DOCSLIB.ORG

EN7128 the Brontës | Readinglists@Leicester

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
EN7128 the Brontës | Readinglists@Leicester 10/02/21 EN7128 The Brontës | readinglists@leicester EN7128 The Brontës View Online [1] Alexander, C. and Sellars, J. 1995. The art of the Brontës. Cambridge University Press. [2] Alexander, C. and Smith, M. 2003. Oxford companion to the Brontes. Oxford University Press. [3] Allott, M. 1974. The Brontës, the critical heritage. Routledge and Kegan Paul. [4] Barker, J.R.V. 1995. The Brontës. Phoenix. [5] Beaty, J. 1996. Misreading Jane Eyre: a postformalist paradigm. Ohio State University Press. [6] Berry, E.H. 1994. Anne Brontë’s radical vision: structures of consciousness. University of Victoria. 1/10 10/02/21 EN7128 The Brontës | readinglists@leicester [7] Bock, C. 1992. Charlotte Brontë and the storyteller’s audience. University of Iowa Press. [8] Brennan, Z. 2010. Brontë’s Jane Eyre: a reader's guide. Continuum. [9] Brontë, A. 1994. Agnes Grey. Wordsworth Editions. [10] Brontë, A. 1996. The tenant of Wildfell Hall. Wordsworth Classics. [11] Brontë, C. 1992. Jane Eyre. Wordsworth Editions. [12] Brontë, C. 1993. Shirley. Wordsworth Classics. [13] Brontë, C. et al. 2008. The professor. Oxford University Press. [14] Brontë, C. 1993. Villette. Wordsworth Editions. [15] Brontë, C. and Alexander, C. 1986. An edition of the early writings of Charlotte Bronte: 2/10 10/02/21 EN7128 The Brontës | readinglists@leicester 1826-1832, Vol.1: The Glass Town saga. Published for the Shakespeare Head Press by Basil Blackwell. [16] Brontë, C. and Alexander, C. 1991. An edition of the early writings of Charlotte Brontë: Vol.2: The rise of Angria, 1833-1835. published for the Shakespeare Head Press by Basil Blackwell. [17] Brontë, C. and Barker, J.R.V. 1996. Juvenilia, 1829-1835. Penguin. [18] Brontë, C. and Newman, B. 1996. Jane Eyre. St. Martin’s Press, Macmillan. [19] Brontë, C. and Smith, M. 1995. The letters of Charlotte Brontë: with a selection of letters by family and friends, Vol.1: 1829-1847. Clarendon Press. [20] Brontë, C. and Smith, M. 2000. The letters of Charlotte Brontë: with a selection of letters by family and friends, Vol.2: 1848-1851. Oxford University Press. [21] Brontë, C. and Smith, M. 2004. The letters of Charlotte Brontë: with a selection of letters by family and friends, Vol.3: 1852-1855. Oxford University Press. [22] Brontë, E. 1992. Wuthering heights. Wordsworth Editions. 3/10 10/02/21 EN7128 The Brontës | readinglists@leicester [23] Brontë, E. and Gezari, J. 1992. The Complete poems. Penguin Books. [24] Brontë, E. and Stoneman, P. 1995. Wuthering Heights. Oxford University Press. [25] Chitham, E. 1998. The birth of Wuthering heights: Emily Brontë at work. Macmillan. [26] Eagleton, T. 1975. Myths of power: a Marxist study of the Brontës. Macmillan. [27] Emily W. Heady 2006. ‘Must I Render an Account?’: Genre and Self-Narration in Charlotte Brontë’s ‘Villette’. Journal of Narrative Theory. 36, 3 (2006). [28] Gaskell, E.C. and Easson, A. 2009. The life of Charlotte Brontë. Oxford University Press. [29] Gayatri Chakravorty Spivak 1985. Three Women’s Texts and a Critique of Imperialism. Critical Inquiry. 12, 1 (1985). [30] Gezari, J. 1992. Charlotte Bront�e and defensive conduct: the author and the body at risk. University of Pennsylvania Press. [31] 4/10 10/02/21 EN7128 The Brontës | readinglists@leicester Gezari, J. 2007. Last things: Emily Bronte’s poems. Oxford University Press. [32] Gilbert, S.M. and Gubar, S. 2000. The madwoman in the attic: the woman writer and the nineteenth-century literary imagination. Yale University Press. [33] Glen, H. 2002. Charlotte Brontë: the imagination in history. Oxford University Press. [34] Glen, H. 1997. Jane Eyre. Macmillan. [35] Glen, H. 2002. The Cambridge companion to the Brontës. Cambridge University Press. [36] Gordon, L. 1995. Charlotte Brontë: a passionate life. Vintage. [37] Ingham, P. 2008. The Brontës. Oxford University Press. [38] Jay, B. and British Council 2000. Anne Brontë. Northcote House in association with the British Council. [39] Joyce Zonana 1993. The Sultan and the Slave: Feminist Orientalism and the Structure of ‘Jane Eyre’. Signs. 