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No. of bitstreams: 1 Dissertação - Fabianne Rodrigues Costa.pdf: 4839418 bytes, checksum: 3a28bf2fca42d3ba3d8fc9124b3a7b50 (MD5) Previous issue date: 2015-04-22 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Literature has always been marked by the presence male writers, and texts called canons were written by men. Thus, for a long time women's representation was made only by male literary tradition. In this context, the women writers were trying to enter, searching a space and trying to create a literary tradition of its own. Jane Austen (1775-1817) and Charlotte Brontë (1816-1855) are examples of authors who innovated English literature, as both presented a literary production that stands out for critical and reflective thoughts on the position of women this in the English society of their time. Pride and Prejudice and Jane Eyre are presented as controversial works, due to bring out many controversial points and create debates about representation of women in English society between the eighteenth and nineteenth centuries. Using the Comparative Literature as a basis for the implementation of this research, we´re going to analyze the representation of women in English society of the eighteenth and nineteenth centuries comparing the works Pride and Prejudice, by Jane Austen and Jane Eyre, by Charlotte Brontë. As representatives of English literature, the authors stand out for their unique languages and their works. Each in its own way, and through its characters, made important contributions to the female literary tradition that formed. However, many literary critics argue the idea that the authors present different representations of women's role in English society of their time, generating controversy surrounding their work. It should be noted, however, that the authors are the result of different centuries, literary periods and movements and therefore had different perceptions about the society in which they were living. But above all, through their works, we noticed that the authors showed how the women’s representation changes in the face of historical and social changes in British society during the Georgian and Victorian Eras. We believe that this research will also be used to investigate and analyze such opinions. Thus, this study will bring a contribution to the female authorship studies, since the works were written by authors who deal with issues of women's invisibility. And the analysis of works will show the representation of society from a female point of view. / A literatura sempre foi um campo marcado pela presença masculina, de modo que textos chamados cânones foram escritos por homens. Assim, por muito tempo a representação feminina foi feita apenas pela tradição literária masculina. É nesse contexto que as escritoras foram se inserindo, buscando um espaço e tentando criar uma tradição literária só sua. Jane Austen (1775-1817) e Charlotte Brontë (1816-1855) são exemplos de autoras que inovaram a literatura inglesa, pois ambas apresentaram uma produção literária que se destaca pelo caráter crítico e reflexivo sobre a sociedade inglesa da época e da posição da mulher nesta. Orgulho e Preconceito e Jane Eyre se apresentam como obras controversas, em razão de trazer à tona muitos pontos polêmicos e de criar debates acerca da representação da mulher na sociedade inglesa entre os séculos XVIII e XIX. Tendo a Literatura Comparada como base para a execução desta pesquisa, buscamos analisar qual a representação da mulher na sociedade inglesa dos séculos XVIII e XIX por meio da comparação das obras Orgulho e Preconceito, de Jane Austen, e Jane Eyre, de Charlotte Brontë. Como representantes da literatura inglesa, as autoras se destacam por suas linguagens peculiares e por suas obras. Cada uma, a seu modo, e por meio de suas personagens, deram importantes contribuições para a tradição literária feminina que se formava. Muitos críticos literários defendem a ideia de que as autoras apresentam diferentes representações do papel da mulher na sociedade inglesa da época, gerando polêmica em torno de seus trabalhos. Ressalta-se, entretanto, que as autoras são frutos de diferentes séculos, períodos e movimentos literários e, por isso, tinham diferentes percepções acerca da sociedade em que estavam inseridas. Mas, acima disso tudo, percebemos que, por meio de suas obras, as autoras evidenciaram como a representação feminina muda frente às mudanças históricas e sociais da sociedade inglesa durante os períodos georgiano e vitoriano. Acreditamos que esta pesquisa também servirá para investigar e analisar tais opiniões. Deste modo, este estudo trará uma contribuição para os estudos de autoria feminina, uma vez que as obras foram escritas por autoras que lidavam com as questões da invisibilidade feminina conferida às mulheres de seu tempo. E a análise de obras que exprimem a perspectiva feminina mostrará a leitura da sociedade sob o ponto de vista feminino.

