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Donovan, Julie. "Ireland in Charlotte Brontë’s Villette." Irish University Review 44, no. 2 (November 2014): 213–33. http://dx.doi.org/10.3366/iur.2014.0121.
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Ireland has been examined as a focus in Charlotte Brontë’s oeuvre, but not in a sustained discussion about how Ireland pertains to Brontë’s 1853 novel, Villette. This essay seeks to address an oversight in the current scholarship by analyzing how Ireland insinuates itself into the more obvious continental setting of Brontë’s text, taking as a starting point a significant encounter between Brontë’s heroine, Lucy Snowe, and an Irishwoman named Mrs Sweeny. As Lucy vanquishes Mrs Sweeny in order to rise, Brontë sets in train a number of oblique narratives demonstrating how Ireland remains contiguous to Villette's preoccupation with the probing of national allegiances.
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Coté, Amy. "“A Handful of Loose Beads”." Nineteenth-Century Literature 75, no. 4 (March 1, 2021): 473–94. http://dx.doi.org/10.1525/ncl.2021.75.4.473.
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Amy Coté, “‘A Handful of Loose Beads’: Catholicism and the Fictional Autobiography in Charlotte Brontë’s Villette” (pp. 473–494) This essay considers the influence of confession as a Catholic liturgical sacrament and as a literary genre informing the fictional autobiography in Charlotte Brontë’s Villette (1853). In her earlier novel Jane Eyre (1847), Brontë used the tradition of Protestant spiritual autobiography as a literary genre focused on the individual’s spiritual development. Villette, written as it was at the height of a wave of anti-Catholic sentiment in England in the 1840s and 1850s, has understandably been read as a nationalistic rebuke of Catholicism. This essay complicates this narrative, and shows how Brontë looks to Catholic liturgical traditions, most notably the sacrament of confession, to trouble the generic conventions of the Protestant spiritual autobiography and, by extension, of fictional autobiography.
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Wynne, Deborah. "Charlotte Brontë’s Gothic Fragment: ‘The Story of Willie Ellin’." Victoriographies 11, no. 1 (March 2021): 20–37. http://dx.doi.org/10.3366/vic.2021.0407.
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Charlotte Brontë’s eighteen-page fragment, ‘The Story of Willie Ellin’, written shortly after the publication of Villette in 1853, combines the gothic and realism and uses multiple narrators to tell a disturbing story of cruelty towards a child. The generic instability and disordered temporal framework of this fragment make it unlike anything Brontë had previously written, yet it has attracted the attention of few scholars. Those who have discussed it have condemned it as a failure; the later fragment ‘Emma’, also left incomplete by the author's premature death, has been seen as the more likely beginning of a successor to Villette. ‘The Story of Willie Ellin’ reveals Brontë at her most experimental as she explores the use of different narrative voices, including that of an unnamed genderless ‘ghost’, to tell a story from different perspectives. It also shows Brontë representing a child's experience of extreme physical abuse which goes far beyond the depictions of chastisement in Jane Eyre (1847). This essay argues that ‘The Story of Willie Ellin’ affords rich insights into Brontë’s ideas and working practices in her final years, suggesting that it should be more widely acknowledged as a unique aspect of Brontë’s oeuvre, revealing the new directions she may have taken had she lived to complete another novel.
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Heitzman, Matthew. "“He Resembled the Great Emperor”." Nineteenth-Century Literature 74, no. 2 (September 1, 2019): 199–223. http://dx.doi.org/10.1525/ncl.2019.74.2.199.