18, 3 (1993). 5/10 10/02/21 EN7128 The Brontës | readinglists@leicester [40] Kendrick, R. 2006. Edward Rochester and the Margins of Masculinity in Jane Eyre and Wide Sargasso Seantës. The Brontës. Oxford University Press. [41] Knight, M. and Mason, E. 2006. Nineteenth-century religion and literature: an introduction. Oxford University Press. [42] Kucich, J. 1987. Repression in Victorian fiction: Charlotte Brontë, George Eliot, and Charles Dickens. University of California Press. [43] Lamonica, D. 2003. ‘We are three sisters’: self and family in the writing of the Brontës. University of Missouri Press. [44] Lane, C. 2002. Charlotte Bronte on the Pleasure of Hating. ELH. 69, 1 (2002), 199–222. DOI:https://doi.org/10.1353/elh.2002.0008. [45] Langland, E. 1989. Anne Brontë: the other one. Macmillan. [46] Marcus, S. 2007. Between women: friendship, desire, and marriage in Victorian England. Princeton University Press. [47] 6/10 10/02/21 EN7128 The Brontës | readinglists@leicester Mason, E. 2003. ”Some God of Wild Enthusiast’s Dreams”: Emily Brontë’s Religious Enthusiasm. 31, 1 (2003). [48] Massé, M.A. 1992. In the name of love: women, masochism, and the Gothic. Cornell University Press. [49] Maynard, J. 1984. Charlotte Brontë and sexuality. Cambridge University Press. [50] McKee, P. 2009. Racial Strategies in Jane Eyre’. 37, (2009). [51] McLaughlin, R.A. ‘I Prefer a Master’: Female Power in Charlotte Bronte’s Shirley. 29, 3. [52] Meyer, S. 1996. Imperialism at home: race and Victorian women’s fiction. Cornell University Press. [53] Miller, J.H. 1963. The disappearance of God: five nineteenth-century writers. Harvard University Press. [54] Miller, L. 2002. The Brontë myth. Vintage. [55] 7/10 10/02/21 EN7128 The Brontës | readinglists@leicester Nash, J. and Suess, B.A. 2001. New approaches to the literary art of Anne Brontë. Ashgate. [56] Nestor, P. 1985. Female friendships and communities: Charlotte Brontë, George Eliot, Elizabeth Gaskell. Clarendon Press. [57] Norris, P. and Brontë family 1997. The Brontës : selected poems. Everyman. [58] Peschier, D. 2005. Nineteenth-century anti-Catholic discourses: the case of Charlotte Brontë. Palgrave Macmillan. [59] Peters, J.G. ”We Stood at God’s Feet Equal”: Equality, Subversion, and Religion in Jane Eyre. 29, 1. [60] Poovey, M. 1988. Uneven developments: the ideological work of gender in mid-Victorian England. University of Chicago Press. [61] Pykett, L. 1989. Emily Brontë. Macmillan. [62] Qualls, B.V. 1982. The secular pilgrims of Victorian fiction: the novel as book of life. Cambridge University Press. 8/10 10/02/21 EN7128 The Brontës | readinglists@leicester [63] Ratchford, F.E. 1964. The Brontës’ web of childhood. Russell and Russell. [64] Rogal, S.J. 1981. The Methodist Connection in Charlotte Brontë’s Shirley. Victorians Institute Journal. 10, (Feb. 1981), 1–13. [65] Sedgwick, E.K. 1986. The coherence of Gothic conventions. Methuen. [66] Showalter, E. 1982. A literature of their own: British women novelists from Brontë to Lessing. Virago Press. [67] Shuttleworth, S. 1996. Charlotte Bronte and Victorian psychology. Cambridge University Press. [68] Stoneman, P. 1996. Brontë transformations: the cultural dissemination of Jane Eyre and Wuthering Heights. Prentice Hall/Harvester Wheatsheaf. [69] Stoneman, P. 2007. Jane Eyre on stage, 1848-1898: an illustrated edition of eight plays with contextual notes. Ashgate. [70] Susan L. Meyer 1990. Colonialism and the Figurative Strategy of ‘Jane Eyre’. Victorian Studies. 33, 2 (1990). 9/10 10/02/21 EN7128 The Brontës | readinglists@leicester [71] Thomas, S. 2008. Imperialism, reform, and the making of Englishness in Jane Eyre. Palgrave Macmillan. [72] Thormählen, M. 2010. The Brontës and education. Cambridge University Press. [73] Thormählen, M. 2004. The Brontës and religion. Cambridge University Press. [74] Torgerson, B.E. 2005. Reading the Brontë body: disease, desire, and the constraints of culture. Palgrave Macmillan. [75] Wilkes, J. 2010. Women reviewing women in nineteenth-century Britain: the critical reception of Jane Austen, Charlotte Brontë, and George Eliot. Ashgate. [76] Wylie, J. 1999. Incarnate Crimes: Masculine Gendering and the Double in Jane Eyre. Victorians Institute Journal. 27, (1999). 10/10.
