Tesis sobre el tema "1816-1855"
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Nikkila, Sonja Renee. "Pseudonymity, authorship, selfhood : the names and lives of Charlotte Brontë and George Eliot". Thesis, University of Edinburgh, 2006. http://hdl.handle.net/1842/17556.
Texto completoGeary, Cynthia J. "Jane Eyre and the tradition of women's spiritual quest : echoes of the great goddess and the rhythms of nature in one woman's "private myth"". Virtual Press, 1989. http://liblink.bsu.edu/uhtbin/catkey/544126.
Texto completoDepartment of English
Ferez, Yvonne. "La solitude dans les romans de Charlotte Brontë". Paris 10, 1987. http://www.theses.fr/1987PA100116.
Texto completoCharlotte Brontë, withdrawn in the dreary "moors" of Yorkshire, tries to harmonize her characters and their background so as to give a keener perception of their isolation. The heroines especially, seek a form of integration by their fusion with the cosmos; this very personal approach brings out all the aspects of consciousness: emotions, passions and sufferings thus gain a greater suggestive force through the transforming power of imagination. There are, in charlotte Brontë's literary expression, two contradictory aspirations: at the same time a strong desire and a fear of solitude; the guest for a balance between these antinomic tendencies creates a neurosis that can only be cured by love and friendship. The androgynous aspect of the brontean characters reveals women writers' malaise and solitude in the literary world of the time. What Charlotte Brontë shows (and sometimes exposes) is single women's predicament and unbearable isolation in the victorian era: the heroines must struggle against prejudice and their fight increases their solitude; these women stifle their desires and weaknesses so as to overcome the obstacles of existence. The brontean characters perform a pilgrimage which brings them to a better knowledge of their inner self; they achieve a form of wisdom and fulfilment after they have met their "alter ego" who can understand them and communicate with them
Castillo, Heather Christine. "Jane Eyre's Gricean conversational portrait". CSUSB ScholarWorks, 2000. https://scholarworks.lib.csusb.edu/etd-project/1641.
Texto completoEllis, Jeanne. "Patriarchal structures of control and female homosocial relationships in the novels of Charlotte Brontë". Thesis, Stellenbosch : Stellenbosch University, 2001. http://hdl.handle.net/10019.1/52396.
Texto completoENGLISH ABSTRACT: In Charlotte Bronte's novels, the importance accorded to female homosocial relationships - such as friendship and the mother-daughter relationship - challenges the conventional structure of the Victorian realist novel, in which the focus of the female protagonist's development is almost exclusively on the eventual achievement of heterosexual marriage Structurally. heterosexual marriage at closure re-establishes the status quo that has been threatened or destabilised during the unfolding of the plot. Yet what Bronte's novels reveal, is that the status quo thus re-established also confirms patriarchy as a system in which the bonds between men are consolidated to maintain social, political and economic power as a male prerogative By contrast, the ideology that promotes marriage as the sine qua non of women's existence positions women as rivals and the representation of female homosocial relationships in the nineteenth-century novel is either relegated to the margins of the text or erased entirely. In Bronte's novels, the structural relationship between this conventional displacement of female homosocial relationships and the silencing and containment of female desire in heterosexual marriage at closure is consistently explored and subverted. In an increasingly complex process of rewriting the Victorian novel from a female perspective, Bronte's novels construct alternative plots that privilege the representation of female homosocial relationships even as they imitate conventional plot structure In so doing. the gendering of narrative voice as female lays claim to a female discourse of desire. which is rooted in female homosociality and inclusive of lesbian desire. Compulsory (female) heterosexuality which is exclusively domestic and maternal. IS therefore challenged by an alternative representation of female desire as defiant of the ngid categories Imposed by heterosexuality. because it is fiurd and multiple in Its expression This thesis explores the process of recuperation through which Bronte both places the representation of female hornosocial relationships at the centre of her novels and reveals patriarchal structures of control at work
