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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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Borg, Emma. "Catherine's Double Character : In Wuthering Heights." Thesis, Linnéuniversitetet, Institutionen för samhällsvetenskaper, SV, 2011. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-13432.
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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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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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Rocco, Debora de. "The narrator's performance in wuthering heights." Florianópolis, SC, 2005. http://repositorio.ufsc.br/handle/123456789/102380.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-Graduação em Letras/Inglês e Literatura CorrespondenteMade available in DSpace on 2013-07-16T00:48:14Z (GMT). No. of bitstreams: 0
The narrative structure and the performance of the narrators in Wuthering Heights are some or the aspects that deserve to be highlighted in the novel. Due to the fact of being considered as one of the most widely read books in the English Language, the single novel by Emily Brontë was adapted into several media vehicles. This thesis has the aim of establishing a comparison between the narrators# role performed in the novel with two filmic versions. Based on some of the main theories regarding the narrative discourse analysis, the focus of this study is geared towards the different postures that #storytellers# assume to answer the conventions of each genre. A estrutura narrativa e a performance dos narradores em O Morro Dos Ventos Uivantes são alguns dos aspectos que merecem ser realçados no romance. Por ser considerado um dos livros mais lidos em Língua Inglesa, o romance único de Emily Brontë foi adaptado para vários veículos da mídia. Esta dissertação tem por objetivo estabelecer uma comparação entre o papel desempenhado pelos narradores no romance com duas versões para o cinema. Fundamentado em algumas das principais teorias no tocante à análise do discurso narrativo, o foco deste estudo está voltado às diferentes posturas que os #contadores de histórias# assumem para atender às convenções de cada gênero.
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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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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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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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Levin, Nina. "“I am Heathcliff!” : Paradoxical Love in Brontë’s Wuthering Heights." Thesis, Stockholms universitet, Avdelningen för litteraturvetenskap, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-78397.
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This essay is an analysis of Emily Brontë’s novel “Wuthering Heights” and revolves mainly around the love between the two main characters, Catherine Earnshaw and Heathcliff, and how they express this love, either through words or through actions. Paradoxes concerning their love and paradoxes concerning the narration of the novel are of interest as well. The analysis employs Genette’s theories and terminology in the narrative analysis. The essay first discusses the effect of the narrative levels and paradoxes that can be found concerning these narratives and then investigates some events in “Wuthering Heights” that are linked to the two main characters’ love for one another. The events are analyzed in chronological order and discuss the paradoxes found in those events. The essay concludes by giving a short summary of the way Catherine and Heathcliff expresses their love for one another and the paradoxes found concerning this love. The narration is of importance since its complex structure allows for the entire novel to be read as one paradox. Disregarding the narration, the paradoxes found are many. The paradoxical love of Catherine and Heathcliff concern their love for one another in the sense that Catherine chooses to marry Edgar instead of Heathcliff and that she claims that Heathcliff killed her. They concern the way the act upon their love for one another in the sense that Catherine was double natured. The most prominent paradox, however, is the one concerning Catherine’s statement that she is Heathcliff. It is the most prominent because it is referred to throughout the novel in different ways.
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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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Miranda, Mariana de Melo. "Marriage, transgression and death: Wuthering heights and The awakening." Universidade do Estado do Rio de Janeiro, 2012. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=4706.
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Esta dissertação tem como objetivo analisar a situação da vida da mulher durante o século XIX, na Inglaterra e nos Estados Unidos da América, através de duas obras do século XIX: Wuthering Heights (1847) de Emile Brontë e The Awakening (1889) de Kate Chopin. Objetivamos, na presente dissertação, apontar a crítica dos discursos patriarcal e das práticas de poder social que tornaram o contexto social das mulheres representadas nos romances citados, propício para a anulação da expressão erótica e repressão. O objeto da análise restringiu-se às duas personagens principais dos romances, Catherine Earnshaw e Edna Pontellier; personagens cujas subjetividades foram reprimidas através da imposição e desempenho de papéis sociais que não as satisfaziam como mulheresThe present work aims at analyzing the situation of women's lives during the nineteenth-century in England and the United States of America, in two nineteenth-century novels: Wuthering Heights (1847), by Emile Brontë and The Awakening (1889), by Kate Chopin. Our objective in this study is to point out the patriarchal discourses and practices of social power that made the social context of the women represented in the mentioned novels, suitable for the annulment of erotic expression. The object of the analysis was restricted to the two main characters of the novels Catherine Earnshaw and Edna Pontellier, whose subjectivities have been suppressed through the imposition and performance of social roles that do not fulfil them as women
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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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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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Hjelm, Emma. "Från litteratur till film : En postkolonial analys av Wuthering Heights." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-21514.