A modern interpretation of Wuthering Heights suggests that an unconscious incest taboo impeded Catherine and her foster brother, Heathcliff, from achieving normal sexual union and led them to seek union after death. Insights from anthropology, psychology, and sociology provide a key to many of the subtleties of the novel by broadening our perspectives on the causes of incest, its manifestations, and its consequences. Anthropology links the incest taboo to primitive systems of totemism and rules of exogamy, under which the two lovers' marriage would have been disallowed because they are members of the same clan. Psychological studies provide insight into Heathcliff and Catherine's abnormal relationship—emotionally passionate but sexually dispassionate—and their even more bizarre behavior—sadistic, necrophilic, and vampiristic—all of which can be linked to incest. The psychological manifestations merge with the moral consequences in Bronte's inverted image of paradise; as in Milton's Paradise, incest is both a metaphor for evil and a symbol of pre-Lapsarian innocence. The psychological and moral consequences of incest in the first generation carry over into the second generation, resulting in a complex doubling of characters, names, situations, narration, and time sequences that is characteristic of the self-enclosed, circular nature of incest. An examination of Emily Bronte's family background demonstrates that she was sociologically and psychologically predisposed to write a story with an underlying incest motif.

The purpose of this essay is to examine the importance of class in Charlotte Brontë’s Jane Eyre and its impact on how the characters perceive one another. Taking a closer look at the attitude the characters, John Reed, Jane Eyre and Mrs. Reed have towards each other and how the influence of the Victorian society came about. Through a Marxist perspective one can see the similarities between the society that Jane Eyre was written in and the society taking place within the novel. Where the accessibility of money determined what class one belonged to as well as how to behave accordingly by it. By analyzing the members of higher social standing, John and Mrs. Reed, one can see how they conform to the norms of the social class that they belong to which expresses itself in the way they both perceive and treat Jane in the novel. Jane however has an entirely different outlook. As she searches for a class to belong to, she realizes that her background is the main reason for her receiving the treatment that she does from John and Mrs. Reed.

Our modern swedish society is charactarized by peoples and cultures from all over the world. In this perspective I believe that young pupils of today need culture studies in school in order to understand themselves and further to recieve knowledge about different cultures, traditions and lifestyles. The present study is an attempt to investigate the potential of the ethnological culture analysis as a pedagogical method. The paper is divided into two sections; one in which I (a student teacher in swedish language training) have applied the culture analysis in a literary context. By using the culture analysis on Emily Brontë´s classic book Wuthering Heights I have tried to let typical elements from the Victorian era appear. This is only an example of how the method can be used in teaching. The second part is an investigation of the culture analysis from a didactic point of view. This section is an empirical study where four teachers and five ethnologists think of the ethnological culture analysis as a potential method in the upper department comprehensive school and the upper secondary school. My conclusion is that the teachers and ethnologists in my study believe in the ethnological culture analysis as a pedagogical method.The ethnologic method seems to have a few diffuculties though which probably is a deterrent. The teachers want to see more cultural approaches in school, despite this, they don´t seem to have developed any concrete strategies of how to integrate culture perspectives into their schoolteaching.

Villette (1853), Charlotte Brontë's last novel, is famously riddled with ambiguity: its narrator-protagonist, Lucy Snowe, avoids disclosing details about her childhood, fails to reveal to readers the identity of characters she recognizes from her past, and, at the end of the novel, refuses to confirm if her love interest, M. Paul, has died at sea after a storm. Believing Lucy's ambiguous narrative style to be a tool she uses to train readers to better understand her, many critics have focused their efforts on trying to interpret Lucy's silences and evasions "correctly," thereby turning themselves into Lucy's or Brontë's "ideal" authorial readers. However, throughout her life, Lucy has resisted being read by people who assume they can fully know her and fit her into their worldview. Unwilling to impose her views on others, Lucy's autobiography encourages readers to make their own meaning without deciphering how she intends for it to be read. In this way, she maintains that she is ultimately unknowable to her readers, just as they are to her, and preserves, rather than erases, the distance that exists between reader and author. By constructing an authorial reader who does not seek to think as Lucy does, Villette invites readers to enter into an ethical relationship with Lucy, one in which otherness is respected and intimacy is possible despite differences.

The word "necrophilia" brings a particular definition readily to mind – that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecraft’s Mary, A Fiction, Mary Shelley’s Frankenstein, Emily Brontë’s Wuthering Heights, and Bram Stoker’s Dracula and The Jewel of Seven Stars.

