Have You Read Any of the Brontës' Work, and If So, Can You Describe Your First Or Best Experience of It? FINN ATKINS – Char
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Magical Objects in Victorian Literature: Enchantment, Narrative Imagination, and the Power of Things
Magical Objects in Victorian Literature: Enchantment, Narrative Imagination, and the Power of Things By Dan Fang Dissertation Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY in English August, 2015 Nashville, Tennessee Approved: Jay Clayton, Ph.D. Rachel Teukolsky, Ph.D. Jonathan Lamb, Ph.D. Carolyn Dever, Ph.D. Elaine Freedgood, Ph.D. For lao-ye, who taught me how to learn ACKNOWLEDGMENTS This dissertation would not have been possible without the Martha Rivers Ingram Fellowship, which funded my last year of dissertation writing. My thanks go to Mark Wollaeger, Dana Nelson, the English Department, and the Graduates School for the Fellowship and other generous grants. My ideas were shaped by each and every professor with whom I have ever taken a class—in particular, Jonathan Lamb who was a large part of the inception of a project about things and who remained an unending font of knowledge through its completion. I want to thank Carolyn Dever for making me reflect upon my writing process and my mental state, not just the words on the page, and Elaine Freedgood for being an amazingly generous reader who never gave up on pushing me to be more rigorous. Most of all, my gratitude goes to Rachel Teukolsky and Jay Clayton for being the best dissertation directors I could ever imagine having. Rachel has molded both my arguments and my prose from the very first piece on Aladdin’s lamp, in addition to providing thoughtful advice about the experience of being in graduate school and beyond. -
Module-4: Victorian Women Writers Unit-1 Charlotte Brontë : Jane Eyre
Module-4: Victorian Women Writers Unit-1 Charlotte Brontë : Jane Eyre Structure: 4.1.0 Introduction 4.1.1 Charlotte Brontë: A Chronological Biography 4.1.2 Charlotte Brontë as a novelist 4.1.3 The Story of Jane Eyre 4.1.4 Analysis of Jane Eyre 4.1.5 Characterisation in Jane Eyre 4.1.6 Autobiographical Elements in Jane Eyre 4.1.7 Gothic Elements 4.1.8 Summing up 4.1.9 Comprehension Exercises 4.1.10. Suggested Reading 4.1.0: Introduction You have already read about fictional prose of the Victorian period in Module 1, Unit 3 and have studied in detail two Victorian novels in Module 3, Units 1 and 2. Please refer to those sections while reading this unit as and where required. This Unit will introduce you to Victorian women novelists in general and Charlotte Brontë’s most acclaimed novel, Jane Eyre in particular. After reading this Unit you will be able to comprehend the contribution of women novelists of the Victorian era to the development of the English novel. At the same time you will be able to understand the role of the Bronte sisters, Charlotte Brontë, Emily Brontë and Anne Brontë, in adding a new dimension to the English novel. Needless to say, the Unit will also provide you with an exhaustive analysis of the text itself. As a learner, you are advised to attain clarity in comprehending the entire perspective, which will enable you to have a deeper understanding of the novel as a literary genre. 200 4.1.1 Charlotte Brontë: A Chronological Biography Charlotte Brontë’s novels are all patently autobiographic. -
Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit
Gardner-Webb University Digital Commons @ Gardner-Webb University MA in English Theses Department of English Language and Literature 2017 “Not as She is” but as She is Expected to Be: Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit. Amanda Ellen Bridgers Follow this and additional works at: https://digitalcommons.gardner-webb.edu/english_etd Part of the Literature in English, British Isles Commons Recommended Citation Bridgers, Amanda Ellen, "“Not as She is” but as She is Expected to Be: Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit." (2017). MA in English Theses. 16. https://digitalcommons.gardner-webb.edu/english_etd/16 This Thesis is brought to you for free and open access by the Department of English Language and Literature at Digital Commons @ Gardner-Webb University. It has been accepted for inclusion in MA in English Theses by an authorized administrator of Digital Commons @ Gardner-Webb University. For more information, please see Copyright and Publishing Info. “Not as She is” but as She is Expected to Be: Representations, Limitations, and Implications of the “Woman” and Womanhood in Selected Victorian Literature and Contemporary Chick Lit. by Amanda Bridgers A thesis submitted to the faculty of Gardner-Webb University in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English. Boiling Springs, N.C. 2017 ! Bridgers!2! “Not as She is but as She is Expected to Be:’ Representations, Limitations, and Implications of the ‘Woman’ and Womanhood in Selected Victorian Literature and Contemporary Chick Lit.” One face looks out from all his canvases, One selfsame figure sits or walks or leans: We found her hidden just behind those screens, That mirror gave back all her loveliness. -