Load more

Recommended publications
  • Copyrighted Material
    1 Experimentation and the Early Writings Christine Alexander Juvenilia, or youthful writings, are by their nature experimental. They represent a creative intervention whereby a novice explores habits of thought and behavior, ideas about society and personal space, and modes of literary expression. It is a truism to say that youth is a time of exploration and testing. Any child psychologist will tell you that the teenage years in particular are a time of trial and error, a time when limits are tested in order to push boundaries and gain new adult freedoms. Juvenilia embody this same journey toward so‐called maturity, involving the imitation and examination of the adult world. And because early writing is generally a private occupation, practiced without fear of parental interfer- ence or the constraints of literary censorship, the young writer is free to interrogate current political, social, and personal discourses. As writing that embraces this creative and intel- lectual freedom, Charlotte Brontë’s juvenilia are a valuable source for investigating the literary experimentation of an emerging author seeking to establish a writing self. This chapter will examine the ways that Charlotte Brontë used her authorial role to engage with the world around her and to test her agency in life and literature. The first focus will be on the importance of a self‐contained, paracosmic, or imaginary world for facilitating experiment and engagement with political, social, and historical events. The second will be on the way Brontë experimented with print culture and narrative to con- struct a self‐reflexive, dialectic method that allowed her to interrogate both the “real” world and her paracosmicCOPYRIGHTED world.
    [Show full text]
  • To Walk Invisible: the Brontë Sisters
    Our Brother’s Keepers: On Writing and Caretaking in the Brontë Household: Review of To Walk Invisible: The Brontë Sisters Shannon Scott (University of St. Thomas, Minnesota, USA) To Walk Invisible: The Brontë Sisters Writer & Director, Sally Wainwright BBC Wales, 2016 (TV film) Universal Pictures 2017 (DVD) ***** In Sally Wainwright’s To Walk Invisible, a two-part series aired on BBC and PBS in 2016, there are no rasping coughs concealed under handkerchiefs, no flashbacks to Cowen Bridge School, no grief over the loss of a sister; instead, there is baking bread, invigorating walks on the moor, and, most importantly, writing. Wainwright dramatises three prolific years in the lives of Charlotte, Emily, and Anne Brontë when they composed their first joint volume of poetry and their first sole-authored novels: The Professor, rejected and abandoned for Jane Eyre (1847), Wuthering Heights (1847), and Agnes Grey (1847), respectively. The young women are shown writing in the parlour surrounded by tidy yet threadbare furniture, at the kitchen table covered in turnips and teacups, composing out loud on the way to town for more paper, or while resting in the flowering heather. For Charlotte, played with a combination of reserve and deep emotion by Finn Atkins, to “walk invisible” refers to their choice to publish under the pseudonyms Currer, Ellis, and Acton Bell, but in Wainwright’s production, it also refers to invisibility in the home, as the sisters quietly take care of their aging and nearly-blind father, Reverend Patrick Brontë (Jonathan Price), and deal with the alcoholism and deteriorating mental illness of their brother, Branwell (Adam Nogaitis).
