203 research outputs found
From Wunderkammern to Kinect: The Creation of 'Shadow Worlds'
No full textThis paper focuses on two projects, Still Life No. 1 and Shadow Worlds | Writers' Rooms [Brontë Parsonage], to reveal the creative approaches the authors take to site, technology, and the self in their production of shadow worlds as sites of wonder. Informed by the uncanny (re-animation and the double) and an interest in the limen (thresholds in the real and virtual realms), the projects explore white light and infrared digital 3D scanning technologies as tools for capture and transformation. The authors will discuss how they suture the past with the present and ways that light slips secretly between us, revealing other realms
Gender and the politics of the gaze in Bronte's Wuthering Heights
No full textDissertação (mestrado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão, Programa de Pós-Graduação em Letras/Inglês e Literatura Correspondente, Florianópolis, 2009.O objetivo deste estudo é apresentar uma análise de como a imagem de Catherine é moldada pelo olhar masculino, como ela enfrenta os três tipos de olhar - o olhar dos personagens, o olhar do leitor, e o olhar do autor - e finalmente, se o olhar masculino é interrompido. O parâmetro teórico desta análise, o conceito do olhar masculino, é teorizado por Laura Mulvey no artigo "Prazer Visual e Cinema Narrativo" (1975) o qual critica a relação entre o olhar masculino e a imagem feminina do prazer visual moldado pela sociedade patriarcal. Através da crítica de Mulvey do prazer visual generizado em filmes, que pertence ao contexto do cinema clássico de Hollywood, articulo sua teoria em relação ao romance Wuthering Heights de Emily Brontë para examinar a dinâmica do olhar masculino em relação à personagem feminina Catherine. Este estudo teve também por objetivo analisar o quanto o paradigma teórico de Mulvey produzido para cinema poderia ser aplicado especificamente em um texto literário escrito no século XIX.The objective of this thesis is to present an analysis of whether Catherine's image has been shaped by the male gaze, how she contends with the three looks of the male gaze - the look of the characters, the look of the reader, and the look of the author - and finally, how the male gaze is broken. The theoretical parameter of this analysis, the concept of the male gaze, is theorized by Laura Mulvey in the article "Visual Pleasure and Narrative Cinema" (1975) which critiques the relation between the male gaze and the female image within the patriarchal molding of visual pleasure. Borrowing Mulvey's critique of the gendering of visual pleasure in films, which pertains to the context of classical Hollywood cinema, I have articulated her theory in relation to Emily Brontë's Wuthering Heights, to examine the dynamics of the male gaze regarding the female character, Catherine. This study also aimed at examing the extent to which Mulvey's theoretical paradigm produced for cinema could be articulated specifically in relation to a literary text written in the nineteenth century
Three poems by Emily Brontë (1818-1848)
No full textApresenta-se a tradução inédita em português brasileiro de três poemas da escritora inglesa Emily Brontë (1818-1848). Mundialmente conhecida pelo seu único romance, Wuthering Heights (1847), Brontë deixou cerca de 200 poemas, os quais, entretanto, permaneceram à margem da fortuna crítica da autora, particularmente no Brasil. Considerando-se que a única tradução da poesia de Emily Brontë editada em livro, no Brasil, é a de Lúcio Cardoso — uma seleção de 33 poemas, publicada na década de 1940 pela José Olympio, sob o título de Vento da Noite, hoje editada pela Civilização Brasileira —, com as traduções aqui apresentadas, pretende-se contribuir, conquanto timidamente, para minimizar essa lacuna de mais de 160 poemas nunca vertidos para o português brasileiro.A translation of three poems by the English writer Emily Brontë (1818-1848), unpublished in Portuguese, is presented. Known worldwide for her only novel, Wuthering Heights (1847), Brontë also left us circa 200 poems. These, however, have been given a secondary place in the author\u27s critical fortune, particularly in Brazil. The only translation of Emily Brontë\u27s poetry published in Brazil is that of Lúcio Cardoso — a selection of 33 poems, published in the 1940s by José Olympio, under the title of Vento da Noite, edited nowadays by Civilização Brasileira. Considering this, with the translations presented here, we intend to contribute, albeit timidly, to minimize this gap of more than 160 poems never translated into Brazilian Portuguese
Lost in transit : tracing Toronto’s ravine landscapes in the subway
No full textThe place between beginning and end - arrival and destination. Lost in Transit explores the in-between space of Toronto’s subway system. Challenging the standardization of the contemporary urban experience and the increasing disconnection between people and place. In designing for place, this graduate project connects the subway commuter to Toronto’s historical and present-day ravine landscapes. As the commuter follows the traces of the ravines within the subway, a hidden landscape of sewered creeks and seepage emerges. This project explores how we can better create landscape literacy and care in today’s urban condition of sameness, and further proposes that to create novel spaces, we must look at landscapes in novel ways.Applied Science, Faculty ofArchitecture and Landscape Architecture (SALA), School ofUnreviewedGraduat
Wuthering Heights
No full textWuthering Heights (1847) is a novel by English author Emily Brontë; it was initially published under the pseudonym Ellis Bell. The story follows the interactions between two land-owning families living on the West Yorkshire moors, the Earnshaws and the Lintons, and their turbulent relationships with the Earnshaw's adopted son, Heathcliff
