Relevant bibliographies by topics / Tenant of Wildfell Hall (Brontë, Anne)

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Academic literature on the topic 'Tenant of Wildfell Hall (Brontë, Anne)'

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Published: 4 June 2021
Last updated: 6 February 2022

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Journal articles on the topic "Tenant of Wildfell Hall (Brontë, Anne)"

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Carnell, Rachel K. "Feminism and the Public Sphere in Anne Brontë's The Tenant of Wildfell Hall." Nineteenth-Century Literature 53, no. 1 (June 1, 1998): 1–24. http://dx.doi.org/10.2307/2902968.

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The bipartite narrative structure of Anne Brontë's The Tenant of Wildfell Hall (1848) has been interpreted recently as an attempt to subvert the traditional Victorian rubric of separate spheres. Reconsidering this novel in terms of Jürgen Habermas's concept of the eighteenth-century public sphere broadens the historical context for the way we understand the separate spheres. Within Brontë's critique of Victorian gender roles, we may identify a reluctance to address the Chartist-influenced class challenges to an older version of the public good. In hearkening back to an eighteenth-century model of the public sphere, Brontë espouses not so much a twentieth-century-style challenge to the Victorian model of separate spheres as a nineteenth-century-style nostalgia for the classical liberal model of bourgeois public debate. At the same time, the awkward rupture in Brontë's narrative represents the inherent contradictions between the different levels of discourse-literary, political, and scientific-within the public sphere itself and the complex ways in which these contradictions are both accorded and denied cultural power.
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Hyman, Gwen. "“AN INFERNAL FIRE IN MY VEINS”: GENTLEMANLY DRINKING IN THE TENANT OF WILDFELL HALL." Victorian Literature and Culture 36, no. 2 (September 2008): 451–69. http://dx.doi.org/10.1017/s1060150308080285.

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Drinking was a serious preoccupation for mid-century English Victorians, and Anne Brontë's The Tenant of Wildfell Hall is a novel sodden with drink. This startlingly explicit novel is a troubled and troubling anatomy of upper-crust drunkenness, obsessed with issues of control and productivity, of appetites and class, as they play out across the body of its prime sot, the wealthy playboy Arthur Huntingdon. In telling her drinking tale, Brontë is doing more than simply crafting a prurient morality story, meant to scare drinkers straight. Arthur's fall into the bottle is emblematic of the increasingly untenable role of the landed gentleman in Victorian culture, and the dire consequences of his appetites suggest the possibility of a radical social revisioning across that gentleman's prone, overstuffed body.
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Cox, Kimberly. "A Touch of the Hand." Nineteenth-Century Literature 72, no. 2 (September 1, 2017): 161–91. http://dx.doi.org/10.1525/ncl.2017.72.2.161.

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Kimberly Cox, “A Touch of the Hand: Manual Intercourse in Anne Brontë’s The Tenant of Wildfell Hall” (pp. 161–191) Characters in the works of Anne Brontë, Elizabeth Gaskell, Thomas Hardy, and Bram Stoker communicated their passions, reciprocated desires, and negotiated the power dynamics of their social and romantic relationships through their hands. Despite the recent work on Victorian hand studies, little attention has been paid to such moments when characters’ hands touch. This essay introduces the term “manual intercourse” as a way of referring to all literary depictions of tactile encounters (whether handshakes, caresses, uninvited grasps, or other accidental manual interactions) while acknowledging the silent, embodied communication and exchange inherent in such moments of physical connection. Taking Brontë’s The Tenant of Wildfell Hall (1848) as an example par excellence, this essay explores how reading a novel through characters’ manual intercourse opens new ways of understanding and interpreting intense moments of emotional intimacy that language fails to represent adequately. Since emotions can be communicated through the quality, pressure, duration, and circumstance of a touch, manual intercourse in such novels allows for the possibility of excess sentiment that cannot be simply expressed through speech. Further, though nineteenth-century etiquette books dedicated entire sections to delineating types of handshakes acceptable in certain social situations, this essay suggests that some Victorian novelists challenged traditional gender ideology and the power structures inherent in it through representations of manual intercourse that either adhere to or deviate from traditional handshake etiquette.
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Leiliyanti, Eva. "Pola Pencapaian Kesadaran Tokoh Utama Perempuan Tertindas Dalam Novel Far From The Madding Crowd Karya Thomas hardy dan The Tenant Of Wildfell Hall Karya Anne Bronte." ATAVISME 12, no. 2 (December 31, 2009): 113–26. http://dx.doi.org/10.24257/atavisme.v12i2.163.113-126.