AFRIKAANSE OPSOMMING: In die romans van Charlotte Bronte konfronteer the sentraliteit van vroulike homososiale verhoudings - soos vriendskap en die moeder-dogter verhouding - die konvensionele struktuur van die Victoriaanse realistiese roman. Volgens hierdie konvensionele struktuur is die fokus van die vroulike protagonis se ontwikkeling bykans uitsluitlik gerig op haar uiteindelike toetrede tot 'n heteroseksuele huwelik. Struktureel gesproke herstel die heteroseksuele huwelik by die sluiting van die roman die status quo wat bedreig of gedestabiliseer is gedurende die ontplooing van die roman. Wat Bronte se romans egter aan die lig bring, is dat die status quo wat so herstel word, ook die patriargale sisteem bevestig - waarbinne die bande tussen mans gekonsolideer word ten einde sosiale politieke en ekonomiese mag as 'n manlike prerogatief te waarborg Die ideologie wat die huwelik voorhou as die sine qua non van die vrou se bestaan posisioneer vroue as mededingers, en hierdeur word die uitbeelding van vroulike homososiale verhoudings in die negentiende-eeuse roman verskuif na die buitewyke van die teks, of word dit algeheel uitgewis. In Bronte se romans word die strukturele verwantskap tussen hierdie konvensionele verplasing van vroulike homososiale verhoudings en die demping of beheer van vroulike begeerte in die heteroseksuele huwelik voortdurend in die roman se sluiting ondersoek en ondermyn In 'n proses wat 'n toenemend ingewikkelde herskrywing van die Victonaanse roman vanuit 'n vroulike qesiqspunt inhou. stel Bronte se romans alternatiewc verwikkelinqsplanne saam wat voorrang gee aan die uitbeelding van vroulike hornososiale verhoudings terwyl hierdie storieplanne konvensionele struktuurplanne naboots. Ole manier waarop die verteller se stem so vervroulik word gee uiting aan 'n vroulike diskoers van begeerte wat gewortel IS In vroulike hornososialiteit en wat lesbiese begeerte insluit Verpliqte (vroullke) heteroseksualiteit. wat uitsluitlik huislik en moederlik IS, word dus gekonfronteer deur 'n alternatiewe uitbeeldinq van vroulike begeerte wat die rigiede kateqoriee opqele deur heteroseksualiteit verwerp en meer vloeibare en veelsoortiqe vorme van ultdrukklng daarstel Hierdie tests ondersoek die herstellinqsprcses waardeur Bronte die uitbeeldinq van vroulike hornososiale verhoudinqs sentraal plaas In haar romans, terwyl sy terselfdertyd die werkswyses van patriargale beheerstrukture aan die lig bring.
Randriambeloma-Rakotoanosy, Ginette. "Le roman féminin victorien et son rayonnement : Jane Eyre, Wuthering Heights et leurs lectrices à Madagascar, notamment en Imerina dans les années soixante". Dijon, 1987. http://www.theses.fr/1987DIJOL020.
Texto completoFor more than a century (1847-1969), Jane Eyre and Wuthering heights had been the objects of a world-wide attention as the impressive number of translations, editions, adaptations and critical works concerning those attests. This had led us to examine their most striking features within the context of the feminine novel in England. It then becomes obvious that such a popularity was due to their authors ‘views on women and their social functions, on romanticism (with an emphasis on love) and on Victorianism in so far as the two novels are representative of the trends and ideas of the Victorian era (conservatism, evangelism, sentimentalism, didacticism, prudery). A scrutiny of the way they were introduced in Imerina together with a general portrait of their Malagasy women readers in the 60 help to a better understanding of their impact. These reveal the importance of commercial exchange, literacy, education, translation and that of French language. Our conclusion is that three elements account for their popularity: - first, a community of interests their main subject being the eternal dilemma of women torn apart between their aspirations to more freedom and consideration and their feminine conditions - second, a community of culture: the presence of British protestant missionaries in Imerina in the nineteenth century has left an enduring influence on the minds causing a spontaneous identify
Singh, Jyoti. "The presentation of the orphan child in eighteenth and early nineteenth century English literature in a selection of William Blake's 'Songs of innocence and experience', and in Charlotte Brontë's 'Jane Eyre', and Emily Brontë's 'Wuthering Heights'". Thesis, Rhodes University, 2010. http://hdl.handle.net/10962/d1005628.
