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1
Pérez Porras, Ana. "LA ESCRITURA COMO MÉTODO DE REIVINDICACIÓN SOCIAL: EL CASO DE HEATHCLIFF EN WUTHERING HEIGHTS." Revista Internacional de Culturas y Literaturas, no. 21 (2018): 150–63. http://dx.doi.org/10.12795/ricl.2018.i21.11.
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Emily Brontë retrata la realidad social del siglo XIX y demuestra su conocimiento jurídico en Wuthering Heights (1847). El propósito de este artículo es explicar el principal conflicto social de la novela: Heathcliff se rebela contra la sociedad capitalista y amparándose en el marco de la legalidad vigente logra apropiarse de las propiedades de la novela con el propósito de alcanzar el estatus social del que nunca ha disfrutado. Palabras claves: Trauma, Emily Brontë, Wuthering Heights, legal issues, Heathcliff, conflicto social
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Pérez Porras, Ana. "Emily Brontë y Wuthering Heights: la verdadera historia detrás del mito." Revista Internacional de Culturas y Literaturas, no. 20 (2017): 80–92. http://dx.doi.org/10.12795/ricl.2017.i20.06.
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Emily Brontë fue una de las pioneras de la época victoriana en la defensa de la lucha de los derechos de la mujer y rompió con las normas del decoro victoriano. A través de sus personajes femeninos Brontë reivindica la independencia de la mujer, en una sociedad patriarcal en la que el marido tenía la custodia de los hijos y la esposa no tenía protección social, legal ni económica.
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Militonyan, Jemma. "The Use of Simile in Emily Brontë’s Wuthering Heights." Armenian Folia Anglistika 13, no. 1-2 (17) (October 16, 2017): 37–46. http://dx.doi.org/10.46991/afa/2017.13.1-2.037.
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Figures of speech are imaginative tools in both literature and ordinary communication used for explaining speech beyond its usual usage. Emily Brontë’s Wuthering Heights (1847) – the only novel written by this writer - differs from many other literary works due to its style, its particular use of language and figures of speech. The literary tool and figure of speech we have illustrated in the present paper is the simile. Emily Brontë uses simile as a means both to creatively and purposefully convey her thoughts and ideas to the reader and to impact him/her. The literary analysis shows that the simile is also an excellent device for the author to make an unusual thing seem more familiar or a familiar thing seem more unique. Through simile the reader may imagine vividly the fictive world of Emily Brontë’s Wuthering Heights.
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Perkin, J. Russell. "Inhabiting Wuthering Heights: Jane Urquhart's Rewriting of Emily Brontë." Victorian Review 21, no. 2 (1995): 115–28. http://dx.doi.org/10.1353/vcr.1995.0009.
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Brontë, Emily, and Júlia Mota Silva Costa. "Três poemas de Emily Brontë (1818-1848)." Magma, no. 19 (November 20, 2023): 273–77. http://dx.doi.org/10.11606/issn.2448-1769.mag.2023.214637.
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Apresenta-se a tradução inédita em português brasileiro de três poemas da escritora inglesa Emily Brontë (1818-1848). Mundialmente conhecida pelo seu único romance, Wuthering Heights (1847), Brontë deixou cerca de 200 poemas, os quais, entretanto, permaneceram à margem da fortuna crítica da autora, particularmente no Brasil. Considerando-se que a única tradução da poesia de Emily Brontë editada em livro, no Brasil, é a de Lúcio Cardoso — uma seleção de 33 poemas, publicada na década de 1940 pela José Olympio, sob o título de Vento da Noite, hoje editada pela Civilização Brasileira —, com as traduções aqui apresentadas, pretende-se contribuir, conquanto timidamente, para minimizar essa lacuna de mais de 160 poemas nunca vertidos para o português brasileiro.
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Malena, Anne. "Migrations littéraires : Maryse Condé et Emily Brontë." TTR : traduction, terminologie, rédaction 13, no. 2 (March 19, 2007): 47–74. http://dx.doi.org/10.7202/037411ar.
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Résumé Migrations littéraires : Maryse Condé et Emily Brontë — En tant que ré-écriture de Wuthering Heights (1847) d'Emily Brontë, La Migration des coeurs (1995) de Maryse Condé transpose le classique anglais dans un contexte antillais marqué par la violence colonialiste et l'hétérogénéité. Ce procédé de ré-écriture est un procédé de traduction dans le sens large du terme parce que l'improvisation à laquelle se livre Condé maintient un lien métonymique avec l'original tout en fonctionnant de façon indépendante. À son tour, la traduction anglaise du roman de Condé, Windward Heights (1998), suit ces pistes brouillées mais, par manque de stratégies conséquentes de traduction, compromet l'élan créateur de Condé en rapprochant son texte trop près de celui de Brontë. Cette étude montrera que ces mouvements de migration littéraire impliquent que l'écriture s'appuie sur des procédés de traduction et que la ré-écriture maintient une difficile relation métonymique avec l'original en lui rendant hommage tout en le transformant.
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Menezes, Ana Cristina Faria. "Infância, educação e precariedade em Jane Eyre, Agnes Grey e Wuthering Heights." Palimpsesto - Revista do Programa de Pós-Graduação em Letras da UERJ 20, no. 35 (May 13, 2021): 475–90. http://dx.doi.org/10.12957/palimpsesto.2021.57341.
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Este artigo propõe investigar as diferentes infâncias figuradas nas obras Agnes Grey (1847), de Anne Brontë (1820-1849), Jane Eyre (1847), de Charlotte Brontë e Wuthering Heights (1847), de Emily Brontë (1818-1848). Dado que as irmãs de Haworth viram de perto as opressões trazidas pela Revolução Industrial e, antes disso, as complicações da agricultura capitalista (EAGLETON, 2005a; WILLIAMS, 2011), os entrelaçamentos entre o contexto histórico no qual viveram e a criação ficcional de suas personagens infantis contribui para uma percepção mais refinada das respectivas precariedades (BUTLER, 2019) em jogo. Proponho, assim, que o ato de narrar tais infâncias, marcando-as materialmente quanto às suas distintas precariedades (BUTLER, 2019) expõe um sistema que precisa explorar os vulneráveis para que possa crescer.
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Buda, Agata. "The Reception of Antiquity in “Wuthering Heights” by Emily Brontë." Studia Anglica Resoviensia 15, no. 2 (2018): 25–34. http://dx.doi.org/10.15584/sar.2018.15.2.2.
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Joudrey, Thomas J. "“Well, we must be for ourselves in the long run”." Nineteenth-Century Literature 70, no. 2 (September 1, 2015): 165–93. http://dx.doi.org/10.1525/ncl.2015.70.2.165.
