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Love Stories
Romance stories Romance stories Aaaah - true love. There really is nothing better to bring a smile to Library your face, a warm glow to your - heart, and the belief that life is wonderful. But can you ignore your jealous rivals? With their underhanded tactics, two-faced scheming and inopportune ‘chance’ meetings – fully aware that love can be fragile! How dare they try to steal your true love away from you!! Worle Community School Academy Academy School Community Worle Romance stories How Hard Can Love Be? By Holly Bourne F/BOU ary All Amber wants is a little bit of love. Her mum Libr has never been the caring type, even before she - moved to California, got remarried and had a personality transplant. But Amber's hoping that spending the summer with her can change all that. And then there's prom king Kyle, the guy all the girls want. Can he really be interested in anti- School Academy SchoolAcademy cheerleader Amber? Even with best friends Evie and Lottie's advice, there's no escaping the fact: love is hard. Worle Community Community Worle Romance stories Love Hurts By Malorie Blackman F/BLA ary Malorie Blackman brings together the best Libr - teen writers of today in a stunningly romantic collection about love against the odds. Featuring short stories and extracts - both brand-new and old favourites - about modern star-crossed lovers from stars such as Gayle Forman, Markus Zusak, Patrick Ness and Andrew Smith, and with a new story from Malorie Blackman herself, Love Hurts looks at every kind of relationship, from first kiss to final heartbreak. -
Wuthering Heights by Emily Bronte
Wuthering Heights by Emily Bronte Author Biography Emily Bronte was born in Yorkshire in 1818 and died there in 1848. The second of four children (sisters Charlotte and Anne also became authors), Emily Bronte’s father was a church rector, and her aunt, who raised her and her siblings after their mother’s death, was deeply religious. The Bronte siblings grew up writing stories, poems, and plays to amuse one another, since Yorkshire was sparsely populated and they rarely left home or saw other people. The moors of Yorkshire are the setting of Wuthering Heights. Emily Bronte never married and did not write under her own name while she was alive; recognizing that few people took female authors seriously at the time, she published her works under the androgynous pen name “Ellis Bell.” Summary Mr. Lockwood is renting Thrushcross Grange (a cottage in Yorkshire) from Heathcliff, who is a surly loner type who, at the beginning of the book, is living at Wuthering Heights, four miles from Thrushcross Grange. (Despite their impressive names, both properties are basically cottages.) Also residing at Wuthering Heights are Heathcliff’s daughter, Catherine; his son- in-law, Hareton Earnshaw; and two servants, Joseph and Nelly. On his first visit to Wuthering Heights, Lockwood claims to be thrilled with the “desolate” nature of the moor, but soon gets bored, so he asks Nelly to tell him her life story, which she does. Most of the book is narrated as Lockwood’s diary-version of Nelly’s version of what happened in the past. As a child, Nelly worked as a servant at Wuthering Heights. -
Wuthering Heights
LEVEL 5 Teacher’s notes Teacher Support Programme Wuthering Heights Emily Brontë After old Mr Earnshaw’s death, Heathcliff is treated EASYSTARTS badly by Catherine’s brother, Hindley. Then, when he overhears Catherine say she will marry Edgar Linton, Heathcliff disappears, swearing to get his revenge on the two families. LEVEL 2 Three years later, now rich and respectable, Heathcliff sets about his destructive business. First, Hindley’s LEVEL 3 weakness for alcohol and gambling enables Heathcliff to gain control of the Earnshaw estate and Hindley’s son. Then, to her brother Edgar’s horror, he marries LEVEL 4 Isabella Linton. Catherine is also greatly upset by this; she becomes ill and dies after giving birth to her and Edgar’s daughter, a second Catherine, but not before Heathcliff About the author and she have sworn undying love for each other. Finally, LEVEL 5 Emily Brontë was born in 1818 into a clergyman’s family when Heathcliff’s own son comes to Wuthering Heights, of five girls and a boy. The family lived in Haworth, a Heathcliff sees how he can also acquire the Lintons’ moorland village in West Yorkshire, northern England. property. But revenge, after all, isn’t so sweet. Tortured LEVEL 6 Their mother died in 1821 and four of the sisters, by memories of Catherine, he is overcome by guilt and including Emily, aged 6, were sent away to a boarding madness. With his death, all ends happily. school, where conditions were so bad that two of them Chapters 1–4: Mr Lockwood is a new tenant at died. -