Texto completoHooker, Jennifer. "From paternalism to individualism : representations of women in the nineteenth century English novel". Scholarly Commons, 2000. https://scholarlycommons.pacific.edu/uop_etds/546.
Texto completoMoura, Caroline Navarrina de. "A walk with Catherine and Jane : the exposure of gothic conventions in Emily Brontë’s Wuthering Heights and Charlotte Brontë’s Jane Eyre". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/172913.
Texto completoThis thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.
Borie, Charlotte. "La poétique de l'intériorité chez Charlotte et Emily Brontë". Toulouse 2, 2009. http://www.theses.fr/2009TOU20041.
Texto completoThe development of identity and the process of self-possession is at the heart of Charlotte and Emily Brontë's writing. In Jane Eyre, Villette, Wuthering Heights and Emily Brontë's poetry, the reader follows the characters and personae (who are essentially female) through the life-voyage which brings them to get to know themselves, find their place in the world, inscribe themselves in it and transmit a vision of their interiority. The process of interiorisation consists in four phases. The first phase is about perception. The subjects discover the world and learn from this contact the necessity of searching for, and even recreating, the sense of belonging in order to gain happiness. Disappointed in the world, they withdraw into themselves, and the phase of feeling starts. The subjects shift from perception to intellection, shape their mental patterns, and try to recreate within themselves, virtually, the conditions of happiness. Imagination plays a major part in this process, but eventually, the inner shelter becomes a prison through the pathological expansion of interiority and the lack of reality. The third phase then begins, revolving around the idea of expression. The subjects, through speech, writing or painting, find ways to let out as much as frame their interiority. The result of their exteriorisation brings about the fourth phase, that of reception, during which intimate and competent readers carry on the process of the construction of identity
Rehm, Andrea de Cassia Jardim. "Jane Eyre de Charlotte Brontë e Pride and Prejudice de Jane Austen : como os filmes e as minisséries recriaram as heroínas na cultura ocidental". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2015. http://hdl.handle.net/10183/131710.
Texto completoThe present study explores interdisciplinarity by analyzing the heroines of Jane Eyre by Charlotte Brontë and Pride and Prejudice by Jane Austen, as well as their respective recreations in cinema and television adaptations. Evincing the transit of novels to cinema and television media, the study looked at films and series from 1934 to 2011, focusing, however, on two films and two miniseries, among others, that recreate the main characters, in view of the temporal proximity of the productions and the personal taste of the researcher of this study. The protagonists Jane Eyre and Elizabeth Bennet are remarkable literary female figures who continue to live in the minds of both the reader and the spectator, and are sources for academic studies and general enjoyment. Thus, the focus lies on the novels; on the 2006 miniseries Jane Eyre, directed by Susanna White; on the 2011 film with the same title, directed by Cary Fukunaga; on the 1995 miniseries Pride and Prejudice, by Simon Lang; and on the 2005 film, directed by Joe Wright. Firstly, this study focuses on the interest for the works of the authors as materials for adaptations, focusing on the protagonists as the center of such adaptations. Furthermore, a particular critical reading of the novels, the films and the series is carried out, seeking not so much the contact and distance points between the heroines and their respective recreations, or between the media involved, but seeking the elements that show the effects on the reader and spectator, personified here in the author of this research, concerning the constructions of the main characters, as well as with regard to their recreations in images to the western culture of the twentieth and twenty-first centuries. In an attempt to shed light on the permanence of the heroines through both literary and filmic narratives over time, the research looks at the relationship between reader and novel, as well as between spectator and film and series. The approach focuses, therefore, in the light of Iser’s thought, which was based on the postulates of Ingarden, on the issue of blank spaces. The projection of filling in the empty spaces of the text are directly convergent to reading/interpreting filmic media, since the viewer, seen as an active being, also needs to counterbalance possible gaps. Secondly, the study addresses the characterization and the understanding of what comprises Jane Eyre and Elizabeth Bennet in the novels and in the films and miniseries adaptations which are part of the corpus of this research. By trying to understand the nuances that form and individualize the personalities of the heroines, which is decisive in their actions, the analysis includes elements that represent roles that are significant to know the particularities of the protagonists. Thirdly, the focus shifts to the context in its many traits, such as social, behavioral, and even geographical, in order to understand who these heroines are, considering that the space that surrounds them is crucial in the revelation of what makes them unique. Relying on excerpts and fragments taken from the six narratives, the facets of behavior that the authors impress in their texts are examined to distinguish the resources that the directors and their teams use in the recreations, for the contemporary western culture, of the protagonists in the scenarios that mark them in each of the narratives. Thus, the aim is the search for the essence of what makes them an updated reference for readers and spectators.
