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Coste, Bénédicte. "Wuthering Heights : lectures." Montpellier 3, 1996. http://www.theses.fr/1996MON30054.
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Lectures de Wuthering Heights : 1- à travers la situation d'Emily Brontë auteur ausein de l'atelier Brontë, à travers la mythologie et les mystifictions afférentes. 2- A travers la poésie révisant le Romantisme et pensant la subjectivité dans l'époché moderne. Les références au trouble et à l'orage seront reprises dans Wuthering Heights. 3- Mythe des feux traduisant les bouleversements épistémologiques apportés par la thermodynamique. Causalité, temporalité et vérité sont les catégories repensées par un récit explicitant les nouvelles conditions de possibilité de l'histoire. Le trajet du héros fictionnalise quant à lui la révolution permettant l'advenue d'un sujet soumis aux lois de l'évolution. Ayant brûlé son (hypo) Texte, Wuthering Heights devient le nouveau Testament de l'époque naturalisteWe shall be reading Wuthering Heights from Emily's standpoint within the Brontë workshop and using mythology and "mystifictions" that he Brontës have generated. Brontë's poetry can be read as a revision of Romanticism and as a meditation on subjectivity in the modern époché. References to trouble and storm will be seen in the context of both her prose and poetry. Wuthering Heights is a myth transformed by the epistemological change brought about by thermodynamics. Causality, temporality and truth are the categories which the narrative revises thus redefining the conditions of possibility of history. The hero's trajectory is used as a means of exploring the consequences of such a revolution. It also allows for the emergence of a new subject inscribed within an evolutionist scheme. Having burnt its (hypo) Text, Wuthering Heights becomes then the New Testament of the naturalist era
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Bhattacharya, Sumangala. "Wuthering Heights: A Proto-Darwinian Novel." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc500893/.
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Wuthering Heights was significantly shaped by the pre-Darwinian scientific debate in ways that look ahead to Darwin's evolutionary theory more than a decade later. Wuthering Heights represents a cultural response to new and disturbing ideas. Darwin's enterprise was scientific; Emily Brontë's poetic. Both, however, were seeking to find ways to express their vision of the nature of human beings. The language and metaphors of Wuthering Heights suggest that Emily Brontë's vision was, in many ways, similar to Darwin's.
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Broome, Sean. "'Wuthering Heights' and the othering of the rural." Thesis, University of Derby, 2015. http://hdl.handle.net/10545/584017.
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This thesis explores the notion of rurality as a form of constructed identity. Just as feminist and postcolonial studies identify the formation of hierarchies within gender and ethnicity, I argue that the rural is constructed as inferior in opposition to its binary counterpart, the urban. The effect of this is the othering of the rural. This thesis takes Emily Brontë’s novel Wuthering Heights as a case study, using a critical approach to explore the ways in which it presents rurality, and to consider its role in the creation and reproduction of rural identity. The case study suggests that the adoption of a ‘rural reading’, in which an awareness of rural othering is fostered, can be a useful and productive strategy in textual analysis and interpretation. The first three chapters of this thesis focus on rural construction generally. Chapter 1 draws on semiotic theory to examine the creation of binaries, and Derridean notions of linguistic hierarchies to suggest reasons for the inferior position of the rural. Chapter 2 considers the historical location of the urban/rural binary in the late eighteenth and early nineteenth centuries, within the context of the Enlightenment, the growth of capitalism, industrialisation and rapid urban expansion. Chapter 3 explores rural othering as a feature of contemporary culture, examining the textual presence of idyllic and anti-idyllic versions of the rural. Chapter 4 introduces the methodology of the case study, explaining the relevance of Wuthering Heights to the study of rural othering, providing a précis of the novel and an overview of previous critical responses. Chapters 5, 6 and 7 explore the three themes of nature, deviance and space. These are derived from the examination of rural construction in Chapter 3. In Chapter 5, the representation of nature in Wuthering Heights is explored, and the presence of animals within the novel in particular. In Chapter 6, the depiction of deviance in Wuthering Heights is discussed, with special focus given to the presence of deviant speech patterns, reflecting changing expectations of behavioural norms in the early nineteenth century. Chapter 7’s consideration of the relationship between space and rurality within Brontë’s novel considers her representation of landscape. Chapter 8 argues that a similar rural reading can be applied to other texts, literary and otherwise, opening up a fresh set of perspectives and possibilities for interpretation.
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McGuire, Kathryn B. (Kathryn Bezard). "The Incest Taboo in Wuthering Heights." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc500863/.
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Contemporary analysis of Wuthering Heights necessitates a re-appraisal in light of advancements in the study of incest in non-literary fields such as history, anthropology, and especially psychology. A modern reading suggests that an unconscious incest taboo impeded Heathcliff and Cathy's expectation of normal sexual union and led them to seek union after death. John Milton's Paradise Lost provides a paradigm by which to examine the consequences of incest from two perspectives: that of incest as a metaphor for evil, as represented in Heathcliff; that of incest as symbolic of pre-Lapsarian innocence, as represented in Cathy. The tragic consequences of Heathcliff and Cathy's incestuous fixation are resolved by the socially-condoned marriage of Hareton and Catherine, which illuminates Bronte's belief in the Miltonic theme that good inevitably triumphs over evil.
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McGuire, Kathryn B. (Kathryn Bezard). "The Incest Taboo in Wuthering Heights : A Modern Appraisal." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc277599/.
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A modern interpretation of Wuthering Heights suggests that an unconscious incest taboo impeded Catherine and her foster brother, Heathcliff, from achieving normal sexual union and led them to seek union after death. Insights from anthropology, psychology, and sociology provide a key to many of the subtleties of the novel by broadening our perspectives on the causes of incest, its manifestations, and its consequences. Anthropology links the incest taboo to primitive systems of totemism and rules of exogamy, under which the two lovers' marriage would have been disallowed because they are members of the same clan. Psychological studies provide insight into Heathcliff and Catherine's abnormal relationship—emotionally passionate but sexually dispassionate—and their even more bizarre behavior—sadistic, necrophilic, and vampiristic—all of which can be linked to incest. The psychological manifestations merge with the moral consequences in Bronte's inverted image of paradise; as in Milton's Paradise, incest is both a metaphor for evil and a symbol of pre-Lapsarian innocence. The psychological and moral consequences of incest in the first generation carry over into the second generation, resulting in a complex doubling of characters, names, situations, narration, and time sequences that is characteristic of the self-enclosed, circular nature of incest. An examination of Emily Bronte's family background demonstrates that she was sociologically and psychologically predisposed to write a story with an underlying incest motif.
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Myburgh, Jan Albert. "Space and borders in Emily Brontë’s Wuthering Heights." Diss., University of Pretoria, 2013. http://hdl.handle.net/2263/79289.
