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Journal articles 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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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Cocks, Neil Hayward. "The child and the letter: Anne Brontë’sThe Tenant of Wildfell Hall." Textual Practice 27, no. 7 (December 2013): 1125–47. http://dx.doi.org/10.1080/0950236x.2013.767854.

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12

Newman, Hilary. "Servants and Animals in Anne Brontë’s The Tenant of Wildfell Hall." Brontë Studies 45, no. 3 (June 18, 2020): 227–39. http://dx.doi.org/10.1080/14748932.2020.1756203.

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13

Bullock, Meghan. "Abuse, Silence, and Solitude in Anne Brontë'sThe Tenant of Wildfell Hall." Brontë Studies 29, no. 2 (July 2004): 135–41. http://dx.doi.org/10.1179/bst.2004.29.2.135.

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14

현숙경. "Triple Layers and Triangulation in Anne Brontë’s The Tenant of Wildfell Hall." Journal of English Language and Literature 60, no. 3 (September 2014): 477–94. http://dx.doi.org/10.15794/jell.2014.60.3.005.

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15

Losano, Antonia. "The Professionalization of the Woman Artist in Anne Brontëë's The Tenant of Wildfell Hall." Nineteenth-Century Literature 58, no. 1 (June 1, 2003): 1–41. http://dx.doi.org/10.1525/ncl.2003.58.1.1.

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Critics of Anne Brontëë's The Tenant of Wildfell Hall (1848) have frequently noted the artistic endeavors of the novel's heroine, Helen Graham, yet they have not fully considered the historical and narratological ramifications of Helen's career as a painter. This essay argues that Helen's artworks cannot be considered as mere background to the novel or as simply symbolic reflections of the heroine's (or the author's) emotions. Instead, we must see the scenes of painting in Tenant as indicators of the novel's radical view of women's role as creative producers during a particularly complex moment in art history, one in which early-nineteenth-century female amateurism began its gradual transition from amateur "accomplished" woman to the professional female artist——a historical transition that, as is suggested in readings of various nineteenth-century novels, is in its earliest stages at precisely the moment of the writing and publication of Tenant. At the narrative level, the novel's many scenes of painting provide its readers with detailed, if oblique, guidelines for interpretation; the novel is formally and ideologically impacted by the presence of its painter-heroine. Most particularly, such a reevaluation of the role of painting in the novel resolves a central critical debate over the novel's problematic narrative structure.

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16

Diederich, Nicole A. "The Art of Comparison: Remarriage in Anne Bronte's "The Tenant of Wildfell Hall"." Rocky Mountain Review of Language and Literature 57, no. 2 (2003): 25. http://dx.doi.org/10.2307/1348391.

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17

Poole, Russell. "Cultural Reformation and Cultural Reproduction in Anne Bronte's The Tenant of Wildfell Hall." Studies in English Literature, 1500-1900 33, no. 4 (1993): 859. http://dx.doi.org/10.2307/450753.

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18

Carnell, Rachel K. "Feminism and the Public Sphere in Anne Bronte's The Tenant of Wildfell Hall." Nineteenth-Century Literature 53, no. 1 (June 1998): 1–24. http://dx.doi.org/10.1525/ncl.1998.53.1.01p0003v.

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19

Lin, Lidan. "Voices of Subversion and Narrative Closure in Anne Brontë'sThe Tenant of Wildfell Hall." Brontë Studies 27, no. 2 (July 2002): 131–37. http://dx.doi.org/10.1179/bst.2002.27.2.131.

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20

Dutoi, Karen. "Negotiating Distance and Intimacy in Female Friendship in Anne Brontë'sThe Tenant of Wildfell Hall." Brontë Studies 36, no. 3 (September 2011): 235–46. http://dx.doi.org/10.1179/147489311x13038124796198.

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21

최정선. "Male Bonding and Reciprocity in Words in Anne Brontë’s The Tenant of Wildfell Hall." Feminist Studies in English Literature 25, no. 1 (April 2017): 5–34. http://dx.doi.org/10.15796/fsel.2017.25.1.001.

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22

Martín Alegre, Sara. "AN OVERLOOKED ADULTERESS: ANNABELLA’S IRRESISTIBLE PASSION IN ANNE BRONTË’S THE TENANT OF WILDFELL HALL." RAUDEM. Revista de Estudios de las Mujeres 8 (December 27, 2020): 136. http://dx.doi.org/10.25115/raudem.v8i0.4092.