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Tulisan ini bertujuan mendeskripsikan pola pencapaian kesadaran tokoh utama perempuan tertindas dalam novel Far from the Madding Crowd karya Thomas Hardy dan The Tenant of Wildfell Hall karya Anne Bronte dengan pendekatan feminis. Tokoh utama bemama Bathsheba dalam Far From the Madding Crowd, sadar bahwa hidupnya berada dalam lingkungan patriarkal dan tertindas oleh dominasi laki-laki ketika ditinggal pcrgi suaminya Meskipun akhimya mcnikah dengan laki-laki yang dianggap lebih mencintainya, Bathsheba tetap berada pada posisi tersubordinasi oleh laki-laki. Kesadaran tokoh utama perempuan bemama Helen pada posisinya yang tertindas oleh laki-laki dan lingkungan patriarki dalam The Tenant of Wildfell Hall muncul saat mengetahui perselingkuhan suaminya. Agar dapat hidup bebas dan mandiri, Helen melarikan diri dari suaminya. Pilihan Anne Bronte pada solusi menuju zona liar untuk membebaskan perempuan dari ketertindasan menunjukkan konsistcnsinya sebagai perempuan pengarang, sedangkan laki-laki pengarang (Thomas Hardy) memilih menempatkan tokoh perempuannya tetap bertahan dalam komunitasnya Abstract: This article aims to describe the awareness achievement pattern of the female main character being oppressed in Thomas Hardy's novel, Far From the Madding Crowd and Anne Bronte's novel. The Tenant of Wildfell Hall, by means of feminism approach. The main character in Far From the Madding Crowd, Bathsheba, realized that her life is in patriarchal surroundings and being oppressed by male domination when she was left by her husband. Although, she eventually got married to a man loving her more. Bathsheba is still in the position of subordinated by a male. The awareness of female character named Helen, in her position of being oppressed by male and patriarchal surroundings in The Tenant of Wildfell Hall, emerged when she found her husband adultery. To live free and liberated, Helen ran away from her husband. Anne Bronte's choice to a solution heading for the wild zone in Liberating women from oppression indicates her consistency as an author female; whereas. author male (Thomas Hanly) chose to set his female character to persist with her community. Keywords: awareness, oppressed woman, patriarchal, feminism
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Bellamy, Joan. "The Tenant of Wildfell Hall: What Anne Brontë Knew and What Modern Readers Don't." Brontë Studies 30, no. 3 (November 2005): 255–57. http://dx.doi.org/10.1179/147489305x63136.

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Mihailă-Lică, Gabriela. "Education of Children in the Tenant of Wildfell Hall by Anne Bronte." International conference KNOWLEDGE-BASED ORGANIZATION 26, no. 2 (June 1, 2020): 314–18. http://dx.doi.org/10.2478/kbo-2020-0097.

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AbstractThe paper analyses the manner in which the education of children was done in the beginning of the 19th century and how this is revealed in the pages of “The Tenant of Wildfell Hall”, the second and also the final novel written by the English writer Anne Bronte, the youngest of the famous Bronte sisters. Despite enjoying enormous success after its publication in 1848, after its author’s death, Charlotte Bronte - Ann’s eldest sister - refused to republish it. She considered it to be too shocking as it dealt with themes like alcoholism, the ability of women to have paying jobs that enabled them to support not only themselves, but also their families, themes that were considered taboo or the “inhibited, polite, orderly, tender-minded, prudish and hypocritical” Victorian society [1]. We focus on the observations as well as on the subtle mentionings and allusions made in the novel with regard to some of the most important aspects of the Victorian Era education: the schooling of children, the differences between the education of boys and that of girls, the educational differences between the social classes.
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Torralbo Caballero, Juan de Dios. "Anne Brontë’s The Tenant of Wildfell Hall and Waldo Leirós’ Spanish Translation: A comparative study." Lebende Sprachen 49, no. 5 (October 8, 2020): 278–302. http://dx.doi.org/10.1515/les-2020-0019.