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Matthew Heitzman, “‘He Resembled the Great Emperor’: Charlotte Brontë, Villette, and the Rise of Napoleon III” (pp. 199–223) This essay offers a local historical context for Charlotte Brontë’s Villette (1853), reading it in relation to the rise of Napoleon III as Emperor of France. Napoleon III completed his ascendancy just as Brontë was completing her novel. His rise prompted a mixture of anxiety and optimism in the English press, as English political commentators were uncertain if this new Napoleon’s reign would mark a return to the Anglo-French nationalist strife of the first Napoleonic period or if his rule would mark a détente and productive path forward for Anglo-French relations. I argue that this ambiguity is coded into Brontë’s characterization of Monsieur Paul Emanuel, and that we can read Monsieur Paul’s romance with Lucy Snowe as a political allegory—Brontë’s attempt to decipher what Napoleon III’s rapid rise meant for Anglo-French relations. I suggest in this essay that Brontë’s interest in the contemporary Anglo-French political context was a product of her fascination with Napoleon Bonaparte, specifically his rivalry with the Duke of Wellington, and that understanding her interest in the first Napoleonic period can help us to decipher why her depiction of Anglo-French nationalist interaction in Villette is totally at odds with her other novels, where French nationalism is typically a trait that needs to be effaced.
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Hanks, Lucy. "Different Kinds of Silence: Revisions of Villette and the ‘Reader’s Romance’." Journal of Victorian Culture 25, no. 3 (April 25, 2020): 443–57. http://dx.doi.org/10.1093/jvcult/vcaa010.
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Abstract This article presents an alternative reading of Lucy Snowe’s silences in Charlotte Brontë’s Villette. Instead of interpreting silence as submission or antagonistic ‘evasions’, I suggest that it operates as a productive mode. This is emphasized by Brontë’s markings and excisions on the fair copy manuscript. Revisions render parts of the text intentionally ambiguous; I provide extended close readings of the manuscript that demonstrate how Lucy Snowe makes the fact that she has withheld something explicit to the reader. Villette draws attention to its own composition and reception to such an extent that it is the very act of non-narration – and the way it engages the reader – that produces meaning. Approaching this through the lens of the romance plot addresses some of the overtly unnarratable aspects of female selfhood in the mid-nineteenth century. As a female autobiographer, Lucy Snowe makes her struggle to express her sexuality explicit. Brontë crafts this self-reflexivity to form a relationship with the reader that is akin to Bakhtin’s description of the ‘activating reader’. It is only the act of reading, he suggests, that makes discourse possible. However, revisions show how Brontë attempts to influence the types of meaning that are gleaned by the reader; the ‘reader’s romance’ clarifies how she suggestively places the onus on the reader to resolve their expectations about the narrative’s events for themselves. This narrative mode allows the protagonist to reclaim power and use the very means of her oppression as a mode of meaning production.
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Brownstein, Rachel M. "Representing the Self: Arnold and Brontë on Rachel." Browning Institute Studies 13 (1985): 1–24. http://dx.doi.org/10.1017/s0092472500005344.
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Like Proust's Berma, Vashti in Charlotte Brontë's Villette is a literary image of an actress who was legendary to begin with. Rachel (1821–58), before Sarah Bernhardt, was “one of the greatest actresses France, or perhaps the world, has ever known.” Named Élisa- or Élisabeth-Rachel Félix at her birth, she chose to be called “Rachel” tout court, professionally, and only that name is carved on her monument in the Paris cemetery of Pere Lachaise – marking a victory of choice over accident, art over nature. Single like a queen's, the name reflects her singularity and also suggests her emblematic, hypostasized dimension, her status as an abstraction. “Mlle Rachel est un principe,” wrote one enthusiast of her time, arguing that she symbolized the theater.
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Litvak, Joseph. "Charlotte Brontë and the Scene of Instruction: Authority and Subversion in Villette." Nineteenth-Century Literature 42, no. 4 (March 1, 1988): 467–89. http://dx.doi.org/10.2307/3045250.
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Steedman, Carolyn. "Prisonhouses." Feminist Review 20, no. 1 (July 1985): 7–21. http://dx.doi.org/10.1057/fr.1985.16.
