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Two Versions of Edward Rochester: Intertextuality in Jane Eyre by Charlotte Brontë and Wide Sargasso Sea by Jean Rhys
Two Versions of Edward Rochester: Intertextuality in Jane Eyre by Charlotte Brontë and Wide Sargasso Sea by Jean Rhys Emily Eriksson ENGK01 Literary Seminar HT 2011 English Studies The Centre for Languages and Literature Lund University Supervisor: Birgitta Berglund Table of Contents Introduction ................................................................................................ 1 Intertextuality and Post-Colonial Theory................................................... 2 Edward Rochester ...................................................................................... 5 Mr. Rochester’s story and lies.................................................................... 9 Antoinette/Bertha Rochester: Destined for insanity or driven to it? ....... 12 Conclusion ................................................................................................ 18 Works Cited ............................................................................................. 20 Introduction It is almost impossible to read a text without being influenced by other texts you have read previously, at least according to the theory of intertextuality. Coined in 1966 by literary critic Julia Kristeva, the term ‘intertextuality’ deals with the idea of how one text is shaped by a number of other texts and how two readers might perceive the same article, poem or novel in very different ways depending on their reading history. These influences lead to a richer reading experience, since more information and layers are added to the story by the -
The Development of a Byronic Hero: Jane Eyre's Rochester in Adaptations
1 The Development of a Byronic Hero: Jane Eyre's Rochester in Adaptations Karlijn Prinsen 4000889 BA Thesis English Language and Culture Utrecht University British English April 2015 Supervisors: Roselinde Supheert and Paul Franssen 2 Contents Introduction 3 Chapter 1: Rochester's First Appearance 6 Chapter 2: The Proposal 12 Chapter 3: Jane's Return to Rochester 18 Conclusion 24 Works Cited 28 3 Introduction According to Teachman, "motion picture and theatrical adaptations are often the best gauge of how important a novel from a previous century has become to the popular sensibility of our times" (186). Following this train of thought, Charlotte Brontë's Jane Eyre (1847) has remained one of the most significant published novels throughout the years, as "no decade has been without at least one new feature movie or television version of Jane Eyre" (Teachman 186). Each adaptation contains different interpretations and visions of Brontë's novel, making the content of adaptations often prone to change. One of such changes that is particularly interesting concerns the character of Edward Rochester. A variety of authors have written about Rochester's Byronic character in the novel as well as in adaptations. Stephanie Mendoza, for example, states that a transformation "occurs within the very nature of this Byronic hero" and he "changes from a superficial man to someone more genuine" (18). Sarah Wootton also focuses solely on Rochester and discusses a selection of adaptations, analysing his Byronic character. Mann argues that "filmmakers and actors must ensure that Mr. Rochester retains the brooding and temperamental nature that captivates Jane, while allowing modern audiences to see enough of his sensitive side" (152), which could be more difficult than first anticipated. -
Edward Rochester: a New Byronic Hero Marybeth Forina
