The Split Subject of Narration in Elizabeth
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Preservation and Progress in Cranford
Preservation and Progress in Cranford Katherine Leigh Anderson Lund University Department of English ENGK01 Bachelor Level Degree Essay Christina Lupton May 2009 1 Table of Contents I. Introduction and Thesis.................................................. 3 II. Rejection of Radical Change in Cranford...................... 4 III. Traditional Modes of Progress....................................... 11 IV. Historical Transmission Through Literature.................. 14 V. Concluding Remarks....................................................... 18 VI. Works Cited...................................................................... 20 2 Introduction and Thesis Elizabeth Gaskell's Cranford was first published between 1851 and 1853 as a series of episodic stories in Household Words under the the editorship of Charles Dickens; it wasn't until later that Cranford was published in single volume book form. Essentially, Cranford is a collection of stories about a group of elderly single Victorian ladies and the society in which they live. As described in its opening sentence, ”In the first place, Cranford is in possession of the Amazons; all the holders of houses, above certain rent, are women” (1). Cranford is portrayed through the eyes of the first person narrator, Mary Smith, an unmarried woman from Drumble who visits Cranford occasionally to stay with the Misses Deborah and Matilda Jenkyns. Through Mary's observations the reader becomes acquainted with society at Cranford as well as Cranfordian tradition and ways of life. Gaskell's creation of Cranford was based on her own experiences growing up in the small English town of Knutsford. She made two attempts previous to Cranford to document small town life based on her Knutsford experiences: the first a nonfiction piece titled ”The Last Generation” (1849) that captured her personal memories in a kind of historical preservation, the second was a fictional piece,”Mr. -
Elizabeth Gaskell's North and South Televised
Taking bearings: Elizabeth Gaskell’s North and South televised MARGARET HARRIS When North and South appeared in two volumes in 1855, its title page carried no author’s name. The novel was described as being ‘By the author of “Mary Barton,” “Ruth,” “Cranford,” &c.’, much as it had been on its first appearance as a serial in Dickens’s weekly Household Words between 2 September 1854 and 27 January 1855. Yet Elizabeth Gaskell’s authorship was no secret: while some, like the anonymous Athenaeum reviewer, con- tinued to refer to ‘the Author’, most used her name, the Leader reviewer for instance scrupulously identifying her as ‘Mrs. Gaskell, if not a Manchester lady, a settler therein’.1 The designation ‘Mrs Gaskell’ has been damning. This form of address, emphasising her (willingly embraced) roles as wife and mother, was reinforced over time as literary historians based her reputa- tion on the ‘charming’ Cranford, allowing her ability in delineating the restricted sphere of domesticity, but denying her range. Lord David Cecil is exemplary: in his judgement, she is a domestic novelist with real facility in presenting feeling, while ‘As for the industrial novels, it “would have been impossible for her if she tried, to have found a subject less suited to her talents”’.2 It would be anachronistic now to embark on a defence of Gaskell against Cecil. Jenny Uglow’s description of her as ‘an original, passionate and sometimes rather strange writer’3 states an agreed late-twentieth century position consequent on Gaskell’s instatement as an industrial novelist and ‘social explorer’4 by Raymond Williams, John Lucas, and others from the late 1950s.5 It is the transgressive and confronting Gaskell that viewers encounter in Sandy Welch’s script and Brian Percival’s direction of the 2004 BBC-TV version of North and South, her fourth novel. -
ANÁLISIS DE TRADUCCIÓN DE CRANFORD DE ELIZABETH GASKELL Marina Alonso Gómez