Wuthering Heights
Review: Wuthering Heights A Brief Summary Many people, generally those who have never read the book, consider Wuthering Heights to be a straightforward, if intense, love story — Romeo and Juliet on the Yorkshire Moors. But this is a mistake. Really the story is one of revenge. It follows the life of Heathcliff, a mysterious gypsy-like person, from childhood (about seven years old) to his death in his late thirties. Heathcliff rises in his adopted family and then is reduced to the status of a servant, running away when the young woman he loves decides to marry another. He returns later, rich and educated, and sets about gaining his revenge on the two families that he believed ruined his life. Prologue (chapters 1 to 3) Mr Lockwood, a rich man from the south, has rented Thrushcross Grange in the north of England for peace and recuperation. Soon after arrival, he visits his landlord, Mr Heathcliff, who lives in the remote moorland farmhouse called "Wuthering Heights". He finds the inhabitants of Wuthering Heights to be a strange group: Mr Heathcliff appears a gentleman but his manners and speech suggest otherwise; the mistress of the house is in her late teens, an attractive but reserved, even rude woman; and there is a young man who appears to be one of the family although he dresses and talks like a servant. Being snowed in, he has to stay the night and is shown to an unused chamber where he finds books and graffiti from a former inhabitant of the farmhouse called "Catherine". When he falls asleep, his dreams are prompted by this person and he has a nightmare where he sees her as a ghost trying to get in through the window. -
A Chronology of Her Own
Space and borders in Emily Brontë’s Wuthering Heights by Jan Albert Myburgh A dissertation submitted in fulfilment of the requirements for the degree Master of Arts in English in the Department of English at the UNIVERSITY OF PRETORIA FACULTY OF HUMANITIES Supervisor: Professor David Medalie August 2013 © University of Pretoria I herewith declare that Space and borders in Emily Brontë’s Wuthering Heights is my own work and that all the sources I have used have been acknowledged by means of complete references. ____________________________ ____________________________ ii © University of Pretoria Acknowledgements I would like to thank Professor Medalie for his time, dedication, and prompt and very detailed feedback. I would also like to thank all my relatives, friends, and colleagues who supported me throughout this endeavour. iii © University of Pretoria Abstract 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. -
Des Hauts De Hurlevent À La Migration Des Coeurs : L'émergence D'une Identité Composite
Mémoire de Master Université de Limoges Faculté des Lettres et Sciences Humaines Département d'études anglophones Littérature anglophone présenté et soutenu par Sultana NEZIRI le 22 septembre 2017 Des Hauts de Hurlevent à La Migration des Coeurs : l'émergence d'une identité composite Mémoire dirigé par Bertrand ROUBY Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 2 Remerciements En premier lieu, j'aimerais remercier Bertrand Rouby, pour ses conseils en tant que directeur de recherche, mais surtout pour m'avoir permis de découvrir les œuvres de Jean Rhys et de Maryse Condé. Ces univers m'ont touchée par leur richesse et leurs spécificités, m'offrant la possibilité d'aborder des romans qui m'ont marquée, ceux des sœurs Brontë, sous un angle différent. Je remercie les amis dont le soutien m'a aidée, surtout au cours des dernières étapes: Mathilde, Anaïs, Marion et Louise. Merci à Garance d'avoir pris en charge un aspect qui est hors de ma portée : la mise en page de ce mémoire, ce qui me décharge d'un poids considérable. Enfin, avoir un frère qui soit en mesure de comprendre les petits maux et les grands tracas que peut engendrer la cécité au cours d'un processus de rédaction a été essentiel. Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 3 Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 4 Droits d'auteurs Cette création est mise à disposition selon le Contrat : « Attribution-Pas d'Utilisation Commerciale-Pas de modification 4.0 International » disponible en ligne : http://creativecommons.org/licenses/by-nc-nd/4.0/ Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 5 Sultana NEZIRI | Mémoire de Master | Université de Limoges | 2017 6 Table des matières Introduction......................................................................................................................................9 Partie I : Unité et fragmentation......................................................................................................13 I.1. -