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Those who live in retirement, whose lives have fallen amid the seclusion of schools and other walled-in and guarded dwellings, are liable to be suddenly and for a long while dropped out of the memory of their friends, the denizens of a freer world … there falls a stilly pause, a wordless silence, a long blank of oblivion. Unbroken always is this blank, alike entire and unexplained. The letter, the message once frequent, are cut off, the visit, formerly periodical, ceases to occur; the book, paper, or other token that indicates remembrance, comes no more. Always there are excellent reasons for these lapses if the hermit but knew them. Though he is stagnant in his cell, his connections without are whorling in the very vortex of life … The hermit – if he be a sensible hermit – will swallow his own thoughts, and lock up his own emotions during these weeks of inward winter… (Charlotte Brontë, Villette, 1979: 348)
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Beghain, Véronique. "«To retain the slight veil of the original tongue» : traduction et esthétique du voile dans Villette de Charlotte Brontë." Cahiers Charles V 44, no. 1 (2008): 125–43. http://dx.doi.org/10.3406/cchav.2008.1518.
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Monereo Atienza, Cristina. "Narrativa y género: sobre desigualdad y justicia social en “Villette” de C. Brontë e “Insolación” de E. Pardo Bazán." ANAMORPHOSIS - Revista Internacional de Direito e Literatura 4, no. 2 (January 17, 2019): 501. http://dx.doi.org/10.21119/anamps.42.501-518.
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Neste trabalho se analisam duas obras literárias que retornam às origens do movimento feminista e concebem uma crítica à sociedade patriarcal, a divisão de papeis e à concepção marginalizada da mulher nesse momento. São ambos textos críticos que representam a um indivíduo isolado e indefeso em uma sociedade dominada pelo pensamento e a beneficência da igreja; refletem uma sociedade naturalmente organizada na qual se oculta ou invisibilizam às desigualdade de gênero, disfarçadas como pura e simples questão de diferença de/entre sexos; uma sociedade onde se idealizam umas supostas características femininas (a beleza, a delicadeza, a sensibilidade) sob as que se esconde a autêntica dominação do sexo masculino; inclusive, nas que domina o mito da incompreensão e o mistério que despertam as mulheres como uma forma de submissão à racionalidade masculina. Ante tal situação, se provoca à mulher para levantar sua voz diferenciada, plantando a semente para criar um novo sujeito com liberdade para gerar projetos de vida digna independentemente do sexo. No âmbito público se estabelecem às bases para a reconstrução de uma sociedade que não separe artificialmente entre a esfera pública e privada, e na que predomine uma nova teoria da justiça baseada mais na pluralidade e diferença de expectativas, necessidades e bens.
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Zieger, Susan. "“MISS X,” TELEPATHY, AND AFFECT ATFIN DE SIÈCLE." Victorian Literature and Culture 46, no. 2 (May 16, 2018): 347–64. http://dx.doi.org/10.1017/s1060150318000049.
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In his bookApparitions and Thought-Transference:An Examination of the Evidence for Telepathy(1895), Frank Podmore relates what might at first seem a humdrum occurrence of settling into bedtime reading. The diary he has transcribed, of a woman he calls D, records on January 6th, “Tried several books . . . finally took to ‘Villette.’” But D’s choice was not completely autonomous. She was clearly influenced by her friend, “X.” As Podmore wrote, “From Miss X's diary it appears that she willed D to readThe Professor,” which he notes, portentously, was “also by Charlotte Brontë.” X got luckier – or honed her skills – a few weeks later, when D recorded “Sonnets by E.B.B. 10:30 p.m.” and “In Miss X's diary, written at about 10 p.m., appears the entry, ‘Sonnets viii-ix., E.B.B.’” Assessing the records, Podmore found X's influence over D's literary taste to be “presumably telepathic” (122–23). Although the phenomenon was sensational, the circumstances surrounding it were decidedly mundane, ranging from bedtime reading to hearing X's piano-playing at a distance of miles, and meeting specific people at certain times. At a second glance, the phenomenon remains humdrum. Gauri Viswanathan has described how the institutionalization of Theosophy created reality effects that routinized its mysticism, rendering it ordinary (7). Similarly, though psychical research studied the numinous, its institutions ensconced it in bureaucracy, making it mundane. In the last quarter of the nineteenth century in Britain, the oddly interesting-yet-boring phenomenon of thought-reading became a cultural activity that ranged between scientific research, domestic pastime, and popular entertainment. Could people read each other's minds? If so, how was it done? Thought-reading arose to compete with Spiritualism, the practice of contacting the dead through séances. Its most mysterious public persona, and one of the more intriguing historical figures of the period, was Podmore's aficionado of Charlotte Brontë and Elizabeth Barrett Browning, the presumed telepath known as Miss X.