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Denna uppsats handlar om skillnaden som uppstår mellan två filmer som är baserade på en och samma bok samt hur denna skillnad märks vad gäller den postkoloniala teorin. Filmerna och boken som har utgåtts från är Wuthering Heights (1939) av William Wyler, Wuthering Heights (2011) av Andrea Arnold och boken Svindlande höjder (1847) av Emily Brontë. De teorier som är använda som utgångspunkt för analysen är postkolonialism och intermedialitet. Analysen har en hermeneutisk synvinkel. Slutsatsen visar på att det finns många sätt man kan tolka en text. Hur man än väljer att göra det så gäller det att göra det lika ordentligt som Wyler och Arnold har gjort för att på så vis förmedla det syfte man vill få fram med filmen. Postkolonialismen som Arnold har utgått ifrån har satt sin prägel på filmen på ett intressant sätt genom alla dess aspekter. Wyler som har den typiska Hollywood-strukturen visar också detta i filmens struktur och framförande på sitt fascinerande sätt. En förklaring av omvandlingen kan vara som Anthony Burgess uttrycker sig: ”the verbal shadow turned into light, the word made flesh” (McFarlane, 2004:7).
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Carvalho, Solange Peixe Pinheiro de. "A tradução do socioleto literário: um estudo de \'Wuthering heights\'." Universidade de São Paulo, 2007. http://www.teses.usp.br/teses/disponiveis/8/8147/tde-09112007-142700/.
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O objetivo desta dissertação é apresentar uma proposta de tradução para as falas das personagens que usam o dialeto de Yorkshire no romance Wuthering Heights. O romance, publicado pela primeira vez na Inglaterra em 1847, já teve nove traduções diferentes no Brasil, bem como diversas reimpressões; e a existência desta proposta se deve ao fato de todas as traduções deixarem de lado a questão dialetal e apresentarem a fala dessas personagens dentro da norma culta da língua portuguesa. Consideramos que é necessário manter nas traduções em português a heterogeneidade existente no original inglês, pois essa é uma característica importante que não deve ser ignorada, principalmente depois que estudos lingüísticos e sociolingüísticos mostraram que dialetos não são formas inferiores de uma língua \"padrão\", correta. Levando em consideração as diferenças lingüísticas existentes entre a Inglaterra e o Brasil, e tendo por base estudos dialetológicos e o uso de elementos da oralidade para a criação das falas, a proposta de tradução pretende mostrar ao leitor brasileiro o fato de algumas personagens do romance não usarem o inglês standard ao falar, bem como uma análise sobre o papel desempenhado pelo uso do dialeto em diferentes momentos da narrativa.The main purpose of this dissertation is to propose a translation for the speech of the characters that speak Yorkshire dialect in the novel Wuthering Heights. This novel, published for the first time in England in 1847, has already been translated nine times into Brazilian Portuguese; besides, these translations have also been reissued here. This dissertation has as its basis the fact that in all nine Brazilian translations the Yorkshire dialect has been rendered into standard Portuguese. We consider that it is necessary to keep in Portuguese the linguistic diversity found in the original text, since it is a very important characteristic of the novel that cannot be ignored, most of all because linguistic and sociolinguistic studies have shown that dialects are not \"inferior\" forms of a \"standard\", correct, language. Taking into consideration the linguistic differences that exist between English and Brazilian Portuguese, and having as basis dialectological studies and the use of elements of oral language to create the speech of the characters in Portuguese, this work intends to show to Brazilian readers the fact that some characters in the novel do not speak standard English, as well as an analysis about the role played by the use of dialect in different moments of the novel.