Hanser, Gaïane. "Intrication textuelle, et déchiffrement du sens dans l'oeuvre de Charlotte Brontë". Thesis, Paris 3, 2012. http://www.theses.fr/2012PA030146/document.
Texto completoThe Brontës' childhood was informed by their literary games: they created an imaginary world where they staged the confrontations between their heroes, real or fictitious, and which they used as a setting for numerous tales. A close study of these early writings sheds light on the formation, in Charlotte Brontë's work, of a dialogical mode of writing, which remains present throughout her later novels. Her new enunciative situation as she submits her work to the public at large leads to a shift in her perception of her readership: her new critics do not dissociate in her the woman from the writer, and assess her texts accordingly. This results in the creation of two Model Readers, each of whom is given a specific role within the frame of a same text. Brontë's narrators ask for the leniency of the Model Reader / Judge, at the same times as they call upon the Model Reader / Interpretant's aptitude at deciphering signs. This thesis aims at identifying and analysing the narrative strategies resulting from the creation of a double Model Reader, which help understand the meaning of the novels. These strategies include the insertion within the text of secondary texts or intertextual references, as well as the semanticisation of non-textual elements, such as visual arts or accomplishments. This intrication of various cyphers creates a locus of equivocation and undecidability, which must be invested by the empirical readership
Nascimento, Sandra Mônica do. "Jane Eyre: do romance (1847) ao filme (2011)". Universidade Federal de São Carlos, 2014. https://repositorio.ufscar.br/handle/ufscar/4726.
Texto completoFinanciadora de Estudos e Projetos
This dissertation aims to investigate how the Charlotte Brontë s literary project presents in the novel, Jane Eyre (1847), through female authorship, and, as its transposition into Cinema, the movie version by Cary Joji Fukunaga´s Jane Eyre (2011) occurs. The literary project of the author focuses on the issue of gender and its concern was to give voice to the women of her time. The director´s project for this movie comes from melodrama to the triumph of love search. The purpose of analysis is to understand how the interpretation of this source-novel occurs in the 21st century, with the aim of examining how this story is reread, seeking current interpretive understanding of the novel through the film. Thus, this study will demonstrate the importance of the periodization as proposed by Jameson (1992) for the reading of the novel and its transcreation, according to Campos (2004), considering the relationship between economic s, political, social and aesthetic characteristics of each period, as also teaches Candido (1967). The research was developed through the reading the novel, of the theoretical works about the author as well as the director and analysis of filmic narrative.
Esta dissertação tem por objetivo demonstrar como o projeto literário de Charlotte Brontë se apresenta no romance Jane Eyre (1847), por meio da autoria feminina, como ocorre sua transposição para o Cinema, na versão fílmica, de Cary Joji Fukunaga, Jane Eyre (2011). O projeto literário da autora concentra-se na questão de gênero e sua preocupação foi a de dar voz à mulher de seu tempo. O projeto do diretor para esse filme parte do melodrama para o triunfo da busca pelo amor. O intuito de análise é perceber como ocorre a interpretação desse romance-fonte no século XXI, com o objetivo de analisar como essa história é relida, buscando a compreensão interpretativa desse romance-fonte na atualidade pelo olhar fílmico. Neste âmbito, este estudo demonstrará a importância da periodização conforme proposto por Jameson (1992) para a leitura do romance e de sua transcriação, de acordo com Campos (2004), considerando as relações entre as características econômicas, políticas, sociais e estéticas de cada período, conforme também nos ensina Candido (1967). A pesquisa foi desenvolvida por meio da leitura do romance, de obras teóricas sobre a autora e o diretor e análise da narrativa cinematográfica.