Everyday Life in Anne Bronte ;• Ki.'1
w FOUR Everyday Life in Anne Bronte ;• Ki.'1 AMANDA CLAYBAUGH The Brontes' novels are justly famous for their middles. Nelly Dean's narra- tf'.ii tion in the middle of Emily Brontes Wuthering Heights (1847); the Thornfield episode, flanked by Lowood and Marsh End, in the middle of Charlotte Brontes Jane Eyre (1847)—both serve as keystones to the novels' elaborate architecture. And so, too, does the diary that makes up the middle of Anne Brontes Tenant ofWildfell Hall (1848). More typically, however, the middles rl!;I of Anne Bronte's novels differ from those of her sisters. While theirs display formal mastery, hers more often offer a space for formal experimentation. In the middle chapters of Agnes Grey (1847), indeed even in the middle of Ten- ant's inset diary, we can see Anne Bronte experimenting to find forms capable of containing everyday life. The everyday is not a topic we associate with the Brontes, who are better known for embracing the extreme, for depicting rioting laborers and tortured birds, delirium tremens and violent assaults, ghosts that haunt the Yorkshire moors, nuns that haunt Belgian schools, and the echoing call of Rochester jU for Jane. But for the Bronte's, at least for Charlotte and Anne Bronte, the ordinary was an important subject as well. Charlotte Bronte was quite explicit about this. In the opening pages of her apprentice novel, The Professor (1846; 1857), she announced her commitment to depicting persons who are "plain and homely" and events that are "not exciting, and above all, not marvelous."1 109 112 PART II, CHAPTER 4 CLAYBAUGH, "EVERYDAY LIFE IN ANNE BRONTE" 113 should have an affinity because work, which she conceives of as the making gentlewoman's right to engage in conversation. -
Emily Jane Brontë - Poems
Classic Poetry Series Emily Jane Brontë - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Emily Jane Brontë(30 July 1818 – 19 December 1848) Emily Brontë was an English novelist and poet, best remembered for her only novel, Wuthering Heights, now considered a classic of English literature. Emily was the third eldest of the four surviving Brontë siblings, between the youngest Anne and her brother Branwell. She published under the pen name Ellis Bell. <b>Biography</b> Emily Brontë was born on 30 July 1818 in Thornton, near Bradford in Yorkshire, to Maria Branwell and Patrick Brontë. She was the younger sister of Charlotte Brontë and the fifth of six children. In 1824, the family moved to Haworth, where Emily's father was perpetual curate, and it was in these surroundings that their literary gifts flourished. <b>Early Life and Education</b> After the death of their mother in 1821, when Emily was three years old, the older sisters Maria, Elizabeth and Charlotte were sent to the Clergy Daughters' School at Cowan Bridge, where they encountered abuse and privations later described by Charlotte in Jane Eyre. Emily joined the school for a brief period. When a typhus epidemic swept the school, Maria and Elizabeth caught it. Maria, who may actually have had tuberculosis, was sent home, where she died. Emily was subsequently removed from the school along with Charlotte and Elizabeth. Elizabeth died soon after their return home. The three remaining sisters and their brother Patrick Branwell were thereafter educated at home by their father and aunt Elizabeth Branwell, their mother's sister. -
Nomadic Narrative in Charlotte Brontë's Villette
humanities Article Nomadic Narrative in Charlotte Brontë’s Villette Jungah Kim Department of English, Texas A&M University, College Station, TX 77843, USA; [email protected] Received: 17 November 2018; Accepted: 22 March 2019; Published: 28 March 2019 Abstract: Various critics have examined Charlotte Brontë’s Villette’s missing ending as a proof of Lucy Snowe’s unreliability in leaving the narrative purposefully ambiguous to escape her possible negative ending. I, however, interpret the ending as one of the ways in which she actively and positively refuses the concept of closure, and rather, creates, what I would call, a nomadic narrative. Nomadic narrative is term I coined based on the idea of Rosi Braidotti’s nomadic theory and Georg Lukács’s The Theory of the Novel to re-imagine Lucy’s narration and narrative, not as a concealment, but as an embracement of her nomadic subjectivity and acknowledgement that she has no true end. I further argue that nomadic narrative is a narrative that fractures and recreates itself through its gaps and rewritten portions, gaining its own sense of agency. Unlike narratives that only fixate on protagonists, nomadic narrative becomes an open and posthuman space that allows the incorporation of nonhuman subjects. Keywords: nomadic narrative; nomadic subjectivity; sexual differences; spatiality; Villette; posthumanism; women’s writing; Lucy Snowe; Rosi Braidotti; Theory of the Novel 1. Introduction At a crucial moment, in the final scene of Charlotte Brontë’s Villette (1853), Lucy Snowe commands the readers to “pause at once” (Brontë 2008, p. 496), deceitfully luring the readers to imagine a “sunny” ending1. -