Máster Traducción Especializada Universidad de Córdoba ANÁLISIS DE TRADUCCIÓN DE CRANFORD DE ELIZABETH GASKELL Marina Alonso Gómez Trabajo Fin de Máster 2013-2014 Tutora: Dra. Ángeles García Calderón ÍNDICE 0. INTRODUCCIÓN … 3 Justificación … 3 Estructura … 5 1. LA NOVELA SOCIAL INGLESA EN EL SIGLO XIX: CHARLES DICKENS, BENJAMIN DISRAELI Y CHARLES KINGSLEY … 8 1.1 Charles Dickens: su figura y su obra … 12 1.2 Benjamin Disraeli: su figura y su obra … 31 1.3 Charles Kingsley: su figura y su obra … 42 2. ELIZABETH GASKELL … 54 2.1 Su figura y su producción literaria … 54 2.1.1 Cranford … 65 2.1.1.1 Recepción de la obra … 67 3. CRANFORD TRADUCIDA AL ESPAÑOL Y AL FRANCÉS … 76 3.1 Ediciones de la obra … 76 3.1.1 Traducción española y francesa: los traductores … 78 3.1.2 Presencia del traductor … 82 3.1.3 Aspectos culturales … 83 3.1.3.1 Antropónimos … 83 3.1.3.2 Topónimos … 84 3.1.3.3 Personajes … 87 3.1.3.4 Reino animal … 87 3.1.3.5 Gastronomía … 88 3.1.3.6 Indumentaria … 90 3.1.3.7 Esparcimiento … 92 3.1.3.8 Medios de transporte … 93 1 3.1.3.9 Hogar … 94 3.1.3.10 Tratamientos … 95 3.1.3.11 Unidades de media y peso … 97 3.1.4 Aspectos lingüísticos … 98 3.1.4.1 Interjecciones y onomatopeyas … 98 3.1.4.2 Elementos ortotipográficos … 98 3.1.4.3 Extranjerismos … 100 3.1.4.4 Idiolectos … 102 3.1.4.5 Metáforas … 105 3.1.4.6 Modismos … 106 3.1.5 Omisiones, adiciones y alteraciones … 108 3.1.5.1 Omisiones … 108 3.1.5.2 Adiciones … 108 3.1.5.3 Alteraciones … 109 3.1.5 Otros errores … 111 3.1.5.1 De sentido … 111 3.1.5.1.1 Términos aislados … 111 3.1.5.1.2 Estructuras complejas … 112 3.1.5.2 De sintaxis … 120 3.1.6 Traducción francesa … 123 CONCLUSIONES … 125 BIBLIOGRAFÍA … 129 Diccionarios utilizados … 135 2 0. -
Ressentiment in Gaskelvs Ruth
3 Under Cover: Sympathy and Ressentiment in GaskelVs Ruth Under the cover of sympathy with the dismissed labourers, Mr. Preston indulged his own private pique very pleasantly. — Elizabeth Gaskell, Wives and Daughters Elizabeth Gaskell’s goal in Ruth (1853) was to elicit sympathy for the figure of the fallen woman by means of the detailed representation of an individual case.Yet as many readers have noted, the novel takes an am- bivalent approach to the category and the character with which it is most concerned. Critical of the social barriers that would place Ruth outside respectable society, Gaskell at the same time devised a heroine who is nat- urally good— indeed, one whose innocence borders on (and is figured as) an “unconsciousness” of the social norms she violates. R uth’s claim on readerly sympathy thus seems to derive less from a critique of the idea of fallenness than from her status as not truly fallen. And yet, as if doubting her heroine’s virtue, Gaskell requires Ruth to redeem herself. The novel remains unable to reconcile her supposed innocence with her deviation from it, and— as if to escape all the confusion— she dies at its end.1 1 For a useful review of Ruth criticism, see Elizabeth Helsinger, Robin Sheets, and William Veeder, eds., The Woman Question (Chicago: University o f Chicago Press, 1983), 77 78 Fear of Falling Criticism of the novel has, understandably, been unable to leave the sub- ject of the fallen woman behind. But in addition to being concerned with the fate of fallen women, Ruth expresses Gaskell s general interest in sym- pathy as a solution to divisive social problems; in Mary Barton and North and South, for instance, individual sympathy is her solution to class conflict. -
Contextualizing Value: Market Stories in Mid-Victorian Periodicals By
Contextualizing Value: Market Stories in Mid-Victorian Periodicals By Emily Catherine Simmons A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Graduate Department of English University of Toronto © Copyright Emily Catherine Simmons 2011 Abstract Contextualizing Value: Market Stories in Mid-Victorian Periodicals Emily Catherine Simmons Doctor of Philosophy Graduate Department of English, University of Toronto Copyright 2011 This dissertation examines the modes, means, and merit of the literary production of short stories in the London periodical market between 1850 and 1870. Shorter forms were often derided by contemporary critics, dismissed on the assumption that quantity equals quality, yet popular, successful, and respectable novelists, namely Charles Dickens, Anthony