Lima, Danielle Dayse Marques de. "Dramaticidade, subjetividade e sacralidade em Jane Eyre, o romance de formação de Charlotte Brontë". Universidade Federal da Paraíba, 2013. http://tede.biblioteca.ufpb.br:8080/handle/tede/6234.
Texto completoCoordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
Jane Eyre, the most applauded novel by the English writer Charlotte Brontë, has been investigated by the literary critics from the last decades from many different perspectives, due to the complex and unsettling quality of this classic formation novel (bildungsroman). Among the most visible critical tendencies, we can emphasize the feminist reading of this Brontë‟s narrative, which, in the 1970‟s, meaningfully contributed to the insertion of this work in the canon of the western feminine writing. Nevertheless, more recently, some authors have been inclined to study the religiosity of the novel, connecting this issue with other elements of the narrative, without presenting, however, a deeper reflection about the manifestations of sacredness in the novel. We believe that these manifestations are mainly linked to the modern notion of subjectivity, a concept which was improved and exalted by the romantic movement, an influential aesthetic movement, originated and developed during the decades preceding the publication of Brontë‟s novel. Therefore, the present thesis aims at promoting an interpretation of Jane Eyre from the sacred perspective, related to the romantic notion of subjectivity, and also to the concept of drama, which permeates the protagonist‟s formation process. In this process, the opposition social / natural symbolically corresponds to the opposition profane / sacred. Society and nature are the places where the heroine transits, experiencing conflicts and sufferings, which are indispensable for her formation process and for the maturation of her character. We attempt to demonstrate, thus, that although the protagonist‟s formation trajectory marked by dramatic events occurs in the direction of a preparation to the practical, profane and social world, this trajectory does not prescind of a symbolical relation with sacredness, which is mainly expressed through the mystical relation established between the subjectivity and nature. In this way, we hope our research contributes to the interdisciplinary literary studies, generally, and to the critical studies of this important novel by Charlotte Brontë, more specifically.
Jane Eyre, o mais aclamado romance da escritora inglesa Charlotte Brontë, tem sido investigado pela crítica literária das últimas décadas sob as mais diversas perspectivas, devido ao caráter complexo e inquietante desse clássico romance de formação (bildungsroman). Dentre as tendências críticas mais visíveis, destaca-se a leitura feminista dessa narrativa de Brontë, que, na década de 1970, contribuiu, significativamente, para a inserção dessa obra no cânone da escrita feminina ocidental. No entanto, mais recentemente, alguns autores têm se voltado para a temática da religiosidade do romance, relacionando essa questão a outros elementos da narrativa, sem apresentar, contudo, uma reflexão mais profunda acerca das manifestações do sagrado no romance. Acreditamos que essas manifestações estão vinculadas, principalmente, à noção moderna de subjetividade, conceito aprimorado e exaltado pelo Romantismo, influente movimento estético, originado e desenvolvido nas décadas anteriores à publicação do romance de Brontë. Assim, a presente tese tenciona promover uma interpretação de Jane Eyre pelo viés da sacralidade, atrelada à noção romântica de subjetividade, e também ao conceito de dramaticidade, o qual permeia o processo de formação da protagonista. Neste, a oposição social / natural corresponde, simbolicamente, à oposição profano / sagrado, sendo a sociedade e a natureza os domínios por onde a heroína transita, vivenciando conflitos e sofrimentos, imprescindíveis para a sua experiência formativa e para a maturação de seu caráter. Procuramos demonstrar, assim, que, apesar de a trajetória formativa da protagonista, pontuada por eventos dramáticos, ocorrer no sentido da preparação para o mundo prático, profano e social, esse percurso não prescinde da relação simbólica com a sacralidade, que se manifesta, principalmente, por meio da relação mística estabelecida entre a subjetividade e a natureza. Desse modo, esperamos que a nossa pesquisa contribua para os estudos literários interdisciplinares, de modo geral, e para o arcabouço crítico desse importante romance de Charlotte Brontë, mais especificamente.