Den här masteruppsatsen består av fyra delar: en nyöversättning från engelska till svenska av ett utdrag ur Charlotte Brontës roman Shirley (1849), en översättningskommentar som går igenom ett antal problemområden, en språklig undersökning samt ett avsnitt om nyöversättning. Den språkliga undersökningen utgörs av en jämförelse mellan användningen av pronominella adverb i uppsatsens översättning av Shirley och i den äldre svenska översättningen från 1854. Studien fokuserar på adverb med förleden där- och var-. Nyöversättningsavsnittet består av en sammanställning av forskningsläget, erfarenheter från nyöversättningen av Shirley samt intervjuer med översättarna Kerstin Gustafsson och Gun-Britt Sundström. I avsnittet redogörs för förlagens, översättarnas och mottagarnas perspektiv på nyöversättning. Dessutom behandlas hur begreppen ”foreignization” och ”domestication” kan appliceras på nyöversättningar samt hur källtexten och dess nya och gamla översättningar påverkar varandra. / This master thesis consists of four parts: a retranslation from English to Swedish of an extract from Charlotte Brontë’s novel Shirley (1849), a theoretical comment on the translation dealing with some of the translation problems, a linguistic study, and a section on retranslation. The linguistic study compares the use of pronominal adverbs in the retranslation of Shirley and the old translation from 1854. The study focuses on adverbs with the prefixes där- and var-. The section on retranslation consists of a compilation of current research, observations from the process of retranslating Shirley, and interviews with two translators, Kerstin Gustafsson and Gun-Britt Sundström. The section describes the publishers’, the translators’ and the recipients’ perspectives on retranslation. In addition, it is discussed how the two concepts “foreignization” and “domestication” can be applied to retranslations, and how the source text and its old and new translations influence each other.

This essay analyses and compares gender construction in Wuthering Heights by Emily Brontë and Jane Eyre by Charlotte Brontë. The focus is on the construction of the female and male gender of selected female and male characters. Using the knowledge that gender is highly dependent on the social and cultural environment and that family relations often impact gender, the aim of the essay is to examine if the two authors use similar methods to construct gender. Additionally, the aim is to analyse if the novels are critical towards Victorian gender norms. As feminist criticism specializes in gender analysis, this literary critical approach is used. Furthermore, additional information about the historical context was used to analyse and compare the novels. The comparison demonstrates that Emily Brontë and Charlotte Brontë mainly use the same methods to construct the female and male gender in their novels. It also illustrates that both novels are critical towards Victorian gender norms.

Anne Brontë's Agnes Grey and The Tenant of Wildfell Hall were published more than forty years before the appearance of the feminist type that the Victorians called the “New Woman;” yet, both novels contain characteristics of New Woman fiction. By considering how Brontë's novels foreshadow New Woman fiction, the reader of these novels can re-enact the “gentlest” Brontë as an influential feminist whose ideology informed the construction of the radical New Woman. Brontë, like the New Woman writers, incorporated autobiographical dilemmas into her fiction. By using her own experiences as a governess, Brontë constructs Agnes Grey's incongruent social status and a morally corrupt gentry and aristocracy through her depiction of not only Agnes's second employers, the Murrays, but also the morally debauched world that Helen enters upon her marriage to Arthur Huntingdon in The Tenant of Wildfell Hall. Moreover, Brontë incorporates her observations of Branwell's alcoholism and her own religious beliefs into The Tenant of Wildfell Hall. Although Brontë's novels contain autobiographical material, her heroines are fictional constructions that she uses to engage her readers with the woman question. Brontë accomplishes this engagement through her heroines' narrative re-enactments of fictional autobiographical dilemmas. Helen's diary and Agnes's diary-based narrative produce the pattern of development of the Bildungsroman and foreshadow the New Woman novelists' Kunstlerromans. Brontë's heroines anticipate the female artist as the protagonist of the New Woman Kunstlerromans. Agnes and Helen both invade the masculine domain of economic motive and are feminists who profess gender definitions that conflict with dominant Victorian ideology. Agnes questions her own femininity by internalizing the governess's status incongruence, and Helen's femininity is questioned by those around her. The paradoxical position of both heroines anticipates the debate about the nature and function of art in which the New Woman writers engaged. Through her reconciliation of the aesthetic and the political, Brontë, like the New Woman novelists who will follow, explores the contradiction between art and activism.

The Swedish author Fredrika Bremer's novel Grannarne was published in 1837, and the English translation The Neighbours was published in London in 1842. This novel as well as other novels by Bremer which were published in English in the 1840s, were widely read and they were very popular with readers as well as with literary critics. As has been noted formerly, there are certain striking likenesses between The Neighbours and Charlotte Brontë's novel Jane Eyre, published in 1847. In this essay, a comparative study is made of motifs found in both novels, such as "The Byronic Hero", and "The Strange Woman" as well as structures such as "the acceptance of guilt", followed by "judgement" and the possibility of "mercy", which are also found in both novels. In the last chapter, there is a discussion of the characters' perception of their respective worlds as primarily conditioned by religion, and how this is manifested in the previous chapters of the essay. A connection between Bertha in Jane Eyre and Hagar in The Neighbours is explored and a suggestion is made of a possible connection between Hagar and the ancient poet Sappho.