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Thomas J. Joudrey, “‘Well, we must be for ourselves in the long run’: Selfishness and Sociality in Wuthering Heights” (pp. 165–193) This essay traces a problem that has long dogged criticism of Emily Brontë’s Wuthering Heights (1847): why is a novel concerned with passionate love for others populated by characters who are radically selfish? Brontë, drawing on the Byronic tradition and eschewing contemporary exhortations to self-renunciation, validates selfish desire even at the expense of communal responsibility. In so doing, she is forced to contend with the possibility that selfishness risks disabling sociality and marooning the self in shame, isolation, or solipsism. Brontë shows, however, that selfishness and sociality are symbiotically implicated, in that selfishness acts as a precondition of robust sociality. After a series of failures—represented in Lockwood’s shame-saturated retreat into childish sociality, Heathcliff and Catherine’s self-destroying soul fusion, and Linton Heathcliff’s masturbatory selfishness—Brontë ultimately locates a brokered compromise between selfishness and sociality in the relationship of Cathy and Hareton. By maintaining their respective boundaries of self and yet making them selectively permeable, the two demonstrate that susceptibility to interpersonal exchange proves vital to fostering their autonomy as discrete selves. Wuthering Heights wages battle on two fronts, excoriating the temptation to enclose the self behind impenetrable barriers, but simultaneously denouncing the other extreme that would eradicate all difference through metaphysical soul-fusion. Brontë posits instead that mature selfhood can only be yielded by a posture of openness to external influences, even as the coherence of the self must be fortified against appropriation by those influences.
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Pyle, Forest. "Unlike." differences 34, no. 1 (May 1, 2023): 267–75. http://dx.doi.org/10.1215/10407391-10435899.
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A radical identification predicated on unlikeness: this is how Leo Bersani understands the singular mode of desiring that Emily Brontë invents in her incomparable novel. With Catherine and Heathcliff, Wuthering Heights offers new “forms of being,” untethered to the world (of society, of romance, of realism). For Bersani, Catherine and Heathcliff exist more on the order of gravitational forces than characters in any conventional novelistic sense. This essay explores Bersani’s provocative treatment of Wuthering Heights with a particular focus on his practice of reading, one that “extracts” distinctive and “devouring” forces of desire and as yet unrealized forms of being from a novel far removed from the dominant modes of narrative realism. Bersani’s reading of Brontë—first published in 1976 and his only excursion into British Romanticism—prompts a thought experiment: to imagine a Bersani limit-place Romanticism, quite unlike any available version, a Romanticism of “unqualified negativity” and “aspiring openness” with an eye and an ear to unknown pleasures.
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Feng, Bei, and Bo Feng. "Heathcliff’s Demonization: A Reading of Wuthering Heights." Studies in Linguistics and Literature 8, no. 2 (April 26, 2024): p132. http://dx.doi.org/10.22158/sll.v8n2p132.
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Emily Brontë, the nineteenth-century English woman writer, together with her first and only published novel, Wuthering Heights, has always been a riddle in the history of British literature. Critics and readers are all curious about why a female writer should create such a merciless and malicious demon as Heathcliff in her novel. This paper explores Heathcliff’s demonization from three aspects: the root and inspiration of demonization as well as Heathcliff’s aspiration after a life of eternal bliss. On one hand, the repressions Heathcliff suffers from the society, culture, family and even himself are the roots of his demonization, while on the other, his rebellious spirit inspires his demonization. Unfortunately, no matter how thoroughly he rebels, he still can’t get satisfied or feel happy until starving himself to death, the only way for him to achieve a life of eternal bliss.
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Pérez Porras, Ana. "Materiales fílmicos como herramientas para la enseñanza de la literatura en lengua inglesa." HUMAN REVIEW. International Humanities Review / Revista Internacional de Humanidades 12, Monográfico (February 6, 2023): 1–15. http://dx.doi.org/10.37467/revhuman.v12.4657.
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El concepto de diseminación cultural implica la introducción de un nuevo autor (lector) en la estructura circular de la creación literaria, quien lleva a cabo versiones de diversa índole influidas o basadas en la novela original. En este trabajo pretendemos que los alumnos del Grado de Estudios Ingleses puedean analizar la temática de la narrativa de Wuthering Heights de Emily Brontë tomando como referencia la adaptación de Coky Giedroy (2009).
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Stoneman, Patsy. "On the Bullet Train with Emily Brontë: Wuthering Heights in Japan." Brontë Studies 44, no. 2 (March 19, 2019): 235–37. http://dx.doi.org/10.1080/14748932.2019.1567172.
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Denenholz Morse, Deborah. "On the Bullet Train with Emily Brontë: Wuthering Heights in Japan." Nineteenth-Century Contexts 42, no. 1 (August 27, 2019): 123–26. http://dx.doi.org/10.1080/08905495.2019.1658401.
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Tine, Etienne Pathé, and Maurice Gning. "Marginality in the Brontë sisters’ novels." International Journal of Language, Literature and Culture 3, no. 6 (2023): 25–34. http://dx.doi.org/10.22161/ijllc.3.6.4.
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The Brontë sisters, Charlotte, Emily, and Anne have left their mark on the literary landscape of Victorian England. Beyond the fact that they belong to the same family and are all three remarkable writers in the same period, a unique fact in literary history, these sisters fully express their genius through the sensitive and aesthetic dimension of the various themes they address in their novels. One of the major themes common to their novels is the question of marginality in a highly stratified society of 19th-century Britain. Using Marxist, new historicist, feminist, and psychoanalytical reading grids, we aim to examine this theme of marginality precisely in Jane Eyre, The Professor and Shirley by Charlotte and Wuthering Heights by Emily. This work thus reveals the multiple faces and implications of marginality in these novels in a context of economic, political and social revolution.
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Adams, Maureen B. "Emily Brontë and Dogs: Transformation Within the Human-Dog Bond." Society & Animals 8, no. 1 (2000): 167–81. http://dx.doi.org/10.1163/156853000x00110.
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AbstractThis paper examines the bond between humans and dogs as demonstrated in the life and work of Emily Bronte (1818-1848). The nineteenth century author, publishing under the pseudonym, Ellis Bell, evinced, both in her personal and professional life, the complex range of emotions explicit in the human-dog bond: attachment and companionship to domination and abuse. In Wuthering Heights, Brontë portrays the dog as scapegoat, illustrating the dark side of the bond found in many cultures. Moreover, she writes with awareness of connections - unknown in the nineteenth century - between animal abuse and domestic violence. In her personal life, Brontë's early power struggles with her companion animal mastiff, Keeper, evolve into a caring relationship. In a human-dog bond transformation that survives Brontë's death, Keeper, becomes both bridge and barrier to other human relationships. A dog may, and in this case Keeper does, take on a comprehensive role in which he both mourns his own loss and comforts others in their collective grief.
