Discuss the image of the doubled female in Charlotte Bront's Shirley, Villette and Jane Eyre.
Discuss the image of the doubled female in Charlotte Brontë's Shirley, Villette and Jane Eyre. The central theme of Jane Eyre, Villette and Shirley lies within the complex issue of the doubled female. Brontë persistently returns to this theme in order to vocalise her personal fears on the representations and expectations of the woman in a patriarchal society. As Jennifer Gribble suggests, this vocalising is apparent through, 'a recurrence of images and patterns that seem to define prevalent social and cultural beliefs and traditions.'1 In order to portray the strain under which women were placed in the nineteenth century, Brontë repeatedly fractures the emotional and physical state of her protagonists and in doing so 'explore(s) the potentialities and limits of a central reflecting consciousness.'2 This fracturing of the self creates the 'double female' in these novels, the female as consciously and emotionally split, either implicitly through the mirroring of the self by other characters, for example Caroline and Shirley or metaphorically, for example Jane and Bertha. Brontë seeks to illustrate in Shirley, Jane Eyre and Villette the impossibility of obtaining knowledge of self and of reclaiming self hood, faced by all of her female characters. In doing so, Charlotte Brontë viscously attacks not only patriarchy, but also the actual act of defining the woman, and suggests
Jane Eyre- Analysis.
Jane Eyre - Analysis Immediately the reader is positioned on Jane's side through careful novelistic craftsmanship. From the first page, Jane is oppressed, sent off while her cousins play. We learn through exposition from John that she is a penniless orphan, dependent on the heartless Reed family; indeed, social class will play an important role in the rest of the novel. She is also a sensitive girl given to flights of fancy while reading, but she also displays her strength in her defense against John. All the elements are in place for a classic "Bildungsroman," the literary genre originating in the German literally as "novel of formation" or, as it is generally known, the "coming-of-age" story. In the Bildungsroman, classic examples of which are Goethe's The Sorrows of Young Werther, Mark Twain's Huckleberry Finn, and J.D. Salinger's The Catcher in the Rye, the young protagonist matures through a series of obstacles and defines his or her identity. The red-room has both deathly associations (red as the color of blood, the room's containing a miniature version of the dead Mr. Reed, and Jane's belief that she sees a ghost in it) and is a clear symbol of imprisonment. Throughout the novel, Jane will be imprisoned in more metaphorical ways, particularly relating to class, gender, and religion. Ironically, although John is the root cause of Jane's imprisonment here, the three
The Metamorphosis:The Potrait Of Kafka's Life
The Metamorphosis: The Potrait Of Kafka's Life By Vishal S Shah -- 4/01 The Metamorphosis written by Franz Kafka is considered one of the few great, poetic works of the twentieth century. Addressing The Metamorphosis, Elias Canetti, a Nobel Prize-winning author, has commented, "In The Metamorphosis Kafka has reached the height of his mastery: he has written something which he could never surpass, because there is nothing which The Metamorphosis could be surpassed by - one of the few great, perfect poetic works of this century" (http://www.mala.bc.ca/~mcneil/m4lec5a.htm). There are many symbolisms and parallelisms used in the story. "[Kafka's] disturbing, symbolic fiction, especially The Metamorphosis, written in German, [not] only prefigures the oppression and despair of the late 20th century" but also is an account of the dramatic transformations that had occurred during his own life ("Kafka Franz", Funk?, 2000). This beautifully written masterpiece of Kafka's is clearly symbolic of his own life and nightmare-like life experiences he had with his father. "Suppose all that you have always valued in your life was shown to be an illusion. What if your precious beliefs, maxims, platitudes, and traditions were inverted and distorted beyond recognition? You suddenly realize that what is good is bad; what is beauty is foul; what is virtue, vice. What if all your points of
In the light of these two critical readings, discus the presentation of the unnamed Rochester in 'Wide Sargasso Sea'.