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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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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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Tulio, Mariza. "Gender and the politics of the gaze in Bronte's Wuthering Heights." reponame:Repositório Institucional da UFSC, 2012. http://repositorio.ufsc.br/xmlui/handle/123456789/92897.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.Made available in DSpace on 2012-10-24T13:40:33Z (GMT). No. of bitstreams: 1 275862.pdf: 608321 bytes, checksum: 66ae3bfcb733e93a1dcf9e3554b875be (MD5)
O objetivo deste estudo é apresentar uma análise de como a imagem de Catherine é moldada pelo olhar masculino, como ela enfrenta os três tipos de olhar - o olhar dos personagens, o olhar do leitor, e o olhar do autor - e finalmente, se o olhar masculino é interrompido. O parâmetro teórico desta análise, o conceito do olhar masculino, é teorizado por Laura Mulvey no artigo "Prazer Visual e Cinema Narrativo" (1975) o qual critica a relação entre o olhar masculino e a imagem feminina do prazer visual moldado pela sociedade patriarcal. Através da crítica de Mulvey do prazer visual generizado em filmes, que pertence ao contexto do cinema clássico de Hollywood, articulo sua teoria em relação ao romance Wuthering Heights de Emily Brontë para examinar a dinâmica do olhar masculino em relação à personagem feminina Catherine. Este estudo teve também por objetivo analisar o quanto o paradigma teórico de Mulvey produzido para cinema poderia ser aplicado especificamente em um texto literário escrito no século XIX.
The objective of this thesis is to present an analysis of whether Catherine's image has been shaped by the male gaze, how she contends with the three looks of the male gaze - the look of the characters, the look of the reader, and the look of the author - and finally, how the male gaze is broken. The theoretical parameter of this analysis, the concept of the male gaze, is theorized by Laura Mulvey in the article "Visual Pleasure and Narrative Cinema" (1975) which critiques the relation between the male gaze and the female image within the patriarchal molding of visual pleasure. Borrowing Mulvey's critique of the gendering of visual pleasure in films, which pertains to the context of classical Hollywood cinema, I have articulated her theory in relation to Emily Brontë's Wuthering Heights, to examine the dynamics of the male gaze regarding the female character, Catherine. This study also aimed at examing the extent to which Mulvey's theoretical paradigm produced for cinema could be articulated specifically in relation to a literary text written in the nineteenth century.
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Jordan, Margaret Elise. "Illness and Anger: Issues of Power in "Wuthering Heights" and "Shirley"." W&M ScholarWorks, 1992. https://scholarworks.wm.edu/etd/1539625747.
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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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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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Öhqvist, Åsa. "Comparison of Authentic and Simplified Texts : A case study of Wuthering Heights." Thesis, Högskolan Dalarna, Engelska, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:du-22478.
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The aim of this essay is to explore in what way Graded Readers are different from authentic texts against the background of English as a Second Language (ESL) and the use of authentic and simplified text in ESL teaching. The material used for this purpose is the authentic text of Wuthering Heights by Emily Brontë and two upper-intermediate Graded Readers from two different publishers. The study uses the software readability-score and manual analysis to examine the texts with regards to lexical choice, language structure and story. The study showed that the Graded Readers are simplified in all aspects studied. Moreover, the Graded Readers differ from each other as well, most notably in the style of the text due to sentence structure and story simplification. This could imply that different authors of Graded Readers adopt different styles when simplifying text and that the grading levels are not comparable between different publishers.Engelska
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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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Karanezi, Arlind. "Heathcliff's Ambivalent Persona in Wuthering Heights : Reading Heathcliff through the Prism of Confinement." Thesis, Karlstads universitet, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-77514.
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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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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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Hutchins, Jessica A. "Le texte déstabilisé : les effets de la réécriture et de la traduction dans "Wuthering Heights", "La Migration des cœurs", et "Windward Heights" /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1679693121&sid=6&Fmt=2&clientId=1509&RQT=309&VName=PQD.
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Thesis (M.A.)--Southern Illinois University Carbondale, 2008."Department of Foreign Language and Literature." Keywords: Emily Bronte, La Migration des Coeurs, Maryse Conde, Translation, Windward Heights, Wuthering Heights. Includes bibliographical references (p. 63-66). Also available online.