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Mason, Emma. "Emily Brontë and the Enthusiastic Tradition." Romanticism on the Net, no. 25 (June 11, 2009): 0. http://dx.doi.org/10.7202/006008ar.
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Abstract This essay places Emily Brontë's poetry within a tradition of eighteenth-century discourses on enthusiasm of both a poetical and religious nature. The question of where Brontë's fervent writing style, most often associated with her fiery novel Wuthering Heights, originated has long been debated, and it is suggested here that one available answer is enthusiasm. Two sources of enthusiasm pertinent to Brontë are explored: Methodism, with its dislike of doctrine and pantheistic emphasis on nature; and eighteenth-century poetics, as defined through figures like John Dennis and Edward Young. Religious and poetical enthusiasm are necessarily merged for Brontë, both infused by a kind of spiritual sublimity and dependence on the idea of transport she employed within her verse. Recognizing this allows the reader to historicize this often cryptic poet and thus rescue her from more arguably tenuous claims which deem her a mystic, a Shelleyan heretic, a writer repressed by Christianity, a victim of a tragic romance or simply a very angry woman. By instead locating her within an enthusiastic literary tradition, Brontë may be seen not only as a woman writer aware of her religious environment, but as a Romantic whose poetry accords as much with the sentiment of Night Thoughts as Mont Blanc.
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Valero Redondo, María. "Wuthering Heights and Kleist's Novellen: Rousseauian Nature, Spontaneous Love, Infancy and the Performative Subversion of the Law." Miscelánea: A Journal of English and American Studies 62 (January 25, 2021): 147–65. http://dx.doi.org/10.26754/ojs_misc/mj.20205156.
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This article analyses the numerous thematic similarities between Wuthering Heights and Heinrich von Kleist’s Novellen, especially “Der Findling”. I justify this seemingly unconventional comparison on the basis that both Kleist and Emily Brontë were deeply influenced by Rousseau’s works and by his novel, Julie, ou, laNouvelle Héloïse (1761). The works of both authors share a typically Rousseauian theme: a hostility toward urban civilization and a strong intimacy with nature. This theme is loaded with ideological force and is present in at least four subthemes: the communion with nature, natural childhood, the nature of spontaneous love and the parodic reiteration of the normative community. Thus, although there is no evidence of Brontë’s direct knowledge of Kleist’s work, I suggest that their shared recourse to a common precursor may account for the uncanny similarity between Kleist’s Novellen and Wuthering Heights.
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Costa, Júlia Mota Silva, and Jefferson Cano. "O uso trágico da paisagem em “Wuthering Heights” (1847), de Emily Brontë." Terra Roxa e Outras Terras: Revista de Estudos Literários 43, no. 2 (December 29, 2023): 130. http://dx.doi.org/10.5433/1678-2054.2023vol43n2p130.
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Este artigo se detém sobre o uso trágico da paisagem natural em Wuthering Heights. O principal cenário da narrativa é o de uma fazenda isolada no norte da Inglaterra, situada no topo de uma colina, rodeada por uma vegetação árida, com pedras e urzais, de clima rigoroso e muita ventania. Emily Brontë recorre a elementos dessa paisagem, como a urze, o vento e a pedra, para caracterizar a identidade de suas personagens protagonistas, Catherine e Heathcliff, como uma metáfora de sua afinidade e da necessidade que têm um do outro. Essa imagem ajuda a compor o acontecimento trágico, que é a alienação entre os dois, traduzida no fato de que ambos se afastam daqueles elementos. A consumação da tragédia, determinada pela impossibilidade de reunião entre Catherine e Heathcliff, também é ilustrada por tal imagem: ao fim do romance, a urze cresce sobre a lápide de pedra de Catherine e de Heathcliff, que afinal se integram, na morte, à paisagem com que se identificavam.
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Husain, Adrian A. "Counter-narratives." Nineteenth-Century Literature 76, no. 1 (June 1, 2021): 33–56. http://dx.doi.org/10.1525/ncl.2021.76.1.33.
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Adrian A. Husain, “Counter-narratives: Wuthering Heights and the Intervals of the Brutalized Self” (pp. 33–56) This essay is concerned with meaning and genre and how these become accessible in our encounter with the critically strange. The focus is on a deconstruction and redefinition, by Emily Brontë in Wuthering Heights (1847), of “reality” as a given of domestic realism and a situating of the “real” in the interstices of Gothic romance and domestic realism. The essay contends that Brontë perceives the question of reality and the related question of genre as initially arising at the level of reading and as a problematic of perception necessarily linked to the esoteric nature of literary discourse itself. That reality, to be inclusive, must allow for the crucial idea of pain and the sentient self is understood. The departure from contemporary fiction is seen as involving a symbiosis and at the same time a radical disjunction between civil and visceral, localized and phantasmagorical, whereby a renewed reality—a new narrative space—is enabled to come about. Wuthering Heights is perceived as moving away, with a view to achieving a realized meaning, from the deliberate construct of language toward an involuntary and fragmented mimetic mode—or a language of the gut—more directly expressive of emotion. The essay argues that the production of a hybridized temporal perspective—or a “Bergsonian” time—is equally part of Brontë’s quest for reality.
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Tokairin, Tania Yumi. "A INTERAÇÃO ROMÂNTICA COM A NATUREZA: WUTHERING HEIGHTS, DA ESCRITORA EMILY BRONTË, E STREAMER IN A SNOWSTORM E THE SHIPWRECK, DO PINTOR WILLIAM TURNER." Revista de Literatura, História e Memória 17, no. 29 (July 2, 2021): 326–51. http://dx.doi.org/10.48075/rlhm.v17i29.26099.
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O presente artigo é um estudo interartes que tem por objetivo comparar duas produções inglesas de características românticas: o romance Wuthering Heights (O Morro Dos Ventos Uivantes, 1847), da escritora Emily Brontë (1818-1848), e as pinturas Streamer In A Snowstorm (Vapor Numa Tempestade De Neve, 1842) e The Shipwreck (O Naufrágio, 1805), de Joseph Mallord William Turner (1775-1851). Tomando como parâmetro metodológico uma pesquisa de origem comparativa, envolvendo a leitura de imagem e de texto literário, far-se-ão as análises das mencionadas pinturas criadas por William Turner e da prosa ficcional de Emily Brontë, deslindando a interação entre as suas respectivas criações com o tema da natureza, e pontuando, por conseguinte, o diálogo entre as obras enquanto representações importantes dentro do Romantismo inglês. Para a fundamentação teórico-crítica utilizamos estudos da área de literatura, artes visuais e filosofia, de autora e autores como: Márcia Cavendish Wanderley, Benedito Nunes, Anatol Rosenfeld, J. Guinsburg, Georges Bataille, E. H. Gombrich, Herbert Read, Friedrich Schelling e Michel Ribon.