In the light of these two critical readings, discus the presentation of the unnamed Rochester in 'Wide Sargasso Sea'. Is he really a character that 'wields' 'economic and legal power, uninformed by compassion' or is he 'not portrayed as an evil tyrant but as a proud and bigoted younger brother betrayed by his family into a loveless marriage'? Rhys' novel presents the opportunity for an alternative account of Rochester's marriage to be presented. Rhys gives Antoinette Cosway the chance to present her feelings and views and confronts the unexplored issues from 'Jane Eyre' liberating all that is contained, to give an alternative view and make the reasoning behind Bertha evident. In not naming Rochester Rhys refuses him an identity as he later refuses Antoinette. It distances him from the reader and from Rhys' own opinion forcing us to form our own and weigh up his actions to see whether he is vindictive or victimised. The novel neglects the linear autobiographical narrative, preferring the trisect form where parts one and three are attributed to Antoinette and part two is Rochester's which dominates the novel. The disjointed narrative juxtaposes the conflicting opinions to create an overall impression of Rochester's marriage. These allows Rhys to open out the narrow views of events in 'Jane Eyre' and gives the reader an awareness of cultural differences and have sympathy
The narrative of popular romance simultaneously challenges and reaffirms traditional male-female rel
The narrative of popular romance simultaneously challenges and reaffirms traditional male-female rel The theory that popular art as a whole exists to reinforce the status quo and keep its audience happy with it is one that has long been espoused by critics. This attitude is one which was especially championed by the Marxist oriented Frankfurt school of thought led by Horkheimer, Adorno and Herbert Marcuse, who argued that only "high" art could give us a view of a better tomorrow. In her book "Loving with a Vengeance"(-henceforth referred to as LWAV) Tania Modleski argues that, in this sense, contempt for 'mass' art is seen as a politically pro~ressive attitude (pg.30) Howeve~ she goes on to say that Robert Jameson showed that mass art often contained many specific criticisms of ~everyday life.Therefore, in order to effectively answer the question above the extent to which the popular romance criticises or celebrates the traditional relations between the sexes must be determined. In this essay I will attempt to examine this closely, looking firstly at how far the novels in question can be said to be reaffirming the traditional roles between the sexes then going on to examine the possible challenges they offer. It would be useful to firstly ascertain what is meant by the traditional relations between the sexes." The hero in Mills and Boon and Harlequin novels must be, in order
How is happiness conveyed in Jane Austen's Emma and Charlotte Bronte's Villette?
"Some real lives do - for some certain days or years - actually anticipate happiness of heaven" - Lucy Snowe How is happiness conveyed in Jane Austen's Emma and Charlotte Bronte's Villette? The nineteenth century was an era of great discovery, invention and social change as a result of political unrest in the previous years. The American Revolution which culminated in the United States Declaration of Independence, lead to a change in political thought, bringing ideas of 'Life, Liberty and the Pursuit of Happiness' (1776: line4), though how much this extended to women is debateable. Published thirty-seven years apart, Emma and Villette tell the stories of two girls trying to find happiness in difficult societies. The two lead characters are very different; Emma is a respected, wealthy and attractive young woman yet rather spoilt, whereas Lucy Snowe is passive and secretive, with no significant amount of money or family connections. Living in the same century, therefore, it would seem safe to assume that the girls would find happiness in the same things; good company, money and a happy marriage. As Philip Davis argues, Victorian novels (though Emma predates Victoria's reign by approximately twenty years) were concerned only with 'Humanity, Duty, Vocation, Work, Marriage [and] Family' (2002:2). However, this is not the case for either of the girls. Lucy finds comfort
Franz Kafka - Metamorphosis - plot analysis.