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LeJeune, Jeff. ""The Violent Take It by Force"| Heathcliff and the Vitalizing Power of Mayhem in Wuthering Heights." Thesis, University of Louisiana at Lafayette, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10276789.
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LeJeune, Jeff. Bachelor of Science, McNeese State University, 2001; Master of Arts, University of Louisiana at Lafayette, 2017. Major: English Title of Thesis: ?The Violent Take It by Force?: Heathcliff and the Vitalizing Power of Mayhem in Wuthering Heights Thesis Chair: Dr. Christine DeVine Pages in Thesis: 92; Words in Abstract: 284 ABSTRACT In Wuthering Heights, Emily Bronte employs the character Heathcliff as both a real and mythic being in order to challenge class conventions in Victorian society. She shares this societal contention with other Victorian novelists, but where her contemporaries are typically realistic in their works, Bronte creates a concurrent mythic realm alongside the real in order to allow Heathcliff the space and license to be a Revenant, a symbol used in the folk tradition of the Scots, which I contend was a likely influence on Bronte?s work. Heathcliff?s real nature clashes with this symbolic one, especially when reality will not allow him to be with Catherine, the woman he loves. Her rejection of him serves two central purposes: 1) for the author to spotlight the arbitrary nature of the class system and the decisions individuals make inside it; and 2) for the author to provide a pivot point in the story at which she transforms Heathcliff from a real character to a mythic one. Heathcliff spends the latter half of the novel exacting redemptive punishment on all who have wronged him (and the marginalized he represents), including Catherine herself, a reality he struggles with because he still loves her despite her class-motivated marriage to the hated Edgar Linton. In the end, Heathcliff transgresses his symbolic purpose by going too far in punishing the innocent Hareton, at which point Bronte has him die as unceremoniously as she did Catherine earlier in the novel. Young Hareton and Cathy?s relationship is the fruit of the Revenant Heathcliff?s redeeming work, an ending that, for Bronte, seems to merge more than just the two houses; it seems to also reconcile divergent and conflicting ways of thinking inside the class system.
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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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Costa, Susana de Noronha Nascimento Leão da Cunha. "O efeito do tempo na tradução : marcas do desfasamento temporal em duas traduções de "Wuthering Heights"." Master's thesis, Porto : [Edição do Autor], 2000. http://hdl.handle.net/10216/18542.
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A presente dissertação pretende destacar a proximidade e a dissemelhança nas soluções de tradução encontradas por dois tradutores separados por cinquenta anos. Com base no romance de Emily Brontë, e em duas traduções da obra é feito o levantamento dos segmentos textuais caracterizadores do protagonista, Heathcliff, analisados contrastivamente ao nível micro-lexical de molde a salientar quais os pontos de contacto e as diferenças na tradução de adjectivos e substantivos nos trabalhos de 1914 e 1993. Para efeitos da análise do desfasamento temporal na tradução, entende-se que o estilo individual de cada tradutor reflecte a época em que o seu trabalho é produzido.
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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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Costa, Susana de Noronha Nascimento Leão da Cunha. "O efeito do tempo na tradução : marcas do desfasamento temporal em duas traduções de "Wuthering Heights"." Dissertação, Porto : [Edição do Autor], 2000. http://aleph.letras.up.pt/F?func=find-b&find_code=SYS&request=000105388.
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A presente dissertação pretende destacar a proximidade e a dissemelhança nas soluções de tradução encontradas por dois tradutores separados por cinquenta anos. Com base no romance de Emily Brontë, e em duas traduções da obra é feito o levantamento dos segmentos textuais caracterizadores do protagonista, Heathcliff, analisados contrastivamente ao nível micro-lexical de molde a salientar quais os pontos de contacto e as diferenças na tradução de adjectivos e substantivos nos trabalhos de 1914 e 1993. Para efeitos da análise do desfasamento temporal na tradução, entende-se que o estilo individual de cada tradutor reflecte a época em que o seu trabalho é produzido.
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Alegrette, Alessandro Yuri [UNESP]. "As metamorfoses da escrita gótica em Wuthering Heigths (O Morro dos Ventos Uivantes)." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141925.