Trollope, Elizabeth Gaskell and Margaret Oliphant, were writing, printing, and distributing them. This study navigates a nexus of discourses about culture, literature, and writing to explore, delineate, and ascertain the implications of the contextual position of certain short stories. In particular, it identifies and characterizes a previously unexamined genre, here called the Market Story, in order to argue for the contingency and de-centring of processes and pronouncements of valuation. Market stories are defined by their relationship to a publishing industry that was actively creating a space for, demanding, and disseminating texts based on their potential to generate sales figures, draw attention to a particular organ, -
Elizabeth Gaskell and the Middle Class
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2009 “The Sort . of People to Which I Belong”: Elizabeth Gaskell and the Middle Class Allison Masters The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Masters, Allison, "“The Sort . of People to Which I Belong”: Elizabeth Gaskell and the Middle Class" (2009). Graduate Student Theses, Dissertations, & Professional Papers. 16. https://scholarworks.umt.edu/etd/16 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. “THE SORT . OF PEOPLE TO WHICH I BELONG”: ELIZABETH GASKELL AND THE MIDDLE CLASS By ALLISON JEAN MASTERS B.A., University of Colorado, Boulder, Colorado, 2006 Thesis presented in partial fulfillment of the requirements for the degree of Masters of Arts in English Literature The University of Montana Missoula, MT May 2009 Approved by: Perry Brown, Associate Provost for Graduate Education Graduate School John Glendening, Chair English Jill Bergman English Ione Crummy French Masters ii Masters, Allison, M.A., May 2009 English “The Sort . of People to Which I Belong”: Elizabeth Gaskell and the Middle Class Chairperson: John Glendening In this thesis, I examine Elizabeth Gaskell’s development as a middle-class author, which is a position that most scholars take for granted. -
AND ELIZABETH GASKELL's CRANFORD by Meryem A. Udden
Playacting happiness: tragicomedy in Jane Austen's Mansfield Park and Elizabeth Gaskell's Cranford Item Type Thesis Authors Udden, Meryem A. Download date 01/10/2021 08:14:04 Link to Item http://hdl.handle.net/11122/11295 PLAYACTING HAPPINESS: TRAGICOMEDY IN JANE AUSTEN'S MANSFIELD PARK AND ELIZABETH GASKELL'S CRANFORD By Meryem A. Udden, B.A. A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in English University of Alaska Fairbanks May 2020 APPROVED: Rich Carr, Committee Chair Eric Heyne, Committee Member Terence Reilly, Committee Member Rich Carr, Department Chair Department of English Todd Sherman, Dean College of Liberal Arts Michael Castellini, Dean of the Graduate School Abstract This thesis examines tragicomedy in two 19th Century British novels, Jane Austen's Mansfield Park and Elizabeth Gaskell's Cranford. Both narratives have perceived happy endings; however, tragedy lies underneath the surface. With Shakespeare's play A Midsummer Night's Dream as a starting point, playacting becomes the vehicle through which tragedy can be discovered by the reader. Throughout, I find examples in which playacting begins as a comedic act, but acquires tragic potential when parents enter the scene. Here, I define tragedy not as a dramatic experience, but rather seemingly small injustices that, over time, cause more harm than good. In Mansfield Park, the tragedy is parental neglect and control. In Cranford, the tragedy is parental abuse. For both narratives, characters are unable to experience life fully, and past parental injuries cannot be redeemed. While all the children in the narratives experience some form of parental neglect, the marginalized children are harmed more than the others. -
A Survey of Gaskell Scholarship, Or Things Written Recently About Gaskell