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Critics such as Elizabeth Napier and Lorraine Sim explore some aspects of space and borders in their discussions of Emily Brontë’s Wuthering Heights, presumably to demonstrate that the novel is a representative nineteenth-century text that depicts and comments on fundamentally nineteenth-century debates and concerns. However, the existing critical work on Brontë’s novel does not include analyses that incorporate spatial theories such as those of Henri Lefebvre, Edward Soja, Michel Foucault, and Henk van Houtum in their discussion of Brontë’s narrative as a seminal nineteenth-century work of fiction. These spatial theories maintain that those who occupy positions of power in society shape and remodel the spaces and borders in which society exists and of which it consists, and impose these constructs on the other members of society to ensure social order and to safeguard their own position of authority within the structure of society. In this dissertation, such theories have been used to emphasise the significance of the portrayal of space and borders as social constructs in the narrative, and to show that such an investigation presents alternative or more nuanced interpretations of some of the events and characters in the novel.
Particular attention is paid to Brontë’s reworking of earlier literary traditions and tropes, such as the distinction between nature and civilisation, to depict and examine problems in the society of nineteenth-century Britain. The study also considers the relations between nineteenth-century Britain and the other communities within the British Empire, the three-tier structure of nineteenth-century British society, the male bodily ideal, the representation of socially acceptable behaviour, and the places assigned to those who do not conform to social norms. Lastly, ideas about death and the afterworld, as they are portrayed in the narrative, are examined, as well as the link between society and the shaping of locations of death such as heaven, hell, and purgatory.Dissertation (MA)--University of Pretoria, 2013.
English
MA
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Voroselo, Brian P. "The Non-Specificity of Location in Emily Bronte's Wuthering Heights." Cleveland State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=csu1281457765.
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Matzker, Faith Lynn. "Wuthering Heights, Plato's Symposium, and the Unity of Being." OpenSIUC, 2013. https://opensiuc.lib.siu.edu/theses/1220.
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The purpose of this thesis is to investigate the potential influence of Plato's Symposium on Emily Brontë's Wuthering Heights, by analyzing similarities between the two texts. Such comparisons, I argue, enhance our reading and understanding of Brontë's novel as a specifically philosophical discourse on metaphysical concepts. By examining the infrastructure of Wuthering Heights, I propose that its specific complexity adheres to models of philosophical inquiry as presented in the Symposium. After my introduction, Chapter 2 investigates the resonances of Aristophanes' speech in Plato's work that are manifest in Brontë's conceptualizations of love: Platonic love, the divided self, and unity of being. Chapter 3 details structural similarities between the two texts, the most important being narrative progression and complexity, are closely examined. Chapter 4 explores similarities between Plato's and Brontë's representations of punishment and discipline, including instances of physical, bodily punishment and examples of punishment aimed at individual reform. In approaching Brontë's novel in terms of, and as, philosophical discourse, this thesis highlights the fair amount of homogeneity between it and the Symposium, and illustrates the validity of an approach to Wuthering Heights which seeks both to clarify and to respect its complexity by searching out its constituent ideas.
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Uusitalo, Kemi Julia. "Gender Construction in Wuthering Heights and Jane Eyre : A Comparison." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-35365.
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This essay analyses and compares gender construction in Wuthering Heights by Emily Brontë and Jane Eyre by Charlotte Brontë. The focus is on the construction of the female and male gender of selected female and male characters. Using the knowledge that gender is highly dependent on the social and cultural environment and that family relations often impact gender, the aim of the essay is to examine if the two authors use similar methods to construct gender. Additionally, the aim is to analyse if the novels are critical towards Victorian gender norms. As feminist criticism specializes in gender analysis, this literary critical approach is used. Furthermore, additional information about the historical context was used to analyse and compare the novels. The comparison demonstrates that Emily Brontë and Charlotte Brontë mainly use the same methods to construct the female and male gender in their novels. It also illustrates that both novels are critical towards Victorian gender norms.
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Hutchins, Jessica. "Le Texte Déstabilisé : Les Effets de la réécriture et de la traduction dans Wuthering Heights, La Migration des coeurs, et Windward Heights." OpenSIUC, 2008. https://opensiuc.lib.siu.edu/theses/458.
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In La Migration des coeurs, Maryse Condé rewrites Emily Brontë's Wuthering Heights in a Caribbean context. Through its intertextual connection to Brontë's novel, Condé's text can be read in relation to Wuthering Heights according to the rhizomatic structure posited by Deleuze and Guattari, and further employed by Édouard Glissant in his Poétique de la Relation. The rhizome allows a comparison that resists a hierarchical comparison of the texts, and permits dialog and mutual influence between the two novels. Condé's critics, reinforcing this intertextual relation, have rarely considered La Migration des coeurs independently of Brontë's Wuthering Heights. However Windward Heights, Richard Philcox's English translation of Condé's novel, has not been previously considered worthy of a place in the rhizome. As a rewriting of Condé's own rewriting, Philcox's translation merits analysis in relation to the other two novels. This study will examine the nature of translation and rewriting in a postcolonial context. Primarily focusing on La Migration des coeurs, it will show how Condé uses the latent imperialist frame of Wuthering Heights to expose social inequalities in Guadeloupe, and how Philcox communicates this critique back to the English metropolis in Windward Heights.
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Faste, Ingrid. "Resor och möten i Wuthering Heights : immram, echtrae & Leabhar Gabhála Éireann." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:du-2411.
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Syftet är att fastställa gemensamma drag och paralleller, som återfinns i dels keltiska myter/keltiska texter och dels i Wuthering Heights, för att sedan kunna diskutera hur dessa gemensamma drag möter och interagerar med varandra.Resultat: Jag har funnit att det i Wuthering Heights’ ramberättelse återfinns gemensamma drag och paralleller, mellan voyage-genrerna immram & echtrae och Wuthering Heights. I Wuthering Heights ’ kärnberättelse har jag funnit gemensamma drag och paralleller mellan berättelserna hämtade från Leabhar Gabhála Éireann och Wuthering Heights (samtligt mytologiskt material är hämtat ur den mytologiska cykeln). I diskussionen om det innehållsliga mötet, kommer jag fram till att Mr. Lockwood förändrats i och genom sin resa. Jag finner också att Wuthering Heights förändrats i sitt möte med Mr. Lockwood. Lägger man sedan det mytiska filtret uppe på det innehållsliga mötet kan man tolka in ett att kulturellt möte mellan det keltiska/gamla och det europeiskt-kristna/nya som en fruktbar förening, där ingen av parterna är att ringakta. Genom att låta polariteter som dåtid/nutid, hedniskt/kristet och ödemark/civilisation beblanda sig med varandra, både textmässigt strukturellt sker en sammansmältning. Detta är något som ligger helt i linje med den mytologiska cykelns världsuppfattning, där element från vår värld beblandas med element från the Otherworld.
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Edström, John. "”I was anxious to keep her in ignorance” : - berättarperspektiv och makt i Emily Brontës Wuthering Heights." Thesis, Linköpings universitet, Avdelningen för svenska och litteratur, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-104253.
