Compare the Presentation of the Characters of Rochesterin "Jane Eyre" and Heathcliff in "WutheringHeights".
Compare the Presentation of the Characters of Rochester in "Jane Eyre" and Heathcliff in "Wuthering Heights" In the Gothic romances written by the Brontë sisters, there are two fascinating characters with many facets to their personalities. The depiction of Rochester has been done using an autobiographical approach by Charlotte Brontë in "Jane Eyre" and Emily Brontë used dual narration to portray Heathcliff's complexity in "Wuthering Heights". In this essay I am going to investigate the similarities and differences between the characters of Rochester and Heathcliff and how these two Byronic heroes are portrayed by the sisters using language and literary devices. The Byronic hero is a character that has evolved from Lord Byron's writing which influenced the Brontë sisters' work. He appealed to many young girls of that era and his character exhibits moodiness and passion and "emotional and intellectual capacities superior to the average man". The Byronic hero is always the protagonist and he is often a figure of repulsion, as well as fascination due to his rejection of society's moral codes and is deemed to be unrepentant. His superior traits cause him to become arrogant, confident and abnormally sensitive. He is also usually isolated from society, and in these two cases, it is self imposed. "Wuthering Heights" is a classic novel, in which two childhood lovers (Catherine
In new film noir to what extent are women able to resist and move beyond conventional heterosexual relations. Consider this in relation to the femme fatale and the 'Queering' of neo-noir in the 1980 and 1990.
Module: Gender, sexuality and the cinema Module Leader: Mark Penson Module code: SO3208 In new film noir to what extent are women able to resist and move beyond conventional heterosexual relations. Consider this in relation to the femme fatale and the 'Queering' of neo-noir in the 1980 and 1990. New film noir came about in 1970, with extensive, supplementary plots, noir style and tone. The femme fatale has always been the deadly woman, who manipulates the male character with her sexual power to get what she wants. However in new film noir she is also adapted as the femme lesbian or the queering of neo-noir femme. The neo-noir femme fatale is not just after the money; however she is after sexual pleasure as well as economic power (Kaplan, 153). The femme fatale in neo-noir is sometimes involved in homosexual relations. However throughout I will be examining the extent of women being able to resist and move beyond conventional heterosexual relations, in relation to the femme fatale in Black Widow (1986) and the queering of neo-noir in Basic instinct (1992) and Bound (1996). Nonetheless it is important to be cognizant of queer theory, how it diffused into the role of the femme fatale and the queer in neo-noir. The Gay Liberation began in 1970 and it was trying to build a coherent gay identity (Lecture note, 5). It was emphasising the need that gay males should be open about
Discuss how successful the first four chapters are as an opening to the novel Emily Bronte's 'Wuthering Heights'.
Taking special note of AO1 and AO3, Discuss how successful the first four chapters are as an opening to the novel. Emily Bronte's 'Wuthering Heights' is a novel, told in a sequence of narratives, which are themselves told to the narrator, a gentlemen named Lockwood. Lockwood, a self-described misanthropist, rents Thrushcross Grange in Yorkshire and progressively learns the history of two neighbouring families. The first four chapters reveal the prime events which lead to Heathcliff living alone in Wuthering Heights, almost 'completely removed from the stir of society' and are the introduction to the opening of the story. Almost immediately, Lockwood, as the framing narrator effectively fails to engage our confidence in his narration, through his inquisitive, presumptuous and self assured manner, when he arrives, uninvited, at his landlord's estate. He is so eager to please Heathcliff, and believes they are 'a suitable pair to divide the desolution' that he doesn't realise at first that Heathcliff 'evidently wished no repetition of...intrusion.' Lockwood's encounter with Heithcliff stresses the contrasts of conventions, this depicted particularly at the start of the second chapter, where 'the housekeeper...would not comprehend my request that I might be served at five,' He doesn't seem to embrace the life out in the moors and is bound by time and routine. He repeatedly
Wuthering Heights - Isabella character study.