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Kromm, Jane. "Visual Culture and Scopic Custom in Jane Eyre and Villette." Victorian Literature and Culture 26, no. 2 (1998): 369–94. http://dx.doi.org/10.1017/s1060150300002461.
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Art making and art viewing activities steeped in assumptions about gender recur throughout Jane Eyre and Villette. This paper will argue that Charlotte Bronte developed these fine arts devices as part of a carefully crafted feminist critique of spectatorship and representation. Bronte pursued this end by demonstrating that incidents relating to the production and reception of visual culture were relevant for visual experience more broadly understood by linking these events in the narrative to “scopic custom”; that is, the art experiences of Bronte's characters are presented as occurring in relation to the customary, gendered patterns of looking and being looked at which dominated Victorian society. This strategic interweaving of visual culture with scopic custom allows Bronte to accentuate their interdependence as a socio-cultural dynamic of critical significance, and to illuminate their share in the cultural and social constraints affecting women as producers and objects of representation.
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Longmuir, Anne. ""Reader, perhaps you were never in Belgium?": Negotiating British Identity in Charlotte Brontëë's The Professor and Villette." Nineteenth-Century Literature 64, no. 2 (September 1, 2009): 163–88. http://dx.doi.org/10.1525/ncl.2009.64.2.163.
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Critical investigations of the foreign settings of Charlotte Brontëë's The Professor (1857) and Villette (1853) have tended to conceive Belgium (fictionalized as Labassecour in Villette) as simply "not England." In contrast, this essay considers the historic and geographic specificity of The Professor and Villette, arguing that Belgium represents a crucial middle-ground between British and French values in the mid nineteenth century. Not only was Belgium the location of the decisive British victory over the French at Waterloo, but British commentators also increasingly depicted Belgium as a "little Britain on the continent," or potentially Anglicized space, in the 1840s. Drawing on both Brontëë's explicit references to the Napoleonic Wars in The Professor and Villette and contemporary Victorian conceptions of Belgium, this essay argues that Brontëë's use of this particular foreign space is not just a result of her experiences in Brussels in the early 1840s. Instead, the overlooked middle——ground of Belgium epitomizes the conflict between British and French values in Brontëë's fiction——and the possibility of their reconciliation. While Brontëë ultimately rejects the idea that Belgium represents the site of a possible Anglo-Continental union, it is nonetheless a space in which Brontëë's characters reformulate or consolidate their ideas of home, revealing Britishness to be both culturally produced and value-laden in Brontëë's fiction.
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Scribner, Abby. "Liberalism and Inner Life: The Curious Cases of Mansfield Park and Villette." Novel 53, no. 3 (November 1, 2020): 317–40. http://dx.doi.org/10.1215/00295132-8624516.