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AbstractThis paper focuses on The Tenant of Wildfell Hall (1848) and analyses the Spanish translation by Waldo Leirós (1997, 2017) through a specific selection of quotations and fragments. It follows the evolution of the narrative thematically through the different sections of the novel in order to present the reader with an overview of the novel’s plot. The poem presented in the nineteenth chapter, “Farewell to thee”, is then examined alongside the translation offered by Leirós; this is followed by a new, alternative version proposed by the author. By way of conclusion, the translator’s faithfulness and dedication to Anne Brontë’s original text is demonstrated, while certain inaccuracies, omissions and oversights are acknowledged and analysed from the perspective of literary translation studies.
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Marciniak, Marlena. "Taming of the Rake: From a Man about Town to a Man at Home in „The Tenant Of Wildfell Hall” by Anne Brontë." Studia Anglica Resoviensia 12 (2015): 162–71. http://dx.doi.org/10.15584/sar.2015.12.15.

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Suryanovika, Citra, and Irma Manda Negara. "SPEECH ACTS OF THE BRONTE SISTERS’ CHARACTERS." HUMANIKA 25, no. 2 (December 4, 2018): 75. http://dx.doi.org/10.14710/humanika.v25i2.20519.

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The study was under descriptive qualitative research to identify the most dominant speech act of the Bronte Sisters’ characters. The researchers collected 3,322 utterances from six characters of Charlotte Bronte’s Jane Eyre (Jane Eyre and Edward Rochester), Emily Bronte’s Wuthering Heights (Heathcliff and Catherine Earnshaw), and Anne Bronte’s The Tenant of Wildfell Hall (Gilbert Markham and Helen Graham). MAXQDA 2018 supported the data analysis procedure; thus, coding was used in identifying speech acts. After coding implemented, the researchers analyzed the coding by using qualitative and quantitave compare groups, as well as document comparison chart in MAXQDA 2018 to check the most dominant use of speech acts in all characters. The study found that directive speech act is the most dominant speech act found in the Bronte sisters’ characters, while the declarative speech act is the least speech act. Speech acts of the Bronte sisters’ characters was expressed in declarative, interrogative and imperative forms. Besides, speech acts in these novels highlight the use of address term, epithet, expression (verb, adjective, modal verbs), exclamation, conditional clauses, hedges and affirmative answer.
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Suryanovika, Citra, and Irma Manda Negara. "The Identification of Slurs and Swear Words in Bronte Sisters’ Novels." Lingua Cultura 13, no. 1 (February 11, 2019): 11. http://dx.doi.org/10.21512/lc.v13i1.5190.

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

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Fullmer, Alyson June. "The Archon(s) of Wildfell Hall: Memory and the Frame Narrative in Anne Brontë’s The Tenant of Wildfell Hall." BYU ScholarsArchive, 2016. https://scholarsarchive.byu.edu/etd/5993.

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In the first chapter of Anne Brontë’s The Tenant of Wildfell Hall, Gilbert Markham invites his reader to join him as he attempts to recall the past. Because Gilbert uses the journal of another to supplement his own memories, the novel's frame narrative structure becomes saturated with complex memory-based issues and problems. Thus, the complicated frame narrative provides fertile ground for exploring the novel through memory. In studying the frame narrative, scholars have typically devoted their criticism to Gilbert and how he shapes the frame. Few scholars afford the other primary narrator of the novel, Helen, any power in shaping that frame. However, both Gilbert's and Helen's narratives exist separately yet function codependently. Using recent studies in memory as well as Derridean and Foucaultian archive theory as a lens, I will explore how Tenant presents an anarchic narrative structure that simultaneously gives its own semblance of power and order without assigning complete narrative power to one person or to one gender.
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Phillips, Jennifer K. "Anne Brontë's New Women: Agnes Grey and The Tenant of Wildfell Hall as Precursors of New Woman Fiction." Thesis, University of North Texas, 2001. https://digital.library.unt.edu/ark:/67531/metadc2834/.