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Lawrence, Michael. "Nature and the Non-human in Andrea Arnold's Wuthering Heights." Journal of British Cinema and Television 13, no. 1 (January 2016): 177–94. http://dx.doi.org/10.3366/jbctv.2016.0306.
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This article examines the representation of the natural environment and its non-human inhabitants in Andrea Arnold's 2011 film version of Emily Brontë’s Wuthering Heights. Arnold's ‘post-heritage’ adaptation, I argue, offers a post-humanist distribution of attention that, in its expansive interest in flora and fauna, exceeds the perspectives of its human protagonists, challenges popular ideas about the novel and subverts the conventions of mainstream narrative cinema. The film's intensely ecological and environmental orientation functions not only to divide our attention across human and non-human realms but also to counter nostalgic and ultimately ideological idealisations of ‘white’ and ‘English’ natural landscapes and rural lifestyles. Such idealisations have been extrapolated from Brontë’s novel, have informed earlier film adaptations and continue to have a material impact on the geographical region popularly known as ‘Brontë country’.
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Fatmawati, Ririn. "HEATHCLIFF’S SELF ACTUALIZATION IN WUTHERING HEIGHTS BY EMILY BRONTE." SEMIOTIKA: Jurnal Ilmu Sastra dan Linguistik 20, no. 1 (February 27, 2019): 1. http://dx.doi.org/10.19184/semiotika.v20i1.14538.
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This research discusses about Heathcliff’s Self-Actualization in Wuthering Heights written by Emily Bronte which is set in the Yorkshire moors of Northern England. The inductive method is used to make the discussion of the topic brief. It means that the analysis starts from the specific concept goes to general conclusion. The data used in this thesis are collected by library research. This article also applies Maslow’s Hierarchical Theory of motivation. There are five hierarchies of needs which have to be fulfilled before someone goes through to accomplish self actualization, those are physiological needs, safety needs, belongingness and love needs and the last needs are self-esteem needs. This article focuses on how Heathcliff fulfil his psychological need, how he get his safety need, how he get the belongingness and love need, how he reach his self-actualization.
. The research is to find Heathcliff succeeded to complete his self actualization in Wuthering Heights. Heathcliff can achieve his self-actualization because he wants to become a total kind of person to reach his dream whatever way he has done. He is able to unify Wuthering Heights and Thrushcross Grange, and making Hareton as slave.
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SCHROEDER, DORIS, and PETER SINGER. "Access to Life-Saving Medicines and Intellectual Property Rights: An Ethical Assessment." Cambridge Quarterly of Healthcare Ethics 20, no. 2 (March 25, 2011): 279–89. http://dx.doi.org/10.1017/s0963180110000939.
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Dying before one’s time has been a prominent theme in classic literature and poetry. Catherine Linton’s youthful death in Wuthering Heights leaves behind a bereft Heathcliff and generations of mourning readers. The author herself, Emily Brontë, died young from tuberculosis. John Keats’ Ode on Melancholy captures the transitory beauty of 19th century human lives too often ravished by early death. Keats also died of tuberculosis, aged 25. “The bloom, whose petals nipped before they blew, died on the promise of the fruit” is how Percy Bysshe Shelley expressed his grief over Keats’ death. Emily Dickinson wrote So Has a Daisy Vanished, being driven into depression by the early loss of loved ones from typhoid and tuberculosis.
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Ismail, Hisham Muhamad. "Heathcliff’s multiple references in Emily Brontë’s Wuthering Heights." Research Journal in Advanced Humanities 4, no. 3 (July 26, 2023): 29–37. http://dx.doi.org/10.58256/rjah.v4i3.1229.
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Wuthering Heights is considered one of the most controversial novels in the history of English literature due to its debatable themes and other messages. However, the novel is examined intensively and receives many critical commentaries. The earliest reviewers show less interest in this novel and its themes. Moreover, they harshly criticize the aggressive depiction of the relations and the unfavorable portrayal of the female characters. On the other hand, other critics greatly praise the uniqueness and originality of the writing style and intelligent analysis of Victorian society. Between the two opposing views, the reader may understand that Emily Bronte wants to build this controversial status to shed light on the unspoken issues in British society during the Victorian era. One of the most attractive points in this novel is the skillful portrayal of the main character, Heathcliff. Bronte manipulates these characters cunningly to represent all of the drawbacks of society. She uses this character to criticize the nature of relationships, the social situation, the political aspect, and the economic status of British society at that time. Due to the multiple facets of this character, the reader may find it difficult to understand his behaviors, attitudes, and emotions. Bronte makes the reader fluctuate between loving and sympathizing with this character to hating and disagreeing with most of his deeds. These doubtable reactions towards this character may remain till the end of the novel. Undoubtedly, the reader may enjoy reading this novel and understand the nature of this complicated web of relationships and elicit unspoken messages.
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Moussaoui, Roumaissa. "Gothic Reality: A Study of Emily Bronte’s Wuthering Heights." Arab World English Journal For Translation and Literary Studies 5, no. 3 (August 15, 2021): 40–54. http://dx.doi.org/10.24093/awejtls/vol5no3.4.
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Emily Bronte’s novel, Wuthering Heights, is a gothic novel with an innovative stance. Gothic elements permeate the story, but it is not a gothic novel in the traditional sense of the word. The fantastic tales so popular in the eighteenth century alienated the reader by creating phantasmagorical worlds. Emily Bronte, however, grounded her gothic world firmly in reality. Through an analytical approach, the author aims to show, in this article, how Emily Bronte reversed gothic conventions to create a gothic reality whose message is still relevant today. The author will show that her use of the gothic mode was an attempt to capture the real essence of life, anticipating the metaphysical theories of D. H. Lawrence, who wrote at the end of the nineteenth century. By highlighting her innate understanding of human nature , this article will focus on her affinity with Lawrence and the celebration of man’s powerful primal instincts. This article hinges on the premise that she deplored the mechanical restrictions of the society in which she lived. The author aims to show that her Gothicism is, paradoxically, synonymous with a search for life.
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Adams, Maureen. "Emily Brontë and Dogs: Transformation Within the Human-Dog Bond." Society & Animals 8, no. 2 (2000): 167–81. http://dx.doi.org/10.1163/156853000511069.
