Critics from Virginia Woolf and David Cecil to Lyn Pykett and U. C. Knoepflmacher, among others, have been mesmerized by the eccentric but transcendent world of Brontë’s Wuthering Heights and the Gondal poems. Despite allusions and references to various modernist elements in Emily Brontë’s novel and poetry, there has not been extensive analysis of her work in connection to modern writers of the early twentieth century. I believe that a multi-themed analysis of such components is necessary to reassess her position in the canon and establish her as a precursor to the modernists. This dissertation examines Brontë’s deliberate invitation of, and simultaneous resistance to, interpretation—qualities that align her novel and verse more with Modernist literature than that of her contemporaries. I argue that Emily Brontë had an unusual and forward-looking focus that is revealed in her treatment of children, women, and the struggles of isolated beings in the dark, foreboding and often impressionistic world of Gondal and Wuthering Heights. Her elucidation of the gap between the mundane and the spiritual, the use of farcical elements against the sublime are also precursory to modernism. This dissertation assesses the various themes, angles and techniques that Brontë employs in presenting a strange atmosphere that is representative of a future world.

Este trabalho tem por objetivo analisar o romance O morro dos ventos uivantes, de Emily Brontë, tendo como foco suas contradições internas, que, em conjunto, foram nomeadas estrutura de tensões. É essa estrutura de tensões que transforma tal romance em uma obra dialética, na qual as tensões existem não somente no plano do conteúdo como também no da forma. Nosso estudo se concentra, respectivamente, na questão estilística e na questão da estrutura narrativa, sabendo que há outras questões de interesse, mas vendo nelas uma importância mais primária, pois remetem a aspectos formais mais imediatos. Num primeiro momento, procuramos entender o funcionamento das tensões que diferentes formas góticas, míticas e fantasmagóricas instauram no tecido realista da obra. Num segundo momento, o objetivo foi compreender a problemática do foco narrativo, concentrando-nos especialmente no discurso não confiável do narrador primário Lockwood, ao qual a crítica pareceu não dar a atenção devida. Por fim, procuramos argumentar que a obra de Emily Brontë não somente nasce de uma crise histórico-social, como também coloca em evidência aspectos da crise da forma romance, logrando expor alguns de seus limites ideológicos. / This work aims at analysing the novel Wuthering Heights, by Emily Brontë, having as focus its internal contradictions, which, put together, were named structure of tensions. It is that structure of tensions that transforms the novel into a dialectical work, in which the tensions exist not only as far as the content is concerned, but also its form. Our study focuses, respectively, on the issue of style and also on the issue of the narrative structure, aware that there are other issues of interest, but seeing in them a more primary importance, because they are connected to more immediate formal aspects. At first, we sought to understand the functioning of the tensions that different gothic, mythical and phantasmagorical forms cause on the novels realist fabric. Secondly, our goal was to comprehend the problematics of the narrative focus, concentrating specially on the unreliable discourse of Lockwood, the primary narrator, to which critics have not paid due attention. Lastly, we sought to argue that Emily Brontës work is not only born from a socio-historical crisis, but that it also puts in evidence aspects of the crisis of the novel form, managing to expose some of its ideological limits.

Este trabalho tem por objetivo analisar o romance O morro dos ventos uivantes, de Emily Brontë, tendo como foco suas contradições internas, que, em conjunto, foram nomeadas estrutura de tensões. É essa estrutura de tensões que transforma tal romance em uma obra dialética, na qual as tensões existem não somente no plano do conteúdo como também no da forma. Nosso estudo se concentra, respectivamente, na questão estilística e na questão da estrutura narrativa, sabendo que há outras questões de interesse, mas vendo nelas uma importância mais primária, pois remetem a aspectos formais mais imediatos. Num primeiro momento, procuramos entender o funcionamento das tensões que diferentes formas góticas, míticas e fantasmagóricas instauram no tecido realista da obra. Num segundo momento, o objetivo foi compreender a problemática do foco narrativo, concentrando-nos especialmente no discurso não confiável do narrador primário Lockwood, ao qual a crítica pareceu não dar a atenção devida. Por fim, procuramos argumentar que a obra de Emily Brontë não somente nasce de uma crise histórico-social, como também coloca em evidência aspectos da crise da forma romance, logrando expor alguns de seus limites ideológicos. / This work aims at analysing the novel Wuthering Heights, by Emily Brontë, having as focus its internal contradictions, which, put together, were named structure of tensions. It is that structure of tensions that transforms the novel into a dialectical work, in which the tensions exist not only as far as the content is concerned, but also its form. Our study focuses, respectively, on the issue of style and also on the issue of the narrative structure, aware that there are other issues of interest, but seeing in them a more primary importance, because they are connected to more immediate formal aspects. At first, we sought to understand the functioning of the tensions that different gothic, mythical and phantasmagorical forms cause on the novels realist fabric. Secondly, our goal was to comprehend the problematics of the narrative focus, concentrating specially on the unreliable discourse of Lockwood, the primary narrator, to which critics have not paid due attention. Lastly, we sought to argue that Emily Brontës work is not only born from a socio-historical crisis, but that it also puts in evidence aspects of the crisis of the novel form, managing to expose some of its ideological limits.

