This thesis offers a textual analysis of Emily Bronte's novel Wuthering Heights and, to a lesser extent, her poems in an effort to understand fully the complicated relationship of gender to time that characterizes her artistic imagination. The study emphasizes the interplay of religious, psychological and sexual forces inherent in her narrative, and their effect when portraying cyclical and linear concepts of time. Narrators' and characters' interactions serve by themselves and as dyads to represent a concept of mythical or eternal time that manifests itself within historical or chronological time. These time concepts differ and complement each other through aspects of wholeness and differentiation. References to Julia Kristeva's psycholinguistic theory and to C. G. Jung's archetypes give support for a unique space and female concept of time within a male discourse. Kristeva's exemplification of time concepts as linear/chronological for the male gender and cyclical/eternal for the female gender happens to be specially relevant to the 19th century, when the patriarchal socio-symbolic order, inhibited, undermined, and/or circumscribed the participation of the feminine within the social contract. / Graduation date: 1991

Ce mémoire se consacre à une étude de l'infantile et de la pulsion de mort comme constituants d'une écriture du Mal dans Wuthering Heights (1847), l'unique roman de l'écrivaine anglaise Emily Brontë (1818-1848). Cette analyse s'inspire en premier lieu des travaux de Sigmund Freud sur les pulsions, le rêve et l'infantile. Le récit de Wuthering Heights s'articule autour des familles Earnshaw et Linton. L'arrivée de Heathcliff, un jeune orphelin, bouleversera la vie des membres de la famille Earnshaw. Catherine Earnshaw et de Heathcliff, élevés comme frère et soeur, mais liés dans leur jeunesse par une passion absolue et sans concession jusque dans la mort, subiront l'épreuve du temps à la sortie de l'enfance. Le roman présente des motifs récurrents qui contribuent à l'élaboration d'une expérience du Mal singulière. Les descriptions poétiques, la souffrance des personnages, la violence de l'écriture, les figures de la mort et l'hostilité des lieux du récit se donnent à lire comme les figures d'une répétition ou la reprise des éléments d'une histoire passée, moteur de la conception narrative du désastre et du tragique. L'étude du roman suppose l'exploration de cet univers inspiré par la violence, la cruauté, mais aussi la passion que suscite le désir d'absolu attaché à ce passé. Wuthering Heights est un récit dans lequel se mêlent, se démêlent, se confondent et se confrontent des mécanismes régis par des pulsions à la fois autodestructrices et libératrices. Ce mémoire analysera le roman dans sa structure narrative et son énonciation afin de rendre compte du caractère absolument tragique de la passion des protagonistes, de comprendre les mécanismes cruels de la narration et de démontrer la vision du Mal essentielle et universelle du récit. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Emily Brontë, Wuthering heights, Pulsion de mort, Infantile, Rêve, Mal, Tragique, Absolu.

Contemporary analysis of Wuthering Heights necessitates a re-appraisal in light of advancements in the study of incest in non-literary fields such as history, anthropology, and especially psychology. A modern reading suggests that an unconscious incest taboo impeded Heathcliff and Cathy's expectation of normal sexual union and led them to seek union after death. John Milton's Paradise Lost provides a paradigm by which to examine the consequences of incest from two perspectives: that of incest as a metaphor for evil, as represented in Heathcliff; that of incest as symbolic of pre-Lapsarian innocence, as represented in Cathy. The tragic consequences of Heathcliff and Cathy's incestuous fixation are resolved by the socially-condoned marriage of Hareton and Catherine, which illuminates Bronte's belief in the Miltonic theme that good inevitably triumphs over evil.

This thesis covers the entire range of British and American film adaptations of Emily Brontë’s novel, Wuthering Heights, as no cumulative study on this larger selection has been done thus far. However this will not be the only objective of this thesis, as I create a link between the author’s life to her novel, between the novel to the early criticism, and the criticism to later adaptations, forming a chain of transformation down the ages, to the original novel. By linking the adaptations to the earlier reception of the novel, a change of social interaction will be uncovered as one of its reasons for surviving. These examples of adaptation will be shown to be just as relevant to popular culture history as its original inspiration. This is the result of an unfolding movement of change and mutation, where each adaptation pushes to connect with the past and future. / Includes bibliography. / Thesis (M.A.)--Florida Atlantic University, 2014. / FAU Electronic Theses and Dissertations Collection

Wuthering Heights is a composite of opposites. Its two houses, its two families, its two generations, its two planes of existence are held in place by Emily Bronte's careful manipulation of repetitive, yet differentiated, symbols associated with each of these pairs. Using symbols to develop her polarities and to unify them along the imaginatively rendered horizontal axis connecting Wuthering Heights and Thrushcross Grange, the vertical axis connecting the novel's several "heavens" and "hells," and the third dimensional axis connecting the spiritual and corporeal worlds, Emily Bronte gives the divided world of Wuthering Heights an almost perfect symmetry. This study divides the more than seven hundred symbols into physical and nonphysical. The physical symbols are subdivided into setting, animal life, plant life, people, celestial objects, and miscellaneous objects. The fewer nonphysical symbols are grouped under movement, light, time, emotions, concepts, and miscellaneous terms. Verticality and thresholds, the two most important symbolic motifs, are drawn from both physical and nonphysical symbols.