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AbstractThis paper examines the bond between humans and dogs as demonstrated in the life and work of Emily Brontë (1818-1848). The nineteenth century author, publishing under the pseudonym, Ellis Bell, evinced, both in her personal and professional life, the complex range of emotions explicit in the human-dog bond: attachment and companionship to domination and abuse. In Wuthering Heights, Brontë portrays the dog as scapegoat, illustrating the dark side of the bond found in many cultures. Moreover, she writes with awareness of connections - unknown in the nineteenth century - between animal abuse and domestic violence. In her personal life, Brontë's early power struggles with her companion animal mastiff, Keeper, evolve into a caring relationship. In a human-dog bond transformation that survives Brontë's death, Keeper, becomes both bridge and barrier to other human relationships. A dog may, and in this case Keeper does, take on a comprehensive role in which he both mourns his own loss and comforts others in their collective grief.
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Chashchina, Ekaterina I., and Elena V. Kirichuk. "The Role of the Symbol in the Work of the Bronte Sisters (Based On the Novels «Jane Eyre» and «Wuthering Heights»)." Nizhnevartovsk Philological Bulletin 8, no. 2 (December 10, 2023): 149–59. http://dx.doi.org/10.36906/2500-1795/23-2/13.
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The article focuses on the analysis of symbolism reflected in two striking works of the Victorian era: Emily Bronte's «Wuthering Heights» and Charlotte Bronte's «Jane Eyre». The work compares the symbols used by the specified authors (etymology of names and surnames, the image of nature, plots and images appearing in fairy-tale and mythological plots), search for images common to them. The relevance of the study is due to the increased interest of philologists in the work of the Bronte sisters, the desire of researchers to highlight the features that unite the works of both Charlotte and Emily Bronte. To achieve this goal, a comparative historical research method is used. The result of the study is a conclusion about the general fabulous and mythological sources in the symbolism of the fiction of the Brontë sisters, which characterize the individuality of each author, the specifics of each of the two analyzed works, but also allow determining their common origins. Both Bronte sisters, when creating their novels, somehow turned to various fairy-tale plots, mythological images appearing in Celtic legends and legends. The originality of the data obtained lies in the motivic organization and comparative analysis of the texts of the two sisters. The practical significance of the work consists in the possibility of using the research results in the formation of programs on the “History of foreign literature of the XIX century”, as well as in special courses on the work of the Bronte sisters. In addition, the results of the study will serve as a guideline for scientific research. The further direction of research involves the continuation of the study of the Bronte sisters' creativity, the reflection of the fairy-tale and mythological context in it from the point of view of comparative analysis.
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Akhter, Ashfaque, and Ahmed Tahsin Shams. "Identity Economics in Emily Brontë’s Wuthering Heights: An Empathetic Inquiry into Psychoanalysis." SCHOLARS: Journal of Arts & Humanities 4, no. 2 (August 11, 2022): 74–80. http://dx.doi.org/10.3126/sjah.v4i2.47423.
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This paper aims to connect the interlocking ideas of how social signifiers psychologically develop utility function, theorized by George A. Akerlof and Rachel E. Kranton, in characters like Heathcliff, the protagonist of nineteenth-century English fiction Wuthering Heights by Emily Brontë. Heathcliff's motivation is a desire born out of circumstantial consequences, for example, to be with Catherine in life or wealthy like Linton's family. This paper pinpoints how only material wealth fails to give a sense of belongingness in Heathcliff's life, which he aimed at achieving in the second half of his transformative journey. In addition, this paper attempts to reason for the absence of identity in Heathcliff’s decision-making process, which means a lack of empathy or belongingness in Heathcliff’s ambition. This research leads to a hypothesis that if Heathcliff had been brought up in an empathetic environment, the readers would not have perceived such degradation of mental health as abusive actions that he performs. Through a qualitative inductive method, this paper analyzes the aspect of identity economics that focuses on empathy. Thus, this paper gives insight into how material wealth without empathy only amplifies, particularly Heathcliff's violent nature, thereby leading the protagonist to an end where peace is a hallucination like Catherine’s ‘ghost.’
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Khakimova, Alina Il'dusovna, Ilyuza Insafovna Garipova, and Gul'fiya Rinatovna Minnulina. "SPECIFICITY OF SPATIAL AND TEMPORAL ARRANGEMENT OF THE NOVEL “WUTHERING HEIGHTS” BY EMILY BRONTË." Philological Sciences. Issues of Theory and Practice, no. 3-2 (March 2018): 258–60. http://dx.doi.org/10.30853/filnauki.2018-3-2.10.
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Jones, Anna Maria. "On the Bullet Train with Emily Brontë: Wuthering Heights in Japan, by Judith Pascoe." Victorian Studies 61, no. 3 (September 2019): 500–502. http://dx.doi.org/10.2979/victorianstudies.61.3.20.
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Costi Farias, Bianca. "Os Altos onde os ventos se enfurecem." A MARgem - Revista Eletrônica de Ciências Humanas, Letras e Artes 17, no. 2 (December 8, 2020): 98–119. http://dx.doi.org/10.14393/am-v17n2-2020-56823.
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O presente artigo propõe-se a revisitar a obra O morro dos ventos uivantes, da autora Emily Brontë, a partir de um olhar atento aos aspectos românticos e góticos nela presentes, bem como ao seu estilo de escrita, marcado por um profundo sentimentalismo. O relacionamento entre os protagonistas do romance será analisado a partir da observação do sentimentalismo sombrio e melancólico por trás da relação, e que caracteriza profundamente a escrita de Brontë. Busca-se desvendar o estilo narrativo desenvolvido pela autora e seus reflexos em Wuthering Heights, explorando a dinâmica psicológica presente na trama, que caracteriza seus personagens pela quebra de padrões - ao entregarem-se aos sentimentos de loucura e raiva – e se reflete nas cenas de relacionamento e conflito entre eles. Além disso, busca-se explorar a construção e influência da paisagem neste romance, também muito marcada por tais sentimentos, e percebendo assim seu papel e importância na narrativa.
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Hussein, Hikmat Kkalaf. "Victims of Heathcliff’s Revenge in Bronte’s Wuthering Heights." Journal of Tikrit University for Humanities 26, no. 4 (June 29, 2019): 572–88. http://dx.doi.org/10.25130/jtuh.26.4.2019.27.