A Survey of Gaskell Scholarship, or Things Written Recently about Gaskell MARY H KUHLMAN The body of Things Written about Elizabeth Gaskell and her works continues to increase by some geometrical proportion so that each new year sees well-crafted reviews, articles, books, book introductions and book chapters appear to delight -- and perhaps overwhelm -- the Gaskellian reader. One piece of evidence of the enormous interest in Gaskell is this fact: when in the fall of 1997 Mitsuharu Matsuoka posted an e-mail message giving a list of recent dissertations on or including Gaskell written for doctoral degrees in the United States, the list came to 64 theses completed between 1992 and 1997. What such a statistic tells us is that there is plenty of new scholarship being done and written up. Some researchers have new biographical or bibliographical information to report; others offer new interpretations of Gaskell’s works based on their expertise in related fields. Still other writers provide new insights into the literature we already thought we knew, insights that renew our own readings. New primary materials, like newly discovered letters, always catch our interest, most certainly two full-length volumes recently published. One is a relatively slight but fascinating edition: Private Voices: The Diaries of Elizabeth Cleghorn Gaskell and Sophia Isaac Holland, edited by J.A.V. Chapple and Anita C. Wilson (Keele UP, 1996), and reviewed by Jo Pryke in the Gaskell Society Journal in 1997. The other “primary” volume is Professor John Chapple’s biographical study, Elizabeth Gaskell: The Early Years, (Manchester UP, 1997). Combining a graceful narrative with an amazingly complete mass of detailed information, this lengthy work will be enormously useful to students and scholars interested in Gaskell’s family background and youth, because of Chapple’s authoritative organization and interpretation. -
Performance and Performativity in Elizabeth Gaskell’S Cranford and Ruth
PERFORMANCE AND PERFORMATIVITY IN ELIZABETH GASKELL’S CRANFORD AND RUTH BY Copyright 2008 Eta Farmacelia Nurulhady Submitted to the graduate degree program in English and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Master’s of Arts Dorice Williams Elliott Ann Wierda Rowland Iris Smith Fischer Date defended: 22 April 2008 The Thesis Committee for Eta Farmacelia Nurulhady certifies that this is the approved version of the following thesis: PERFORMANCE AND PERFORMATIVITY IN ELIZABETH GASKELL’S CRANFORD AND RUTH Committee: Dorice Williams Elliott Ann Wierda Rowland Iris Smith Fischer Date approved: 29 April 2008 ii Abstract This thesis analyzes the aspects of performance and performativity in Elizabeth Gaskell’s Cranford and Ruth. Gaskell shows through her characters how gender and class intertwine, involving the notions of cultural, social, and economic capital. Although contested concepts, performance and performativity can be significant tools in analyzing how Victorian narratives such as Cranford and Ruth could subvert dominant assumptions about gender and gender roles. The first chapter discusses Elizabeth Gaskell, the concepts of performance and performativity, and Victorian doctrine of separate spheres. The second chapter analyzes how the Cranford ladies in Cranford perform stylized repetition of certain acts to maintain their identity. The third chapter shows performances in Ruth and how the heroine acquires her gender by accreting its behavior, strengthening the understanding of Ruth by using the notion of performativity. The fourth chapter consolidates the main points that performance and performativity help to show: how Cranford challenges the stereotype of a “redundant woman,” and Ruth challenges the stereotype of a “fallen woman.” iii Acknowledgement I thank God the Almighty, Allah SWT for every single blessing granted to me. -
The Parable of the Prodigal Son in the Fiction of Elizabeth Gaskell
THE PARABLE OF THE PRODIGAL SON IN THE FICTION OF ELIZABETH GASKELL Tatsuhiro OHNO A thesis submitted to the University of Birmingham for the degree of Master of Letters Department of English Literature College of Arts and Law Graduate School University of Birmingham September 2018 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii ABSTRACT The purpose of this dissertation is to analyse Elizabeth Gaskell’s three prodigal short stories—“Lizzie Leigh” (1850), “The Crooked Branch” (1859), and “Crowley Castle” (1863)—with reference to her major works in terms of the biblical parable of the Prodigal Son representing the principal Christian creed of the Plan of Sal- vation. The investigation into the three short stories in addition to her major works discloses the following three main features. First, the recurrent appearance of the Prodigal Son motif—committing sin, repentance, and forgiveness—in her characters’ lives and actions. Second, Gaskell’s change of depicting the prodigal by gradually refraining from inserting hints for its salvation—there are many hints in the first short story, almost none in the second, and few in the third. -