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Denna uppsats redogör för och undersöker berättarperspektiv och maktrelationer i Emily Brontës roman Wuthering Heights. På vilket sätt läsaren tar del av romanens komplexa berättande, om det är samma berättare genom hela romanen eller om det skiftar, vilka maktrelationer som existerar mellan romangestalterna och förhållanden mellan makt och berättarperspektiv undersöks genom analys av verket.
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Belser-Tröger, Virginie. "L'écriture du diabolisme dans le roman féminin : Wuthering heights d'Emily Bronte͏̈ et Precious Bane de Mary Webb." Paris 3, 2003. http://www.theses.fr/2003PA030089.
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Le thème du diabolisme dans Wuthering Heights et Precious bane intègre les héritages gothique et romantique. Le terme de diabolisme est pris selon son sens étymologique, " diabolos " : division. Il désigne alors la division intérieure des êtres (principalement des femmes) empêchés de vivre librement par une société patriarcale qui désigne le bien et le mal en se fondant sur des valeurs morales et religieuses. En tant qu'instrument de rébellion contre ces valeurs, le mal est valorisé. Le mythe biblique de la chute auquel il renvoie également est ainsi ré-interprété. L'affrontement des forces destructrices et créatrices permet un dépassement du conflit, par lequel le mystique et le mythique retrouvent leur énergie première, et le renouveau devient possibleThe theme of diabolism in Wuthering Heights and Precious Bane contains many elements inherited from the gothic novel and Romantic literature. Diabolism is understood according to its etymology, "diabolos" : division. It then refers to the inner division of individuals (especially women) who are prevented from living freely by a patriarchal society which designates good and evil according to moral and religious values. As an instrument of rebellion against those values, evil is given positive value. The Biblical myth of the Fall to which it also refers is thus re-interpreted. The confrontation of destructive and creative forces leads us beyond their conflictual relation ; the mystical and the mythical recover their original energy, and renewal becomes a possibility
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Tam, Ieok Lin. "A comparative study of three Chinese translations of Emily Bronte's Wuthering Heights." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2554092.
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Moura, Caroline Navarrina de. "A walk with Catherine and Jane : the exposure of gothic conventions in Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172913.
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O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam.This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.
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Wu, Min-Hua. "La dialectique victorienne : une interprétation sociopolitique de Jane Eyre et de Wuthering Heights des sœurs Brontë." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040083.
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Cette thèse analyse les notions dialectiques incarnées dans Jane Eyre et dans Wuthering Heights afin d’éclairer les phénomènes dialectiques littéraires, sociopolitiques, et/ou subjectifs présents dans les deux romans. Le mot “dialectique,” approprié dans cette recherche, porte au moins trois connotations: étymologique, marxiste et kristévane. D’abord, la perspective dialectique est appelée à analyser les formes littéraires rivales, le romantisme rémanent et le victorianisme dominant, qui convergent vers la grande ligne de démarcation poétique dans les deux romans. Puis, en faisant référence au concept de l’interpellation et à la notion des “Deux Nations” qui caractérise la société victorienne, cette thèse s’engage dans une interprétation dialectique sur l’interaction entre le sujet et l’idéologie dominante afin d’explorer comment les idéologies du « getting on » et du « self-help » à l’ère victorienne influencent les vies de la famille Brontë, comment les deux romancières reflètent ces valeurs sociopolitiques dominantes dans leurs créations de Jane Eyre et de Heathcliff, et comment les sœurs Brontë dépeignent la lutte et le pèlerinage à travers lesquels le héros et l’héroïne transcendent le fossé social qui reste posé entre les deux nations. Finalement, fondée sur l’héréthique de Julia Kristeva, cette thèse enquête sur l’identification Heathcliff-Catherine en l’interprétant comme une autre éthique de subjectivité. Globalement, la thèse met en lumière trois niveaux remarquables de significations dialectiques des palimpsestes brontëens en dévoilant la profondeur de leur artThis doctoral thesis analyzes the dialectic notions incarnated in Jane Eyre and Wuthering Heights so as to shed light on the literary, sociopolitical, and/or subjective dialectic phenomena epitomized in the two novels. The word “dialectic,” appropriated in this research, carries at least three connotations: etymological, Marxist and Kristevan. At first, the dialectic perspective is drawn on to analyze the rival literary forms, the residual Romanticism and the dominant Victorianism, that converge at the great divide of poetics in the two novels in a similar yet subtly different manner. Then, referring to the concept of interpellation and the notion of the “Two Nations” that so well characterizes the Victorian society, the thesis engages in a dialectic interpretation of the interaction between the subject and the dominant ideology of his/her time with an aim to explore how the “getting on” and “self-help” ideologies of the Victorian age influence the lives of the Brontë family, how Charlotte and Emily Brontë reflect the dominant sociopolitical values in the creation of Jane Eyre and Heathcliff, and how the Brontë sisters depict the struggle and pilgrimage through which their hero and heroine transcend the social chasm that lies between the Two Nations. At last, based on the herethics of Julia Kristeva, this dissertation probes into the Heathcliff-Catherine identification and interprets it as an otherwise ethics of subjectivity. Altogether, the thesis scrapes three significant layers of the Brontëan palimpsests of dialectic significations and lays bare the profundity of their art
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Abdul, Kareem Ala'a. "A Psychoanalytical Reading of Emily Brontë's Wuthering Heights : An Analysis of the Defense Mechanisms of Some Characters." Thesis, Högskolan Dalarna, Litteraturvetenskap, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:du-5996.
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This essay presents a portrayal of Heathcliff, Catherine and Isabella from a psychoanalytical perspective with regard to four defense mechanisms; namely, repression, denial, sublimation and projection in order to see how these defense mechanisms have affected the characters’ decisions and behaviour, and led them to their destinations in life. It will include three major sections: repression in characters, denial in characters, and sublimation and projection in characters. These terms will be more clearly defined and explained in the subsequent sections.
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Randriambeloma-Rakotoanosy, Ginette. "Le roman féminin victorien et son rayonnement : Jane Eyre, Wuthering Heights et leurs lectrices à Madagascar, notamment en Imerina dans les années soixante." Dijon, 1987. http://www.theses.fr/1987DIJOL020.