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Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
O corpus deste trabalho de pesquisa é O Morro dos Ventos Uivantes, único romance da autora inglesa Emily Brontë que desde de sua primeira publicação em 1847 tem gerado reações contraditórias que oscilam entre o fascínio e o estranhamento entre os leitores. Buscamos analisar alguns aspectos peculiares dessa obra, enfatizando-se dentre eles seu modo de narração, que combina aspectos assustadores do romance gótico com elementos da estética realista do século XIX. Também são objetos de estudo desta pesquisa o que chamamos de “espacialidade gótica”, que se evidencia nas descrições do cenário principal - Wuthering Heights, a antiga e sinistra casa que também dá o título ao romance -, e os temas e motivos do gênero gótico que foram revistos por Emily Brontë, tais como o duplo, o qual é amplamente explorado em textos com inspiração gótica, a exemplo de Manfred, poema dramático de Byron. Por fim, realizamos a análise das características do casal de protagonistas do romance, Catherine e Heathcliff, visando apontar um diálogo intertextual do livro de Brontë com obras do gênero gótico ou inseridas na tradição literária inglesa, tais como Paraíso perdido, de John Milton.
The corpus of this research is Wuthering Heights, the only novel written by the English writer Emily Brontë that since its first publication in 1847 has generated contradictory reactions that oscillate between fascination and repulsion among readers. We analyse some peculiar aspects of this work, emphasizing among them, its mode of narration that combines frightening aspects of Gothic novel with elements of realistic aesthetics of the nineteenth century. They are also objects of this study, which we call "Gothic spatiality" that stands out in the description of its main scenario - Wuthering Heights, the old and sinister house that provides the title of the novel -, and the themes and motifs of the Gothic genre that were reviewed by Emily Brontë, such as the double, which is widely exploited in texts with Gothic inspiration, such as Manfred, dramatic poem of Byron. Finally we analyse the couple of protagonists in the novel, Catherine and Heathcliff, seeking to appoint an intertextual dialogue between Brontë’s book with works of Gothic genre or inserted in the English literary tradition, such as Paradise Lost, by John Milton.
FAPESP: 2012/08393-9
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Aguilar, Franch Manuel Ramón. "El poder de la metáfora en la estructuración e interpretación de obras literarias y fílmicas: Wuthering Heights." Doctoral thesis, Universitat de València, 2009. http://hdl.handle.net/10803/9803.
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El presente trabajo es una aproximación a la figura literaria de mayor fuerza creativa, la metáfora. Gracias al estudio de algunos autores, sabemos que las metáforas participan en la configuración del pensamiento humano y en el lenguaje en general, y lo hacen a través de la imaginación. Partimos así de un enfoque cognitivo, pero para el estudio de este tropo también son necesarias las aproximaciones tradicionales. Nos guiamos, en consecuencia, por una perspectiva interdisciplinar, ecléctica; retórica e imaginativa a la vez, aunque con preponderancia de la segunda, pues supera problemas del pasado y permite que nuestras conclusiones abarquen un ámbito mayor. Encontramos metáforas incluso en situaciones cotidianas, y podemos afirmar que contribuyen a la coherencia y cohesión de cualquier tipo de texto. Ésta es nuestra premisa inicial; pero nuestro gran objetivo es demostrarlo en el lenguaje cinematográfico, un arte con cada día más influencia social pero sorprendentemente poco estudiado hasta la fecha. Presentamos un concepto amplio de metáfora pues, para nosotros, si no todo es metáfora, casi todo puede serlo. Comprobaremos la existencia de metáforas en el cine, no en vano son la parte del lenguaje más cercana a la imagen; estudiaremos su tipología, y la forma de adaptar obras literarias al séptimo arte. Escogemos el lenguaje artístico para la aplicación práctica también porque da mucho más juego. Así, en primer lugar, ratificaremos la gran importancia de las metáforas en el lenguaje literario procediendo a su análisis en la novela Wuthering Heights, de Emily Brontë. Hemos escogido este libro debido principalmente a la intensidad de las metáforas que contiene. A continuación, analizaremos las metáforas en tres de sus adaptaciones al cine: la clásica de Wyler, la surrealista de Buñuel, y la más moderna de Krishnamma. La elección de éstas tres se debe a que son las que presentan un mayor contraste de manera que nuestro estudio será más rico. Aunque estudiaremos muchas metáforas, destacan entre ellas el espacio, los fenómenos atmosféricos y la metáfora del cristal. Las metáforas constituyen el lugar donde se engarzan el comportamiento de los personajes, la evolución del argumento