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Anne Brontë's Agnes Grey and The Tenant of Wildfell Hall were published more than forty years before the appearance of the feminist type that the Victorians called the “New Woman;” yet, both novels contain characteristics of New Woman fiction. By considering how Brontë's novels foreshadow New Woman fiction, the reader of these novels can re-enact the “gentlest” Brontë as an influential feminist whose ideology informed the construction of the radical New Woman. Brontë, like the New Woman writers, incorporated autobiographical dilemmas into her fiction. By using her own experiences as a governess, Brontë constructs Agnes Grey's incongruent social status and a morally corrupt gentry and aristocracy through her depiction of not only Agnes's second employers, the Murrays, but also the morally debauched world that Helen enters upon her marriage to Arthur Huntingdon in The Tenant of Wildfell Hall. Moreover, Brontë incorporates her observations of Branwell's alcoholism and her own religious beliefs into The Tenant of Wildfell Hall. Although Brontë's novels contain autobiographical material, her heroines are fictional constructions that she uses to engage her readers with the woman question. Brontë accomplishes this engagement through her heroines' narrative re-enactments of fictional autobiographical dilemmas. Helen's diary and Agnes's diary-based narrative produce the pattern of development of the Bildungsroman and foreshadow the New Woman novelists' Kunstlerromans. Brontë's heroines anticipate the female artist as the protagonist of the New Woman Kunstlerromans. Agnes and Helen both invade the masculine domain of economic motive and are feminists who profess gender definitions that conflict with dominant Victorian ideology. Agnes questions her own femininity by internalizing the governess's status incongruence, and Helen's femininity is questioned by those around her. The paradoxical position of both heroines anticipates the debate about the nature and function of art in which the New Woman writers engaged. Through her reconciliation of the aesthetic and the political, Brontë, like the New Woman novelists who will follow, explores the contradiction between art and activism.
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Lupold, Rebecca Lynn. "Dwelling and the woman artist in Anne Brontë's The tenant of Wildfell Hall." CONNECT TO THIS TITLE ONLINE, 2008. http://etd.lib.umt.edu/theses/available/etd-05232008-101518/.

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Thompson, Angela Myers. "Leaving Her Story: The Path to the Second Marriage in The Tenant of Wildfell Hall and Middlemarch." Diss., CLICK HERE for online access, 2004. http://contentdm.lib.byu.edu/ETD/image/etd593.pdf.

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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.

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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.
Thesis (DLitt)--University of Pretoria, 2013.
gm2014
English
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Eshelman, Elizabeth A. "Best-Seller or “Entire Mistake”? : The Effect of Form on the Receptions of Anne Brontë’s The Tenant of Wildfell Hall and Mrs. Henry Wood’s East Lynne." Wittenberg University Honors Theses / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=wuhonors1148666970.

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Hyun, Sook K. "Storytelling and Self-Formation in Nineteenth-Century British Novels." [College Station, Tex. : Texas A&M University, 2008. http://hdl.handle.net/1969.1/ETD-TAMU-2008-08-52.

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Brooke, Matthew. ""Masculinities and male power in the themes and structure of Anne Bronte's The tenant of wildfell hall" /." Title page only, 1997. http://web4.library.adelaide.edu.au/theses/09AR/09arb8716.pdf.

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McNierney, James. "The Brontë Attachment Novels: An Examination of the Development of Proto-Attachment Narratives in the Nineteenth Century." OpenSIUC, 2016. https://opensiuc.lib.siu.edu/theses/1887.