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Un tour d'horizon de l'étendue de la diffusion de Jane Eyre et de Wuthering Heights et de la qualité de leur réception à l'échelle mondiale de 1847 à 1969, une approche de l'imagination et de la sensibilité de leurs auteurs dans le cadre de l'évolution du roman féminin et de la société au début de l'ère victorienne ont été nécessaires pour mieux comprendre leur présence à Madagascar et les éventuelles réactions de leurs lectrices dans cette partie du monde. Il est alors apparu que ceci est fonction des thèmes qui y sont développés. Touchant la femme, ses aspirations amoureuses, ses fonctions, son comportement au sein de la société victorienne, ces thèmes ont été regroupés sous trois rubriques : représentations de la femme, romantisme, idéologies victoriennes. Avant d'analyser leur impact, nous avons étudié les moyens de leur pénétration et le contexte de leur réception en Imerina, mettant en relief les résultats d'une enquête auprès de leur public, l'importance des structures de diffusion, celles de l'enseignement et de la langue française, outil de leur propagation. Cette réceptivité repose sur trois facteurs : - la communauté des évidences : Charlotte et Emily Brontë sont des femmes évoquant des problèmes spécifiquement féminins la communauté de culture liée, d'une part, à des analogies culturelles entre l’Angleterre et l’Imerina et d'autre part, à la venue au 19eme siècle de missionnaires protestants britanniques à Madagascar qui a laissé un impact profond sur les mentalités, entrainant une adhésion aux valeurs victoriennes, véhiculéesFor more than a century (1847-1969), Jane Eyre and Wuthering heights had been the objects of a world-wide attention as the impressive number of translations, editions, adaptations and critical works concerning those attests. This had led us to examine their most striking features within the context of the feminine novel in England. It then becomes obvious that such a popularity was due to their authors ‘views on women and their social functions, on romanticism (with an emphasis on love) and on Victorianism in so far as the two novels are representative of the trends and ideas of the Victorian era (conservatism, evangelism, sentimentalism, didacticism, prudery). A scrutiny of the way they were introduced in Imerina together with a general portrait of their Malagasy women readers in the 60 help to a better understanding of their impact. These reveal the importance of commercial exchange, literacy, education, translation and that of French language. Our conclusion is that three elements account for their popularity: - first, a community of interests their main subject being the eternal dilemma of women torn apart between their aspirations to more freedom and consideration and their feminine conditions - second, a community of culture: the presence of British protestant missionaries in Imerina in the nineteenth century has left an enduring influence on the minds causing a spontaneous identify
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Prieto, Prieto Claudia. "The confluence of gender and its influence: towards a new vision of characterisation in Emily Brontë's Wuthering Heights." Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137779.
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Dias, Daise Lilian Fonseca. "A subversão das relações coloniais em o morro dos ventos uivantes: questões de gênero." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6161.
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The objective of this research is to analyze Wuthering Heights (1847), written by the English writer Emily Brontë (1818-48), from a postcolonial perspective, based on Said (1994; 2003), Ashcroft et al (2004), Loomba (1998), and Boehmer (2005), among others. It is noticed that there is in the English literature a repetitive model of representation of the colonial relationships mainly until 1847, when Brontë s romance was published which praises the English people and their culture, disqualifying dark skinned people as well as their culture. Those people are, in general, represented from a negative perspective and subjugated by the English imperialism. Brontë romance subverts this kind of representation because the protagonist, a foreign gypsy, Heathcliff, reverts the socio-economical relationships imposed by his oppressors, the Englishmen who surround him and, consequently, subjugates them by an analogical way to his own experience. The novel s subversive characteristic will be highlighted, mainly the fact that the history takes place in England, which gives significance to Heathcliff s actions, since he is well succeed in something that provokes fear to English people: they become victims of dark skinned people in their own territory, England.
O objetivo desta pesquisa é analisar O morro dos ventos uivantes (1847), da escritora inglesa Emily Brontë (1818-48), sob a perspectiva póscolonial, tomando como base os estudos de Said (1994; 2003), Ashcroft et al (2004), Loomba (1998), e Boehmer (2005), dentre outros. Percebe-se na literatura inglesa um padrão repetitivo de representação das relações coloniais sobretudo até 1847, ano da publicação da obra em estudo - que enaltece os ingleses e sua cultura, e que desqualifica os povos de pele escura, assim como suas respectivas culturas. Esses povos são, em geral, representados de forma preconceituosa e sob o domínio do imperialismo inglês. O romance de Brontë subverte esse tipo de representação porque o protagonista, um cigano estrangeiro, Heathcliff, consegue reverter as relações socioeconômicas impostas por seus opressores, os ingleses que o cercam, e, consequentemente, subjuga-os de forma análoga à sua própria experiência. Destaca-se, nesta obra, seu caráter subversivo, porque a narrativa passa-se na Inglaterra, o que confere ao feito de Heathcliff um valor significativo, uma vez que ele obtém sucesso em relação a algo que despertava grande temor para os ingleses: serem vítimas das forças de raças escuras em seu próprio território, a Inglaterra.
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Singh, Jyoti. "The presentation of the orphan child in eighteenth and early nineteenth century English literature in a selection of William Blake's 'Songs of innocence and experience', and in Charlotte Brontë's 'Jane Eyre', and Emily Brontë's 'Wuthering Heights'." Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1005628.
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This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.
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Beriotto, Giorgia <1996>. "The Sublime Burke’s Aesthetic Theory of the Sublime and its Reflections on 19th Century Novels: Mary Shelley’s Frankenstein and Emily Brontë’s Wuthering Heights." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21153.
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The meaning of the term ‘sublime’ has gone through several phases of development since its first formulation. Its birth dates back to the ancient Greece, when the rhetorician and philosopher Longinus for the first time puts to words what the ‘sublime’ is: something elevated, exceptional and extra-ordinary. His Peri Hypsous presents sublimity as strictly connected to the realm of rhetoric, a realm to which it would be confined for ages until the intervention of the French philosopher Nicolas Boileau in the seventeenth century. Slowly but incessantly, as the writings from John Dennis, Joseph Addison, Mark Akenside and John Baillie show, in the eighteenth century the rhetorical idea becomes ever-more connected to a more psychological approach, until in 1757 the epoch-making treatise A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful by Edmund Burke firmly establishes the sublime within the field of aesthetics. The young Irishman sets out to provide an analysis of both sublimity and beauty, however, the sublime idea would exercise a much wider influence in the century to come. Burke’s definition employs terms such as darkness, obscurity, privation, vastness, magnificence, but most importantly, claims that the emotive response of the individual in the presence of sublimity takes the shape of pain in pleasure, delight in terror. Of all the sources of sublimity, surely nature is among the most powerful: violent storms and raging seas, towering mountain chains, profound chasms etc. The aim of this dissertation is the analysis of the great influence of this theory, by taking into consideration the aesthetic responses of two of the most brilliant women writing in the nineteenth century and their unforgettable masterpieces, namely Mary Shelley’s Frankenstein and Emily Brontë’s Wuthering Heights.
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Fanning, Sarah Elizabeth. "Changing fictions of masculinity : adaptations of Jane Eyre and Wuthering Heights, 1939-2009." Thesis, University of Exeter, 2012. http://hdl.handle.net/10871/8524.