Undergraduate Review Volume 10 Article 19 2014 Edward Rochester: A New Byronic Hero Marybeth Forina Follow this and additional works at: http://vc.bridgew.edu/undergrad_rev Part of the Literature in English, British Isles Commons Recommended Citation Forina, Marybeth (2014). Edward Rochester: A New Byronic Hero. Undergraduate Review, 10, 85-88. Available at: http://vc.bridgew.edu/undergrad_rev/vol10/iss1/19 This item is available as part of Virtual Commons, the open-access institutional repository of Bridgewater State University, Bridgewater, Massachusetts. Copyright © 2014 Marybeth Forina Edward Rochester: A New Byronic Hero MARYBETH FORINA Marybeth Forina is a n her novel Jane Eyre, Charlotte Brontë established several elements that are senior who is double still components of many modern novels, including a working, plain female hero, a depiction of the hero’s childhood, and a new awareness of sexuality. majoring in Elementary Alongside these new elements, Brontë also engineered a new type of male hero Education and English Iin Edward Rochester. As Jane is written as a plain female hero with average looks, with a minor in Rochester is her plain male hero counterpart. Although Brontë depicts Rochester as a severe, yet appealing hero, embodying the characteristics associated with Byron’s Mathematics. This essay began as a heroes, she nevertheless slightly alters those characteristics. Brontë characterizes research paper in her senior seminar, Rochester as a Byronic hero, but alters his characterization through repentance to The Changing Female Hero, with Dr. create a new type of character: the repentant Byronic hero. Evelyn Pezzulich (English), and was The Byronic Hero, a character type based on Lord Byron’s own characters, is later revised under the mentorship of typically identified by unflattering albeit alluring features and an arrogant al- Dr. -
Filmography Dilip Kumar – the Substance and the Shadow
DILIP KUMAR: THE SUBSTANCE AND THE SHADOW Filmography Year Film Heroine Music Director 1944 Jwar Bhata Mridula Anil Biswas 1945 Pratima Swarnlata Arun Kumar 1946 Milan Meera Mishra Anil Biswas 1947 Jugnu Noor Jehan Feroz Nizami 1948 Anokha Pyar Nargis Anil Biswas 1948 Ghar Ki Izzat Mumtaz Shanti Gobindram 1948 Mela Nargis Naushad 1948 Nadiya Ke Par Kamini Kaushal C Ramchandra 1948 Shaheed Kamini Kaushal Ghulam Haider 1949 Andaz Nargis Naushad 1949 Shabnam Kamini Kaushal S D Burman 1950 Arzoo Kamini Kaushal Anil Biswas 1950 Babul Nargis Naushad 1950 Jogan Nargis Bulo C Rani 1951 Deedar Nargis Naushad 1951 Hulchul Nargis Mohd. Shafi and Sajjad Hussain 1951 Tarana Madhubala Anil Biswas 1952 Aan Nimmi and Nadira Naushad 1952 Daag Usha Kiran and Nimmi Shankar Jaikishan 1952 Sangdil Madhubala Sajjad Hussain 1953 Footpath Meena Kumari Khayyam 1953 Shikast Nalini Jaywant Shankar Jaikishan 1954 Amar Madhubala Naushad 1955 Azaad Meena Kumari C Ramchandra 1955 Insaniyat Bina Rai C Ramchandra 1955 Uran Khatola Nimmi Naushad 1955 Devdas Suchitra Sen, Vyjayanti S D Burman Mala 1957 Naya Daur Vyjayantimala O P Nayyar 1957 Musafir Usha Kiran, Suchitra Salil Chaudhury Sen 1 DILIP KUMAR: THE SUBSTANCE AND THE SHADOW 1958 Madhumati Vyjayantimala Salil Chaudhury 1958 Uahudi Meena Kumari Shankar Jaikishan 1959 Paigam Vyjayantimala, B Saroja C Ramchandra Devi 1960 Kohinoor Meena Kumari Naushad 1960 Mughal-e-Azam Madhubala Naushad 1960 Kala Bazaar (Guest Appearance) 1961 Gunga Jumna Vyjayantimala Naushad 1964 Leader Vyjayantimala Naushad 1966 Dil Diya Dara Liya -
“A Man Is Nothing Without the Spice of the Devil in Him”: Jane Eyre And
“A Man is Nothing without the Spice of the Devil in Him” Jane Eyre and Edward Rochester Navigate an Imperially- Inscribed Masculinity Rachel Willis Abstract In Charlotte Brontë’s Jane Eyre, Edward Rochester’s imperially-inscribed masculinity, anchored in Victorian patriarchal ideals, requires Jane to negotiate and eventually resist his attempts to dominate her. Recent readings of the novel by scholars like Joyce Zonana and Ralph Austen acknowledge its heavy reliance on colonial discourse, arguing that this discourse allows Brontë to critique the Western patriarchal values that Jane grapples with by displacing them onto the colonial “other.” The Victorian patriarchal society Jane lives in marginalizes her in several ways, and the novel uses colonial themes to portray this marginalization. However, these themes also offer her ways of resistance, especially in relation to Rochester. Rochester’s masculinity, which is both marginalized according to British class standards and hegemonic according to his social position and wealth, is also figured both in colonial terms as Jane’s colonizer and in terms that mark his otherness. For example, Jane associates Rochester with the “oriental” whenever he tries to dominate her in ways that go against her Christian faith, positioning him as a “savage” and a “heathen”—a man who is powerful but still in need of the civilizing (and emasculating) Protestant religion. Thus, examining Jane’s navigation of Rochester’s imperially-inscribed masculinity offers insight into the novel’s negotiation of power and oppression. Keywords Jane Eyre, masculinity, gender, postcolonial, imperialism, Christianity Otherness: Essays and Studies Volume 6 · Number 2 · December 2018 © The Author 2018. -