Wuthering Heights was significantly shaped by the pre-Darwinian scientific debate in ways that look ahead to Darwin's evolutionary theory more than a decade later. Wuthering Heights represents a cultural response to new and disturbing ideas. Darwin's enterprise was scientific; Emily Brontë's poetic. Both, however, were seeking to find ways to express their vision of the nature of human beings. The language and metaphors of Wuthering Heights suggest that Emily Brontë's vision was, in many ways, similar to Darwin's.

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.

Orientador: Mário Luiz Frungillo / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-24T10:22:46Z (GMT). No. of bitstreams: 1 Saber_RogerioLobo_M.pdf: 1131901 bytes, checksum: bd74a40c9603c7d7c7f65986303efd81 (MD5) Previous issue date: 2014 / Resumo: As obras Crônica da casa assassinada e O morro dos ventos uivantes - escritas, respectivamente, pelos autores Lúcio Cardoso (1912-1968) e Emily Brontë (1818-1848) - podem ser lidas como textos que, além de explorarem elementos da estética gótica literária, partilham uma trama que se movimenta a partir dos planos de vingança executados por seus protagonistas Nina e Heathcliff. Em primeiro lugar, desejamos delimitar quais elementos e temas são explorados pelos textos que nos permitem compará-los com os romances pertencentes à literatura noir dos séculos XVIII e XIX. Por fim, prevemos a aproximação de ambos os romances, de maneira que possamos compreender as razões da vingança de cada um dos agentes, os instrumentos utilizados, o modo de execução do plano e, por fim, as consequências do ataque levado a cabo. A aproximação proposta, além de confirmar que os textos podem ser lidos como obras góticas, indica-nos conclusões de ordem filosófica a respeito do tema em estudo (vingança) / Abstract: The literary works Crônica da casa assassinada and Wuthering Heights - respectively written by Lúcio Cardoso (1912-1968) and Emily Brontë (1818-1848) - can be read as texts that explore elements from the literary gothic aesthetics as well as a plot that animates itself through the revenge plan executed by their protagonists Nina and Heathcliff. In the first place, we want to delineate the elements and themes that are explored in the texts and that allow us to compare them to the novels that belong to the 18th and 19th centuries literature noir. In conclusion, we foresee an approximative reading of both novels in order to understand the reasons of the revenge of each protagonist, the instruments used, how the plan was executed and, finally, the consequences of the attack. Our approximative reading confirms that the texts can be read as gothic novels and it indicates us philosophical conclusions on the elected theme (revenge) / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

My dissertation examines the roles of Emily and Anne Brontë as nineteenth-century women poets, composing in a literary form dominated by androcentric language and metaphor. The work of Mikhail Bakhtin, particularly concerning spoken and implied dialogue, and feminists who have pioneered an exploration of feminist dialogics provide crucial tools for examining the importance and uses of the dialogic form in the development of a powerful and creative feminine voice. As such, I propose to view Emily's Gondal poetry not as a series of loosely connected monologues, but as utterances in an inner dialogue between the dissenting and insistent female voice and the authoritative voice of the non-Gondal world. Emily's identification with her primary heroine, Augusta, enables her to challenge the controlling voice of the of the patriarchy that attempts to dictate and limit her creative and personal expression. The voice of Augusta in particular expresses the guilt, shame, and remorse that the woman-as-author must also experience when attempting to do battle with the patriarchy that attempts to restrict and reshape her utterances. While Anne was a part of the creation of Gondal, using it to mask her emotions through sustained dialogue with those who enabled and inspired such feelings, her interest in the mythical kingdom soon waned. However, it is in the dungeons and prisons of Gondal and within these early poems that Anne's distinct voice emerges and enters into a dialogue with her readers, her sister, and herself. The interior dialogues that her heroines engage in become explorations of the choices that Anne feels she must make as a woman within both society and the boundaries of her religious convictions. Through dialogue with the church, congregation, and religious doctrine, she attempts to relieve herself of the guilt of female creativity and justify herself and her creations through religious orthodoxy. Yet her seeming obedience belies the power of her voice that insists on being heard, even within the confines of androcentric social and religious power structures.

This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.