Linda Lapina English A1 Analysis Franz Kafka Metamorphosis Plot The story starts as Gregor Samsa, a travelling merchant who dislikes his job but has kept it because of his father's debt to his boss, wakes up in an ordinary morning- what is unordinary is that he has turned into a giant bug. However, Gregor's transformation is only outward, and he is not much alarmed and is more worried about oversleeping than his becoming an insect. He plans to catch a later train to get to work. Meanwhile, Gregor's family has noticed his unusual presence at home so late in the morning and try talking to him through the door of Gregor's room. Initially, Gregor succeeds in telling them that he will come right out; later, his speech becomes irreprehensible. Just as he finally has found a way to get out of the bed, his annoying, fastidious chief clerk has arrived to investigate his absence from work that day (in 15 years of service, G. has never missed a single day at work). G. tries to explain his situation, but his words can no longer be made out; his sister and maid are sent to get doctor and locksmith; finally, he manages to unlock the door, hurting his jaws. As the chief clerk sees him, he begins to panic; Gregor's family is shocked, especially his sensitive mother, while his father violently drives Gregor back into his room, not giving him time to enter properly. Gregor severely hurts
Jane Eyre, its film and sequels whatever their differences- always return to the eternal struggle between male dominance and female victimhood
"Jane Eyre, its film and sequels - whatever their differences- always return to the eternal struggle between male dominance and female victimhood" The novel Jane Eyre subverts the patriarchal society. Jane Eyre was wrote in a time when married women had no existence in the law and, and "female emancipation conjured spectres of sexual permissiveness and the masculinisation of women, threatened the patriarchal family and state" (xv). Right from the very start Jane continuously goes against the customs of how females should act, not only to the opposite sex but overall. Jane flies at "Master John" when he strikes her and even the women saw this as "shocking conduct", and perceived her as a "mad cat" to strike her "young master". Jane then replies that he is not her master and she is not a servant, to then hear that she is "less than a servant" (15). This is the first time we see Jane go against male dominance and this outburst ends in her been imprisoned because of her acts. Thus proving that male dominance is acceptable but a female has to take it dutifully to resist further punishment. The battle of dominancy continues at Lowood. This section not only shows a clash of dominance but it shows also what "class" you are, really has a difference on how a female body should be presented. We see throughout this section, Jane, Helen, and Miss Temple all fight against
This essay attempts to examine and analyze the autobiographical links in Kafka's fiction Metamorphosis and The Judgment, with particular focus on the techniques employed by the author to execute this feat.
Dr. Ill: Basically, you talented sick mind... you used writing as "self torture to bring about personal healing." You grew to expect and appreciate your father's abuse didn't you? Without it, there was less inspiration - so much less need for catharsis ... you sick, sick man. Kafka: Nooo... You are vrong! Eet vas hisss vault... my Vatherr!!! This extract came from a humorous interview-presentation and refers to the Austrian writer Franz Kafka. However, the fact that this man's traumatic life is depicted in and impacts upon his work so strongly is no laughing matter. This essay attempts to examine and analyze the autobiographical links in Kafka's fiction Metamorphosis and The Judgment, with particular focus on the techniques employed by the author to execute this feat. Upon reading Metamorphosis, the first thing the reader notices is the dismal imagery used by Kafka; the dull, gloomy and humid environment serving to foreshadow the decay and deterioration of Gregor's life. Additionally the newspaper Gregor's father uses, creates the imagery of a man chasing an insect. This is ironic because it is the constant work on the part of Gregor that supports the buying of that said newspaper, and it is this work that transforms Gregor into vermin. The exploitation at the hands of the oppressive bourgeois culture of his world, robs him of his humanity, thus turning him into a creature
Study the short stories of both Raymond Carver and John Cheever, address the theme of masculinity which runs throughout both of the author's stories.
It is my intention within this essay to study the short stories of both Raymond Carver and John Cheever, in doing so I propose to address the theme of masculinity which runs throughout both of the author's stories. I shall do this by considering, among other things, such subjects as Post Modernism, Dirty Realism and social climate and how these are applied to the texts Boxes and Elephant, by Carver and The Season of Divorce by Cheever. The background in which both Carver and Cheever write, is very significant to the way in which both writer's male characters are emasculated within the stories. Carver was writing in the decade of the eighties, and as such Reaganite economics had much to do with the way in which the men lost their grip on the hunter gatherer stereotype which had preceded. The traditional role of the male shifted from heavy industrial work to more emasculated work, such as secretarial/office roles, and domestic captivity therefore diminishing their agency. On top of this many men became jobless due to redundancies concerned with this shift from a blue-collar society to a white-collar society, and so this domestic captivity was enhanced. It is such men who Carver writes about in his short stories. The men who have slipped out of this "traditional male breadwinning world" Cheever again, writes men relevant to the political climate in which he both lived and