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John Bowlby’s work on attachment theory in the 1960s altered the cultural understanding of parent-child relationships. Bowlby argued that the ability for an individual to form attachments later in life, be that familial, romantic, or friendship is affected by whether or not that individual formed a strong attachment to a primary caregiver in early childhood. My thesis uses Bowlby’s theory as a critical lens to examine three novels by the Brontës: Wuthering Heights by Emily Brontë, Jane Eyre by Charlotte Brontë, and The Tenant of Wildfell Hall by Anne Brontë. I use this theory in order to demonstrate that these novels are what I have termed proto-attachment narratives, which is to say narratives about attachment before formal attachment theory existed, and, further, that they work to bridge the gap between the contemporary nineteenth-century debate on child rearing and Bowlby’s theory. In addition, I discuss how each of these novels exemplifies, complicates, and expands upon Bowlby’s theory in its own way. Wuthering Heights demonstrates the cyclical nature of damaged attachments and works to find a way to break from that cycle. Jane Eyre gives a clear understanding of an individual’s lifelong struggle with failed attachments and the importance of a balanced power dynamic to forming healthy attachments, and, finally, The Tenant of Wildfell Hall examines how even properly formed, healthy parent-child attachments can lead to development problems, if the power granted to those parental attachment figure is not used responsibly. I further theorize that we can use these novels as a starting point to discuss how we might define attachment narratives as a genre, as they hold many similarities with more clearly defined modern attachment narratives.
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Ho, Yann-Ru, and 何彥如. "Anne Brontë’s Economic Realism: Female Economic Bildung and the Credit Society in Agnes Grey and The Tenant of Wildfell Hall." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/49226166741351752947.

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碩士
國立臺灣大學
外國語文學研究所
100
In response to the feminist renewal of scholarly interests in Anne Brontë, this thesis investigates the issue of economic realism in Anne Brontë’s writing on nineteenth-century women. The texts examined in this thesis include Agnes Grey (1847) and The Tenant of Wildfell Hall (1848). Both novels are Brontë’s inquiry into the plight of young nineteenth-century women suffering a restricted life. For analyzing Brontë’s exploration of realistic economic situations for women in these two texts, this thesis presents an interpretive method incorporating the nineteenth-century credit economy context. Based on the credit system of that era and the Bildungsroman tradition, I venture the term “female economic Bildung,” which frameworks the growth of the female protagonists to identify the varying stages of their credit economic development. This framework accentuates the realistic social ideology and institutions in Brontë’s era which imposed limitations on the female characters. Also, utilizing the concept “female economic Bildung,” the female characters’ credit establishment behaviors could be evaluated. Aided by this approach, I argue that Brontë in Agnes Grey first depicts the life of female protagonists Agnes and Rosalie, who are aware of the economic limitations yet fail to utilize the credit economy and achieve economic Bildung. I then argue that the female protagonist Helen in the second novel, The Tenant of Wildfell Hall, initially suffers from her husband’s economic oppression. Fortunately, she eventually acquires the credit establishment methods in the nineteenth-century society. By situating the two novels chronologically for literary interpretation with the credit context, I am able to highlight Anne Brontë’s realistic and layered portrayal of female development in the nineteenth century.
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Books on the topic "Tenant of Wildfell Hall (Brontë, Anne)"

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1818-1848, Brontë Emily, and Brontë Anne 1820-1849, eds. Jane Eyre / Charlotte Brontë. Wuthering Heights / Emily Brontë. The tenant of Wildfell Hall / Anne Brontë. Oxford: Oxford University Press, 1994.

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Wilks, Brian. The illustrated Brontës of Haworth: Scenes and characters from the lives and writings of the Brontë sisters. London: Tiger, 1991.

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Wilks, Brian. The illustrated Brontës of Haworth: Scenes and characters from the lives and writings of the Brontë sisters. New York, NY: Facts on File Publications, 1986.

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The illustrated Brontës of Haworth: Scenes and characters from the lives and writings of the Brontë sisters. London: Collins, 1986.