    [Show full text]
  • The Non-Specificity of Location
    THE NON-SPECIFICITY OF LOCATION IN EMILY BRONTЁ‟S WUTHERING HEIGHTS BRIAN P. VOROSELO Bachelor of Arts in English Denison University May, 1997 submitted in partial fulfillment of requirements for the degree MASTER OF ARTS IN ENGLISH at the CLEVELAND STATE UNIVERSITY August, 2010 This thesis has been approved for the Department of ENGLISH and the College of Graduate Studies by ________________________________________________Date______________ Dr. Gary Dyer, Department of English Thesis Committee Chairperson ________________________________________________Date______________ Dr. Rachel Carnell, Department of English Thesis Committee Member ________________________________________________Date______________ Dr. Jennifer Jeffers, Department of English Thesis Committee Member THE NON-SPECIFICITY OF LOCATION IN EMILY BRONTЁ‟S WUTHERING HEIGHTS BRIAN P. VOROSELO ABSTRACT Emily Brontë's sole novel, Wuthering Heights, is unusual among nineteenth- century works due to the non-specificity of its locations. While many of her contemporaries were very specific in the use of their settings, using real place names and locations that paralleled real-life locations of the time very closely, Brontë uses details of place that make it impossible to draw one-to-one correspondence between her settings and real-life locales, and includes details that serve to remind the reader that the places in which her story takes place, and thus the story itself, are unreal. She does this in order to exert total narrative control over her universe. This enables Brontë as an author to force her readers to confront the issue of power, since the reader must engage Brontë's narrative universe on the author‟s terms. iii TABLE OF CONTENTS Page ABSTRACT ……………………………………………………………………. iii CHAPTER I. INTRODUCTION …………………………………………………… 1 II. THE CONTEXT OF PLACE ……………………………………….
    [Show full text]
  • The Specter of Masochistic Mourning in Charlotte Brontë's Tales Of
    THE SPECTER OF MASOCHISTIC MOURNING IN CHARLOTTE BRONTË’S TALES OF ANGRIA, THE PROFESSOR, AND VILLETTE Anne Hayley Rothhaas A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS AUGUST 2013 Committee: Piya Pal Lapinski, Advisor Khani Begum © 2013 Anne Hayley Rothhaas All Rights Reserved iii ABSTRACT Piya Pal Lapinski, Advisor Charlotte Brontë’s literary oeuvre, while rife with characters that are cold and cruel, continues to spark interest in readers and scholars today. Characters such as Lucy Snowe in Villette, William Crimsworth in The Professor, and the Duke of Zamorna and Mina Laury in Brontë’s Tales of Angria frustrate and delight readers with their unreliable narration and frozen visages. The coldness that renders these characters distant from their respective narratives has been widely discussed by scholars as an effect of the repressive society of Victorian England and the result of Brontë’s inexperience as a writer, etc. A closer examination of these characters’ psyches and personal histories reveals an extended process of mourning that leads to their masochistic tendencies throughout texts like Villette. Brontë’s characters, throughout her works, are well acquainted with loss and it is this loss that becomes the impetus for their masochistic mourning. The extended mourning process that Brontë’s characters suffer from begins to take a masochistic turn as the lost love object becomes the fetish for their masochistic pleasure. These love objects represent people that have abandoned Brontë’s characters at some point in their personal histories.