Jewusiak, University at Buffalo
NINETEENTH-CENTURY GENDER STUDIES # ISSUE 7.3 (WINTER 2011) The End of the Novel: Gender and Temporality in Elizabeth Gaskell’s Cranford By Jacob Jewusiak, University at Buffalo <1>Since Cranford’s publication (1851-3), critics have had difficulty reconciling the novel’s modular storytelling with the teleological arc of a conventional novel narrative. A reviewer in Graham’s Magazine (1853) writes that while Cranford inspires “pleased attention” from the reader, “there is hardly any thing that can be called a plot” (448); similarly, the Athenaeum (1853) unflatteringly refers to Gaskell’s novel as a “collection of sketches” where “there is hardly a solitary incident which is not of every-day occurrence” (Chorley 765). In contemporary Victorian studies, Andrew Miller addresses this concern by suggesting that Cranford displays a “conventional teleological structure” that coexists “with a cyclical movement, an alternative narrative form which emerges out of and represents the routines and material culture of everyday life” (93). Reference to circular, cyclical, or static models of time appear consistently in Cranford criticism addressing a wide variety of issues such as memory, sympathy, and narrative repetition. (1) While metaphors like linearity and cyclicality are useful for thinking about the problematic relation between plot and time in Cranford, they do not address fully the temporal complexity that links the novel’s unusual form to Gaskell’s gender concerns. <2>As Barbara Adams points out, a mélange of different times structures any individual’s temporal experience—“time-frames, temporality, timing, tempo, a relation to the past, present, and future and…clock and calendar time” (37). -
Hierarchy, Gentility and Humanity in Elizabeth Gaskell´S Cranford
Linköping University Department of Culture and Communication English Hierarchy, Gentility and Humanity in Elizabeth Gaskell´s Cranford Ingrid Lundquist C Course: Literary Specialization Spring term 2013 Supervisor: Helena Granlund Contents Introduction ……………………………………………………………………………………3 Chapter 1: Hierarchy and Gentility: The Backbone and Face of Cranford Society …………...7 Chapter 2: Gentility Revised …………………………….…………………………………...16 Chapter 3: Hierarchy Overruled ……………………………………………………………...23 Conclusion …………………………………………………………………………………...32 Works Cited ………………………………………………………………………….………35 Introduction The Victorian author Elizabeth Gaskell published several novels and short stories between 1848 and 1865, and her writing reflects her time. She lived in the aftermath of the industrial revolution, which brought not only benefits, but also misery, to the people. As a Unitarian minister´s wife in Manchester, Gaskell was exposed to the hardships of her husband´s parishioners on a day-to-day basis. Gaskell took a keen interest in her husband´s work and assisted in his mission, by teaching working-class girls at Sunday school and inviting them to the Gaskell home. John McVeagh argues that Gaskell´s novels “reflect the moods and problems of her society, or that part of society which she knew well, with the minimum of distortion or exaggeration. .” (1). Gaskell´s social criticism is particularly apparent in her industrial novels Mary Barton and North and South, where she realistically depicts “the industrial and moral problems of her age . with accurate knowledge and with an urgent concern for the sufferer and the outcast which never degenerates into mere sentimentality” (2). The novels reflect the conditions for women, which is also the case in Ruth, where the main character is an unmarried mother.