Charlotte Brontë
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Charlotte Brontë: Legacies and afterlives examines the persistent fascination and creative engagement with Charlotte Brontë’s life and work in the context of the bicentenary of her birth. The essays in this volume cover the period from Brontë’s first publication to the twenty-first century, explaining why the author has been at the forefront of literary cultures. The contributors engage with topics including: the author cult which emerged shortly after her death; literary tourism in Haworth and Brussels; stage adaptations of her life and novels; her poetic legacy; the afterlives of her plots and characters in neo-Victorian fiction, cinema, television, the theatre and on the web. This book brings the story of Brontë’s legacy up-to-date, analysing texts such as obituaries, literary re-workings, adaptations for screen, vlogs, and erotic makeovers. The contributors take a fresh look at over 150 years of engagement with Brontë, considering genre, narrative style, the representation of national and regional identities, sexuality and gender identity, literary tourism, adaptation theories, cultural studies, postcolonial and transnational readings.</p
Producing the Prince of Publishing: Charlotte Brontë and George Smith
No full textCharlotte Brontë\u27s relationship with George Smith was complicated. The author and her publisher had a professional, intellectual and personal relationship characterized by force and influence on both sides, one not easily understood, vexed, sometimes entirely pragmatic, and strikingly human and contemporary in its unmythic character. The limitations of the Brontë Myth and also characters in the novel Villette — a novel in which Smith himself is said to appear — must not be overlooked and, rather, should be looked over to take in the unwieldy and undetermined expanse of this complex relationship
ELEMENTS OF AUTOBIOGRAPHY IN Ch. BRONTË`S NOVEL “JANE EYRE”
No full textStable interest of readers in the autobiographies of famous people encourages authors to find different ways of presence / absence of the author-narrator in the text, to balance the relationship between biographical truth and fiction in contradictory living conditions, etc., which gives rise to metagenres in literature. The study of the origins of autobiographical writing and the clarification of the actual genre specificity of works of an autobiographical nature, obviously, should be sought in the array of classical literature.
Works that are debatable in defining the genre need special attention.
Domestic and foreign researchers have repeatedly drawn attention to the distinction between the specifics of genres containing autobiographical data: a novel / the story is an autobiography, memoirs, a confessional novel, an autofiction, essays, diaries, etc., but the autobiography of Charlotte Brontë`s novel “Jane
Eyre”, originally called “Jane Eyre. Autobiography”, needs clarification. Therefore, the aim of the article is to
clarify the genre specifics and elements of biographical writing in Charlotte Brontë`s novel “Jane Eyre”.
Defining the genre of Charlotte Brontë`s novel “Jane Eyre” is problematic, as it is difficult to call it autobiographical, given that the author herself defined the genre of the work in the original title and, accordingly, was guided not so much by literary criteria as by her own understanding. All this determined the formulation of the purpose of the article to find out the genre specifics and elements of biographical writing
in Charlotte Brontë`s novel “Jane Eyre”.
The paper widely presents the positions of various scholars on the genre features of autobiographical
writing, analyzed their coincidences in the novel “Jane Eyre”. Attention is emphasized to the fact that we
have a number of indisputable facts-memories about the author’s childhood in a piece of writing, but they
are most likely a method of rethinking and self-knowledge of the writer, although there are moments of
authorial openness in the main character.
It turns out that it is impossible to determine definitively that the novel “Jane Eyre” is an autobiography.
However, this term is important for establishing theories about the biographical content of Ch. Brontë in
her novel. Newer genres, such as autofiction, have helped to define the process by which real aspects are
represented by fictional facts.
Given the various theories of research on the genre features of autobiography in a piece of writing,
including the relationship between author, character and narrator, the pact between reader and author
allows us to consider certain passages of “Jane Eyre” as a first-person narrative by Ch. Bront
Gender in Pain: Gender and Class in Elisabeth Gaskell's The Life of Charlotte Brontë
No full textAs the first biographer of Charlotte Brontë´s life, Elisabeth Gaskell had a very difficult and delicate task to perform. She had to demystify but simultaneously mythologise a very controversial Victorian author. The biographer set off with an assignment to provide a coherent story of Charlotte Brontë´s life for the Victorian audience, to justify her colleague´s outrageous life path and to establish a new female literary role-model. Through accumulation of letters, interviews and observations, Gaskell re-created the chronology of Charlotte´s life as well as her cultural and social background. Ms. Brontë was no longer a mere abstraction to the reader´s mind. The reader became acquainted with her as a woman and as a writer. It is precisely this division of personality into two seemingly contrasting parts, womanhood and authorship, which underpins this paper.