Reading the Intersections of Mental Illness and Masculinity in Jane Eyre
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Carolina Digital Repository “I Had Dreaded Worse. I Had Dreaded He Was Mad”: Reading the Intersections of Mental Illness and Masculinity in Jane Eyre By Avalon Warner-Gonzales Honors Thesis Department of English and Comparative Literature University of North Carolina-Chapel Hill 2017 Advised by Dr. Kimberly Stern Warner-Gonzales 1 Introduction: Discourses of Madness and Mental Illness Madness has long been an object of fascination in the cultural imagination, constituting the focal point of many works of literature, television, and film. One of the most famous examples of this trend is Charlotte Brontë’s Jane Eyre, the 1848 novel that gave us the infamous “madwoman in the attic,” Bertha Mason. As we see exemplified in Brontë’s representation of Bertha, the majority of works representing madness portray it in a negative light. “Madness” as an ideological framework is more overtly couched in cultural assumptions and deep-seated prejudices as compared to our current ideological framework in place of “mental illness,” which relies more on a neutral and clinical stance thanks to advances in neuroscience and psychology in the past century. The shift toward this ostensibly neutral and objective modern psychology has its roots in the nineteenth century, which acted as a transition into the period of advancements that took place in the twentieth century.1 Thus, as a mid-nineteenth century novel, Jane Eyre straddles these two ages, and arguably displays examples of both madness and mental illness. The most obvious example is Bertha Mason, whose character is entirely based on the conventions and discourses of “madness” from the preceding century. -
The Loss of Antoinette's Identity in Jean Rhys' Wide Sargasso
Oregon Undergraduate Research Journal 2.1 (2012) ISSN: 2160-617X (online) http://journals.oregondigital.org/ourj/ DOI: 10.5399/uo/ourj.2.1.1891 Abject by Gender and Race: The Loss of Antoinette’s Identity in Jean Rhys’ Wide Sargasso Sea Iida Pollanen*, Department of Comparative Literature ABSTRACT Jean Rhys’ Wide Sargasso Sea (1966) is a postcolonial novel that gives a voice to Antoinette, the Creole woman described as the “mad woman in the attic” in Charlotte Brontë’s Jane Eyre (1847). Wide Sargasso Sea has been widely discussed by critics, especially in the fields of postcolonial, feminist and modernist literary theory, but while many critics have focused on how it rewrites race and gender as expressed in Jane Eyre, this work highlights the novel as an independent entity and introduces the notion of abjection to analyze Antoinette’s identity crisis. Thus, by examining the connections between race and gender in Rhys’ novel in the light of Ania Loomba’s ideas about colonialism and postcolonialism and linking it to psychoanalytic feminism with Julia Kristeva’s notion of the abject, it is possible to understand why Antoinette loses her identity and how madness actually operates in a colonial and patriarchal society. Race and gender are used to provide metaphors for one another and to abject ‘the other’ among us, driving it to insanity. INTRODUCTION In Charlotte Brontë’s novel Jane Eyre (1847), Edward Rochester’s first wife, Bertha Mason, is described as a Jamaican madwoman locked up in the attic of their house in England because of her violent insanity. The novel predicates Edward as a victim who was tricked into marrying Bertha, a “lunatic,” “whether beast or human being, one could not, at first sight, tell: it groveled, seemingly, on all fours; it snatched and growled like some strange wild animal: but it was covered with clothing—” (Brontë, 303-304). -
12-13 Bustour V11