    [Show full text]
  • 1 Approaching Charlotte Brontë in the Twenty-First Century in 1941
    Approaching Charlotte Brontë in the Twenty-First Century Item Type Article Authors Wynne, Deborah Citation Wynne, D. (2017). Approaching Charlotte Brontë in the Twenty- First Century. Literature Compass, 14(12), e12355. DOI: 10.1111/ lic3.12355 DOI 10.1111/lic3.12355 Publisher Wiley Journal Literature Compass Download date 28/09/2021 05:19:56 Link to Item http://hdl.handle.net/10034/620208 1 Approaching Charlotte Brontë in the Twenty-First Century In 1941 Fannie Ratchford complained that although criticism of the Brontës’ work showed all signs of being ‘exhausted’, ‘every year brings forth an undiminished quota of volumes colored by the literary or intellectual fad of the moment’ (ix-x). Hoping that the early twentieth-century enthusiasm for psychological approaches was finally abating, Ratchford expressed relief that ‘we are now emerging from an orgy of Freudian studies and psychoanalyses of Brontë complexes and repressions’ (x). Since the 1940s critical developments in Brontë studies have diversified considerably and in the year of Charlotte Brontë’s bicentenary we can look back on a voluminous body of criticism. Today most new approaches to Charlotte Brontë’s work are broadly historicist, whether they adopt the perspectives of gender studies, postcolonial approaches, disability studies or adaptation studies. New Brontë scholarship is nevertheless haunted, even if only tangentially, by three critical texts published between 1975 and 1985: Terry Eagleton’s Myths of Power: A Marxist Study of the Brontës (1975); Sandra Gilbert and Susan Gubar’s, The Madwoman in the Attic: The Woman Writer and the Nineteenth-Century Literary Imagination (1979), whose title references Bertha Mason, Rochester’s incarcerated and rejected wife in Jane Eyre; and Gayatri Chakravorty Spivak’s often reprinted discussion of Bertha as representative of the colonial other in her essay ‘Three Women’s Texts and a Critique of Imperialism’, first published in the journal Critical Inquiry in 1985.
    [Show full text]
  • The Brontë Myth Seminar
    LIT3065 The Brontës Module convenor: Dr Amber Regis [email protected] Week 1: The Brontë Myth Seminar: Introductions Workshop: To Walk Invisible (2016) Week 2: Juvenilia and Poetry Seminar: Glass Town, Angria and Gondal Workshop: Poems by Ellis, Acton and Currer Bell (1846) Week 3: Jane Eyre* Seminar: Jean Rhys, Wide Sargasso Sea (1966) Workshop: Jane Eyre (dir. Robert Stevenson, 1943/1944) Week 4: Wuthering Heights Seminar: Wuthering Heights (1847) Workshop: Wuthering Heights (dir. Anthea Arnold, 2011) Week 5: Agnes Grey Seminar: Agnes Grey (1847) Workshop: Reviewing the Brontës Week 6: Branwell Seminar: Branwell Brontë Workshop: Mrs Gaskell’s Branwell Week 7: The Art of the Brontës Seminar: The Art of the Brontës Workshop: Brontë Portraits EASTER Week 8: The Tenant of Wildfell Hall Seminar: The Tenant of Wildfell Hall (1848) Workshop: The Tenant of Wildfell Hall (BBC Television, dir. Mike Barker, 1996) Week 9: Shirley Seminar: Shirley (1849) Workshop: Shirley (BBC Radio, dir. Tracey Neale, 2014) Week 10: Villette Seminar: Villette (1853) Workshop: Villette (BBC Radio, dir. Tracey Neale, 2009) Week 11: Deaths and Afterlives Seminar: Brontë Deaths Workshop: The Parsonage Museum and Brontë Bicentenaries *NB: Due to Jane Eyre being primary reading on the core module, LIT3101 Romantic and Victorian Prose, we will not be covering the novel directly on LIT3065. We will, instead, consider how the novel has been subject to post-colonial and neo-Victorian re-readings/re-writings, focusing upon Jean Rhys’ Wide Sargasso Sea. Duals students not taking LIT3101 are invited to attend the lectures on Jane Eyre in the Autumn semester.
    [Show full text]
  • Background on Charlotte Brontë
    Charlotte Brontë Exhibit Side Menu: Charlotte Brontë Biography Childhood Writings The Manuscript The Stories The Discovery of a Treasure View Page Images Resources Charlotte Brontë Biography Pictures to go with this page: Portrait of Charlotte Brontë (from internet), picture of Haworth Parsonage (from internet) The lives of the Brontë sisters have become almost as romanticized as the stormy, Gothic novels they wrote – Charlotte, her sisters Emily and Anne, and their brother Branwell living in near isolation with a sternly religious father on a lonely, windswept moor, inhabiting a world peopled by their vivid imaginations and fueled by their literary genius. This Myth of the Lonely Geniuses began soon after Charlotte Brontë’s death, and it has helped to popularize the sisters’ writings to generations of readers. Even so, this myth does not accurately reflect many aspects of the Brontës’ lives. The Brontës’ home was at Haworth Parsonage near Keighley in Yorkshire. Charlotte Brontë, perhaps the most famous of the sisters, was born in 1816. She was the third daughter of the Rev. Patrick Brontë and his wife Maria, who died in 1821. Her two older sisters, Maria and Elizabeth, acted as mother figures for the rest of the children even after their aunt, Elizabeth Branwell, moved into the parsonage to help with their care. When Charlotte was eight years old she and her two older sisters were enrolled in a girls’ school, but Charlotte was brought home about a year later, after Maria and Elizabeth became ill and died. Although she spent some time as a pupil at two other schools, her education was conducted for the most part at home.