Ouvrard, Elise. "Expériences pédagogique et salutaire dans les romans des sœurs Brontë : l’engagement féminin". Caen, 2006. http://www.theses.fr/2006CAEN1453.
Texto completoParkhurst, Brittany. "The Promise of an Ambiguous Self: Eradicating an Essentialist Femininity through Deceit in the Victorian Novel". Honors in the Major Thesis, University of Central Florida, 2005. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/788.
Texto completoBachelors
Arts and Sciences
English Literature
Ortega, Sáez M. (Marta). "Traducciones del franquismo en el mercado literario español contemporáneo: el caso de Jane Eyre de Juan G. De Luaces". Doctoral thesis, Universitat de Barcelona, 2013. http://hdl.handle.net/10803/123282.
Texto completoThe ongoing production of translations produced during the Franco regime begs the question of what the contemporary reader makes of a text generated over seventy years earlier. The thesis centres on the 1943 translation into Spanish of Charlotte Brontë’s renowned Jane Eyre, the labour of Juan G. de Luaces, who had established a name for himself as a journalist, poet and writer of prose fiction in 1920s and 30s Spain. Following the Civil War, Luaces became the country’s most prolific translator of literary texts from English into Spanish. An analysis has been set up to compare the 1943 translation and 2011 version, which reveals how gender issues, family models, religion, together with other ideological or rhetorical features were modified or suppressed in order to adjust to the regime’s dictates. Both cultural and sociological theories applied to translation have been drawn upon whilst a paratextual assessment together with an examination of the impact of censorship, generated by both self and state, have created an interdisciplinary approach which substantiates the comparative analysis and ultimately accounts for the manipulations in the 1943 version, echoed in the 2011 publication.
Ajraoui, Najia. "Woman's search for identity in the Victorian, modern and contemporary English feminine novel: studies in C. Brönte, V. Woolf and D. Lessing". Doctoral thesis, Universite Libre de Bruxelles, 1995. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/212500.
Texto completoRoberts, Timothy Paul English UNSW. "Little terrors:the child???s threat to social order in the Victorian bildungsroman". Awarded by:University of New South Wales. English, 2005. http://handle.unsw.edu.au/1959.4/23930.
Texto completoKandji, Mamadou. "Roman anglais et traditions populaires de Walter Scott à Thomas Hardy". Rouen, 1988. http://www.theses.fr/1988ROUEL047.
Texto completoAgarian popular culture is an important component of the nineteenth-century english novel. This thesis is an attempt to map out the manifestations of customs, beliefs and popular superstitions, in the english novel, from Walter Scott to Thomas Hardy. The first chapter of this dessertation deals with the cultural heritage. Next, follow the chapters on Scott, Emily, Charlotte Brontë, George Eliot and finally, Hardy who availed themselves of the popular culture they had known and observed, in order to give substance and depth to their fiction. Scott taps the customs, beliefs, of the scottish highlands aiming, in so doing, at the rivival of ancient popular culture. Whereas the Brontë sisters approach it differently. Charlotte is more sensitive to fantasay, fantasmagoria and mental issues ; Emily deals with the supernatural germane to the ballad tradition (fairies, ghost-lores, witchcraft and demonology). The second part of the dissertation reviews George Eliot and Hardy as regional novelists who explore the folklore and local customs of their respective midlands and dorsetshire. In george eliot's treatment, satire and irony take the lead over romanticism. In Hardy’s works one can observe the richness and depth of dorsetshire folklore : popular feasts, fair-grounds, superstitions, and sundry customs and beliefs are handled vividly. As a conclusion, the thesis states that the rise of the english novel is closely related to the genesis of folklore scholarship and popular culture
Wu, Min-Hua. "La dialectique victorienne : une interprétation sociopolitique de Jane Eyre et de Wuthering Heights des sœurs Brontë". Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040083.