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The discursive and critical positions of the ‘classic’ nineteenth-century novel, particularly the woman’s novel, in the field of adaptation studies have been dominated by long-standing concerns about textual fidelity and the generic processes of the text-screen transfer. The sociocultural patterns of adaptation criticism have also been largely ensconced in representations of literary women on screen. Taking a decisive twist from tradition, this thesis traces the evolution of representations of masculinity in the malleable characters of Rochester and Heathcliff in film and television adaptations of Charlotte Brontë’s Jane Eyre and Emily Brontë’s Wuthering Heights between 1939 and 2009. Concepts of masculinity have been a neglected area of enquiry in studies of the ‘classic’ novel on screen. Adaptations of the Brontës’ novels, as well as the adapted novels of other ‘classic’ women authors such as Jane Austen, George Eliot and Elizabeth Gaskell, increasingly foreground male character in traditionally female-oriented narratives or narratives whose primary protagonist is female. This thesis brings together industrial histories, textual frames and sociocultural influences that form the wider contexts of the adaptations to demonstrate how male characterisation and different representations of masculinity are reformulated and foregrounded through three different adaptive histories of the narratives of Jane Eyre and Wuthering Heights. Through the contours of the film and television industries, the application of text and context analysis, and wider sociocultural considerations of each period an understanding of how Rochester and Heathcliff have been transmuted and centralised within the adaptive history of the Brontë novel.
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Zgodinski, Brianna R. "I Hate It, But I Can't Stop: The Romanticization of Intimate Partner Abuse in Young Adult Retellings of Wuthering Heights." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1518101149052937.
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Angel-Cann, Lauryn. "Stretched Out On Her Grave: The Evolution of a Perversion." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2586/.
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The word "necrophilia" brings a particular definition readily to mind that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecrafts Mary, A Fiction, Mary Shelleys Frankenstein, Emily Brontës Wuthering Heights, and Bram Stokers Dracula and The Jewel of Seven Stars.
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Wall, Anna-Lena. "Maktspel och död i två gotiska verk : En analys av Catherine Earnshaw och Madeleine Usher med fokus på makt och temat döden." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-106996.
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Turner, Stephanie. "Serving the Storyline of the Novel: The Powerful Role of the Feudal Servant-Narrator." Scholarship @ Claremont, 2009. http://scholarship.claremont.edu/pitzer_theses/10.
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This thesis addresses issues of class as represented through the narrative agency exercised by the servant-narrator in Castle Rackrent and Wuthering Heights. Thady Quirk and Ellen Dean are servant-narrators who strategically use feigned allegiance, astute perception, and selective disclosure to wield power over the lives of their masters. These “arts of subordination” allow the servant-narrator to tell his or her own life narrative, while appearing to share the masters’ memoirs. While both servant-narrators are motivated by economic means, Ellen Dean’s involvement throughout Wuthering Heights is further complicated by her desires of emotional connection. However, each servant-narrator achieves his or her goals by manipulating the events and relationships that constitute his or her masters’ lives.
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Zhou, Jian. "Contemporary Chinese readers' interpretation of Emily Bronte's Wuthering Heights." Thesis, University of Macau, 2007. http://umaclib3.umac.mo/record=b1780783.
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Nagorsen, Kastlander Annika. ""Aching heart, troubled soul" - Feministisk litteraturteori och Wuthering Heights." Thesis, Linnéuniversitetet, Institutionen för språk och litteratur, SOL, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-12639.
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Al-Abdulrazaq, Mohammad Ahmed. "The role of strangers in Victorian novels: A psychoanalytical study of their repressions, functions and aspirations." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1400.
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The aim of this study is to examine the stranger characters in three Victorian Novels, Emily Bronte's Wuthering Heights, Thomas Hardy's The Mayor of Casterbridge and Charles Dickens's Great Expectations. The exploration of the characters is based on the analysis of their psyche to understand how they are utilized by the Victorian writers. The study highlights how the fictional strangers can assist in the course of the action of the novel and function as a stimulus by which the actions and thoughts develop plausibly and feasibly. Utilizing the views of Freud, Erikson and others the study will allow for an understanding of the Victorian cultural unconscious, which reflects the contemporary supremacy of men over women. The study will investigate the strangers’ consciousness and portray their psychological conflicts as a representative of the Victorian age and as a forecast of the contemporary individual’s identity crisis. The study concludes that the involvement of strangers gives coherence to the plot and helps readers to understand and learn from the story.
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Moody, Kathryn Irene. "A twice-told gothic romance the anatomical differences in Jules Barbey D'Aurevilly's L'ensorcelée and Emily Brontë's Wuthering heights /." [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0002723.
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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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Wilson, Amy. "Folklore and Identity in Jane Eyre and Wuthering Heights." 2017. http://scholarworks.gsu.edu/english_theses/221.
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Charlotte and Emily Brontë both incorporate folk traditions into their novels, which help define and complicate notions of class and identity in their work. This thesis examines the folklore of the novels, including customs, folktales, and material folk culture, and explores how these elements work within the worlds created by the Brontës. While scholars such as Micael Clarke, Lauren Lepow, and Heta Pyrhönen have established the presence of folk tale, ballad, and supernatural motifs in the Brontës’ work, few have discussed the ways in which folk culture, in particular, underscores the notions of class and identity.
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Lin, Carrie Hsiang-Yun, and 林湘昀. "Extreme Representations in Emily Bronte''s Wuthering Heights." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/78634986174875317423.
Full textAbstract:
碩士國立成功大學
外國語文學系
88
For more than a century after its first appearance in 1847, Emily Bronte’s Wuthering Heights has been recognized as a controversial book. Among many disputes over Wuthering Heights, one of them is the recognition of overwhelming power delivered by this book. Emily Bronte employed several conflicts between extreme polarities, and great power erupts from these conflicts. This thesis intends to explore the extreme representations in Wuthering Heights, since they are the origin of the power of this book. Emily Bronte’s biographical background will come first in this thesis, since her life also presented several examples of extreme measures used by a strong-minded individual. Following the introduction to the author, I will begin to discuss extreme representations in Wuthering Heights. The drastically opposite extremes employed in this book include: Heaven & Hell, Nature & Culture, Love& Hate, Life& Death, Male & Female. Each extreme is elaborated through the representations of geographical background, characters, and themes of this book. Every extreme has a counter-polarity, and I will present how the collisions of extremes create power for this book.
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Murray, Desrosiers Julie. "L'écriture du mal chez Emily Brontë : infantile et pulsion de mort dans Wuthering heights." Mémoire, 2009. http://www.archipel.uqam.ca/2374/1/M11029.pdf.