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This paper “Victims of Heathcliff’s revenge in Bronte’s Wuthering Heights” is an attempt to explore the victim characters who are revenged on the hero of the novel “Wuthering Heights” written by Emily Bronte. It tries to show why and what has led him to make revenge on them all. It is also an endeavour to state that revenge leads to revenge and its impact on the social relationships in the community and the family itself.Revenge is an evil act. It could lead one to hurt even the one whom he loves using different ways. What the hero of the novel has done is his best to make revenge on each character in a way fit for its relationship with him.
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Sánchez Hernández, Purificación. "What kind of love is at work in "Pride and Prejudice" and "Wuthering Heights"?" Journal of English Studies 4 (May 29, 2004): 185. http://dx.doi.org/10.18172/jes.95.
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Pride and Prejudice and Wuthering Heights are two novels where love has a central and important role. However, they portray two different types of love. In Pride and Prejudice there is love and love turns to marriage. The characters in this novel are able to fall in love and defend their love within the boundaries of what is considered socially acceptable. In Wuthering Heights Emily Bronte is intense in her treatment of passion which is a passion that turns to violence. The characters show some of the more deeply buried emotions and tendencies. Love and passion will be analysed using a digitalised copy of both novels to determine what kind of feelings are present in both novels.
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Layadi – Mouffak, Khadidja. "The Yorkshire Dialect Representation in Wuthering Heights and Jane Eyre by Emily and Charlotte Brontë." Arab World English Journal For Translation and Literary Studies 4, no. 1 (February 15, 2020): 212–21. http://dx.doi.org/10.24093/awejtls/vol4no1.17.
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Newman, Beth. "The Birth of Wuthering Heights: Emily Bronte at Work (review)." Victorian Studies 42, no. 2 (1999): 310–12. http://dx.doi.org/10.1353/vic.2000.0026.
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Lee, Kwang-Soon. "A Study of STEAM Model Development and Assessment Method for Deep Learning: Through the Voice of Mimesis and Brontë." STEM Journal 22, no. 4 (November 30, 2021): 39–58. http://dx.doi.org/10.16875/stem.2021.22.4.39.
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This research aimed to explore a humanities-based STEAM (H-STEAM) model for EFL undergraduates (n = 72) to improve deeper thoughts and language proficiency in a multidisciplinary setting. The H-STEAM focused on the integration of a literature text, Emily Brontë’s Wuthering Heights, and the philosophical analysis framework of mimesis as a humanities resource. For a specific teaching and learning method, various group activities based on project-based learning (PBL) were fabricated to enhance collaborative and conceptual learning both inside and outside of the classroom. Analyzing the relationship of Wuthering Heights and mimesis, learners shared and adopted peers’ opinions with openness. They could improve problem-solving ability, caring, communication skills, and self-reviewing practice when accumulating content knowledge and generating creative ideas. This study organized student-based assessment; self-assessment (SA) and peer-assessment (PA). SPSS 25 was conducted for the correlation and reliability analysis of SA and PA, and the evaluation of linguistic improvement. The results indicate that the H-STEAM facilitating PBL can be more workable through openness and community caring. The integration of collaborative and conceptual learning through PBL can empower learners’ autonomy and produce deeper thoughts, which can contribute to deep learning. Consequently, this study may suggest a path to develop H-STEAM for higher education.
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Muller, Jessica L. "Human Nature and Confinement in Emily Bronte's Wuthering Heights." Journal of Student Research 1, no. 2 (July 14, 2012): 75–78. http://dx.doi.org/10.47611/jsr.v1i2.77.
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Catherine Earnshaw’s famous statement, “I am Heathcliff” in Emily Bronte’s Wuthering Heights, has often been thought to signify the depth of the passionate love between Catherine and Heathcliff (73). It seems, however, that Heathcliff and Catherine’s relationship may have more to do with symbolic possession and control than romance. In their famous feminist work, The Madwoman in the Attic, Sandra Gilbert and Susan Gubar make a well-known assertion about the relationship between the characters of Jane Eyre, a novel written by Emily Bronte’s sister, Charlotte Bronte. They suggest that Bertha, the deranged and malicious wife of Edward Rochester, can be considered as a symbol of the rebellious spirit that rages inside the seemingly quiet female protagonist, Jane Eyre, against the constraints of her class and gender role in society (356-367). I suggest that, similarly, Heathcliff is not a “devil” that possesses Catherine and inflicts misery on her, but that like Jane Eyre’s Bertha, Heathcliff is a symbolic manifestation of the raging spirit trapped inside Wuthering Height’s socially confined protagonist—Catherine Earnshaw. Catherine’s statement, “I am Heathcliff” could be said to signify, not a passionate relationship of love, but rather a literal truth. After Edgar forces Heathcliff to leave Thrushcross Grange, Catherine confines herself to her room for 3 days without food or water, bringing on an illness which eventually becomes fatal. Catherine is unable to unite herself with her true nature in life, and she therefore seeks unity with him in death. Though she cannot be united with Heathcliff while she remains the civilized wife of Edgar Linton, she can achieve unity with him in death by imprisoning and then eradicating the symbol of her civilized identity—her physical body.
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Belmerabet, Fatiha. "Thematic implications and representativeness in Wuthering Heights (1848): Dialect as a social reality." Global Journal of Foreign Language Teaching 11, no. 3 (August 13, 2021): 173–84. http://dx.doi.org/10.18844/gjflt.v11i3.5232.
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Since language is a brainwork of speakers who live in social and physical environments, researchers are obliged to think about the alliance between the vocabularies’ meaning in dictionaries and their significance in social use. And because the novel is a fictional piece of writing which is primarily inspired by real life and reflects realities. In Wuthering Heights, Emily Bronte strives to interfere in her characters’ thought and considers their social class, culture and experience; she acts as a writer, the speaker and the reader as well. These authorial qualities gave birth to a text combined of two language varieties, the Standard English and the Yorkshire dialect which are tightly interwoven without distorting the unity and the arrangement of the story plot. This paper looks to cover the different social inclinations of E. Bronte’s depiction of dialect in addition to some critical resonances of such representation. Keywords: Wuthering Heights, dialect representativeness, social reality, thematic implications, language.
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Belmerabet, Fatiha. "Thematic implications and representativeness in Wuthering Heights (1848): Dialect as a social reality." International Journal of New Trends in Social Sciences 5, no. 1 (May 30, 2021): 16–27. http://dx.doi.org/10.18844/ijntss.v5i1.5499.