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23

Talley, Lee A. "The Case for Anne Brontë’s Marginalia in the Author’s Own ofThe Tenant of Wildfell Hall." Brontë Studies 32, no. 2 (July 2007): 132–37. http://dx.doi.org/10.1179/147489307x182880.

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24

Colón, Christine. "Beginning Where Charlotte Left off: Visions of Community in Anne Brontë’sThe Tenant of Wildfell Hall." Brontë Studies 33, no. 1 (March 2008): 20–29. http://dx.doi.org/10.1179/147489308x259578.

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Bobadilla Pérez, María. "The Tenant of Wildfell Hall: El künstlerroman femenino como modelo didáctico en la literatura inglesa." Oceánide 14 (February 1, 2021): 51–57. http://dx.doi.org/10.37668/oceanide.v14i.96.

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Este artículo se centra en el análisis de la novela de Anne Brönte The Tenant of Wildfell Hall (1848) considerando el fin didáctico propuesto por la autora y tomando como referencia uno de los principales modelos literarios del siglo XIX: el künstlerroman o novela del artista. Se propone aquí una puesta en valor de la menos reconocida de las hermanas Brönte, siguiendo la línea argumentativa de relevantes estudios sobre el tema, como Hirsh y Langland (1983), Losano (2003) o Ellis (2017). Si bien la novela de desarrollo tradicional es esencialmente masculina, en el que el artista se recluye en su “torre de marfil”, este no es el caso en esta obra, en la que la heroína artista decimonónica ha de debatirse entre su rol femenino y su pasión artística. Es más, Anne Brönte articula la lucha interna de la protagonista como modelo sutilmente transgresor de la encorsetada sociedad decimonónica. Para profundizar en el modelo de conducta transgresor ejemplificado en la figura de Helen, la protagonista de la obra, se realizará en primer lugar una breve contextualización de los géneros narrativos en los que se enmarca: el bildungsroman y el künstlerroman. A continuación, se analizarán tanto la estructura de la obra como los pasajes más determinantes que inciden en la representación de la mujer como artista para, finalmente, validar la tesis inicial.

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26

Lock, Pam. "Death and the Alcoholic: Public discourses of alcoholism in Anne Brontë’s The Tenant of Wildfell Hall." Social History of Alcohol and Drugs 29 (January 2015): 29–47. http://dx.doi.org/10.1086/29010029.

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27

Berg, Maggie. "“Let me have its bowels then”: Violence, Sacrificial Structure, and Anne Brontë'sThe Tenant of Wildfell Hall." Lit: Literature Interpretation Theory 21, no. 1 (February 26, 2010): 20–40. http://dx.doi.org/10.1080/10436920903547737.

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28

Lock, Pam. "Death and the Alcoholic: Public discourses of alcoholism in Anne Brontë’s The Tenant of Wildfell Hall." Social History of Alcohol and Drugs 29 (January 2015): 29–47. http://dx.doi.org/10.1086/shad29010029.

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29

Cox, Jessica. "Gender, Conflict, Continuity: Anne Brontë'sThe Tenant of Wildfell Hall(1848) and Sarah Grand'sThe Heavenly Twins(1893)." Brontë Studies 35, no. 1 (March 2010): 30–39. http://dx.doi.org/10.1179/174582209x12593347114679.

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De Dios Torralbo Caballero, Juan. "Anne Brontë’s Helen and her Atypical Insuborination: “A Will of her Own”." Romanian Journal of English Studies 16, no. 1 (November 1, 2019): 16–24. http://dx.doi.org/10.1515/rjes-2019-0003.

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AbstractThis article examines the protagonist of The Tenant of Wildfell Hall (Helen Huntingdon/Graham) as an anomaly in the novelistic tradition. Helen Huntingdon is a character who decides for herself, without heeding the advice of her aunt and uncle (exercising “a will of her own”, “I take the liberty of judging for myself”). Helen Graham, in this manner, challenges society, the Victorian novel, and also the sentimental novel that preceded it. She suffers domestic violence at the hands of her husband and, in an extraordinary act of rebellion, courage and determination, abandons him, taking her son away with her. The author’s depiction of Helen’s spouse, the alcoholic and abusive Arthur Huntingdon, also constitutes a divergence from the status quo of the era, as affairs of this kind were not normally portrayed in novels about the affluent Victorian society.

