In this thesis, I examine the domestication of the Gothic hero-villain in Charlotte Brontës Jane Eyre, Emily Brontës Wuthering Heights, and Anne Brontës The Tenant of Wildfell Hall. Each of these novels features a powerful Gothic figure who finds himself physically and emotionally subject to the heroine. This subjection is closely linked to the passing away of that hero-villains Gothic masculinity and his conversion to or replacement by domestic, middle-class masculinity. I argue that the larger social shift from gentry and aristocratic authority in eighteenth-century British society to the entrenchment of domestic, middle-class ideology in the Victorian period and the accompanying shift from an elite to a bourgeois model of masculinity are largely responsible for the subjection, and conversion or supplanting, of these Gothic hero-villains.
<p>This social-historical framework also allows me to examine these male characters from a masculinist perspective. Much recent Brontë criticism has been feminist in nature, and these analyses fail to do justice to the novels male characters, usually examining them only in relation to the heroine or indeed casting them as feminized figures, especially when their masculinity is perceived to be unconventional. By looking at effects of the shift from elite to domestic masculinity, I offer a more nuanced analysis of these male characters and how they navigate changing expectations of masculinity.
<p>I conclude that though these novels follow a similar pattern, which seems to reify domestic ideology, each Brontë supports this ideology to a different degree. This problematization of ideology has a long tradition in the Gothic novel, which is frequently ambivalent and can be used for either revolutionary or reactionary ends. Charlotte and Anne Brontë defeat the Gothic and gentry masculinity of their hero-villains, making way for the domestic man. Along the way, Charlotte Brontë creates a marriage that is both domestic and radically equal; Anne Brontë critiques the dictates of domestic ideology before finally reifying it. Most interestingly, Emily Brontë allows Heathcliff to die unrepentant and haunt the closing pages of Wuthering Heights. Of the three sisters, Emily Brontë most strongly resists domestic ideology and masculinity in her treatment of the Gothic hero-villain.
| Identifer | oai:union.ndltd.org:USASK/oai:usask.ca:etd-09132010-203515 |
| Date | 17 September 2010 |
| Creators | Johnson, Erin Melissa |
| Contributors | Ophir, Ella, Kent, Christopher, James-Cavan, Kathleen, Vargo, Lisa, Thorpe, Douglas |
| Publisher | University of Saskatchewan |
| Source Sets | University of Saskatchewan Library |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://library.usask.ca/theses/available/etd-09132010-203515/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to University of Saskatchewan or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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