faculty The Power of One No one is more beloved —or more committed to Rutgers or to teaching—than Barry Qualls By Bill Glovin And just when he thinks the Barry Qualls’s dramatic readings of Victorian literature in class are partly capstone of his career is his leader - inspired by Charles Dickens, who often ship role in helping transform gave public readings of his own novels. undergraduate education on the New Brunswick Campus, the Carnegie Foundation for the Advancement of Teaching and the Council for Advancement and Support of Education (CASE) bestow upon him the prestigious Professor of the Year honor. “I can’t think of anyone more deserving of this teaching award than Barry,” says President Richard L. McCormick. “He is the best citizen of Rutgers, and cer - tainly a large part of that is his lively classroom style and his abi- lity to engage students in Victorian novels and prose, works that stu - dents often initially resist because of the perception that they lack rel - evance to their own lives.” Few in the university commu - nity would disagree with the presi - dent’s assessment. At a reception to celebrate efore Barry V. Qualls utters a word about the award in December, three former students represent - his remarkable 36-year career at Rutgers ing different generations talked about their professor’s or his 2006 New Jersey Professor of the passion for all things Victorian. They recalled how Qualls’s Year award, he’s asking me how my role as an adviser inspired them and others to attend grad - daughter is doing as a first-year student uate school and how his classes turned them into more O living on the Newark Campus, and teasing that he engaged readers and better writers. -
The Violent Seizure of Female Narratives in the Tenant Of
PRIVATELY DEVIANT, PUBLICLY DISCIPLINED: THE VIOLENT SEIZURE OF FEMALE NARRATIVES IN TENANT OF WILDFELL HALL, THE WOMAN IN WHITE, AND LADY AUDLEY’S SECRET By Amanda Kelli Hand Andrew D. McCarthy Charles L. Sligh Assistant Professor of English Assistant Professor of English (Chair) (Committee Member) Matthew W. Guy Associate Professor of English (Committee Member) PRIVATELY DEVIANT, PUBLICLY DISCIPLINED: THE VIOLENT SEIZURE OF FEMALE NARRATIVES IN TENANT OF WILDFELL HALL, THE WOMAN IN WHITE, AND LADY AUDLEY’S SECRET By Amanda Kelli Hand A Thesis Submitted to the Faculty of the University of Tennessee at Chattanooga in Partial Fulfillment of the Requirements of the Degree of Master of Arts: English The University of Tennessee at Chattanooga Chattanooga, Tennessee May 2015 ii Copyright © 2015 By Amanda Kelli Hand All Rights Reserved iii ABSTRACT In Victorian England, women were subjects within their patriarchal society. What Anne Brontë, Wilkie Collins, Mary Elizabeth Braddon emphasize and “sensationalize” is the subjugated marriage relationship, violently portraying men forcing their wives into submission. Brontë’s Tenant of Wildfell Hall , Collin’s The Woman in White , and Braddon’s Lady Audley’s Secret provide examples of men attempting to control the women in their lives. These novels deploy moments of violent seizure to dramatize and critique the inequalities inherent in the strict Victorian marriage laws. However, despite this usurpation of the female narrative, the insurgent testimony of the female voice persists in the mind of the reader. This thesis will examine the Sensation genre, focusing on the female narratives within the three novels. It will argue that the female narrative cannot be shut out or stifled. -
Intersectionality in Jane Eyre and Its Adaptations Laurel Loh University of Arkansas, Fayetteville
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by ScholarWorks@UARK University of Arkansas, Fayetteville ScholarWorks@UARK Theses and Dissertations 5-2015 Intersectionality in Jane Eyre and its Adaptations Laurel Loh University of Arkansas, Fayetteville Follow this and additional works at: http://scholarworks.uark.edu/etd Part of the American Film Studies Commons, Literature in English, British Isles Commons, Other Film and Media Studies Commons, and the Women's Studies Commons Recommended Citation Loh, Laurel, "Intersectionality in Jane Eyre and its Adaptations" (2015). Theses and Dissertations. 1105. http://scholarworks.uark.edu/etd/1105 This Thesis is brought to you for free and open access by ScholarWorks@UARK. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of ScholarWorks@UARK. For more information, please contact [email protected], [email protected]. Intersectionality in Jane Eyre and Its Adaptations Intersectionality in Jane Eyre and Its Adaptations A thesis submitted in partial fulfillment of the requirement for the degree of Master of Arts in English by Laurel Loh University of Arkansas Bachelor of Science in International Business, 2002 May 2015 University of Arkansas This thesis is approved for recommendation to the Graduate Council. __________________________ Dr. Lissette Lopez Szwydky Thesis Director __________________________ __________________________ Dr. Vivian Davis Dr. Sean Dempsey Committee Member Committee Member Abstract During the almost 170 years since Jane Eyre was published, there have been numerous adaptations in many different mediums and genres, such as plays, films, musicals, graphic novels, spin-off novels, and parodies. The novel has been read in many different critical traditions: liberal humanist, historicist, feminist, and postcolonial approaches dealing with topics such as the problem of female authorship and consciousness. -
FRODSHAM, John David
THE AUSTRALIAN ACADEMY OF THE HUMANITIES ANNUAL REPORT 2015–16 33 JOHN DAVID FRODSHAM 1930–2016 fellow · elected 1969 Before taking up a position at Murdoch University, where Frodsham was Professor of World Literature, I had looked up his publications in the University of Sydney’s Fisher Library. He had had a brief stint at Sydney in the Department of Oriental Studies before taking up a position as Lecturer in Far Eastern History at the University of Malaya. He returned to Australia in 1965 to a similar position at the University of Adelaide followed by his election to a Readership in Chinese at the Australian National University (ANU) in 1967. At Sydney I had been unimpressed by the narrow discipline- oriented interests of the English literature staff, their overbearing monolingualism and, needless to say, their Oxford pretentiousness. Against the latter, Frodsham, in my reading of him, stood out like an unusual beacon. He had already made it into Who’s Who and been elected a Fellow of the Australian Academy of the Humanities in 1969; his books had been published by Clarendon Press (the prestige imprimatur of Oxford University Press). I also read that he spoke some thirteen languages fluently. He interviewed me at a Circular Quay hotel, paid for the coffee and lunch on his American Express photo: courtesy of v. mishra Card, and offered me a three-year tutorship. There was nothing untoward nor indeed corrupt about this, as this ohn Frodsham, who was born on 5 January 1930 in was a professor’s right, a kind of gift, in the old system. -
Dilip-Kumar-The-Substance-And-The
No book on Hindi cinema has ever been as keenly anticipated as this one …. With many a delightful nugget, The Substance and the Shadow presents a wide-ranging narrative across of plenty of ground … is a gold mine of information. – Saibal Chatterjee, Tehelka The voice that comes through in this intriguingly titled autobiography is measured, evidently calibrated and impossibly calm… – Madhu Jain, India Today Candid and politically correct in equal measure … – Mint, New Delhi An outstanding book on Dilip and his films … – Free Press Journal, Mumbai Hay House Publishers (India) Pvt. Ltd. Muskaan Complex, Plot No.3, B-2 Vasant Kunj, New Delhi-110 070, India Hay House Inc., PO Box 5100, Carlsbad, CA 92018-5100, USA Hay House UK, Ltd., Astley House, 33 Notting Hill Gate, London W11 3JQ, UK Hay House Australia Pty Ltd., 18/36 Ralph St., Alexandria NSW 2015, Australia Hay House SA (Pty) Ltd., PO Box 990, Witkoppen 2068, South Africa Hay House Publishing, Ltd., 17/F, One Hysan Ave., Causeway Bay, Hong Kong Raincoast, 9050 Shaughnessy St., Vancouver, BC V6P 6E5, Canada Email: [email protected] www.hayhouse.co.in Copyright © Dilip Kumar 2014 First reprint 2014 Second reprint 2014 The moral right of the author has been asserted. The views and opinions expressed in this book are the author’s own and the facts are as reported by him, which have been verified to the extent possible, and the publishers are not in any way liable for the same. All photographs used are from the author’s personal collection. All rights reserved.