Firstly, this thesis´ focus has been set on the conditions underlying the production of the respective biography. It has been demonstrated that The Life drew upon Gaskell´s own experience as novelist. Within this framework, it has been shown how the biographer intervened at several stages to optimize the posthumous Brontë´s image. By reconstructing Brontë as literary model based on creativeness, submissiveness and feminine duty, Gaskell tried to soothe the riot raised against Brontë´s alleged coarseness and breach of literary norms. Further analysis of the biography has displayed that Gaskell´s Charlotte Brontë can be studied as a literary protagonist, an imaginative creation with a life of its own. In the course of the study, it became noticeable that the biography´s narrative plot was informed by the patriarchal ideology of the Victorian period. Gaskell subjugated the life of her heroine to the approved norms of familial duty. Herewith this biography, filled with gender and class details, provides sufficient material for the study of social barriers within the Victorian literary market. Events from Brontë´s life account for the position of women writers in the Victorian culture, where creativity was defined purely in male terms, where women attempting the pen had to fight a gender-conflict and eventually underwent the socially prescribed subordination. The lure and complexity of Brontë´s figure lie in the author´s attempt to simultaneously subvert and conform to patriarchal norms. Out of this experiment Charlotte Brontë emerges as a literary visionary who asserted herself on a male-dominated market and still managed to maintain her femininity. Furthermore, a close reading of the biography has shown that Victorian femininity was defined in terms of fragility, self-sacrifice, domesticity and timidity, whereas masculinity presupposed qualities such as strength, creativity and assertiveness. What makes Charlotte Brontë so unique is the harmonisation and fusion of these, socially constructed, male and female qualities.
This paper also took the task of deconstructing the literary fusion of shy femininity and masculine authorship. To grasp the complexity of this harmonisation, a critical eye was directed towards the biography´s presentation of the features of a Victorian woman writer, her class, sexuality, domesticity, illness, duty awareness. It has been exemplified how women took up male pseudonyms to avoid devaluation of their work. Women writers also modified their literary expression not to be associated with triviality of what had been known as female literature. In the further steps, the paper analysed the distinctive components of personality standing behind Charlotte Brontë and her male pseudonym Currer Bell. Self-assured professional Currer Bell explored the limits of the society and market. This more “masculine” part of Ms. Brontë was complemented by an introvert, dutiful, self-sacrificing, domesticated Charlotte. As it has been highlighted in the course of this thesis, a major part of Charlotte Brontë´s creative success was based on self-discipline and sexual repression. Under the signature of Currer Bell Charlotte Brontë could unleash her fictional characters and let them swim in the sea of passion; however, privately she continuously repressed and relinquished her own sexuality and desire. The self-destructive impulses of Charlotte Brontë´s desire are strategically used to foster the authors´ literary inspiration. Brontë´s self-restraint and repression appear as a medium of attaining and maintaining literary creativity. Her selflessness and asceticism empower her against the conditions of her modest social background, lack of physical beauty and prestige. More, self-suppression and self-sacrifice were meant to soothe her anxiety of authorship, her guilt of entering the forbidden garden of literature. It has also been argued that Elisabeth Gaskell, as the writer of this biography, perceived emotional and sexual repression as a necessary method to remove her subject from the influence of triviality of “female” writing manners. Only in the condition of emotional isolation could the purity and objectivity of Brontë´s writing style be preserved. Finally, the study of Charlotte Brontë reveals another strategic point in the construction of Victorian femininity. Illness and pain emerge as the markers of Brontë´s femaleness. Depression, melancholy, anxiety and homesickness, induced by multiple burdens of femininity, add a final touch to the image of the talented but subservient, fragile and self-sacrificing author. This complex charm of her character is rooted in the relationship between the author´s self-reflexive desire that flew into her literature, the combativeness of desire that formed her femininity and assertive ambition which enabled her market dominance. In combining the parts of conventionalized middle-class male and female social roles of the 19th century with creativeness, observant realism, and smouldering emancipation Brontë manages to position herself as a woman writer on the male-favoured market. The seemingly contradictory mix of virtues is what enabled Gaskell´s Brontë to step out of the constrains of the 19th century class and gender conservatism and establish herself as literary heroine
O BILDUNGSROMAN NA OBRA THE PROFESSOR, DE CHARLOTTE BRONTË
No full textIn this final paper, I analyze the novel The Professor (1857) by Charlotte Brontë, pursuing to investigate how the author subverts the literary genre Bildungsroman and the gender roles. To carry out this work, I first point out the social context of women, followed by authors who questioned the female role. Then, I present the definitions of male and female Bildungsroman according to Pratt (1981), Hirsch (1983), Labovitz (1986), Smith (1997) and Schwantes (2010), leading to the analysis of the novel, where I try to understand how Brontë appropriates and subverts the literary genre, also questioning gender roles.Neste trabalho, analiso a obra The Professor (1857) de Charlotte Brontë, buscando investigar de que formas a autora subverte o gênero literário Bildungsroman e os papéis de gênero. Para realização desse trabalho, primeiro aponto o contexto social da mulher, seguido de autoras que questionavam o papel feminino. Em seguida, apresento as definições de Bildungsroman masculino e feminino de acordo com Pratt (1981), Hirsch (1983), Labovitz (1986), Smith (1997) e Schwantes (2010), levando à analise do romance, onde procuro entender de que forma Brontë se apropria e subverte o gênero literário, questionando, também, os papéis de gênero
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