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Ce mémoire se consacre à une étude de l'infantile et de la pulsion de mort comme constituants d'une écriture du Mal dans Wuthering Heights (1847), l'unique roman de l'écrivaine anglaise Emily Brontë (1818-1848). Cette analyse s'inspire en premier lieu des travaux de Sigmund Freud sur les pulsions, le rêve et l'infantile. Le récit de Wuthering Heights s'articule autour des familles Earnshaw et Linton. L'arrivée de Heathcliff, un jeune orphelin, bouleversera la vie des membres de la famille Earnshaw. Catherine Earnshaw et de Heathcliff, élevés comme frère et soeur, mais liés dans leur jeunesse par une passion absolue et sans concession jusque dans la mort, subiront l'épreuve du temps à la sortie de l'enfance. Le roman présente des motifs récurrents qui contribuent à l'élaboration d'une expérience du Mal singulière. Les descriptions poétiques, la souffrance des personnages, la violence de l'écriture, les figures de la mort et l'hostilité des lieux du récit se donnent à lire comme les figures d'une répétition ou la reprise des éléments d'une histoire passée, moteur de la conception narrative du désastre et du tragique. L'étude du roman suppose l'exploration de cet univers inspiré par la violence, la cruauté, mais aussi la passion que suscite le désir d'absolu attaché à ce passé. Wuthering Heights est un récit dans lequel se mêlent, se démêlent, se confondent et se confrontent des mécanismes régis par des pulsions à la fois autodestructrices et libératrices. Ce mémoire analysera le roman dans sa structure narrative et son énonciation afin de rendre compte du caractère absolument tragique de la passion des protagonistes, de comprendre les mécanismes cruels de la narration et de démontrer la vision du Mal essentielle et universelle du récit. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Emily Brontë, Wuthering heights, Pulsion de mort, Infantile, Rêve, Mal, Tragique, Absolu.
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Feng, Lorraine Sho-yi, and 馮秀儀. "A Psychological Study of Wuthering Heights: Understanding Emily Bronte." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/73861167696421211762.
Full textAbstract:
碩士中國文化大學
英國語文學研究所
90
Abstract Bronte’s Wuthering Heights has been controversial since it was published. Douglas Jerrold’s review in the Weekly Newspaper January 1848, for instance, refers to Wuthering Heights as a “strange sort of book─baffling all regular criticism” concerning “brutal cruelty, and semi-savage love”, Jerrold states that there is “great power in this book but a purposeless power” and speaks of readers’ being “shocked, disgusted, almost sickened by details of cruelty, inhumanity, and the most diabolical hate and vengeance, and anon come passages of power testimony to the supreme power of love─even over demons in the human form.” Sydney Dobell however one of the few critics at that time taking sides with Emily Bronte, translates the notorious wildness, ferocity and rudeness into the inevitable expression of one of two natures which not only generally coexist in the human mind but also give rise to mental struggles in human life. Today, Wuthering Heights has proved to be a classic in the eyes of critics. This thesis hopes to contribute to its worth by examining the roles and the reliability of the two narrators, Lockwood and Nelly Dean by the psychological approach. The thesis will be divided into five parts, together with an introduction. The method of the psychological approach will be explained, especially the relationships between unconsciousness and dreams in interpreting characters will be discussed in introduction. Consciousness is used to denote the specific mental process that each human being has. Psychologists have made great efforts in exploring the essence of consciousness and how it hides the unconscious. Freud has studied the idea of unconsciousness and concluded, “Most of the individual’s mental processes are unconscious.” Freud’s own disciple, Carl Gustav Jung, also concentrates on the study of the unconscious and dream analysis. Jung later broke with Freud because of their different ways of interpreting dreams. The importance and meanings of dreams and this interpretation will be crucial in understanding man’s unconsciousness. Chapter I will discuss the possibility of psychoanalyzing Wuthering Heights. Wuthering Heights can be seen as a dream of Emily Bronte and then by interpreting the dream Wuthering Heights, we get a chance to see through into the soul and mind of Emily Bronte. In Chapter Two and Chapter Three the actual characters of the third person narrators, Lockwood and Nelly, will be examined by their words, actions and views. Wuthering Heights is first narrated by Lockwood, an outsider who later becomes a participant, and then by Nelly, a questionable nurse who knows much of the history of the families. The story begins in 1801 with Lockwood’s recounting, “1801─I have just returned from a visit to my landlord─the solitary neighbour that I shall be troubled with.” Then at the middle of chapter 4, Nelly takes over the role of the narrator and starts to tell Lockwood and also the reader the history of Wuthering Heights. Afterwards the stories of both narrators interweave. If the step-relations and adopted relations in the story were not sufficiently puzzling, Lee suggests that Emily Bronte gave the narrative to these different people alternating as what they had been told with what they actually witnessed this to make it more opaque. (Allott 100) Examining the words and actions carefully, the accuracy of both narrators remains questionable. The narratives of Lockwood and Nelly contain their own mental exercises and preferences. In using the psychological approach the characters of Lockwood and Nelly will be examined as well as the contents of the “story” they tell. Chapter Four examines the messages Emily Bronte has psychologically hidden behind the narrators. We believe that it is both the author’s deliberate and undeliberate devices to give the readers of Wuthering Heights their own Wuthering Heights. That is, Emily Bronte purposely creates a novel where readers will have different versions when interpreting it. It is Emily Bronte’s intention that makes the main narrators questionable and by doing so creates a strong emotional effect that in turn involves the readers themselves within the story─Wuthering Heights. Robert Rogers points out, “…writers reveal instinctual or repressed selves in their books, often without realizing that they have done so.” (Peterson, 308) This fourth section will stress how Emily Bronte reveals much of her own experience both consciously and unconsciously. Consciously she borrows the settings of Haworth, unconsciously she projects her emotions in the characters. Her favor for Heathcliff shows in the novel and attracts different opinions among critics to judge this confusing protagonist. Chapter Five examines Wuthering Heights as a dream and, the poet/novelist Emily Bronte as a patient who makes the dream. The repressed self is to discovered when interpreting the dream. Henderson declares that “the artist is not merely a mouthpiece for the unconscious.” (54) Emily Bronte’s “dream” satisfies her desire to be a writer of published books and successfully expresses the name of the novel by designing the unreliable narrators. The world of the novel contains an emotional tempest so that anyone involved in that world cannot stay without being influenced. The two narrators’ subjective injustice narrations hint at the name and the theme of the novel.
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Miranda, Pamela C. "Eternal years : religion, psychology, and sexuality in the art of Emily Bronte." Thesis, 1990. http://hdl.handle.net/1957/37545.
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This thesis offers a textual analysis of Emily Bronte's
novel Wuthering Heights and, to a lesser extent, her poems
in an effort to understand fully the complicated
relationship of gender to time that characterizes her
artistic imagination.
The study emphasizes the interplay of religious,
psychological and sexual forces inherent in her narrative,
and their effect when portraying cyclical and linear
concepts of time. Narrators' and characters' interactions
serve by themselves and as dyads to represent a concept of
mythical or eternal time that manifests itself within
historical or chronological time. These time concepts
differ and complement each other through aspects of
wholeness and differentiation. References to Julia
Kristeva's psycholinguistic theory and to C. G. Jung's
archetypes give support for a unique space and female
concept of time within a male discourse. Kristeva's
exemplification of time concepts as linear/chronological for
the male gender and cyclical/eternal for the female gender
happens to be specially relevant to the 19th century, when
the patriarchal socio-symbolic order, inhibited, undermined,
and/or circumscribed the participation of the feminine
within the social contract.Graduation date: 1991
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Aubed, Maan. "Losses, Gains and Survivals in English-Arabic Literary Translation: Wuthering Heights by Emily Brontë and Jane Eyre by Charlotte Brontë: A Case Study." Doctoral thesis, 2016. https://depotuw.ceon.pl/handle/item/1793.