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Abstract This article takes up two famously disliked nineteenth-century novels—Jane Austen's Mansfield Park and Charlotte Brontë's Villette—and argues that they are dissatisfying to readers because their protagonists fail to cohere as liberal subjects around a legible interior realm. Mansfield Park initially offers its east room as a spatial analogue for Fanny Price's interior, but it gradually revokes narrative access to the space in order to defer wholly to external status markers. Likewise, Villette's Lucy Snowe creates architectural constructions as a means of representing her inner realm to an outside world. However, each instance results in an impossible space that fails to establish the contours of Lucy's interior. The article reads the failures of subjectivation in the two novels in light of critical accounts that link the nineteenth-century novel to liberalism, a link that is often established through a shared emphasis on the interior. It thus examines what could come next once such a link is broken: a reevaluation of the default political perspective of the nineteenth-century novel but also a renewed understanding of the variety of subjective forms that liberalism is able to capture.
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현숙경. "Multiple Meanings of Silence in Charlotte Bronte¨’s Villette." Journal of English Language and Literature 56, no. 6 (December 2010): 1241–59. http://dx.doi.org/10.15794/jell.2010.56.6.011.
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Badowska, Eva. "Choseville: Brontë's Villette and the Art of Bourgeois Interiority." PMLA/Publications of the Modern Language Association of America 120, no. 5 (October 2005): 1509–23. http://dx.doi.org/10.1632/003081205x73362.
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The essay argues that Charlotte Brontë's Villette (1853) grapples with the role of things in the constitution of persons. It is a paradigmatic novel about the fortunes of private, psychological interiority under commodity culture; its immediate context is the empire of things after the Great Exhibition of 1851. Villette represents subjectivity as a cabinet of curiosities, an interior–like a parlor–filled with intensely meaningful, even fetishized, bibelots. Lucy, the novel's narrator, longs to retreat from the public spectacles of commodity culture but, ironically, finds her identity also through relations with things. The novel suggests that bourgeois subjectivity, though it points to a thorough intimacy with objects, is paradoxically defined by the nostalgic notion that true interiority has been beset by or even lost to the pressure of things.
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Sari, Desi Prawita, Bani Sudardi, and Mugijatna Mugijatna. "WACANA KEPEREMPUANAN DALAM NOVEL-NOVEL CHARLOTTE BRONTË." Haluan Sastra Budaya 34, no. 1 (January 19, 2017): 36. http://dx.doi.org/10.20961/hsb.v34i1.4268.
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<span>Penelitian ini bertujuan untuk menemukan dan menjelaskan wacana keperempuanan baru dalam novel-novel Charlotte Brontë yang menunjukan resistensi terhadap wacana keperempuanan ideal di Masa Victoria. Penelitian ini menggunakan pendekatan </span><em>new historicism </em><span>yang mengakomodasi konsep Foucault tentang wacana. Data yang digunakan dalam penelitian adalah kalimat atau ungkapan dalam novel-novel Brontë dan data historis lain pada masa Victoria yang diambil dari berbagai sumber. Novel- novel yang dianalisis adalah </span><em>Jane Eyre </em><span>(1847), </span><em>The Professor </em><span>(1857), </span><em>Shirley </em><span>(1849), dan </span><em>Villete </em><span>(1853). Hasil dari penelitian ini adalah ditemukannya dua wacana baru tentang keperempuanan dalam novel-novel tersebut yaitu wacana kesetaraan gender dan wacana kebebasan berekspresi dan berkehendak bagi perempuan.</span>
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Kim, Jungah. "Nomadic Narrative in Charlotte Brontë’s Villette." Humanities 8, no. 2 (March 28, 2019): 65. http://dx.doi.org/10.3390/h8020065.
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Various critics have examined Charlotte Brontë’s Villette’s missing ending as a proof of Lucy Snowe’s unreliability in leaving the narrative purposefully ambiguous to escape her possible negative ending. I, however, interpret the ending as one of the ways in which she actively and positively refuses the concept of closure, and rather, creates, what I would call, a nomadic narrative. Nomadic narrative is term I coined based on the idea of Rosi Braidotti’s nomadic theory and Georg Lukács’s The Theory of the Novel to re-imagine Lucy’s narration and narrative, not as a concealment, but as an embracement of her nomadic subjectivity and acknowledgement that she has no true end. I further argue that nomadic narrative is a narrative that fractures and recreates itself through its gaps and rewritten portions, gaining its own sense of agency. Unlike narratives that only fixate on protagonists, nomadic narrative becomes an open and posthuman space that allows the incorporation of nonhuman subjects.