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Brontë, Anne. The Tenant of Wildfell Hall. Edited by Herbert Rosengarten and Josephine McDonagh. Oxford University Press, 2008. http://dx.doi.org/10.1093/owc/9780199207558.001.0001.

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‘he looked up wistfully in my face, and gravely asked – “Mamma, why are you so wicked?”’ The mysterious new tenant of Wildfell Hall has a dark secret. But as the captivated Gilbert Markham will discover, it is not the story circulating among local gossips. Living under an assumed name, 'Helen Graham' is the estranged wife of a dissolute rake, desperate to protect her son from his destructive influence. Her diary entries reveal the shocking world of debauchery and cruelty from which she has fled. Combining a sensational story of a man's physical and moral decline through alcohol, a study of marital breakdown, a disquisition on the care and upbringing of children, and a hard-hitting critique of the position of women in Victorian society, this passionate tale of betrayal is set within a stern moral framework tempered by Anne Brontë's optimistic belief in universal redemption. Drawing on her first-hand experiences with her brother Branwell, Brontë's novel scandalized contemporary readers. It still retains its power to shock. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
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Bell], Anne Brontë [Acton. The Clarendon Edition of the Novels of the Brontës: Anne Brontë: The Tenant of Wildfell Hall. Edited by Herbert Rosengarten. Oxford University Press, 1992. http://dx.doi.org/10.1093/actrade/9780198125969.book.1.

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Brontë, Anne. The Anne Bronte 2-In-1 Special: The Tenant of Wildfell Hall / Agnes Grey. IndyPublish.com, 2003.

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The Brontë Sisters: The Complete Works. Penguin Classics, 2016.

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Novels for Students. 2nd ed. Thomson Gale, 2007.

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Book chapters on the topic "Tenant of Wildfell Hall (Brontë, Anne)"

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Langland, Elizabeth. "The Tenant of Wildfell Hall: ‘wholesome truths’ versus ‘soft nonsense’." In Anne Brontë, 118–47. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20058-0_5.

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Stedman, Gesa. "Brontë, Anne: The Tenant of Wildfell Hall." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8074-1.

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Bolin, Marissa. "Tenant of Wildfell Hall, The (Anne Brontë)." In The Palgrave Encyclopedia of Victorian Women's Writing, 1–3. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-02721-6_333-1.

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O’Callaghan, Claire. "Killing the “Angel in the House”: Violence and Victim-Blaming in Anne Brontë’s The Tenant of Wildfell Hall." In Intersections of Gender, Class, and Race in the Long Nineteenth Century and Beyond, 297–320. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-96770-7_13.

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Bell], Anne Brontë [Acton. "The Tenant of Wildfell Hall." In The Clarendon Edition of the Novels of the Brontës: Anne Brontë: The Tenant of Wildfell Hall, edited by Herbert Rosengarten. Oxford University Press, 1992. http://dx.doi.org/10.1093/oseo/instance.00191522.

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"The Tenant of Wildfell Hall by Anne Brontë." In Addiction Dilemmas, 31–37. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781119978824.ch5.

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"Narrative Economies in The Tenant of Wildfell Hall." In New Approaches to the Literary Art of Anne Brontë, 91–118. Routledge, 2017. http://dx.doi.org/10.4324/9781315248127-13.

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"Aspects of Love in The Tenant of Wildfell Hall." In New Approaches to the Literary Art of Anne Brontë, 169–88. Routledge, 2017. http://dx.doi.org/10.4324/9781315248127-16.

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"Anne Brontë’s Method of Social Protest in The Tenant of Wildfell Hall." In New Approaches to the Literary Art of Anne Brontë, 143–68. Routledge, 2017. http://dx.doi.org/10.4324/9781315248127-15.

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Mendes, Helena de Luna. "A REPRESENTAÇÃO DA MULHER EM THE TENANT OF WILDFELL HALL DE ANNE BRONTË." In Linguística, Letras e Artes: Sujeitos, Histórias e Ideologias, 1–11. Atena Editora, 2021. http://dx.doi.org/10.22533/at.ed.3362106051.

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