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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.

Charlotte and Emily Brontë both incorporate folk traditions into their novels, which help define and complicate notions of class and identity in their work. This thesis examines the folklore of the novels, including customs, folktales, and material folk culture, and explores how these elements work within the worlds created by the Brontës. While scholars such as Micael Clarke, Lauren Lepow, and Heta Pyrhönen have established the presence of folk tale, ballad, and supernatural motifs in the Brontës’ work, few have discussed the ways in which folk culture, in particular, underscores the notions of class and identity.

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.

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.

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.

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.

This thesis examines four translations and retranslations of novels by British female writers. They are Elizabeth Gaskell’s Cranford, Jane Austen’s Pride and Prejudice, George Eliot’s Silas Marner, and Charlotte Brontë’s Jane Eyre. The translations and retranslations, eight target texts in total, are mapped onto the sociopolitical and sociocultural milieu of China from the late 1920s to 1930s. During the span of time when the eight translations were published, China was undergoing a special period of political turbulence intertwined with literary vibrancy. With the literary field of China segmented into various literary societies or political organizations subscribing to their respective doctrines and principles, Chinese intellectuals including translators from various backgrounds produced literature and translation within the agenda of their respective literary or political societies. The heart of this thesis’s theoretical framework is the role of agents of translation involved the practice of translation production. The interaction amongst the human and nonhuman agents: translators, patrons, intellectuals, literary institutions, publishers and more, are examined in order to identify the translation motivations of the translators. The seven translators covered in the present study are categorized into three distinctive groups: the leftists, the humanists and the commercial translators. A collective analysis of the translators’ behaviour should shed light on the general understanding of the intended social functions of these translated novels written by British female writers published during Republican China.

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<p>This thesis examines the ways in which various practices, such as novel-writing, publishing, book-reviewing, reading for pleasure, adaptation and studying English literature, have produced <i>Jane Eyre</i>’s complex cultural profile. The organizing principle of the study is Paul du Gay, Stuart Hall et al’s ‘circuit of culture’, which identifies five key processes or ‘moments’ as being productive of the meanings that a cultural artefact or text comes to possess. Explaining the meanings which have been attached to <i>Jane Eyre</i> partly involves trying to understand why it has been perceived and described dichotomously. For example, it has been thought of as trivial and serious, radical and conservative, feminine and unfeminine. The investigation begins with the writing process, exploring how and why Charlotte Brontë embedded the text with specific hybrid features. The study then traces how these textual features have acquired meaning in different discourses, focusing primarily on the novel’s reception in Britain in the mid-nineteenth century and in the 1990s. The thesis points to the role played by distinct target-audiences in configurations of <i>Jane Eyre</i>; Charlotte Brontë, publishers, biographers, literary critics, film-makers and teachers have all had specific audiences in mind when they have described, evaluated, regulated and/or creatively reworked the novel, its author’s life and/or the culture in which the author lived. During the course of the twentieth century, <i>Jane Eyre</i> became increasingly thought of as a legitimate object of study at all levels of the education system. The thesis examines how the text has been studied, and contributes to ongoing debates about National Curriculum English by offering ways of allowing more creativity into the classroom.</p>

This thesis examines the ways in which various practices, such as novel-writing, publishing, book-reviewing, reading for pleasure, adaptation and studying English literature, have produced Jane Eyre’s complex cultural profile. The organizing principle of the study is Paul du Gay, Stuart Hall et al’s ‘circuit of culture’, which identifies five key processes or ‘moments’ as being productive of the meanings that a cultural artefact or text comes to possess. Explaining the meanings which have been attached to Jane Eyre partly involves trying to understand why it has been perceived and described dichotomously. For example, it has been thought of as trivial and serious, radical and conservative, feminine and unfeminine. The investigation begins with the writing process, exploring how and why Charlotte Brontë embedded the text with specific hybrid features. The study then traces how these textual features have acquired meaning in different discourses, focusing primarily on the novel’s reception in Britain in the mid-nineteenth century and in the 1990s. The thesis points to the role played by distinct target-audiences in configurations of Jane Eyre; Charlotte Brontë, publishers, biographers, literary critics, film-makers and teachers have all had specific audiences in mind when they have described, evaluated, regulated and/or creatively reworked the novel, its author’s life and/or the culture in which the author lived. During the course of the twentieth century, Jane Eyre became increasingly thought of as a legitimate object of study at all levels of the education system. The thesis examines how the text has been studied, and contributes to ongoing debates about National Curriculum English by offering ways of allowing more creativity into the classroom.