Ebook Download Wuthering Heights : MP3 CD
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
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. -
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. -
119-2014-04-09-Wuthering Heights.Pdf
1 CHAPTER I CHAPTER II CHAPTER III CHAPTER IV CHAPTER V CHAPTER VI CHAPTER VII CHAPTER VIII CHAPTER IX CHAPTER X CHAPTER XI CHAPTER XII CHAPTER XIII CHAPTER XIV CHAPTER XV CHAPTER XVI CHAPTER XVII CHAPTER XVIII CHAPTER XIX CHAPTER XX CHAPTER XXI CHAPTER XXII CHAPTER XXIII CHAPTER XXIV CHAPTER XXV CHAPTER XXVI CHAPTER XXVII CHAPTER XXVIII CHAPTER XXIX CHAPTER XXX CHAPTER XXXI Wuthering Heights by Emily Bronte 2 CHAPTER XXXII CHAPTER XXXIII CHAPTER XXXIV Wuthering Heights by Emily Bronte The Project Gutenberg Etext of Wuthering Heights by Emily Bronte #2 in our series by the Bronte sisters [Anne and Charlotte, too] Copyright laws are changing all over the world, be sure to check the copyright laws for your country before posting these files!! Please take a look at the important information in this header. We encourage you to keep this file on your own disk, keeping an electronic path open for the next readers. Do not remove this. **Welcome To The World of Free Plain Vanilla Electronic Texts** **Etexts Readable By Both Humans and By Computers, Since 1971** *These Etexts Prepared By Hundreds of Volunteers and Donations* Information on contacting Project Gutenberg to get Etexts, and further information is included below. We need your donations. Wuthering Heights by Emily Bronte December, 1996 [Etext #768] The Project Gutenberg Etext of Wuthering Heights by Emily Bronte *****This file should be named wuthr10.txt or wuthr10.zip****** Corrected EDITIONS of our etexts get a new NUMBER, wuthr11.txt. VERSIONS based on separate sources get new LETTER, wuthr10a.txt. Scanned and proofed by David Price, email [email protected] We are now trying to release all our books one month in advance of the official release dates, for time for better editing. -
Les Hauts De Hurle-Vent
Emily Brontë LLeess HHaauuttss ddee HHuurrllee--VVeenntt BeQ Emily Brontë LLeess HHaauuttss ddee HHuurrllee--VVeenntt (Wuthering Heights) Traduction de Frédéric Delebecque La Bibliothèque électronique du Québec Collection À tous les vents Volume 593 : version 1.0 2 Les Hauts de Hurle-Vent Édition de référence : Le Livre de Poche, no 105. Image de couverture : Caspar David Friedrich. 3 Avertissement du traducteur Le roman qu’on va lire occupe dans la littérature anglaise du XIXe siècle une place tout à fait à part. Ses personnages ne ressemblent en rien à ceux qui sortent de la boîte de poupées à laquelle, selon Stevenson, les auteurs anglais de l’ère victorienne, « muselés comme des chiens », étaient condamnés à emprunter les héros de leurs récits. Ce livre est l’œuvre d’une jeune fille qui n’avait pas encore atteint sa trentième année quand elle le composa et dont c’était, à l’exception de quelques pièces de vers, la première œuvre littéraire. Elle ne connaissait guère le monde, ayant toujours vécu au fond d’une province reculée et dans une réclusion presque absolue. Fille d’un pasteur irlandais et d’une mère anglaise qu’elle perdit en bas âge, sa courte vie s’écoula presque entière dans un village du Yorkshire, avec ses deux sœurs et un 4 frère, triste sire qui s’enivrait régulièrement tous les soirs. Les trois sœurs Brontë trouvèrent dans la littérature un adoucissement à la rigueur d’une existence toujours austère et souvent très pénible. Après avoir publié un recueil de vers en commun, sans grand succès, elles s’essayèrent au roman. -
Wuthering Heights Photocopiable
LEVEL 5 Activity worksheets Teacher Support Programme Wuthering Heights Photocopiable While reading g how Heathcliff was sometimes called EASYSTARTS Chapters 1–4 h Catherine’s sister-in-law’s name 1 Draw a family tree for the Earnshaw family. i Heathcliff’s age when he left Include first, family and married names when j how Nelly believed Heathcliff should have felt appropriate. Keep it and complete it as you towards Mr Earnshaw LEVEL 2 read the whole book. Share it with another k the colour of Catherine’s ears when she was student. furious l the month in which Mr Earnshaw died LEVEL 3 2 Find words and phrases in the book which the way in which Catherine was called at show that Wuthering Heights is: m home a not near other houses. the room in the house where Heathcliff b cold and windy. n LEVEL 4 threw a cake at Edgar c old. a d not well looked after. b LEVEL 5 3 Make these sentences correct by changing one word to its opposite. Then put them in c chronological order. Write numbers 1–6. d LEVEL 6 a c According to Zillah, Heathcliff’s ideas e about Mr Lockwood’s bedroom were f normal. g b c Hindley invited Catherine Earnshaw and h Heathcliff to go up and listen to Joseph’s i prayers. c c Catherine Earnshaw and Heathcliff felt j that the house was warmer than the k moors. l d c Mr Lockwood contracted his arm and his m fingers closed on the fingers of a small n hand. -
GENRE CRITICISM and WUTHERING HEIGHTS by Taylor