Made available in DSpace on 2015-05-14T12:39:28Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1069647 bytes, checksum: c2bcc81903c8fab579f52597328eca9d (MD5) Previous issue date: 2011-03-25 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The objective of this research is to analyze Wuthering Heights (1847), written by the English writer Emily Brontë (1818-48), from a postcolonial perspective, based on Said (1994; 2003), Ashcroft et al (2004), Loomba (1998), and Boehmer (2005), among others. It is noticed that there is in the English literature a repetitive model of representation of the colonial relationships mainly until 1847, when Brontë s romance was published which praises the English people and their culture, disqualifying dark skinned people as well as their culture. Those people are, in general, represented from a negative perspective and subjugated by the English imperialism. Brontë romance subverts this kind of representation because the protagonist, a foreign gypsy, Heathcliff, reverts the socio-economical relationships imposed by his oppressors, the Englishmen who surround him and, consequently, subjugates them by an analogical way to his own experience. The novel s subversive characteristic will be highlighted, mainly the fact that the history takes place in England, which gives significance to Heathcliff s actions, since he is well succeed in something that provokes fear to English people: they become victims of dark skinned people in their own territory, England. / O objetivo desta pesquisa é analisar O morro dos ventos uivantes (1847), da escritora inglesa Emily Brontë (1818-48), sob a perspectiva póscolonial, tomando como base os estudos de Said (1994; 2003), Ashcroft et al (2004), Loomba (1998), e Boehmer (2005), dentre outros. Percebe-se na literatura inglesa um padrão repetitivo de representação das relações coloniais sobretudo até 1847, ano da publicação da obra em estudo - que enaltece os ingleses e sua cultura, e que desqualifica os povos de pele escura, assim como suas respectivas culturas. Esses povos são, em geral, representados de forma preconceituosa e sob o domínio do imperialismo inglês. O romance de Brontë subverte esse tipo de representação porque o protagonista, um cigano estrangeiro, Heathcliff, consegue reverter as relações socioeconômicas impostas por seus opressores, os ingleses que o cercam, e, consequentemente, subjuga-os de forma análoga à sua própria experiência. Destaca-se, nesta obra, seu caráter subversivo, porque a narrativa passa-se na Inglaterra, o que confere ao feito de Heathcliff um valor significativo, uma vez que ele obtém sucesso em relação a algo que despertava grande temor para os ingleses: serem vítimas das forças de raças escuras em seu próprio território, a Inglaterra.

This thesis explores the notion of rurality as a form of constructed identity. Just as feminist and postcolonial studies identify the formation of hierarchies within gender and ethnicity, I argue that the rural is constructed as inferior in opposition to its binary counterpart, the urban. The effect of this is the othering of the rural. This thesis takes Emily Brontë’s novel Wuthering Heights as a case study, using a critical approach to explore the ways in which it presents rurality, and to consider its role in the creation and reproduction of rural identity. The case study suggests that the adoption of a ‘rural reading’, in which an awareness of rural othering is fostered, can be a useful and productive strategy in textual analysis and interpretation. The first three chapters of this thesis focus on rural construction generally. Chapter 1 draws on semiotic theory to examine the creation of binaries, and Derridean notions of linguistic hierarchies to suggest reasons for the inferior position of the rural. Chapter 2 considers the historical location of the urban/rural binary in the late eighteenth and early nineteenth centuries, within the context of the Enlightenment, the growth of capitalism, industrialisation and rapid urban expansion. Chapter 3 explores rural othering as a feature of contemporary culture, examining the textual presence of idyllic and anti-idyllic versions of the rural. Chapter 4 introduces the methodology of the case study, explaining the relevance of Wuthering Heights to the study of rural othering, providing a précis of the novel and an overview of previous critical responses. Chapters 5, 6 and 7 explore the three themes of nature, deviance and space. These are derived from the examination of rural construction in Chapter 3. In Chapter 5, the representation of nature in Wuthering Heights is explored, and the presence of animals within the novel in particular. In Chapter 6, the depiction of deviance in Wuthering Heights is discussed, with special focus given to the presence of deviant speech patterns, reflecting changing expectations of behavioural norms in the early nineteenth century. Chapter 7’s consideration of the relationship between space and rurality within Brontë’s novel considers her representation of landscape. Chapter 8 argues that a similar rural reading can be applied to other texts, literary and otherwise, opening up a fresh set of perspectives and possibilities for interpretation.

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.

In La Migration des coeurs, Maryse Condé rewrites Emily Brontë's Wuthering Heights in a Caribbean context. Through its intertextual connection to Brontë's novel, Condé's text can be read in relation to Wuthering Heights according to the rhizomatic structure posited by Deleuze and Guattari, and further employed by Édouard Glissant in his Poétique de la Relation. The rhizome allows a comparison that resists a hierarchical comparison of the texts, and permits dialog and mutual influence between the two novels. Condé's critics, reinforcing this intertextual relation, have rarely considered La Migration des coeurs independently of Brontë's Wuthering Heights. However Windward Heights, Richard Philcox's English translation of Condé's novel, has not been previously considered worthy of a place in the rhizome. As a rewriting of Condé's own rewriting, Philcox's translation merits analysis in relation to the other two novels. This study will examine the nature of translation and rewriting in a postcolonial context. Primarily focusing on La Migration des coeurs, it will show how Condé uses the latent imperialist frame of Wuthering Heights to expose social inequalities in Guadeloupe, and how Philcox communicates this critique back to the English metropolis in Windward Heights.

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.

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.

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.