Pleasure and Pain in Charlotte Bronte's Villette and Jane Eyre
Salem State University Digital Commons at Salem State University Honors Theses Student Scholarship 2016-05-01 Pleasure and Pain in Charlotte Bronte's Villette and Jane Eyre Tirzah Frank Salem State University Follow this and additional works at: https://digitalcommons.salemstate.edu/honors_theses Recommended Citation Frank, Tirzah, "Pleasure and Pain in Charlotte Bronte's Villette and Jane Eyre" (2016). Honors Theses. 95. https://digitalcommons.salemstate.edu/honors_theses/95 This Thesis is brought to you for free and open access by the Student Scholarship at Digital Commons at Salem State University. It has been accepted for inclusion in Honors Theses by an authorized administrator of Digital Commons at Salem State University. PLEASURE AND PAIN IN CHARLOTTE BRONTË’S VILLETTE AND JANE EYRE Honors Thesis Presented in Partial Fulfillment of the Requirements For the Degree of Bachelor of English In the College of Arts and Sciences at Salem State University By Tirzah Frank Dr. Lisa Mulman Faculty Advisor Department of English *** The Honors Program Salem State University 2015 Frank i Abstract Like every character, Lucy Snowe and Jane Eyre, respective protagonists of Charlotte Brontë’s Villette and Jane Eyre, grapple with pursuing pleasure and avoiding pain. Pleasure and pain are unavoidable universals, of course, but everyone treats their own pleasure and pain differently. Furthermore, pleasure and pain do not exist in a vacuum; there are other considerations—such as morality, self-respect, and lack of absolute control—that affect how each person treats and prioritizes them. Lucy and Jane, in particular, are not hedonists, so when looking at how they pursue pleasure and avoid pain, it is also important to account for the things that they care about more than either. -
Charlotte Brontë's Narrative Modes in the Professor, Jane Eyre and Villette
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 Emilija Funtek Charlotte Brontë’s narrative modes in The Professor, Jane Eyre and Villette Submitted in partial fulfilment of the requirements for the M.A. in English Language and Literature and Italian Language and Literature at the University of Rijeka Supervisor: Sintija Čuljat, PhD September 2018 Abstract Narrative text, in its almost infinite forms, is present at all times, in all places, in all societies. Narration begins with the very history of humanity. Genette (1980) explains that the function of narrative is not to give an order, express a wish, state a condition, etc. On the contrary, its purpose is merely to tell a story and thus to ‘report’ facts (either fictive or real). In addition, the narrative can provide reader with more or with a small number of details – in a more or less direct way, and can therefore seemingly keep at a greater or lesser distance from what it tells. The narrative assumes or appears to assume what is usually called the participant’s ‘vision’ or ‘point of view’. It is only narrative that tells the readers of the events that it describes and of the activity that presumably brought it into existence. The activity of writing leaves in it traces that can be obtained and understood. These traces would then be a presence of the first-person pronoun, which illustrates the unity of character and narrator, or a verb in the past tense, which points to a described action happening before the narrating action. -
1 CHAPTER I INTRODUCTION This Chapter Contains Six Elements. They
CHAPTER I INTRODUCTION This chapter contains six elements. They are background of the study, problem statement, objectives of the study, limitation of the study, benefits of the study, and research paper organization. A. Background of the Study There are some ways to express ideas, especially in a literary work. There is a literary work that brings us to the world of dreams and takes us away from reality. It has to be contrasted with a literary work that needs our interpretation. Literature is a personal expression of feeling including experience, idea, motivation, conviction in the concrete description by using language. Novel is a part of prose form beside short story. Most people read novel and short story. A novel expresses some aspects of human‟s love and existence. Novel describes human activities and describes what happened in surrounding, so it is written in long composition. According to Kennedy (1983: 103) novel is generally thought of as containing about forty five thousand words or more. So novel is longer narrative than short story and novella. According to Grant (2001) social classification is a set of concepts in the social sciences and political theory centered on models of social stratification in which people are grouped into a set of hierarchical social categories, the most common being the upper, middle, and lower classes. Class is an essential object of analysis for sociologists, political scientists, anthropologists, and social historians. However, there is no a consensus on the best definition of the term "class" and the term has different contextual meanings. In common parlance, the term "social class" is usually synonymous with "socio-economic class," defined as "people having the same social, economic, or educational status, "the working class", an emerging professional class. -