WUTHERING HEIGHTS- ENGLISH LANGUAGE COURSEWORK Isabella is not a well developed character in the novel. In many ways she remains a child and many of her reactions are very childish. Her keen wit does not seem to be used to good purpose. She madly falls 'in love' with Heathcliff; this feeling rapidly changing into just as strong sense of hatred. 'he's a lying fiend, a monster and not a human being!.....The single pleasure I imagine is to.....se him dead!' Isabella had much in common with her brother, for they are both products of their class. She is conscious of her breeding and social status, appropriately dignified (until she meets Heathcliff) and in general, temperamentally passive. Everyone liked her, with her yellow hair, delicate indoor complexion, and 'dainty elegance'. Just as Edgar is physically inferior to Heathcliff, she is inferior to Catherine, physically and in personality. Living a socially unnatural life, for her class and wealth entitle her to a wider range of contacts, she wanted a husband to gain independence and conventionally desirable status of a married lady-it is ironic that she makes a most unconventional match. She was clearly infatuated with Heathcliff: he is only incidentally a means of escape to freedom (another irony). She resents the general disapproval of her love for the hero-villain, which merely strengthens the feeling. Catherine is furious
Heathcliffs behaviour in wuthering heights
Heathcliff - Wuthering Heights Throughout the novel Heathcliff has not only been bad mannered, and disrespectful, he has also been violent. Does he have any excuse for this behaviour? Heathcliff was brought to Wuthering Heights from the rough streets of Liverpool. Mr Earnshaw took him under his wing, and brought him back as part of the family. He only seemed to get on with Mr Earnshaw as the rest of the family saw him as an outcast and a gypsy. 'dirty, ragged, black-haired child' 'that gypsy brat' These two quotes are remarks made about heathcliff as a child, its shows even when he was a child; he was disliked and classed as an outsider. Heathcliff and Catherine became friends and soon enough were always together, playing on the moors. When Mrs Earnshaw died, Mr Earnshaw grew closer to Heathcliff, he treat him as if he was his own. Hindley (Mr Earnshaws real son) disliked this, and got extremely jealous, when he was sent away to college, Mr Earnshaw could devote more attention to Heathcliff. When Mr Earnshaw died, Hindley inherited the house and came back, with a wife, and a vengeance. Heathcliff was then treated as a labourer and was forced to work in the fields; Hindley was cruel and abusive towards him. Heathcliff grew to despise Hindley even more, and they treat each other equally as bad, often with disrespect and violence. Was this due to his upbringing?
Evaluate the significance of landscape, buildings and furnishings in Emily Bronte's ' Wuthering Heights '.
Evaluate the significance of landscape, buildings and furnishings in Emily Bronte's ' Wuthering Heights ' Since the century of its publication, Wuthering heights has been the subject of many different interpretations and critisisms. It has a strange elemental fiercness and barbarity, and it has a stormy setting divorced from the world as we know it. The natural setting of the novel is on the Yorkshire Moors, and throughout the novel, it becomes clear that the bleak and harsh nature of these moors is not a geographical accident, it mirrors the roughness of those who live there. Wuthering Heights is firmly planted on its location, and it seems to the reader that these people's lives could not exist in the way that they do, anywhere else. This is very similar to Thomas Hardy's 'Return of the Native', which is set on Egdon Heath, and here the reader feels that characters could not exist anywhere else. Emily Bronte organises Wuthering Heights by arranging the elements of characters, places and themes into pairs. The first of these pairs is the two buildings Wuthering Heights and Thrushcross Grange. The vast contrast between these houses symbolises the people who reside there, and how they effect the houses. The two houses are separated by the cold, muddy barren moors, and each stands alone in the midst of dreary land, and a sense of isolation is quickly established. They also
Czarina Catherine
Czarina Catherine II Greg Zimmerman December 7, 2001 Catherine II was a German princess who was born in Stettin, Prussia in 1729. Her father was Prince Christian August of Anhalt-Zerbst, a general in the Prussian army and her mother was Princess Elizabeth of Holstien. Her uncle was Adolph Frederick, who became the constitutional monarch of Sweden in 1751. Catherine's birth name was Sophie Fredericke Auguste von Anhalt-Zebst. Sophia was nicknamed Feke or Figchen. Little is known about her early life, except what she wrote in her unfinished autobiography years later. Figchen's mother Joanna, was the sister of Karl August, who had been engaged to Elizabeth I of Russia before she took the throne. Her mother corresponded with Elizabeth I, and she and her mother were invited to come to Russia by the Empress Elizaveta Petrovna on January 1, 1744. At age 15, she converted to the Russian Orthodox religion, and was renamed Catherine Alexeyevna. She married Peter the same year. In 1761, Catherine's husband, Peter, was crowned emperor. Catherine learned Russian customs, the language, and gained the throne of Russia upon her husband's death in 1796. After two miscarriages, Catherine gave birth in 1754 to Paul, the future emperor of Russia. The father was Serge Saltykov, and Catherine never was close to her son. In 1762, Catherine and members of the court overthrew Peter
How does Emily Brontë manipulate the structure of the narrative to enhance the nature of the tragedy in 'Wuthering Heights'?