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Yost, D. "A Tale of Three Lucys: Wordsworth and Bronte in Kincaid's Antiguan Villette." MELUS: Multi-Ethnic Literature of the United States 31, no. 2 (March 1, 2006): 141–56. http://dx.doi.org/10.1093/melus/31.2.141.
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Litvak, Joseph. "Charlotte Bronte and the Scene of Instruction: Authority and Subversion in Villette." Nineteenth-Century Literature 42, no. 4 (March 1988): 467–89. http://dx.doi.org/10.1525/ncl.1988.42.4.99p0132w.
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Cortés Vieco, Francisco José. "Unravelling the Body/Mind Reverberations of Secrets Woven into Charlotte Brontë’s Villette." Prague Journal of English Studies 4, no. 1 (July 1, 2015): 25–45. http://dx.doi.org/10.1515/pjes-2015-0002.
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Abstract The pervasive psychological realism of Charlotte Brontë’s Villette (1853) challenges scholarly assumptions based on her biography or her indoctrination to Victorian medical discourses, as it explores dysfunctional body/mind interrelations, particularly those evidencing patriarchal pressures and prejudices against women. Under the guise of her heroine Lucy, the author becomes both the physician and the patient suffering from a female malady of unnamed origin. This article intends to prove that, instead of narratively unravelling her creature’s past trauma with healing purposes, the author conceals its nature to protect her intimacy and she focuses on the periphery of her crisis aftermath to demonstrate its severity by means of the psychosomatic disorders that persistently haunt her life: depression, anorexia nervosa and suicidal behavior. Brontë’s literary guerrilla of secrecy aims, simultaneously, to veil and unveil the core of Lucy’s clinical case with an unequivocal diagnosis: a harmful, mysterious event from her childhood/adolescence, whose reverberations repeatedly erupt during her adulthood and endanger her survival. Unreliable but “lucid”, this heroine becomes the daguerreotype of her creator to portray life as a sad, exhausting journey, where professional self-realisation - not love or marriage - turns into the ultimate recovery therapy from past ordeals, never successfully confirmed in the case of Lucy, who epitomises a paradigm of femininity in Victorian England: the impoverished, solitary, middle-class woman
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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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Mazurek, Monika. "Nurslings Of Protestantism: The Questionable Privilege Of Freedom In Charlotte Brontë’s Villette." Studia Anglica Posnaniensia 49, no. 4 (December 1, 2014): 37–54. http://dx.doi.org/10.1515/stap-2015-0011.
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Abstract In Charlotte Brontë’s Villette, a number of foreigners at various points express their amazement or admiration of the behaviour of Englishwomen, who, like the novel’s narrator Lucy Snowe, travel alone, visit public places unchaperoned and seem on the whole to lead much less constrained lives than their Continental counterparts. This notion was apparently quite widespread at this time, as the readings of various Victorian texts confirm – they often refer to the independence Englishwomen enjoyed, sometimes with a note of caution but often in a self-congratulatory manner. Villette, the novel which, similarly to its predecessor, The Professor, features a Protestant protagonist living in a Catholic country, makes a connection between Lucy’s Protestantism and her freedom, considered traditionally in English political discourse to be an essentially English and Protestant virtue. However, as the novel shows, in the case of women the notion of freedom is a complicated issue. While the pupils at Mme Beck’s pensionnat have to be kept in check by a sophisticated system of surveillance, whose main purpose is to keep them away from men and sex, Lucy can be trusted to behave according to the Victorian code of conduct, but only because her Protestant upbringing inculcated in her the need to control her desires. The Catholics have the Church to play the role of the disciplinarian for them, while Lucy has to grapple with and stifle her own emotions with her own hands, even when the repression is clearly the cause of her psychosomatic illness. In the end, the expectations regarding the behaviour of women in England and Labassecour are not that much different; the difference is that while young Labassecourians are controlled by the combined systems of family, school and the Church, young Englishwomen are expected to exercise a similar control on their own.