I Am Heathcliff!” Paradoxical Love in Brontë’S Wuthering Heights
Stockholm University Department of Literature and History of Ideas Literature Studies “I am Heathcliff!” Paradoxical Love in Brontë’s Wuthering Heights Nina Levin Degree project Submitted to James Spens Spring 2012 Abstract 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. -
See Script Preview
By Omri Schein & Phil Johnson Original Music by James Olmstead A Loose and Comical Adaptation of Wuthering Heights by Emily Brontë PRODUCTION SCRIPT www.stagerights.com WITHERING HEIGHTS Copyright © 2019 by Omri Schein and Phil Johnson All Rights Reserved All performances and public readings of WITHERING HEIGHTS are subject to royalties. It is fully protected under the copyright laws of the United States of America, of all countries covered by the International Copyright Union, of all countries covered by the Pan-American Copyright Convention and the Universal Copyright Convention, and of all countries with which the United States has reciprocal copyright relations. All rights are strictly reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted in any form, by any means, including mechanical, electronics, recording, or otherwise, without the prior written permission of the author. Publication of this play does not necessarily imply that it is available for performance by amateurs or professionals. It is strongly recommended all interested parties apply to Steele Spring Stage Rights for performance rights before starting rehearsals or advertising. No changes shall be made in the play for the purpose of your production without prior written consent. All billing stipulations in your license agreement must be strictly adhered to. No person, firm or entity may receive credit larger or more prominent than that accorded the Author. For all stage performance inquiries, please contact: Steele Spring Stage Rights 3845 Cazador Street Los Angeles, CA 90065 (323) 739-0413 www.stagerights.com PRODUCTION HISTORY Withering Heights was originally produced by the Roustabouts Theatre Company in San Diego. -
Emily Brontë's Revolutionized Religion Emily Renee Holmes University of Arkansas, Fayetteville
University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2019 Losing Faith: Emily Brontë's Revolutionized Religion Emily Renee Holmes University of Arkansas, Fayetteville Follow this and additional works at: https://scholarworks.uark.edu/etd Part of the Literature in English, British Isles Commons Recommended Citation Holmes, Emily Renee, "Losing Faith: Emily Brontë's Revolutionized Religion" (2019). Theses and Dissertations. 3195. https://scholarworks.uark.edu/etd/3195 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected]. Losing Faith: Emily Brontë’s Revolutionized Religion A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in English by Emily Holmes Hendrix College Bachelor of Arts in English, 2017 May 2019 University of Arkansas This thesis is approved for recommendation to the Graduate Council. _______________________________ Sean Dempsey, Ph.D. Thesis Director _______________________________ _______________________________ Dorothy Stephens, Ph.D. Mary Beth Long, Ph.D. Committee Member Committee Member Abstract “Losing Faith: Emily Brontë’s Revolutionized Religion” discusses the role of religion in her novel Wuthering Heights and her poems set in the mythical world of Gondal. Through close readings of both her prose and poetry, this paper seeks to understand the relationship between the dark, vindictive nature of Brontë’s characters and their hopeful ending. The first chapter, Here’s The Situation, discusses the situation as set up by the novel, focusing specifically on Catherine and Heathcliff. I discuss the violence and codependence of their relationship, their Gondal predecessors, their fascination with each other as well as their torment when apart, and the hell they create for themselves, and the characters themselves. -
Top Withens in Winter WUTHERING HEIGHTS PACKET ADVANCED