    [Show full text]
  • Abstracts and Biographies
    #Brontë2020 Abstracts & presenter biographies “There was no possibility of visiting the Parsonage that day...So, Reader, we met on Zoom.” Keynote abstracts and biographies Keynote Talk 1: Dr Eleanor Houghton, ‘Charlotte Brontë’s Moccasins: The Wild West Brought Home’ Buried amongst Charlotte Brontë’s surviving possessions is a pair of curious objects. Far removed from the collection of expected middle class, Victorian ephemera, there exist a pair of heavily-beaded moccasins and matching ankle cuffs. The significance of these shoes cannot be overstated; they not only link Brontë with newly emerging global markets, but also silently connect us to one of the most poignant periods of the novelist’s life. For in May 1849, Charlotte would set out for Scarborough with her sister Anne who was in the final stages of pulmonary tuberculosis. Despite their trust in the benefits of sea air, it was here that Anne would take her last breath. Significantly, when the time came for Charlotte to depart, the deerskin moccasins, that she had taken with her, were left behind – a casualty of a fractured mind and a broken heart. With his positive associations ‘of bravery, loyalty, dignity’ the ‘Indian’ was a recurring presence in nineteenth century society. James Fenimore Cooper’s 1826 work, The Last of the Mohicans had excited great interest. It was read by Brontë during her youth and its influence is evident; most particularly in Shirley (1849), the novel that she was writing at the time of Anne’s death. For Charlotte, the endless, untamed wilderness of North America was perhaps evocative of her own Yorkshire moors – where she and her siblings had enjoyed unfettered freedom and independence.
    [Show full text]
  • Images of Race and the Influence of Abolition In
    IMAGES OF RACE AND THE INFLUENCE OF ABOLITION IN JANE EYRE AND WUTHERING HEIGHTS by LAURA E. TOLBERT ALBERT D. PIONKE, COMMITTEE CHAIR JOHN BEELER DEBORAH WEISS STEPHEN TEDESCHI A THESIS Submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the Graduate School of the University of Alabama TUSCALOOSA, ALABAMA 2018 Copyright Laura E. Tolbert 2018 ALL RIGHTS RESERVED ABSTRACT Charlotte and Emily Brontë’s masterpieces, Jane Eyre and Wuthering Heights , respectively, reflect the sisters’ life-long investment in the abolitionist movement. Despite being written over a decade post-abolition, the novels’ retrospective settings lend weight to the sisters’ usage of distinctive language associated with the rise of slavery in the British West Indies and the subsequent push for its elimination. This language, largely centered around the characters of Bertha Mason and Heathcliff, seems to support an antislavery stance on the part of the Brontë sisters. A conflict arises, however, when considering that Bertha and Heathcliff are racially- Othered within the texts, and their aggressive and immoral behavior does nothing to redeem or flatter their characters. Indeed, the language in both Jane Eyre and Wuthering Heights leave the novels supporting the antislavery discourse of the early nineteenth century while also unsympathetically portraying stereotypical and derogatory representations of racially-Othered individuals. The Brontës’ antislavery sentiments, it seems, are not necessarily free of racial prejudice, but neither is the abolitionist rhetoric that influenced the novels. This project draws upon historical context to trace the major developments in abolition into the nineteenth century, including various sides of the debate and how rural areas throughout England influenced how the movement came to be organized on a national level.