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Lagutina, Nadezhda Stanislavovna, Ksenia Vladimirovna Lagutina, Elena Igorevna Boychuk, Inna Alekseevna Vorontsova, and Ilya Vyacheslavovich Paramonov. "Automated Search of Rhythm Figures in a Literary Text for Comparative Analysis of Originals and Translations Based on the Material of the English and Russian Languages." Modeling and Analysis of Information Systems 26, no. 3 (September 28, 2019): 420–40. http://dx.doi.org/10.18255/1818-1015-2019-3-420-440.
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Analysis of the functional equivalence of an original text and its translation based on the achievement of rhythm equivalence is an extremely important task of modern linguistics. Moreover, the rhythm component is an integral part of functional equivalence that cannot be achieved without communication of rhythm figures of the text. To analyze rhythm figures in an original literary text and its translation, the authors developed the ProseRhythmDetector software tool that allows to find and visualize lexical and syntactic figures in English- and Russian-language prose texts: anaphora, epiphora, symploce, anadiplosis, epanalepsis, reduplication, epistrophe, polysyndeton, and aposiopesis. The goal of this work is to present the results of ProseRhythmDetector testing on two works by English authors and their translations into Russian: Ch. Bronte “Villette” and I. Murdoch “The Black Prince”. Basing on the results of the tool, the authors compared rhythm figures in an original text and its translation both in aspects of the rhythm and their contexts. This experiment made it possible to identify how the features of the author’s style are communicated by the translator, to detect and explain cases of mismatch of rhythm figures in the original and translated texts. The application of the ProseRhythm-Detector software tool made it possible to significantly reduce the amount of linguistsexperts work by automated detection of lexical and syntactic figures with quite high precision (from 62 % to 93 %) for various rhythm figures.
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Eriks Cline, Lauren. "‘Mere Lookers-On at Life’: Point of View and Spectator Narrative." Nineteenth Century Theatre and Film 44, no. 2 (November 2017): 154–72. http://dx.doi.org/10.1177/1748372717738950.
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This essay develops a new approach to print narratives about theatregoing during the Victorian and Edwardian periods. Immensely popular with contemporary readers, theatrical memoirs and diaries have been a boon to theatre historians of the nineteenth and early twentieth centuries; but these texts have more often been studied in spite of their subjective perspectives than because of them. Building on work in theatre historiography and audience studies, this essay seeks to transform the spectator’s discursive acts of shaping, framing, and stressing from an obstacle into an opportunity. In order to resituate historical spectator narratives in a wider narrative context, I read diaries and essays by Henry Crabb Robinson and Lady Maud Tree in conversation with Charlotte Brontë’s fictional scenes of spectatorship in Villette. This intertextual approach, I suggest, yields a more complete understanding of how different points of view facilitated claims about performance. In particular, I explore how gender affected point of view. While male reviewers and diarists often employ a disinterested narrative persona that de-emphasises their own bodies, I argue that many actress autobiographies craft an alternative form of narrative authority that makes use of the limitations of embodiment – qualities like immobility, bodily sensation, and circumscribed vision.
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Lamouria, Lanya. "Villette, Female Political Agency, and the French Revolution of 1848." Journal of Victorian Culture, May 21, 2021. http://dx.doi.org/10.1093/jvcult/vcab028.
