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 MA thesis provides a close analysis of William Faulkner's most famous short story, "A Rose for Emily." The focus the thesis is motivated by what I take to be the central theme of the short story: community and its functioning. Shifting the focus from the main character to the narrator, I want to "rectify" the perception of the short story which owns its renown largely to its "shocking" or "gothic" aspect. The utilized methodology is chosen with respect to the proposed interpretation. The prism through which the text is approached is narratology. To account for the peculiar narrator of "A Rose for Emily," I use the narratological framework of "collective narrative" ("we narration"). Another important theoretical framework introduced in order to interpret the short story is the interdisciplinary concept of "collective memory." Some sociological conceptions of community are discussed. In the introductory chapter, I mainly discuss the concept of person in narrative and argue against the traditional distinction between first and third person narratives. In the second chapter, I provide an introduction to the technique of collective narrative. The third chapter provides a close reading of "A Rose for Emily" in the context of collective narrative. Firstly, I identify the narrator as essentially...

The Greek term synaesthesia, which literally translates into 'perceiving together,' is known among most literary critics as the mixing of sensations. The term is applied in literature to the description of one kind of sensation in terms of another. For instance: 'hearing' a color or 'seeing' a 'smell.' That is, the description of sounds in terms of colors such as a "blue note;" of colors in terms of sound such as "loud shirt;" of sound in terms of taste such as "how sweet the sound;" and of colors in terms of temperature such as a "cool green." Although synaesthesia has been used by a variety of poets throughout the centuries, my focus will be on its use in the poetry of John Keats and Emily Dickinson. While critics and scholars have considered this subject before, normally it is approached in terms of its specific meaning within a particular poem. In contrast, I argue that Keats and Dickinson employ synaesthesia to crystallize a poetic perspective, a literary world view, and that this perspective significantly pertains to a variety of gender issues in the nineteenth century. Consequently, I contend that both poets were dealing with the large theme of an imaginative poetic world in which synaesthesia transmutes and synthesizes gender so that a "blue note," male and female, are radically the same and yet "other." After reviewing the scholarship of synaesthesia in Keats's and Dickinson's poetry, I will analyze a series of poems that illustrate my thesis, fleshing out the implications of a gender synthesis that makes us see both poets challenging and subverting the gendered commonplaces of the 19th century. / by Lindsay Lucky-Medford. / Thesis (M.A.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

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.

Because of its importance in the history of the verse novel and the history of women’s writing, Elizabeth Barrett Browning’s Aurora Leigh (1856) has overshadowed the works of other female verse novelists in Victorian studies scholarship. By focusing on non-canonical works by four understudied women poets writing in the late nineteenth century— Augusta Webster’s “Lota” (1867), Violet Fane’s Denzil Place: A Story in Verse (1875), Emily Pfeiffer’s The Rhyme of the Lady of the Rock, and How It Grew (1884), and Emily Hickey’s “Michael Villiers, Idealist” (1891)—this dissertation expands our understanding of both women’s poetry and the verse novel in the Victorian period. It demonstrates that the genre was taken up in multiple ways after Aurora Leigh by women poets who, like EBB, addressed urgent and controversial social and political issues—such as parliamentary enfranchisement, adultery, marital rape, political sovereignty and land use in the Scottish Highlands, as well as socialism and the Irish Question— through inventive and complex generic combinations. This dissertation does not outline a teleological development of genre but, rather, recovers works through case studies that offer microhistories of verse novels at particular historical moments in order to expand the canon and definition of the Victorian verse novel. / Graduate / 2020-04-25

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.

I denna uppsats undersöks vänskapsmotivet i romancegenren, med fokus på kvinnliga vänskaper. Romanerna Beach Read (2019), People We Meet On Vacation (2020) och Book Lovers (2021) av Emily Henry står som representanter för genren. Syftet är att studera hur kvinnlig vänskap porträtteras och huruvida den får ta plats jämte romansen. Mieke Bals Narratology: Introduction to the Theory of Narrative (2017) används för att göra narratologiska analyser av karaktärerna, med fokus på begreppen ”kvalifikation” och ”kvalifikation genom funktion”. Detta belyser inte bara karaktärernas egenskaper utan också deras roller och funktion i narrativet. Även Elizabeth Abels artikel ”(E)Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women” (1981) tas upp för att kategorisera olika typer av fiktiva väninnerelationer, där komplementaritet eller identifikation mellan kvinnokaraktärerna är faktorn som särskiljer dem. Slutsatsen i uppsatsen är att vänskaperna hamnar i narrativets periferi. Även om relationerna ser väldigt olika ut i verken, och väninnorna i varje verk på detaljnivå har olika roller, så sammanhålls de alla av att väninnan används för att främja romantiken. Genren böckerna arbetar inom påverkar dess möjlighet att skildra något annat än komplementära väninneskildringar. / This study examines the motif of friendship in the romance genre, focusing on female friendships. The novels Beach Read (2019), People We Meet On Vacation (2020) and Book Lovers (2021) by Emily Henry works as representatives for the genre. The purpose of the study is to explore the portrayal of friendship between women and whether it's allowed any space next to the romance. Mieke Bal's Narratology: Introduction to the Theory of Narrative (2017) is used to analyze the characters, focusing on the concept of "qualification" and "qualification by function”. This illustrates not only the character's individual characteristics, but also their roles and function in the narrative. Elizabeth Abel's article ”(E)Merging Identities: The Dynamics of Female Friendship in Contemporary Fiction by Women” (1981) is also brought up to categorize different types of fictional female friendships, where complementarity or identification between the female characters are the factor that differentiates them. The conclusion of the study is that the friendships do end up in the narrative's periphery. Although the relationships look very different in the respective works, and though the friends on a detailed level have different roles, they are all united in the sense that the female friend is predominantly used to promote the romance. The genre of these novels affects their ability to depict anything other than complementary friendship portrayals.

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Denna studie fokuserar på den amerikanska poeten Emily Dickinson och hennes psykiska hälsa samt kreativitet och skrivande. Syftet är att lyfta fram hur fyra utvalda teman; hjärna, hjärta, sinne och själen, framställs i Dickinsons poesi. Detta handlar därför om en tematisk analys, där frågeställningar besvaras med hjälp av psykoanalytiska teorier. Studiens resultat visar att Dickinsons poesi fungerar som en brygga mellan hennes subjektiva känslor och allmänmänskliga teman. Det har lyfts fram medvetna samt omedvetna faktorer, vilka har kopplats till poetens psykiska tillstånd och därmed visat på hennes styrkor samt svagheter, i synnerhet vad gäller den kreativa skrivprocessen. Dickinsons poesi har slutligen argumenterats för att vara psykologiskt intriktad, och slutsatsen i denna studie förklarar därför vilka fördelar det finns med att läsa Dickinson med hjälp av psykoanalytiska teorier. Genom läsning av Dickinson i samband med Freud och andra psykoanalytiker skapas en koppling mellan poetens psykiska tillstånd samt hennes dikter, där psykoanalytiska teorier som fokuserar på kreativitet och skapande blir ett hjälpmedel för att läsaren ska få en djupare inblick i poetens liv och skrivande.