English Literature 'Wuthering Heights' by Emily Brontë. How does Emily Brontë manipulate the structure of the narrative to enhance the nature of the tragedy in 'Wuthering Heights'? The narrative technique that Emily Brontë utilizes in 'Wuthering Heights' is remarkable. The novel is presented as a story within a story, which also has a complicated time frame; it depends on flashbacks to tell its story. Although there are two obvious narrators, Lockwood and Nelly Dean, a variety of other narratives are also seen throughout the novel, for example Isabella's letter. The reason for this being that the conflicts within Wuthering Heights are offered in the form of eyewitness narrations by the characters that have played a part in the narration they describe. Unlike other novels where parallel narratives exist, Wuthering Heights has a multi-layered narration with each individual narrative opening out from another revealing a new part of the story. This technique helps to keep a continuous narrative despite difficulties that could happen due to huge time-shifts involved in the novel. 'Wuthering Heights' is structured around two love stories. The central relationship between Cathy and Heathcliff, in the first part of the novel, is not one that is conventional, but destructive. The passion they have for one another has been built up from their childhood. Heathcliff's love of
Do you agree that Wuthering Heights repeatedly offers moral judgements and condemnations of Heathcliff?
Do you agree that Wuthering Heights repeatedly offers moral judgements and condemnations of Heathcliff? Many people would agree that Heathcliff is the most controversial and complex character in 'Wuthering Heights', yet can we make a fair judgement about him. It is hard if the book repeatedly offers it's own moral judgements (usually in the form of Nelle Dean's self-righteous comments) and blatant condemnations. It is easy to be blinded by these and therefore unable to look any further in to the motives and passion that drive Heathcliff. Throughout the book we see Heathcliff responsible for terrible deeds. He could easily be interpreted as an unrelenting force of evil, due to the many demonic and wild animal-like descriptions of him; 'He howled, not like a man, but like a savage beast.' Heathcliff beats Hindley, so much so that he is probably responsible for his death. It seems almost impossible to have any sympathy or even respect for a man who 'kicked and trampled' on Hindley when he had 'fallen senseless with excessive pain' and therefore could not defend himself. But this is only one of many, Heathcliff also beats Isabella and keeps Cathy and Nelle as prisoners at the Heights. On a lesser level, Heathcliff hangs Isabella's dog and kills some young chicks by putting a cage over them so that they couldn't be fed. This, though is actually maybe more disturbing than his
Wuthering heights
Pro study assignment The central theme of Wuthering heights revolves around two main characters Heathcliff and Catherine. Catherine's wild antics and powerful persuasion connects massively with Heathcliff who was brought into Cathy's world. Heathcliff's personality has been moulded largely in the brutal way he was brought up in the rough streets of Liverpool. Their love brings destination. Wuthering heights mirrors the social historical influences in the Georgian era as the forbidden relationship of Cathy and Heathcliff is parallel to real life and an ideal world. Ideally Catherine should have married Heathcliff as their marriage was based on unconditional love filled with passion but in the eyes of the community it is forbidden to fall in love with a lower class citizen. This was because of the old fashioned rights of the woman in the 1800's. The woman then had no power or privileges. Even though there is no law in marrying someone who is lower status but the consequences were that your marriage would get frowned upon and this was as serious as the law in those days. Cathy who values her reputation so much that she later marries Edgar Linton ho would be highly approved of the high society. When Mr Earnshaw goes to Liverpool and returns home with an orphan boy he announces that he will be part of the Earnshaw family. Heathcliff is described as an outcast to the rest of the