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31

Levine, Caroline. "“HARMLESS PLEASURE”: GENDER, SUSPENSE, AND JANE EYRE." Victorian Literature and Culture 28, no. 2 (September 2000): 275–86. http://dx.doi.org/10.1017/s1060150300282028.

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“[I]T IS TIME THE OBSCURITY . . . WAS done away,” writes Charlotte Brontë in 1850. “The little mystery, which formerly yielded some harmless pleasure, has lost its interest. Circumstances have changed” (“Biographical Notice” 134). The “little mystery” she coyly invokes here was not so trivial in the eyes of the literary world. From the moment that Jane Eyre appeared, reviewers speculated wildly about the identity of the authors of Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall. “[T]he whole reading-world of London was in a ferment to discover the unknown author,” writes Elizabeth Gaskell (271). When the identities of the three sisters emerged, it was something of a shock to most of the London literati to discover that the writers of these “coarse” and “repulsive” novels were young, sheltered Yorkshire women, daughters of a curate, who had seen little of the world.1 Although the secret had been slowly coming out, bit by bit, it was in 1850 that Charlotte Brontë put the speculations to rest with her “Biographical Notice of Ellis and Acton Bell,” written for a new edition of Wuthering Heights.

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32

Maunsell, Melinda. "The Hand-Made Tale: Hand Codes and Power Transactions in Anne Brontë's The Tenant of Wildfell Hall." Victorian Review 23, no. 1 (1997): 43–61. http://dx.doi.org/10.1353/vcr.1997.0008.

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Langland, Elizabeth. ""Give me back my barren hills": Representations of Space in Anne Brontë's The Tenant of Wildfell Hall." Victorians: A Journal of Culture and Literature 138, no. 1 (2020): 112–23. http://dx.doi.org/10.1353/vct.2020.0010.

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Pike, Judith E. "Breeching Boys: Milksops, Men’s Clubs and the Modelling of Masculinity in Anne Brontë’sAgnes GreyandThe Tenant of Wildfell Hall." Brontë Studies 37, no. 2 (April 2012): 112–24. http://dx.doi.org/10.1179/174582212x13279217752741.

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35

Scholl, Lesa. "Sav(or)ing the Soul: Alimentary Excess and the Decline of Body and Soul in Anne Brontë's The Tenant of Wildfell Hall." Victorians: A Journal of Culture and Literature 138, no. 1 (2020): 156–68. http://dx.doi.org/10.1353/vct.2020.0020.

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36

Lamonica Arms, Drew. "‘I may have gone too far’: Reappraising Coarseness in Anne Brontë’s Preface to the Second Edition of The Tenant of Wildfell Hall." Brontë Studies 44, no. 1 (December 17, 2018): 33–42. http://dx.doi.org/10.1080/14748932.2019.1525874.

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37

Pérez Ríu, Carmen. "‘Don’t forget this is how I earn my living’: Internal Focalization, Subjectivity and the Victorian Woman Artist in the Adaptation of Anne Brontë’s The Tenant of Wildfell Hall (BBC Miniseries, 1996)." Brontë Studies 40, no. 1 (December 10, 2014): 44–58. http://dx.doi.org/10.1179/1474893214z.000000000134.

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38

Pellerito, Elizabeth. "Domesticating the Child: Maternal Responses to Hereditary Discourse in The Tenant of Wildfell Hall." Articles, no. 62 (July 29, 2014). http://dx.doi.org/10.7202/1026009ar.

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This article examines the early nineteenth century connections between human, animal and plant by placing Erasmus Darwin’s The Botanic Garden (1791) and The Temple of Nature (1803) in conversation with Anne Brontë’s The Tenant of Wildfell Hall (1848). I argue that the Romantic versions of heredity described in Darwin’s poetry tended to reinscribe traditional gender roles. Brontë’s Tenant, on the other hand, revises earlier notions of heredity and motherhood via Helen Huntingdon, the wife of an alcoholic who tries to prevent her son from activating his genetic taint. By reconfiguring the supposedly natural connections between patriarchal inheritance of the land on the one hand and biological traits on the other, and by reclaiming and reinscribing popular metaphors of breeding, Anne Brontë’s female protagonist creates and attempts to implement a maternalist version of heredity while remaining entrenched within the nineteenth-century cult of motherhood. Whereas the Romantic and romanticized poetry of Erasmus Darwin and his contemporaries’ approach to natural history bestowed human characteristics on plants in order to make their reproduction more comprehensible, The Tenant of Wildfell Hall does the opposite. Without a satisfactory framework in place to express the anxieties surrounding human heredity, Brontë turns the tables on the metaphor and applies the language of breeding and agriculture to a human child. In doing so, she creates an alternate version of heredity based on maternal strength and power rather than one predicated upon patriarchal structures of kinship and economic inheritance.