    [Show full text]
  • Reading Charlotte and Branwell Brontë's Early Writings As
    Clemson University TigerPrints All Theses Theses 5-2019 Reading Charlotte and Branwell Brontë’s Early Writings as Colonialist Fantasy Kristian Nicole Wilson Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_theses Recommended Citation Wilson, Kristian Nicole, "Reading Charlotte and Branwell Brontë’s Early Writings as Colonialist Fantasy" (2019). All Theses. 3112. https://tigerprints.clemson.edu/all_theses/3112 This Thesis is brought to you for free and open access by the Theses at TigerPrints. It has been accepted for inclusion in All Theses by an authorized administrator of TigerPrints. For more information, please contact [email protected]. READING CHARLOTTE AND BRANWELL BRONTË’S EARLY WRITINGS AS COLONIALIST FANTASY A Thesis Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Master of Arts English by Kristian Nicole Wilson May 2019 Accepted by: Dr. David Coombs, Committee Chair Dr. Erin M. Goss Dr. Andy Lemons ABSTRACT Charlotte and Branwell Brontë’s collaborative writing project, the Glass Town saga, is rarely the subject of academic examination that does not analyze it as either a derivative of the works of Sir Walter Scott or a precursor to Jane Eyre and The Professor. This paper instead considers Glass Town as a work of early fantasy, a reading which allows for an examination of colonialism’s relationship to the genre in its infant stages. Connecting Glass Town to nineteenth-century European theories of African history and development, and to articles of African exploration and conquest, I contextualize the colonialist messages contained in the Brontës’ early writings.
    [Show full text]
  • The Paracosmic Approach to the Private Worlds of Lewis Carroll and the Brontës
    Syracuse University SURFACE Syracuse University Honors Program Capstone Syracuse University Honors Program Capstone Projects Projects Spring 5-1-2009 A Crucial Juncture: The Paracosmic Approach to the Private Worlds of Lewis Carroll and the Brontës Kristin Petrella Follow this and additional works at: https://surface.syr.edu/honors_capstone Part of the Other English Language and Literature Commons Recommended Citation Petrella, Kristin, "A Crucial Juncture: The Paracosmic Approach to the Private Worlds of Lewis Carroll and the Brontës" (2009). Syracuse University Honors Program Capstone Projects. 430. https://surface.syr.edu/honors_capstone/430 This Honors Capstone Project is brought to you for free and open access by the Syracuse University Honors Program Capstone Projects at SURFACE. It has been accepted for inclusion in Syracuse University Honors Program Capstone Projects by an authorized administrator of SURFACE. For more information, please contact [email protected]. 1 A Crucial Juncture: The Paracosmic Approach to the Private Worlds of Lewis Carroll and the Brontës Introduction: The juvenilia of classic authors has long been the subject of scholarly study, revealing the development of the writing style of notable authors as well as the progression of their creative process. Posthumously published documents spark new criticisms and produce new readings of familiar texts and can inform our understanding of the author’s life, point of view, or message. An example of such juvenilia is the early work of Branwell, Charlotte, Emily, and Anne Brontë, amazingly well preserved in miniscule diaries and notebooks, in cramped book margins, and on tiny scraps of paper, on which they told the elaborate stories of the fictional countries Angria and Gondal.
    [Show full text]
  • Downloadable Copy of the Programme
    #Brontë2020 A virtual one-day event in support of the Brontë Parsonage Museum “There was no possibility of visiting the Parsonage that day...So, Reader, we met on Zoom.” Programme All times are listed in British Summer Time 9.15am Slack and Zoom Main Room Opens 9.30am Welcome and Orientation 9.45am Keynote Talk 1: ‘Charlotte Brontë’s Moccasins: The Wild West Brought Home’ Dr Eleanor Haughton Chair: Dr Claire O’Callaghan Buried amongst Charlotte Brontë’s surviving possessions is a pair of curious objects. Far removed from the collection of expected middle class, Victorian ephemera, there exist a pair of heavily-beaded moccasins and matching ankle cuffs. The significance of these shoes cannot be overstated; they not only link Brontë with newly emerging global markets, but also silently connect us to one of the most poignant periods of the novelist’s life. For in May 1849, Charlotte would set out for Scarborough with her sister Anne who was in the final stages of pulmonary tuberculosis. Despite their 2 trust in the benefits of sea air, it was here that Anne would take her last breath. Significantly, when the time came for Charlotte to depart, the deerskin moccasins, that she had taken with her, were left behind – a casualty of a fractured mind and a broken heart. With his positive associations ‘of bravery, loyalty, dignity’ the ‘Indian’ was a recurring presence in nineteenth century society. James Fenimore Cooper’s 1826 work, The Last of the Mohicans had excited great interest. It was read by Brontë during her youth and its influence is evident; most particularly in Shirley (1849), the novel that she was writing at the time of Anne’s death.
    [Show full text]