Texto completoThis doctoral thesis analyzes the dialectic notions incarnated in Jane Eyre and Wuthering Heights so as to shed light on the literary, sociopolitical, and/or subjective dialectic phenomena epitomized in the two novels. The word “dialectic,” appropriated in this research, carries at least three connotations: etymological, Marxist and Kristevan. At first, the dialectic perspective is drawn on to analyze the rival literary forms, the residual Romanticism and the dominant Victorianism, that converge at the great divide of poetics in the two novels in a similar yet subtly different manner. Then, referring to the concept of interpellation and the notion of the “Two Nations” that so well characterizes the Victorian society, the thesis engages in a dialectic interpretation of the interaction between the subject and the dominant ideology of his/her time with an aim to explore how the “getting on” and “self-help” ideologies of the Victorian age influence the lives of the Brontë family, how Charlotte and Emily Brontë reflect the dominant sociopolitical values in the creation of Jane Eyre and Heathcliff, and how the Brontë sisters depict the struggle and pilgrimage through which their hero and heroine transcend the social chasm that lies between the Two Nations. At last, based on the herethics of Julia Kristeva, this dissertation probes into the Heathcliff-Catherine identification and interprets it as an otherwise ethics of subjectivity. Altogether, the thesis scrapes three significant layers of the Brontëan palimpsests of dialectic significations and lays bare the profundity of their art
Tabosa-Vaz, Camille. "A postcolonial, feminist reading of the representation of 'home' in Jane Eyre and Villette by Charlotte Brontë". Thesis, 2005. http://hdl.handle.net/10413/2722.
Texto completoThesis (M.A.)-University of KwaZulu-Natal, 2005.
"The quest for recognition: a thematic exploration in Jane Eyre, Villette, Cat's eye and Moral disorder". 2010. http://library.cuhk.edu.hk/record=b5896619.
Texto completoThesis (M.Phil.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (leaves 133-138).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgment --- p.iv
Introduction --- p.1
Chapter Chapter One: --- Misrecognition / Non-Recognition
Chapter Section One: --- the lack of the first bond --- p.14
Chapter Section Two: --- the significant others --- p.37
Chapter Section Three: --- the other important individuals --- p.67
Chapter Chapter Two: --- Recognition
Chapter Section One: --- recognition bringing at-homeness --- p.93
Chapter Section Two: --- abused recognition --- p.105
Chapter Section Three: --- recognising the strangers in the selves --- p.114
Conclusion --- p.130
Works Cited --- p.133
Schmuhl, Emily J. "The adorned and the adored : issues of sympathy and ownership in Victorian literature". Thesis, 2012. http://hdl.handle.net/1957/30024.
Texto completoGraduation date: 2012
Access restricted to the OSU Community at author's request from June 20, 2012 - June 20, 2014
White, Jessica Barbara. "Confined by conservatism : power and patriarchy in the novels of Charlotte Brontë". Diss., 2013. http://hdl.handle.net/10500/13786.
Texto completoEnglish Studies
McLaren, Annette. "'....you too have power over me' : oppression in the life and work of Charlotte Bronte". Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/524832.
Texto completoSmallwood, Christine. "Depressive Realism: Readings in the Victorian Novel". Thesis, 2014. https://doi.org/10.7916/D88W3BXV.
Texto completoBrown, Natalie. "Missing Homes: Poe, Brontë, Dickens and Displacement". Thesis, 2021. https://doi.org/10.7916/d8-h5bv-yp77.
Texto completo"The unfolding of self in the mid-nineteenth century English Bildungsroman". 2003. http://library.cuhk.edu.hk/record=b5896118.
Texto completoThesis (M.Phil.)--Chinese University of Hong Kong, 2003.