Full textAbstract:
The dissertation is concerned with the issues of losses, gains and survivals contributing to /or traumatizing literature during the process of translation. It represents a case study based on two novels from the English literary canon, Wuthering Heights by Emily Brontë and Jane Eyre by Charlotte Brontë, and, respectively, their translations into Arabic by Shamis Al-Gharbawi (published in 1962 in Cairo) and Munir Al-Balaabki (published in 1985 in Beirut).
The choice of these very novels by the Brontë sisters was due to their well-known status among classical texts and their highly cultural-specific English background. It investigates the problematic areas and challenges emerging from the source-text discrepancies and identifies the translation procedures adopted by the translators of both Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre. Adopting certain procedures rather than others has led to losses on different levels, at the same time emphasizing the important role of the translator as a cultural insider. The challenges /problematic areas refer to those where the losses affect the interpretation of verbal signs on the semantic and cultural levels. They are assumed to negatively affect the ways by which target-text readers decode and understand what the translators have produced, in this way also traumatizing the original texts. Moreover, the dissertation also focuses on the issue of cultural non-equivalence and the losses occurring in the translation of English literary texts into Arabic.
The wide gap, distance and the difference in the culture, language and thought patterns of English and Arabic speakers are major factors resulting in various losses in translation. Here it is assumed that translators face many challenges which stem from the fact that each language has its own cultural specificities and concepts that cannot be easily transferred into the target language because of the absence of appropriate equivalents.
What is to be concluded from this study is that the cultural and religious differences between both cultures cause more loss than gain to the source text. That is, coping with these extra-linguistic traits is harder than the linguistic ones because the translator has no choice but to, in certain situations, delete these elements from the target text or replace them with elements which do not fit the context. As a result, the translators have betrayed the source text.
Similarly, the differences between English and Arab cultural and traditional practices and religious memberships create a great number of challenges in the translation process. Therefore, the losses that emerge in rendering literary texts such as Wuthering Heights and Jane Eyre are more serious than those of other non-literary texts, that is, literary works always involve reflections of the source-language culture and community and its daily life. So, the translator tends to sacrifice the source-text reflections, as they do not accord with the target-culture norms. Such a decision leads to linguistic and cultural explicit or implicit losses. In the same way, religious names, allusions, symbols and quotations, which reflect the author’s, as well as the source-text readers’ religious associations, are hard to transfer and reflect in the target text, either because of the absence of appropriate correspondents in the target language and culture, or because some strict Arab Muslim scholars and translators consider them as means of preaching, thus corrupting Islamic morals and ethics.
This dissertation concludes that there are situations in which the translation of a passage from the source language into the target language entails alteration in the entire informational content of the text, in expressions or words. During their journey to the Arabic milieu through translation, Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre became completely different texts because they lost a great deal of their historical and cultural contexts that marked their significance in the original receiving culture.The dissertation is concerned with the issues of losses, gains and survivals contributing to /or traumatizing literature during the process of translation. It represents a case study based on two novels from the English literary canon, Wuthering Heights by Emily Brontë and Jane Eyre by Charlotte Brontë, and, respectively, their translations into Arabic by Shamis Al-Gharbawi (published in 1962 in Cairo) and Munir Al-Balaabki (published in 1985 in Beirut). The choice of these very novels by the Brontë sisters was due to their well-known status among classical texts and their highly cultural-specific English background. It investigates the problematic areas and challenges emerging from the source-text discrepancies and identifies the translation procedures adopted by the translators of both Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre. Adopting certain procedures rather than others has led to losses on different levels, at the same time emphasizing the important role of the translator as a cultural insider. The challenges /problematic areas refer to those where the losses affect the interpretation of verbal signs on the semantic and cultural levels. They are assumed to negatively affect the ways by which target-text readers decode and understand what the translators have produced, in this way also traumatizing the original texts. Moreover, the dissertation also focuses on the issue of cultural non-equivalence and the losses occurring in the translation of English literary texts into Arabic. The wide gap, distance and the difference in the culture, language and thought patterns of English and Arabic speakers are major factors resulting in various losses in translation. Here it is assumed that translators face many challenges which stem from the fact that each language has its own cultural specificities and concepts that cannot be easily transferred into the target language because of the absence of appropriate equivalents. What is to be concluded from this study is that the cultural and religious differences between both cultures cause more loss than gain to the source text. That is, coping with these extra-linguistic traits is harder than the linguistic ones because the translator has no choice but to, in certain situations, delete these elements from the target text or replace them with elements which do not fit the context. As a result, the translators have betrayed the source text. Similarly, the differences between English and Arab cultural and traditional practices and religious memberships create a great number of challenges in the translation process. Therefore, the losses that emerge in rendering literary texts such as Wuthering Heights and Jane Eyre are more serious than those of other non-literary texts, that is, literary works always involve reflections of the source-language culture and community and its daily life. So, the translator tends to sacrifice the source-text reflections, as they do not accord with the target-culture norms. Such a decision leads to linguistic and cultural explicit or implicit losses. In the same way, religious names, allusions, symbols and quotations, which reflect the author’s, as well as the source-text readers’ religious associations, are hard to transfer and reflect in the target text, either because of the absence of appropriate correspondents in the target language and culture, or because some strict Arab Muslim scholars and translators consider them as means of preaching, thus corrupting Islamic morals and ethics. This dissertation concludes that there are situations in which the translation of a passage from the source language into the target language entails alteration in the entire informational content of the text, in expressions or words. During their journey to the Arabic milieu through translation, Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre became completely different texts because they lost a great deal of their historical and cultural contexts that marked their significance in the original receiving culture.
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Cheng, Hui-chen, and 鄭慧真. "Revelation of Mendacity: Desire and Jealousy in Emily Brontë's Wuthering Heights." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/64499275643040877216.