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Richardson, Ann-Marie. "The Kingdom Where Nobody Dies." English Literature, no. 1 (March 9, 2020). http://dx.doi.org/10.30687/el/2420-823x/2019/01/001.

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This essay explores Charlotte Brontë’s 1849 novel Shirley as a literary endeavour to recreate the sibling dynamic of the Brontës’ childhoods, and the psychological effect of being the ‘surviving’ sibling of a formally collaborative unit. In their adolescent years, the Brontës famously forged fictional kingdoms together, known collectively as “The Glass Town Saga”. Throughout adulthood, each Brontë continuously returned to these stories, oftentimes due to nostalgia and occasionally for creative reinvention. However, by the summer of 1849, their familial collaboration was at an end. Charlotte was the last sibling standing, having lost all her co-authors in the space of nine months. In despair, as a form of catharsis, she turned to her writing and this essay will focus on how protagonist Caroline Helstone became an elegy for both Branwell and Anne Brontë. Mere weeks before Charlotte began volume 1 of Shirley, Branwell was determined to return to a heroine created in his childhood, also named “Caroline (1836)”. This juvenilia piece explores themes of waning sibling connections, death and heartbreak – issues which tormented Branwell and Charlotte throughout his prolonged final illness. Yet Caroline Helstone’s ethereal femininity and infantilization mirrors Anne Brontë’s reputation as the ‘obedient’ sibling, as well as the views expressed in her semi-autobiographical novels Agnes Grey (1847) and The Tenant of Wildfell Hall (1848).

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Torralbo Caballero, Juan de Dios, and Violeta Janulevičienė. "THE PECULIARITIES OF A FEMALE PROTAGONIST IN A. BRONTË’S EPISTOLARY NOVEL." Folia linguistica et litteraria, July 10, 2019, 25–39. http://dx.doi.org/10.31902/fll.27.2019.2.

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This paper offers a study of the less known today and less analysed epistolary novel by Anne Brontë’s The Tenant of Wildfell Hall. It focuses on the instances of female protagonist's unconventional behaviour according to the existing societal norms of the Victorian era. The research aims at pointing out the reasons modifying heroine’s behaviour and analysis of the reactions that the protagonist’s acts of nonconformity elicits in other characters of the novel. The undertaken study is believed to raise awareness of less studied Brontë sisters works in university literature and gender studies courses, as it touches upon the emerging issues of the female strength in the Victorian society.

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Birden, Lorene M. "“Frank and unconscious humor and narrative structure in Anne Brontë's The Tenant of Wildfell Hall”." Humor - International Journal of Humor Research 24, no. 3 (January 2011). http://dx.doi.org/10.1515/humr.2011.017.

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AbstractThis study presents two aspects of the novel in question, its humor and its structure. It shows that both have been misunderstood and misinterpreted, and begins by reminding us that the author herself was long misunderstood because of early critical misreadings and presuppositions. It then continues to demonstrate that the two aspects studied are in fact interrelated; the so-called flawed structure, actually a framing structure, is in fact a firm form that is carefully underpinned by the instances of humor. It proceeds by presenting and dispelling the basic myths about the author and the novel, then presents the structure and the reasons for misconceptions of it before proceeding to map the humor using Attardo's system of humor rhythm mapping. Chlopicki's character frames also contribute to a demonstration of parallel characterization which contradicts another, minor myth, that of the unsuitability of the hero for the heroine. The study as a whole attacks the ideas of humorlessness in Brontë fiction, the inferiority of Anne's work and the feebleness of the structure of The Tenant of Wildfell Hall.

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Shehzad, Aamir. "Understanding Gender Politics in Literature: A study of The Tenant of Wildfell Hall by Anne Bronte." Mediterranean Journal of Social Sciences, October 1, 2013. http://dx.doi.org/10.5901/mjss.2013.v4n11p734.

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"Brontë, A., (ed. H. Rosengarten), The Tenant of Wildfell Hall." Notes and Queries, March 1993. http://dx.doi.org/10.1093/nq/40.1.108.

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