A CRITICAL STUDY OP CHARLOTTE BRONTE's 'THE PROFESSOR with SPECIAL CONSIDERATION OP ITS RELATION to PREVIOUS NOVELS a Thesis
UNIVERSITY OP LONDON A CRITICAL STUDY OP CHARLOTTE BRONTE'S 'THE PROFESSOR WITH SPECIAL CONSIDERATION OP ITS RELATION TO PREVIOUS NOVELS A Thesis Submitted by Margaret M. Brammer for the Degree of M. A. ProQuest Number: 10107227 All rights reserved INF0RMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed a note will indicate the deletion. uest. ProQuest 10107227 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.Q. Box 1346 Ann Arbor, MI 48106-1346 ABS^ CT. The first chapter describes early attempts to publish The Professor, and the circumstances of its eventual publication. The preparation and sales of the first edition are described; verbal inaccuracies and misrepresentation of the author *s capitalisation are criticised. A list of later editions is given. The MSS of the Preface and novel are studied and int eresting cancellations noted. Other alterations are found to illuminate Charlotte Brontë's attitude to characters and themes, and her care to attain accurate expression. The aim of the second chapter is to analyse the themes and method of The Professor. The statement of major themes is found to be impaired by structural and technical faults in narration, but the use of natural description and of imagery is regarded as a considerable artistic achievement. -
Ii Introduction: Picturing Charlotte Brontë
1 Ii Introduction: picturing Charlotte Brontë Amber K. Regis and Deborah Wynne In response to the centenary of Charlotte Brontë’s birth in 1916, the Brontë Society commissioned a volume of essays entitled Charlotte Brontë, 1816– 1916: A Centenary Memorial (1917), with contributions by some well- known literary fi gures, including G. K. Chesterton and Edmund Gosse. It opened with a foreword by the then president of the Brontë Society, Mrs Humphry Ward, in which she explained that the book set out to off er ‘fresh impressions and the fi rst- hand research of competent writers who have spoken their minds with love and courage’ (Ward, 1917 : 5). One hundred years later, the current volume of essays, Charlotte Brontë: Legacies and Afterlives , also strives to off er ‘fresh impressions’ based on the ‘fi rst- hand research’ of ‘competent writers’; equally, most of the contributors can claim that a love of Brontë’s work motivated this project. However, while the contributors to the 1917 volume considered courage to be required to assert Charlotte Brontë’s importance, the writers in this book show no inclination to defend her reputation or argue for the signifi cance of her work. Her ‘genius’, a term emphasised repeatedly, often anxiously, in the 1917 collection, can now be taken for granted, and for that comfortable assumption we have generations of feminist scholars to thank. Th e current volume instead charts the vast cultural impact of Charlotte Brontë since the appearance of her fi rst published work, Poems by Currer, Ellis and Acton Bell (1846), highlighting the richness and diversity of the author’s legacy, her afterlife and the continuation of her plots and characters in new forms. -
A Woman of Spirit: Anne Brontë's Agnes Grey As a Story of Spiritual
A Woman of Spirit: Anne Brontë’s Agnes Grey as a Story of Spiritual Development Anna-Maria Syrjämäki University of Tampere School of Modern Languages and Translation Studies English Philology MA Thesis December 2010 Tampereen yliopisto Kieli- ja käännöstieteiden laitos Englantilainen filologia SYRJÄMÄKI, ANNA-MARIA: A Woman of Spirit: Anne Brontë’s Agnes Grey as a Story of Spiritual Development Pro gradu -tutkielma, 81 sivua Syksy 2010 Tässä pro gradu -tutkielmassa tarkastellaan kristinuskon roolia Anne Brontën (1820-1849) esikoisromaanissa Agnes Grey (1847). Tutkielmani tarkastelee romaania kuvauksena sen päähenkilön hengellisestä kasvusta. Lähtökohtanani ovat romaanissa tarinan ja kerronnan tasoilla esiintyvät uskonnolliset elementit, jotka antavat romaanille hengellisen omaelämäkerran piirteitä. Tutkimustehtäväni jakautuu kahteen osaan: tarkastelen ensinnäkin sitä miten romaani rakentuu tarinan ja kerronnan tasolla kuvauksena hengellisestä kasvusta, ja toiseksi tarkastelen päähenkilön uskonnollisuuden luonnetta – sen opillisia piirteitä sekä naisnäkökulmaa – suhteessa viktoriaanisen ajan uskonnollisuuteen. Tutkielman alussa luon katsauksen varhaisen viktoriaanisen ajan Englannin uskonnolliseen kenttään, erityisesti evankelisen herätyskristillisyyden piirteisiin ja vaikutukseen. Analyysissäni tarkastelen Agnes Greytä päähenkilön hengellisenä kehityskertomuksena, joka rakentuu klassisen pyhiinvaellustarinan pohjalle. Tämä tarinatyyppi on yleinen viktoriaanisen ajan kirjallisuudessa ja sen suurin innoittaja oli John Bunyanin suosittu