Full textAbstract:
碩士國立高雄師範大學
英語學系
93
Abstract Wuthering Heights is a novel with strong and passionate love mixing with torment and joy together. Although it was published in 1848, written by Emily Brontë, it is still one of the top 50 best-sellers in today’s world. The great author Maugham says, “It [Wuthering Heights] is a very bad novel. It is a very good one. It is ugly. It has beauty.” Most people look upon Wuthering Heights as a book of love, jealousy, hatred, violence, and so on. It especially focuses on the strong passion between Catherine and Heathcliff, two main protagonists in the novel. However, in this thesis, I play emphasis on the female narrator, Ellen Dean [Nelly]. By means of Abraham Maslow’s theory, I will explore Nelly’s deficiency and desire. Because of the deficiency and desire, Nelly behaves improperly and jealously throughout her story. With the benefit of being a narrator, Nelly not only tells the readers a touching story but also shows her competence as a housekeeper. There are five chapters in the thesis. In Chapter One, I briefly introduce the narrative technique, Nelly’s background and some awkward behavior that Nelly exhibits. In Chapter Two, I further explore Nelly’s diverse roles that she plays in her story. First, I discuss Nelly’s multiple roles as various kinds of servants in different periods and then talk about her other roles, such as a playwright, an actress and a liar. Playing these diverse roles, Nelly reveals her multifarious characteristics through her storytelling. In Chapter Three, I talk about Nelly’s desire as a narrator and especially as a woman. In addition, I will examine Nelly’s deficiency in needs so as to discover why she can play quite easily so many distinct roles at a time in her story. In Chapter Four, I present Nelly’s jealous behavior, especially toward Catherine. In Chapter Five, I hope that through the discussion in this thesis, I have collected enough proof to reveal Nelly’s veil of mendacity and to support the viewpoint that Nelly is never a person with true benevolence and homely fidelity as Charlotte Brontë thought. On the contrary, with the veil of mendacity, Nelly is a real hypocrite full of jealousy and desires.
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Chen, Wan-Yun, and 陳宛昀. "The Androgyny in Wuthering Heights:A Gender Study of Emily Brontë’s Romantic Aesthetics." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/98680748925647865184.
Full textAbstract:
碩士靜宜大學
英國語文學系
99
This thesis aims to study the concept of androgyny and the dualisms presented in Emily Brontë’s only novel Wuthering Heights. In this novel, Brontë arranges manifold binary oppositions, which are related with the dualism of nature and culture. For the setting, she posits the two houses of Wuthering Heights and Thrushcross Grange as the contrasting forces of nature and culture. For the characters, she has the Lintons demonstrate the cultivated and the Earnshaws perform the wild and the untamed. The nature-culture dualism in the oppositions is further associated with the gendered dualism, since nature is stereotypically connected with women and culture with men. The aim of this thesis is to adopt the concept of androgyny into the dualisms, a move which shows how the inequality of the dualisms is thus neutralized by Brontë. Chapter One starts with a brief literary review of Wuthering Heights and a short introduction to the gendered dualism and the concept of androgyny. Chapter Two puts forward a theoretical discussion of the interconnections among androgyny, gendered dualism, and the nature-culture dualism. The discussion focuses upon Edmund Burke and Immanuel Kant’s concept of sublimity and is furthered to carry out an analysis of the androgynous sublimity that Brontë projects in her novel. Chapter Three provides an investigation of the dualisms in the setting and the characterization of Wuthering Heights. On the one hand, with Brontë’s variations on the gothic conventions, the two houses that seem to represent two contrasting ideas produce the Kantian sublime in their combination as a grand castle. On the other hand, with a focus on Freud’s concept of “the double,” the analysis shows how the characterization in Wuthering Heights also corresponds to Burke’s sublime that explains Heathcliff’s castration fear (the loss of Catherine Earnshaw) and the construction of an androgynous ending in Catherine II’s marriage with Hareton Earnshaw. Chapter Four attempts to interpret the death of Catherine Earnshaw and Heathcliff as a way to regain their lost identity. Kristeva’s theory of the semiotic and the symbolic helps to re-interpret the nature-culture dualism of the two houses and their meanings in the light of Catherine Earnshaw’s struggles and frustration between her relationships with Heathcliff and Edgar Linton. Furthermore, through Kristeva’s theory of abjection, the death of Catherine Earnshaw and Heathcliff is interpreted as helping them transcend the cultural boundaries that confine them when they are alive. Chapter Five concludes the points mentioned above. Though there are various dualisms in Wuthering Heights, these oppositions are neutralized with the concept of androgyny or even further. The co-existence of Catherine Earnshaw and Heathcliff’s ghosts at Wuthering Heights as well as Catherine II’s marriage with Hareton Earnshaw at Thrushcross Grange forms a holistic picture in Brontë’s imagination: the combination of a transcendental world in nature and an androgynous residence in culture. The distinction between nature and culture as well as female and male is no longer based on a master-slave stereotype but a mutual equality derived from the concept of androgyny.
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Li-hua, Chan, and 詹麗華. "The Elements Making Up the Setting of Emily Bronte's Wuthering Heights." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/84496100760413405133.
Full textAbstract:
碩士國立高雄師範大學
英語學系
92
Emily Bronte’s Wuthering Heights was reputed to be one of the ten great novels in the world by W. Somerset Maugham in 1948. Similarly, in Norway in May of 2002, this remarkable novel deserved high praise again as one of a hundred classics of world literature in all times. Emily Bronte, a talented writer with a vein of stoicism and mysticism in her personality, devoted herself to constructing her only novel. The story of doomed passions set against the gloomy background of the bleak, windswept Yorkshire moorland at the end of eighteenth century is its most noticeable characteristic. This thesis is composed of five chapters. Based on C. Hugh Holman’s definition, different aspects of the elements making up the setting of the novel are addressed. The first chapter is a brief introduction to the author’s life, the background of the writing, and the motivation of my study. The second chapter concentrates on the element of the geographical location, including its topography, scenery, and such physical arrangements as the location of the windows and doors in a room. The moors with many guises, dreary in winter but divine in summer, provide a stage of grandeur for the passionate protagonists to act out. The two houses not only dominate the landscape, but also take on contrasting characteristics and atmosphere. The vegetation around Wuthering Heights is sparse and the house is seen as the home of life in the raw, of the rough indiscipline, and of unbridled emotions. Thrushcross Grange, set in a pleasant valley and surrounded by garden trees and the high wall of the court stands for the splendid, cultivated and civilized life of the landed gentry. The group of interrelated images based on windows, doors, locks, and keys are prominent as representations of minds and spirit’s grasp of interior and exterior. The third chapter deals with the use of time as well as the powerful and exciting narration. With a skilful handling, Emily demonstrates her meticulous time sequence in the novel. Her description of the weather and seasons symbolizes feelings and actions of the characters, making the setting vivid and full of dramatic effects. Emily’s combining the larger frameworks of Lockwood and Nelly’s double narratives with other smaller more condensed multiple narratives form the core of the story, enhancing the vigorous quality and profundity of this startlingly original novel. The fourth chapter elaborates the elements of the characters’ general environments. Throughout the novel, the concept of dualism is revealed in their occupations and daily manner of living. The religions, the ethics, the social class, and the economic roles associated with the two houses are all set in contrast. The last chapter is the conclusion, which summarizes all the elements making up the fully and precisely created setting of the novel. The reason why Wuthering Heights becomes widely acknowledged as a masterpiece is elucidated as well.
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ŠVECOVÁ, Eva. "Vliv gotického románu na téma mezilidských vztahů v díle Emily Brontëové Wuthering Heights." Master's thesis, 2010. http://www.nusl.cz/ntk/nusl-50142.
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