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Since language is a brainwork of speakers who live in social and physical environments, researchers are obliged to think about the alliance between the vocabularies’ meaning in dictionaries and their significance in social use. And because the novel is a fictional piece of writing which is primarily inspired by real life and reflects realities. In Wuthering Heights, Emily Bronte strives to interfere in her characters’ thought and considers their social class, culture and experience; she acts as a writer, the speaker and the reader as well. These authorial qualities gave birth to a text combined of two language varieties, the Standard English and the Yorkshire dialect which are tightly interwoven without distorting the unity and the arrangement of the story plot. This paper looks to cover the different social inclinations of E. Bronte’s depiction of dialect in addition to some critical resonances of such representation. Keywords: Wuthering Heights, dialect representativeness, social reality, thematic implications, language.
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Manzoor, Sohana. "The Theme of Duality and Epiphanic Moments in the Works of Emily Brontë." Crossings: A Journal of English Studies 6 (December 1, 2015): 58–64. http://dx.doi.org/10.59817/cjes.v6i.188.
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“Navigating through Dublin in1904, Dickens would have lost his way, but trying to read Ulysses, he would have thought he had lost his mind,” (3) says Stephen Kern while distinguishing between Victorian writers and the modernists. He further adds, “Modernism is about a new way of interpreting the world more than the substance of that world” (3). Little wonder that while looking at the realist novels of H. G. Wells, John Galsworthy, and Arnold Bennett, Virginia Woolf ponders over the purpose of their characters. She admits that their novels are well-made, and yet she accuses them of “making the trivial and the transitory appear the true and the enduring” (Common Reader 210). Rather than branding something as tragic or comic, Woolf’s focus is on an artist’s capability of making life appear as it truly is, as she proposes with Emily Brontë’s characters that are filled with “such a gust of life that they transcend reality” (227). Using Woolf’s argument as the basis, I argue that in both her novel and poems Emily Brontë depicts that spirit of transcendence that aligns her with modernist writers. The nature of Emily’s power lies in her ability to thematize the metaphor of duality. In both her poetic works and novel she explores the dualistic aspects of life as fundamental. For her it was not a matter of choice, and she embraced both as can be seen through the struggles of her characters who continually strive to find a gap between love and the self. The sense of duality that is introduced in the Gondal poems is explored in a much more complex manner in Wuthering Heights, and Brontë “saw these dualities as cosmic” (Chitham 203). This paper examines some of the motifs of Emily Brontë’s art that I would claim make her a precursor to the Modernists.
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Kotenko, Mariana. "PECULIARITIES OF THE REPRODUCTION OF IDIOMS IN MULTIPLE UKRAINIAN TRANSLATIONS." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 843 (July 2023): 147–53. http://dx.doi.org/10.31861/gph2023.843.147-153.
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The purpose of scientific research is to investigate the appropriateness of using translation transformations for the adequate reproduction of idioms in multiple Ukrainian translations of the same literary work in order to compare and identify isomorphic and allomorphic features in the compared Ukrainian translations by M. Rudnytsky, D. Radienko and O. Andriyash. Since idioms present certain difficulties in reproducing their structure, semantics and functioning in a literary discourse, a number of Ukrainian translators used adequate translation techniques differently in order to preserve the original style of the novel under analysis. Despite numerous differences in Ukrainian translations, each of the translators tried to convey the peculiarities of the use of idioms for giving a Ukrainian reader a vivid description of literary characters, their actions, feelings, depicting events and phenomena by means of selecting accurate idiomatic expressions. The methodological basis of the study were methods of analysis and comparison which allowed us to select and find similarities and differences in depicting the author’s individual style, to compare systems of social stereotypes of that era and its reproduction in multiple Ukrainian translations. The novel ‘Wuthering Heights’ by the British writer Emily Brontë was chosen for analysis not by chance, because its translation was done by translators at different times from the moment of writing the original, so one of the research methods was to compare the selected translation strategies, techniques and methods used for revealing the meanings of idioms to a Ukrainian reader. The analysis show that Ukrainian translators in the process of translating idioms often resorted to the following basic translation strategies: paraphrasing, choosing the adequate Ukrainian analogues with similar meanings and forms, literal translation, the complete omission of idioms in the translation or revealing the idiomatic meanings in other ways. The analysis of the idioms selected from Emily Bronte's novel ‘Wuthering Heights’ showed that choosing an adequate translation strategy required the considerable knowledge of idioms, their structural and semantic peculiarities, linguistic erudition and translation skills. The study of idioms with a color component can serve as a prospect for further research.
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Nuraeni, Paridah, Saprudin Saprudin, and Lusi Susilawati. "Distingsi Kaum Borjuis Dengan Kaum Proletar Dalam Novel “Wuthering Heights” Karya Emily Bronte." KREDO : Jurnal Ilmiah Bahasa dan Sastra 5, no. 1 (October 14, 2021): 19–34. http://dx.doi.org/10.24176/kredo.v5i1.6268.
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Rahman, S. M. Mahfuzur. "Exonerating Eve:." Crossings: A Journal of English Studies 11 (September 1, 2020): 149–65. http://dx.doi.org/10.59817/cjes.v11i.55.
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For millennia, women have been demonized and denigrated through the metanarrative of Eve’s collaboration with Satan in Paradise as proof of women’s inherent moral inferiority as the progenitors of the “Original Sin.” Grandstanding poets such as Milton with their grandiose epics such as Paradise Lost have perpetuated and propelled the myth of the “second sex.” Thus, one half of humanity has been condemned and confined to their “place” indoors and reduced to the service of the “superior sex” – until the revolutionary age of the Romantics attacked all grand narratives. The two Brontë sisters, Charlotte and Emily, for instance, tried to upend the narrative of subjugation by championing the egalitarian struggle of Eve and Lucifer over the hierarchical order of Adam and God. The subversive strategy of delegitimizing the metanarrative of the Original Sin frequents in Shirley and haunts the gothic landscapes of Jane Eyre and Wuthering Heights, where the female central characters, Jane and Cathy respectively, undercut and undermine their feminine performativity by bending the will of their male counterparts. Deconstructing the abovementioned novels, this paper aims to demonstrate how the Brontë sisters actually attempted to unravel the metanarrative of the Fall from within – to hail Eve as the genuine “hero” – and prove how the feminine intellect is at par, if not superior, to that of the masculine.
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(née MOUFFAK) Khadidja, LAYADI. "The Power of Memory in the Creation of Wuthering Heights by Emily Brontë: when Transplanted Biographical Details Become Fictionalized." Arab World English Journal For Translation and Literary Studies 4, no. 2 (May 15, 2020): 157–66. http://dx.doi.org/10.24093/awejtls/vol4no2.12.
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Tine, Etienne Pathe. "Gothic Experiences in Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall." European Scientific Journal, ESJ 20, no. 11 (April 30, 2024): 69. http://dx.doi.org/10.19044/esj.2024.v20n11p69.
