conceptualizations of women’s creativity have shifted since the 1990s. In particular, the woman artist displays an increased desire to ‘return home’. Such retreatist narratives exploit but also obscure the fact that Brontë has long signified the perceived tension between traditional, highly domestic female gender roles and women’s creativity. As such, these postfeminist adaptations have a shaping effect on the myths that continue to circulate about Brontë’s feminism and authorship.
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26

Latumeten, Anna Anganita Theresia. "Woman’s Resistance as Seen in Jane Eyre and Wide Sargasso Sea." Prologue: Journal on Language and Literature 7, no. 1 (March 30, 2021): 1–9. http://dx.doi.org/10.36277/jurnalprologue.v7i1.64.

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This paper focuses on the depictions of the mad woman figure in two novels, Jane Eyre by Charlotte Brontë and Wide Sargasso Sea by Jean Rhys. Using comparative literature, both texts are seen in the light of woman’s resistance as depicted by the characters “Bertha Mason” and “Antoinette Cosway” from Jane Eyre and Wide Sargasso Sea, respectively. The novels used in this descriptive study are the primary texts. The findings show how Wide Sargasso Sea shows woman’s resistance when being compared to Jane Eyre, giving the mad woman character a voice on her own and showing an attempt to free herself from the forms of domination she experiences.
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27

Amaral, João Pedro Wizniewsky. "O ENREDO DE JANE EYRE COMO REPRESENTATIVO DE VALORES BURGUESES EM CONSOLIDAÇÃO NO SÉCULO XIX." Organon 33, no. 65 (December 14, 2018): 13. http://dx.doi.org/10.22456/2238-8915.84839.

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O presente artigo, a partir de teorias de Georg Lukács (2000), Ian Watt (2010) e Octavio Paz (2012), discute como a modernidade encontrou no gênero romance uma forma de propagação de valores burgueses da época. A partir dessa problemática, buscamos entender como o enredo de Jane Eyre (1847), romance vitoriano de Charlotte Brontë, representa a lógica cultural vigente dessa época. A trajetória da protagonista apresenta a translocação de uma condição de oprimida para uma personagem eminente e responsável por suas próprias ações. Assim, os encadeamentos das ações em Jane Eyre representam os próprios valores burgueses do século XIX que estavam instaurando-se na Europa.PALAVRAS-CHAVE: Era Vitoriana; Romance; Jane Eyre; Modernidade.
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28

강준수. "Nomadic Thoughts in Jane Eyre." Jungang Journal of English Language and Literature 56, no. 3 (September 2014): 1–19. http://dx.doi.org/10.18853/jjell.2014.56.3.001.

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29

Parey, Armelle. "Jane Eyre, Past and Present." Revue LISA / LISA e-journal, Vol. IV - n°4 (December 1, 2006): 1–8. http://dx.doi.org/10.4000/lisa.1741.

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30

Stoneman, Patsy. "Jane Eyre between the Wars." Revue LISA / LISA e-journal, Vol. VII – n°4 (August 1, 2009): 105–22. http://dx.doi.org/10.4000/lisa.843.

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31

김경순. "Trauma in Memory: Jane Eyre." Studies in English Language & Literature 39, no. 1 (February 2013): 29–42. http://dx.doi.org/10.21559/aellk.2013.39.1.002.

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32

Lanone, Catherine. "Secret Passages in Jane Eyre." Études anglaises 61, no. 4 (2008): 415. http://dx.doi.org/10.3917/etan.614.0415.

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33

Heasook Tae. "Tricontinentalism and Rereading Jane Eyre." MARXISM 21 8, no. 4 (November 2011): 226–54. http://dx.doi.org/10.26587/marx.8.4.201111.008.

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34

Steere, Elizabeth. "Barbara’s History: ‘Refining’ Jane Eyre." Brontë Studies 45, no. 4 (September 21, 2020): 347–59. http://dx.doi.org/10.1080/14748932.2020.1794636.

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35

SWANN, CHARLES. "JANE EYRE AND CLARA HOPGOOD." Notes and Queries 46, no. 1 (March 1, 1999): 64–65. http://dx.doi.org/10.1093/nq/46-1-64.

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36

SWANN, CHARLES. "JANE EYRE AND CLARA HOPGOOD." Notes and Queries 46, no. 1 (1999): 64–65. http://dx.doi.org/10.1093/nq/46.1.64.

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37

Connor, Margaret. "Jane Eyre– The Moravian Connection." Brontë Society Transactions 22, no. 1 (June 1997): 37–43. http://dx.doi.org/10.1179/030977697794126940.

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38

Renk, Kathleen Williams. "Jane Eyre as Hunger Artist." Women's Writing 15, no. 1 (May 2008): 1–12. http://dx.doi.org/10.1080/09699080600853112.

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39

Wu. "Jane Eyre, Identified." Reception: Texts, Readers, Audiences, History 9, no. 1 (2017): 82. http://dx.doi.org/10.5325/reception.9.1.0082.

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40

Zeinab, Galal Abdel Fattah Suliman. "Jane Eyre searching for belonging." International Journal of English and Literature 6, no. 2 (February 28, 2015): 23–30. http://dx.doi.org/10.5897/ijel2014.0702.

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41

Tkacz, Catherine Brown. "The Bible in Jane Eyre." Christianity & Literature 44, no. 1 (December 1994): 3–27. http://dx.doi.org/10.1177/014833319404400101.

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42

Lee, Soyoung. "Jane Eyre in Our Times: Fukunaga’s Jane Eyre in Dialogue with Two Film Adaptations." Trans-Humanities Journal 9, no. 3 (2016): 99–125. http://dx.doi.org/10.1353/trh.2016.0023.