y por supuesto el significado más profundo del discurso. Por tanto, ostentan una función clave en la organización del filme, a nivel estructural; pero también en la comunicación del universo del creador, a nivel simbólico. Por último, contrastamos las metáforas de la novela con las de los filmes y las de estos entre sí, y concluimos que abundan las similitudes, tanto en las metáforas escogidas como en su función, a pesar de que pueda cambiar el director, la época o el tipo de espectador al que va dirigida. El apartado final constituye un breve resumen de lo hecho en el trabajo. Queda claro que las metáforas son un elemento fundamental en cualquier tipo de discurso; nosotros lo hemos ejemplificado casi exclusivamente en el terreno del arte, pero nuestras conclusiones son extrapolables a todo tipo de texto. Para terminar, evaluamos las limitaciones y ventajas de nuestro estudio, destacamos algunas de sus utilidades y aplicaciones que van más allá de la didáctica de lenguas, y proponemos algunos caminos por los que podría ser continuado.This piece of work deals with metaphors. Cognitivists show they participate in the configuration of human thought and in language in general. Combining this approach with more traditional ones, we will follow an ecclectic perspective, simultaneously rhetoric and imaginative, so that our conclusions can reach further. Metaphors appear in everyday situations, and they help in the coherence and cohesion of all types of text. We will try to prove it in the cinema, a really influential art which surprisingly has not been studied in depth so far. Led by a wide notion of metaphor, we chose the language of the arts for our analysis due to its richness but our conclusions can be applied to all types of text. We will begin by assessing the importance of metaphor in literature, analysing their use in Emily Brontë's Wuthering Heights. Then, we will do likewise in three of its film adaptations; Wyler's, the classical; Bunuel's, the surrealist, and Krishnamma's, the most modern. Many metaphors will be dealt with but three of them stand out: space, weather and the glass (windows and mirrors). We will conclude that metaphors become the characters' behaviour, the evolution of the plot, and the work's most profound meaning; being crucial both in the organizing of the text (structural level) and in the communication of the creator's universe (symbolic level). Moreover, there are similar aspects both with respect to the metaphors used by each creator and with reference to their function. Finally, we will assess both the limits and advantages of our study, underlining some of its practical uses, which go beyond language teaching. We will also suggest interesting ways to continue with it.
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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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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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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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Larsson, Malin. "Heathcliff : The Black Dog that Became a Bourgeois Gentleman - the Combined Issue of Race and Social Class in Wuthering Heights." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27588.
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This thesis will illustrate how the issues of race and social class in Emily Brontë’s Wuthering Heights are main focuses for how Heathcliff is perceived and how they influence his actions. The importance lies in how both issues are main reasons for how Heathcliff is treated. He is not treated primarily because of his social class nor his race, but a mixture of both. The analysis will be done by analysing the text with a postcolonial theorization of imperialism. It will also include the study by Terry Eagleton Myths of Power: A Marxist study on Wuthering Heights and Maja-Lisa von Sneidern’s article “Wuthering Heights and the Liverpool Slave Trade”. Eagleton states that because of Heathcliff’s unknown origin he has no natural social or biological standing and it is these factors that lead to the conflicts in the novel. Eagleton bases his study on a Marxist and capitalistic perspective. He does not consider the racial aspect of Heathcliff’s situation as a main factor. By contrast, von Sneidern’s study focuses on Heathcliff’s undisputed racial otherness and states that the relationship between Catherine and Heathcliff is a mistress-bondsman one. In her analysis, Von Sneidern treats Heathcliff like a slave and only mentions the racial aspects of every situation and conflict in the novel. She does not consider social class as a main factor for the situations and conflicts. This thesis will show how and why both social class and race are important to consider when analysing this novel, with Eagleton’s and von Sneidern’s studies representing some of the studies that have been made on these issues.