1 Top Withens in winter WUTHERING HEIGHTS PACKET ADVANCED PLACEMENT LITERATURE AND COMPOSITION R. GOLD, INSTRUCTOR-PIPER HIGH SCHOOL Bronte Falls 2 OVERVIEW OF EMILY BRONTË Emily Brontë has become mythologized both as an individual and as one of the Brontë sisters. She has been cast as Absolute Individual, as Tormented Genius, and as Free Spirit Communing with Nature; the trio of sisters–Charlotte, Emily, and Anne–have been fashioned into Romantic Rebels, as well as Solitary Geniuses. Their lives have been sentimentalized, their psyches psychoanalyzed, and their home life demonized. In truth, their lives and home were strange and often unhappy. Their father was a withdrawn man who dined alone in his own room; their Aunt Branwell, who raised them after the early death of their mother, also dined alone in her room. The two oldest sisters died as children. For three years Emily supposedly spoke only to family members and servants. Their brother Branwell, an alcoholic and a drug addict, put the family through the hell of his ravings and threats of committing suicide or murdering their father, his physical and mental degradation, his bouts of delirium tremens, and, finally, his death. As children, Charlotte, Branwell, Emily, and Anne had one another and books as companions; in their isolation, they created an imaginary kingdom called Angria and filled notebooks describing its turbulent history and character. Around 1831, thirteen-year old Emily and eleven-year old Anne broke from the Angrian fantasies which Branwell and Charlotte had dominated to create the alternate history of Gondal. Emily maintained her interest in Gondal and continued to spin out the fantasy with pleasure till the end of her life. -
Kildwick and the Brontës – True Or False ? by Graham Taylor
Kildwick and the Brontës – True or False ? by Graham Taylor Introduction It never takes very long. I mention to someone who knows the area that I’m a member of the Farnhill and Kildwick Local History Group and sooner or later I’ll be told “… of course Kildwick Hall is the real Wuthering Heights” or “… Charlotte Brontë attended Kildwick church”; I’ve even heard tell that “Charlotte’s ghost haunts the White Lion” ! There are so many connections, or supposed connections, between Kildwick and the Brontë family. The aim of this piece is to consider some of these and to discuss to what extent they might be fact or fiction. True or False ? 1. Charlotte Brontës took her nom-de-plume from the Currer family of Kildwick Hall Almost certainly true. The Brontë sisters used nom-de-plumes to disguise their identities as women. They took the surname Bell and chose gender-neutral forenames which meant that, in the culture of the times, it would naturally be assumed that they were men. They selected forenames that retained the initial letters of their own: Acton (Anne), Ellis (Emily) and Currer (Charlotte), but how these names came to be chosen is not known for certain. In the case of Acton/Anne it has been suggested that the nom-de-plume refers to Eliza Acton, the poet1. It is generally agreed that Charlotte’s “Currer” was derived from the family who owned Kildwick Hall. However, it’s not clear which member of the family inspired the choice. There are two possible candidates: Haworth Currer (1690 - 1744) This member of the family was suggested by J. -
Two Catherines As Feminist Role Models in Wuthering Heights
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Repository of the University of Rijeka UNIVERSITY OF RIJEKA FACULTY OF HUMANITIES AND SOCIAL SCIENCES DEPARTMENT OF ENGLISH Katarina Fabijanić Two Catherines as Feminist Role Models in Wuthering Heights Supervisor: Sintija Čuljat PhD Rijeka, September 2017 Table of contents Abstract ..................................................................................................................................... 1 Introduction .............................................................................................................................. 2 1. Scenery ................................................................................................................................ 6 2. Catherine I ........................................................................................................................... 8 3. Catherine II ....................................................................................................................... 15 4. Isabella Linton .................................................................................................................. 20 Conclusion ............................................................................................................................... 22 Bibliography ...................................................................................................................................... 23 Abstract This thesis discusses on the main female characters