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This paper thoroughly analyses the theme of the gothic imagination in the works of Charlotte, Emily, and Anne Bronte, specifically in Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall. The novels portray romantic and sublime scenes with elements of terror, horror, and the uncanny, which intensify the expression of the gothic feelings experienced by the characters. The study also explores women's suffering in the context of gothic thought. Various factors inherent to the gothic genre contribute to the 19th-century readers’ fascination with the supernatural and thrilling emotions. This work explores gothic experiences depicted in novels using gothic tropes and critical approaches such as Marxism, feminism, or psychoanalysis. The use of the framing narrative technique remains a distinctive aspect of this study which worthily includes The Tenant of Wildfell Hall, a book that many critics have wrongly overlooked when interpreting the Bronte sisters’ novels in the light of the gothic trend. The analysis considers the common gothic features that characterize the novels, rather than treating them separately. This reinforces and enhances the scope of the analysis of the Gothic vision of these Victorian novelists.
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Krishnan, Lakshmi. "THE ELEMENT OF LIVING STORM: SWINBURNE AND THE BRONTËS." Victorian Literature and Culture 41, no. 3 (September 2013): 463–85. http://dx.doi.org/10.1017/s1060150313000053.
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That Algernon Charles Swinburne loved the Brontës is well known, and his interest in them well documented. His admiration for Charlotte and Emily, in particular, prompted two studies, a short book and an article, which were instrumental in establishing their critical reputation as it exists today. “Those great twin sisters in genius,” as he wrote in 1877, held a powerful sway over Swinburne's imagination (A Note 188–200). He considered them his Yorkshire kinswomen, bred in the wild borderlands of the North (although Swinburne was born in London and spent most of his life in southern England, his family was based in Northumberland, and he never lost his allegiance to the county, calling himself a “Borderer” to the very end). He sensed in their work – Emily's especially – the haunting, poetic influence of the moors, a passionate, romantic spirit that saturated his own verse and prose. More, they were his novelistic predecessors, and his essays on them shed considerable light on his own fictional practice. In framing himself as the Brontës’ apologist, Swinburne was “far ahead of his time,” shaping Victorian criticism (Hyder 15–16). His praise of Wuthering Heights is considered “by some literary historians to be epochmaking” and altered the way in which novels were discussed, analysed, and ultimately evaluated (Watson 247). There are also striking features that suggest Swinburne's own novel Lesbia Brandon – in its trans-genre form and unique milieu – was conceived as an exercise in the manner of Wuthering Heights.
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Pike, Judith E. ""My name was Isabella Linton": Coverture, Domestic Violence, and Mrs. Heathcliff's Narrative in Wuthering Heights." Nineteenth-Century Literature 64, no. 3 (December 1, 2009): 347–83. http://dx.doi.org/10.1525/ncl.2009.64.3.347.
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While critics have scrutinized Emily Brontëë's use of the framed narrative in Wuthering Heights (1847), raising questions about the reliability of the central narrators, Lockwood and Nelly Dean, scant attention has been paid to Isabella Heathcliff as the third narrator. Though readers have overlooked the importance of Isabella's narrative, Brontëë highlights her narrative by including it as the only intact letter in the entire novel and devotes almost an entire chapter to her narrative. Isabella's narrative surfaces in a letter to Nelly Dean, offering a highly unorthodox portrait for the mid-Victorian period of the domestic abuse of a young bride from the gentry class. Isabella's letter, which comprises most of chapter 13, also becomes a critical tool to ferret out the reliability of Heathcliff's account in chapter 14 of their marriage. By analyzing the conflicting accounts of their marriage, this essay demonstrates that Heathcliff 's argument acts as a carefully crafted legal rationale, based upon the laws of coverture, to defend and sanction the domestic confinement of his wife. While the laws of coverture deprived women of a legal and economic voice, Brontëë endows Isabella with a complex and at times ironic voice. Brontëë paints a powerful portrait of the radical transformation of Isabella from the pampered and infantile Miss Linton to the hardened Mrs. Heathcliff, ending with her as the intrepid, fugitive wife, Isabella Heathcliff. Brontëë demonstrates through Isabella's story that as long as the laws of coverture are intact, companionate marriage is at risk of being exploited and compromised.
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Bahumaid, Showqi. "Idiomphobia: The EFL Learner's Syndrome." International Journal of Arabic-English Studies 1, no. 2 (June 1, 2000): 331–40. http://dx.doi.org/10.33806/ijaes2000.1.2.8.
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Though separated by no less than the Atlantic Ocean, Emily Bronte and Nathaniel Hawthorne are indeed close intellectual neighbors . None of them is likely to have heard of, or even read the other. Their expressions of the fierce impact of nature, of the unaccessible depths of human naturalness , specially the domain of heathen love, however, prove, among other things, that they could have been nurtured in one social milieu. The issue of heathen love, however , introduces a major cross-cultural element for comparison. What looks probably paradoxical in this similitude is that an authoress has portrayed a male heathen in love, while an author has done the opposite. The condition and evolution of love in two heathen characters : Heathcliff in Emily Bronte's Wuthering Heights, and Hester Prynne in Nathaniel Hawthorne 's The Scarlet Letter, are respectively expre sions of the masculine and feminine variants of two heathen "subordinates" determined, as this study would show, by "cultural constructions" or "cultural conceptions" (terms used by Morris) of gender differences, as well as differences between two cultures: the British and the American..
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Akcesme, Banu. "Fighting Back Against the Encroachment of Patriarchal Power on Female Domains in Wuthering Heights." International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 27. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.27.
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Wuthering Heights can be read as a novel of warfare against women and women-associated spaces to be conquered to prove male superiority, authority and power. This paper aims to discuss how Emily Bronte challenged not only the established Victorian literary traditions but also the prevailing ideals of the Victorian society by subverting the hierarchically constructed power and gender relations with an emphasis on various strategies employed by Heathcliff and Edgar in the war they launch against nature, property and women to conquer, possess and control domestic households, external nature and female body. Their strategies include reductionism which includes the commodification and objectification of female body, separation of women from their female bond, family and female spaces, physical and emotional uprooting which causes the loss of independence, self-confidence and positive self-image, masculinization of nature and home, brutalization through which the female characters are exposed to male violence and oppression and destruction of a sense of security, commitment and resistance. The female characters are disconnected not only from their domestic households and nature but also from female bonds. The sense of placelessness and homelessness along with the lack of female solidarity is aggravated by transforming home and the natural world into an imprisoning, dominating and tyrannical web for women. Bronte ends the novel with a hope that subjugation and subordination does not have to be the inevitable destiny for women who can fight back to restructure the existing power relations and reclaim their bodies and home along with nature turned against them.