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43

Nunes, Ruan. "JANE AMAVA HELEN QUE NÃO SABIA BEM SE AMAVA JANE QUE TAMBÉM AMAVA BLANCHE: HETEROSSEXUALIDADE COMPULSÓRIA EM UMA LEITURA QUEER DE JANE EYRE DE CHARLOTTE BRONTË." Organon 33, no. 65 (December 14, 2018): 15. http://dx.doi.org/10.22456/2238-8915.85225.

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Desde a sua publicação, Jane Eyre, romance de estreia de Charlotte Brontë, tem sido estudado e analisado de várias perspectivas. Entretanto, considerando que poucos trabalhos no Brasil têm abordado a obra sob um viés queer, proponho ler duas famosas cenas do romance para ilustrar a discussão de como a heterossexualidade compulsória, conforme discutido por Adrienne Rich (2003), se tornou um mecanismo de apagamento da atração e do desejo que Jane sentia por Helen Burns e Blanche Ingram, duas personagens do romance. Enriquecendo a discussão, utilizo ainda dois ensaios de Sigmund Freud (1996, 2007) para ressaltar como se dá a construção do desejo de Jane pelas duas supracitadas personagens. PALAVRAS-CHAVE: Jane Eyre; Queer; Heterossexualidade compulsória.
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44

Su, Sha. "The Image in the Mirror-A Feminist Study on the Autobiographical Elements in Jane Eyre." International Journal of Education and Humanities 6, no. 1 (November 23, 2022): 59–62. http://dx.doi.org/10.54097/ijeh.v6i1.3041.

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Jane Eyre, a full-length novel written by Charlotte Bronte in Victorian era deeply affected females. England was in a harsh reality in the 19th century---women live at the bottom of society and are suffered from male oppression and discrimination. Even educated women are subjected to dependency on the rich because of their poverty. Females in the upper class, however, accepted arranged marriages as their ultimate destination. Thus, Charlotte, as a woman writer, put her own ideals and pursuits in Jane Eyre to reveal the unequal status of women and want to use this work to encourage women to fight for their inherent rights. In this way, this paper will find out the similarities between Jane Eyre and Charlotte to prove it is an autobiography from feminist prospective.
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45

Di Biase, Martina. "A Veiled Love in Charlotte Brontë’s Jane Eyre." International Journal of Linguistics, Literature and Culture 8, no. 3 (September 30, 2021): 1–9. http://dx.doi.org/10.19044/llc.v8no3a1.

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The particular structure and organization of Jane Eyre surely constitute only some of the traits that favor survival of this great classic for all these centuries. They represent the hallmark of Jane Eyre, through which Charlotte Brontë has spoken to a large number of readers, using different cultural, geographical and historical interrelations in unexpected ways and forms, but always suggestive and successful. This paper aims at highlighting some of the different occultation strategies brought into play by the two emblematic, magnetic and fascinating protagonists, who sit at the loving table in Jane Eyre. The ability to conceal and unveil, to allow the feeling of love to be subtended and misunderstood is certainly one of the building blocks of the soul of a classic like Jane Eyre. It offers the possibility of maturing an interior path of redemption, of knowledge and affirmation of the self, within a delicate system, in balance between drives and reason. The continuous game of parts, between presence and absence, between what is shown and what one actually is, remains mysterious, elusive, and in perpetual becoming. Hiding love thus represents a gateway to the complexity of reality and at the same time allows us to experience other fascinations and sensations that would otherwise remain only, totally ‘ideal’.
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46

Mitchell, Rebecca N. "The Rosamond Plots." Nineteenth-Century Literature 66, no. 3 (December 1, 2011): 307–27. http://dx.doi.org/10.1525/ncl.2011.66.3.307.

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Abstract In both Charlotte Brontë’s Jane Eyre (1847) and George Eliot’s Middlemarch (1871–72) an earnest and ambitious man falls in love with a superficial and beautiful woman named Rosamond. This essay explores the “Rosamond plots” to argue that Middlemarch stages a radical revision of the version of subjectivity vaunted in Jane Eyre. Via its invocation of Jane Eyre’s Rosamond plot, Middlemarch challenges the very nature of self-knowledge, questions the status of identification in intersubjective relationships, and insists upon the unknowability of the other. In Eliot’s retelling, the self-awareness promoted in Jane Eyre is not only insufficient, but also verges on self-absorption and even solipsism. One way in which Eliot enacts this revision is by shifting the focus of positive affective relationships away from models of identification. The change marks an evolution in our understanding of the way in which character and communal life is conceived by each author. More specifically, Eliot’s revisions situate empathic response as being dependent upon the recognition of the radical alterity of the other.
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47

Dunnett, Roderic. "Birmingham." Tempo 60, no. 235 (January 2006): 76–77. http://dx.doi.org/10.1017/s0040298206290065.

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48

GÜLÜŞTÜR, Erol. "THE PROVIDENTIAL IMPACT OF LOWOOD ON JANE IN "JANE EYRE"." Journal of International Social Research 11, no. 58 (August 30, 2018): 83–89. http://dx.doi.org/10.17719/jisr.2018.2519.

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49

Hoeveler, Diane Long, and Jerome Beaty. "Misreading 'Jane Eyre': A Postformalist Paradigm." South Atlantic Review 62, no. 2 (1997): 152. http://dx.doi.org/10.2307/3200858.

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50

قرموطي, ايمان. "JANE EYRE: A FEMINIST FAIRY TALE." مجلة کلية الآداب . جامعة الإسکندرية 60, no. 63 (October 1, 2010): 1–22. http://dx.doi.org/10.21608/bfalex.2010.154195.

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