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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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Abualadas, Othman Ahmad Ali. "A linguistically-oriented approach to literary translation : a comparative pragmatic study of three Arabic renditions of the English novel 'Wuthering Heights'." Thesis, University of Leeds, 2015. http://etheses.whiterose.ac.uk/9424/.
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The present study applies one branch of linguistics, namely pragmatics, to the study of translation. It analyzes pragmatic elements, namely (i) presupposition, (ii) implicature and (iii) deixis, in Emily Brontë’s Wuthering Heights (1847) and three Arabic translations to identify the nature of shifts in these elements and their conditioning factors. The study adopts a descriptive approach (Toury 2012) that will contribute to research into the determining features of English-Arabic literary translation and ultimately to research into translation norms or universals. The features studied are manually identified and then analyzed through different qualitative and quantitative research methods. The analysis reveals several trends, most importantly, a tendency: (i) to claim lesser shared knowledge with readers, (ii) to avoid the flouting of conversational maxims and hence to enhance information quality, relevance, clarity and politeness at face value and (iii) to explicitate deictic knowledge and increase the deictic anchorage. This brings the main narrator (Nelly Dean) closer to the other characters in temporal, spatial, social and mental space, hence increasing her involvement in events and empathy towards characters. At the same time, it distances the outside frame narrator (Lockwood), who has limited contact with characters, and increases his detachment and antipathy. In both cases more is revealed of narrator-character relationships and the narrator’s evaluations, leading to a more subjective narrative mood. These findings, however, point to one overriding trend in the corpus: a tendency to communicate at the explicit level rather than the implied. Although this general trend may point to strengthening of textual and discoursal relations and to a text that is more ‘cohesive’, ‘explicit’ (Blum-Kulka 1986), ‘cooperative’ (Malmkjær 1998, 2005) and ‘fluent’ (Venuti 1995), it also suggests a text that is less stylistically varied and which tends to evoke less ‘reader involvement’ (Hickey 1998, Boase-Beier 2006, 2014). The shift is attributable to a number of factors: (i) the translator’s representation of her/his ‘conception’ or ‘concretisation’ of the original story (Levý 2011) and (ii) her/his attempts to explicitate the pragmatic forces of the original and ‘standardize’ its language and style (Toury 2012), with the likely purpose of avoiding processing difficulties or potential ambiguities and ensuring the success of this interlingual communication. These findings support the view that explicitation and standardization as universal strategies stem from the translator’s perception of his/her role as a intercultural mediator and her/his intention to help the reader (Munday 1997a, Pápai 2004, Pym 2005, Saldanha 2008, Becher 2010) rather than that explicitation is related to the translation process itself (Øverås 1998, Olohan and Baker 2000) and standardization to the relative dominance of the translated language and literature (Vanderauwera 1985). Lastly, it is hoped that the model will be applicable to different texts and language pairs to compare the results and gain more understanding of translation norms and universals.
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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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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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Morse, Samantha E. "Dreading He Knew Not What: Masculinities, Structural Spaces, Law and the Gothic in The Castle of Otranto, Pride and Prejudice, and Wuthering Heights." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/pitzer_theses/58.
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This essay investigates the integral linkages between Gothic spaces and Gothic masculinities in three texts: Horace Walpole’s The Castle of Otranto (1764), Jane Austen’s Pride and Prejudice (1813), and Emily Brontë’s Wuthering Heights (1847). At the core of this examination is architecture, or more specifically, the physical constructions and built environments that comprise a man’s property. I explore how a man uses his property to construct, legitimize, and perform his identity. In the Female Gothic, the home is a place of anxiety for women, where patriarchal dominance and violence reign to constrain female agency. I argue that the home is also an anxiety-ridden space for men, who are similarly tyrannized by a force they have limited power to fight against: legality. The issue of legally legitimized property ownership as a means of defining masculine selfhood in these texts lead men to extreme, and arguably unnatural, resorts to cling to their coveted status as autonomous property holders and virile men. In short, I aim to define a specifically Gothic masculinity. Yet, by using Pride and Prejudice, I will argue that this Gothic masculinity is not limited to Gothic texts.
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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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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 1960 /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37609171b.
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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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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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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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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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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.