Includes bibliographical references (leaves 106-112).
Abstracts in English and Chinese.
Abstract --- p.i
Acknowledgements --- p.v
Chapter Chapter One --- Introduction --- p.1
Chapter Chapter Two --- Passionate Impulses in Childhood and Adolescence --- p.26
Chapter Chapter Three --- Moral Dilemmas in Love --- p.52
Chapter Chapter Four --- The Ultimate Return --- p.75
Chapter Chapter Five --- Conclusion --- p.99
Notes --- p.104
Bibliography --- p.106
Fanucchi, Sonia. "Realism and ritual in the rhetoric of fiction: anti-theatricality and anti-catholicism in Brontë, Newman and Dickens". Thesis, 2016. http://hdl.handle.net/10539/20798.
Texto completoThis thesis is concerned with the meeting point between theatre and religion in the mid-Victorian consciousness, and the paradoxical responses that this engendered particularly in the novels and thought of Dickens, Newman and Charlotte Brontë. It contributes to the still growing body of critical literature that attempts to tease out the complex religious influences on Dickens and Brontë and how this manifests in their fiction. Newman is a religious writer whose fictional treatment of spiritual questions in Callista (1859) is used as a foil to the two novelists. There are two dimensions to this study: on the one hand it is concerned with the broader cultural anti-Catholic mood of the period under consideration and the various ways in which this connects with anti-theatricality. I argue that in the search for a legitimate means of expressing religious sentiments, writers react paradoxically to the latent possibilities of the conventions of religious ceremony, which is felt to be artificial, mystical, transcendent and threatening, inspiring the same contradictory responses as the theatre itself. The second dimension of this study is concerned with the way in which these sentiments manifest themselves stylistically in the novels under consideration: through a close reading of Barnaby Rudge (1841), Pictures From Italy (1846), and Villette (1852), I argue that in the interstices of a wariness of Catholicism and theatricality there is a heightening of language, which takes on a ritual dimension, evoking the paradoxical suggestions of transcendent meaning and artificiality associated with performance. Newman’s Callista (1859) acts as a counterpoint to these novels, enacting a more direct and persuasive argument for the spiritual value of ritual. This throws some light on the realist impulse in the fiction of Brontë and Dickens, which can be thought of as a struggle between a language that seeks to distance and explain, and a language that seeks to perform, involve, and inspire. In my discussion of Barnaby Rudge (1841) I argue that the ritual patterns in the narrative, still hauntingly reminiscent of a religious past, never become fully embodied. This is because the novel is written in a style that could be dubbed “melodramatic” because it both gestures towards transcendent presences and patterns and threatens to make nonsense of the spiritual echoes that it invokes. This sense of a gesture deferred is also present in the travelogue, Pictures from Italy (1846). Here I argue that Dickens struggles to maintain an objective journalistic voice in relation to a sacramental culture that is defined by an intrusive theatricality: he experiences Catholic practices and symbolism as simultaneously vital, chaotic and elusive, impossible to define or to dismiss. In Villette (1852) I suggest that Charlotte Brontë presents a disjuncture between Lucy’s ardour and the commonplace bourgeoisie world that she inhabits. This has the paradoxical effect of revitalising the images of the Catholic religion, which, despite Lucy’s antipathy, achieves a ghostly presence in the novel. In Callista (1859), I suggest that Newman concerns himself with the ritual possibilities and limitations of fiction, poetry and theatre. These dramatic and literary categories invoke and are ultimately subsumed in Christian ritual, which Newman considers the most refined form of language – the point at which detached description gives way to communion and participation. Keywords: Victorian literature, Charles Dickens, Charlotte Brontë, John Henry Newman, ritual, religion, realism, theatricality, anti-Catholicism
Townsend, Rosemary. "Narration in the novels of selected nineteenth-century women writers : Jane Austen, The Bronte Sisters, and Elizabeth Gaskell". Thesis, 1999. http://hdl.handle.net/10500/18634.
Texto completoEnglish Studies
D. Litt. et Phil. (English)