THE RHETORICAL IMPORTANCE OF MONSTROSITY: GENRE CRITICISM AND WUTHERING HEIGHTS by Taylor Fussell A thesis submitted to the faculty of The University of North Carolina at Charlotte in partial fulfillment of the requirements for the degree of Master of Arts in Communication Studies Charlotte 2019 Approved by: ______________________________ Dr. Daniel Grano ______________________________ Dr. Jonathan Crane ______________________________ Dr. Jason Black ii ©2019 Taylor Fussell ALL RIGHTS RESERVED iii ABSTRACT TAYLOR FUSSELL. The rhetorical importance of monstrosity: Genre Criticism and Wuthering Heights . (Under the direction of DR. DANIEL GRANO) In Emily Bronte’s foundational narrative Wuthering Heights (1847), monstrosity is representative of repressed societal fears in response to growing industrialization, shifting socioeconomic status, and changing gender norms of the Victorian era. The rhetorical importance of monstrosity lies in its ability to frame an understanding of the cultures that produce it. As a construction of genre, monstrosity also recurs in representative accounts on ideological discourses based on a given historical, societal, or cultural context. Monstrosity is characterized among contemporary rhetoricians as a manifestation of reading practices, popular representations, and ideological problems. I argue that Wuthering Heights is part of the original well that constructed the trope of monstrosity and its manifestation of societal fears, especially surrounding gender and romance, that are still relevant and adapted to contemporary audiences. Contemporary reproductions of Wuthering Heights provide evidence that the text is still part of relevant generic reading practices and the evolution of the romance novel. My treatment of monstrosity will focus on its representational qualities and its public importance. As such, this research project is about monstrosity and its rhetorical importance, with genre criticism serving as a lens into its construction via a reading of Wuthering Heights and Gothic literature. -
Les Hauts De Hurle-Vent Emily Brontë Les Hauts De Hurle-Vent
TEXTES CLASSIQUES 1793 Séquence abrégés CLASSES DE QUATRIÈME Les Hauts de Hurle-Vent Emily Brontë Les Hauts de Hurle-Vent Séquence réalisée par Kim-Lan Delahaye, professeure de lettres modernes Emily Brontë à Rueil-Malmaison (92). Introduction : l’intérêt pédagogique Unique roman d’Emily Brontë, Les Hauts de Hurle-Vent plonge le lecteur dans la campagne anglaise du début du XIXe siècle. La lande agitée par le vent devient le théâtre d’un drame familial qui se noue sur plusieurs générations. L’arrivée chez les Earnshaw de Heathcliff, un enfant abandonné, condamne la famille à une succession de malheurs. Heathcliff ne pardonnera jamais à Catherine Earnshaw de l’avoir délaissé pour un autre homme. L’œuvre d’Emily Brontë permet à des élèves de quatrième d’aborder différents aspects de leur programme. Elle offre en effet une ré exion sur la société de l’époque tout en soulignant la dif culté à dire l’amour et à le vivre sereinement lorsque les préjugés pèsent sur les esprits. Elle interroge également les limites du réel à travers le surgissement du fantastique dans un ancrage réaliste. THÈMES ENJEUX LITTÉRAIRES ET DE FORMATION PERSONNELLE Dire l’amour Comprendre les nuances du sentiment amoureux et quelques-unes des raisons qui en font un thème majeur de l’expression littéraire et artistique. Individu et société : Découvrir, à travers des textes relevant des genres dramatique confrontations et romanesque, la confrontation des valeurs portées par de valeurs ? les personnages, comprendre que la structure et le dynamisme de l’action dramatique, ou romanesque, ont partie liée avec les con its, et saisir quels sont les intérêts et les valeurs qu’ils mettent en jeu, s’interroger sur les conciliations possibles ou non entre les systèmes de valeurs mis en jeu. -
The Analysis of Heathcliff Character in Wuthering Heights by Emily Bronte: a Sigmund Freud’S Theory
THE ANALYSIS OF HEATHCLIFF CHARACTER IN WUTHERING HEIGHTS BY EMILY BRONTE: A SIGMUND FREUD’S THEORY Fabdriah. [email protected]. Student’s English depart at Putera Batam University Zakrimal. [email protected] Lecturer’s English depart at Putera Batan University Abstarct This thesis is to find out the id and ego of Heathcliff in Wuthering Heights by Emily Bronte, and qualitative methodology is applied in analysing the character of Heathcliff through Sigmund Freud approach. The writer collects the data through primary and secondary data and analyzing the data by using intrinsic and extrinsic approach, and in reporting, the writer applies a descriptive analysis. The result of this thesis found that Heathcliff is id personality which is rude, irrational, revenger, and disbelief in God. The last is this research is wished to be a useful, helpful and good reference to the literature students especially, and reading material to the readers generally to learn and obtain some good points behind the Wutherin Heights to leave us a better lives. Keywords: Id, Ego, Super Ego, Personality Introduction behavior, character which may be Literature is the art of written works observed through happiness, struggles, which is produced by researchers or sadness, failures or successfulness, and scholars in a given field as a vital record etcetera. Thus, it has a close relationship of where human feels, thinks, and with psychology. experiences of the activities and lives; in Psychology, a study which concerns religion, society, politic, culture, and about behavior of human is applied in education of ones, and the drama, novel, analyzing the personality of people.