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Abstract This essay reads Charlotte Brontë’s Villette (1853) as a response to questions about women’s public agency that were raised by the French Revolution of 1848, in which women played prominent roles. The actress Rachel, the inspiration for Villette’s Vashti, became the most notorious female activist of the Revolution when she performed La Marseillaise in support France’s Second Republic. As I demonstrate, Brontë engages directly with Victorian journalistic accounts of these performances. Here, and in other episodes focused on women leaders, such as ‘Madame Beck’ and ‘The Cleopatra’, Brontë seeks to expose the linguistic and iconographic conventions around female political power that diminish women’s agency in the process of representing it. Brontë’s awareness of the pervasiveness and intractability of these conventions explains the novel’s final scepticism about women’s ability to exercise political power. Although Villette’s protagonist, Lucy Snowe, indulges in fantasies of political power, she satisfies these fantasies not in the public realm but in a politicized private realm, where she re-enacts Napoleonic-era political conflicts with her imperious lover, M Paul. My aim in analysing Brontë’s engagement with 1848 is to understand Villette’s politicization of romance. For Brontë, I argue, women’s exclusion from the political is tantamount to their exclusion from history, and Lucy’s strategic political re-enactments function as both critique of and compensation for this exclusion.
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Chagas da Costa, Monica. "“A marvelous sight, a mighty revelation”: Vashti, O gênio em villette." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 74, no. 1 (January 28, 2021). http://dx.doi.org/10.5007/2175-8026.2021.e72803.
Full textAbstract:
Villette (1853), o terceiro romance publicado de Charlotte Brontë, trata da história da gelada Lucy Snowe e sua experiência como professora na terra estrangeira do país fictício de Labassecour. A narrativa é profundamente controlada pela narradora, Lucy, e são poucos os momentos em que as emoções tomam formas não-reprimidas no texto. Um dos momentos em que o oposto acontece é no capítulo intitulado “Vashti”, no qual Lucy assiste a uma peça e se impressiona com a performance da atriz, Vashti. O presente trabalho relaciona a tradição do conceito de gênio, em sua evolução pela história ocidental, e a representação da artista figurada no romance de Brontë, de modo a demonstrar o entendimento da escritora sobre o gênio feminino. Pode-se concluir que, para Brontë, a imagem da artista está relacionada a figuras iconicamente rebeldes da tradição ocidental, e que sua abordagem em Villette sobre a representação da genialidade feminina desvia do padrão vitoriano que ela mesma segue em outras obras.
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"Rosengarten, H. and Smith, M. (eds), Charlotte Brontë: Villette. Pp. lv + 768. Oxford: Clarendon Press, 1984. £48.00." Notes and Queries, June 1986. http://dx.doi.org/10.1093/notesj/33.2.250.
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Wagner, Tamara S. "Becoming Foreign in the Victorian Novel: International Migration in Little Dorrit and Villette." Journal of Victorian Culture, October 27, 2020. http://dx.doi.org/10.1093/jvcult/vcaa034.
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Abstract This article analyses the representation of migrant workers in Victorian fiction. While exploring the seldom-discussed experience of such migrants, I argue that in the fiction of the time, migration for work outside of the empire expresses the experience of individual isolation as the result of increasing urban anonymity as well as of global exchanges. The figure of the migrant thereby literalizes modern isolation in an emergent society of strangers. In depicting migratory characters as embodiments of loneliness, while establishing it as a shared experience through parallel plots, nineteenth-century novels map out possible connections in a globalizing world. In parsing the interplay of isolation and imaginary sympathy in two texts of the 1850s, Charles Dickens’s Little Dorrit and Charlotte Brontë’s Villette, I argue that the experience of feeling foreign while working abroad enables characters to seek connections that transcend boundaries of class and national identity, even as the sympathy they imagine might be flawed, warped by projection and identification. In Little Dorrit, Cavalletto’s accident in the streets of London enacts a pivotal moment of imagined sympathy for the recently returned Arthur Clennam that ultimately helps to solve the renegotiation of home and host country in the novel, while in Villette, a female migrant articulates an increasingly widespread experience not only of modern isolation, social invisibility, and cultural disorientation, but also of the power of anonymity. A critical analysis of migratory work in Victorian fiction adds an important new dimension to nineteenth-century global studies.