Jane Eyre

This thesis hopes to give special significance to the emotion of hatred in Jane Eyre by exploring the significance of hatred in the novel. It will be arguing that hatred is essential to Jane’s subjectivity, thus shifting the focus of previous criticism from Bertha Mason back to Jane Eyre. The reading of hatred will take mainly a psychoanalytical stance, using Kristeva’s theory of abjection to suggest that Jane experiences hatred because of abjection. The significance of this reading will then be explored by using the concept of abjection together with biographical evidence to read hatred in Brontë’s other works, showing that Jane can be read as representing Brontë’s woman subject. As this argument implies that abjection is gendered, the thesis will also compare the experiences of abjection in Brontë’s male characters with her female ones, fleshing out the gendered dimension of hatred and showing that an implicit critique of Victorian gender ideology can be read through this account of gender difference.

There are different forms of othering in Charlotte Brontë’s Jane Eyre:  one which results from Jane’s ambiguous position in terms of class hierarchies and another generated by Bertha’s presence as a colonized subject. In both cases, femininity amplifies gender-specific repercussions in these othering processes. However, while Brontë creates a female character in Jane who triumphs over the challenges posed by Victorian society’s class and gender hierarchies, i.e., the status as other of governesses and women, problematic as it is in its final solidification of the status quo, Bertha reflects the dominant, Eurocentric ideologies of nineteenth century England concerning race and the racial other. She is the colonized and racial other, a madwoman who threatens British men as embodied in Mr. Rochester, and women embodied as in Jane, and her final self-destruction for Jane’s sake are poignant plot devices to this end.  This paper offers a comparative reading of two female characters’ othered status in Victorian British society in relation to the dominant ideologies of the era concerning gender, class and race. I argue that whereas Brontë, following a feminist reading of her novel, fictively assuages the othered status of British women in the characterization of Jane, who triumphs in resisting society’s rigid class boundaries and women’s subordinate position in terms of legal and financial matters, does not grant a similarly fictive emancipatory view to Bertha as the colonized and racial other. This is an obvious and clear indication of Brontë’s limitations concerning feminist activism and inclusiveness as her implication in advancing the dominant, imperialist discourse.

Drawing on Charlotte Brontë's Jane Eyre, I first show how the Victorian novel processes translation out of the narrative in order to espouse the metonymic imperative of realism. While this may be how the relation of realism and translation is decided in the Victorian novel, I argue that the subsequent history of translation of Brontë's novel remains inflected in this relation. Taking Croatian translations of Jane Eyre as a case study, I analyze the ways in which they remain predicated on the metonymic imperative of realism, first in Austria-Hungary, when metonymy on these terms was adopted by Austro-Hungarian minorities as a vehicle of modern self-definition, and then in a process that survives the historical Austria-Hungary well into the twentieth century, in Yugoslav modernity for instance. What these translations ultimately sustain, and reveal, is radical realism: not a poetics so much as an apparatus instrumental to negotiating the modern condition in the past two centuries.
https://benjamins.com/catalog/chlel.xxxii.08juk

Jane Eyre, Charlotte Bronte’s 1847 novel published under the masculine nom de plume Currer Bell, chronicles the coming-of-age story of a poor early 19th-century girl turned governess. Charlotte Bronte uses stylistic devices such as analogy, imagery, and synecdoche to portray the book’s central theme: Jane is like a caged bird who wants to find her wings within the oppressive, patriarchal culture of her time period. The novel was written when Bronte was still young enough to remember the passions of her own youth and shares many similar occurrences with the author’s own life, such as the loss of her mother, attending boarding school where she lost loved ones to illness and falling in love (or what some might call unhealthy infatuation) with an older man she could not have. It is this pain of her doomed affection for married writing instructor, Constantin Heger, which can be seen within the emotional opaqueness of Jane as she reflects on her journey to becoming Rochester’s wife. Coming from a poor background and family hardship to be a writer at a time when females were no more than accessories, the author’s frustration at her limiting time period can also be seen throughout the novel. Across the story, Jane finds her own identity and happiness through her interactions with her school, her father’s family, and Mr. Rochester.

Scores of authors, directors and digital producers have adapted, revised and modernised Charlotte Brontë's most famous novel, Jane Eyre: An Autobiography (1847). As Antonija Primorac notes, neo-Victorianism is "a powerful trend in contemporary Anglophone media" pointing to the "continuous production of adaptations and appropriations of Victorian literature and culture" (2017, 452). These ubiquitous transformations of Jane Eyre reveal transtexual 1 parallels between nineteenth-and twentyfirst-century life, including the ways in which women with substance use disorders are understood to be mad-so mad, in fact, that the community's future happiness depends on the addicted female character's death. 2 In Sean and Sinead Persaud's web series Edgar Allan Poe's Murder Mystery Dinner Party, the character "Charlotte Brontë" colludes in a scheme to murder a slew of authors in order to cover up that her sister killed Jane Austen for threatening to expose their brother Branwell's misdeeds. At first glance, this version of Brontë seems absurdly inaccurate for the sake of comedy. She is too sardonic, too vindictive and

The ID, representing the subconsciousness of the human mind, is the level underneath the consciousness, defining the human-being from a biological point of view. The genetic part and the natural identity of the individual are stored in the ID. It is the dark and uncontrollable part of the human mind. • EGO The EGO, being the consciousness of the individual, embodies the social identity of the human mind. Through the EGO, the individual makes logical decisions. • SUPER EGO The SUPER EGO represents an external form of consciousness and the voice of authority, being embodied by school, church, society. In this novel, Charlotte Brontë creates a new female typology embodied in the character that gives the name of the novel: Jane Eyre. Jane Eyre grow up as an orphan girl in her aunt's home, Mrs. Reed, having the status of a servant. From an early age, one can notice that, from a psychoanalytical point of view, Jane never represses her ID and stays true to herself and her believes. Being sick of how her aunt treats her, Jane finds the opportunity and tells how she feels about her aunt's behavior towards Jane. The scenes takes place in the living room, a place only for the masters of the house, and after her aunt left, Jane stays as a winner, in the center of the system. During her stay at the Lowood Institution-the orphanage, Jane encounters harsh conditions, but this is where she gets her education from. This is the place where she meets Helen Burns, a model of Christianity, full of tolerance and acceptance. Analyzing the relationship between Jane and Helen, two girls who are best friends but very different, one can see that the SUPER EGO embodied in Helen cannot oppress Jane's ID. Jane once again does not oppress her true way of being and does not take Helen as a model, as the rest of the school does.

The Brontë Sisters 200 Years: Biographical and Fictional Universes

Volume (to commemorate Brontë 200) on the reception, translation of the Brontë  sisters's work in Portugal, and on the biographical and fictional universes of the authors.
Published by the Portuguese National Library.

Identity has been attempted to be explained and handled in a number of ways for many centuries. Since culture is a central figure for the formation of identity, Cultural Studies, as a diverse field of study encompassing a variety of perspectives; functions by borrowing freely from many disciplines and theories to figure out and explain the effect of society on individuals. Culture is a common way of life; therefore, Cultural Studies is concerned with what roles gender, language, ethnicity, economy, and biological bodies of individuals have for the construction of one’s identity. Since the society, in which people live in, has a great role on individuals, in order to analyze a literary work of art, the social circumstances of the era should also be grasped at first hand. The present study deals with the two novels Dorian Gray and Jane Eyre and the Victorian society in which they were written. Therefore, the aim of this paper is to analyze the effect of society on the construction of individual identity in two of the famous novels- The Picture of Dorian Gray by Oscar Wilde and Jane Eyre by Charlotte Brontë.

Charlotte Bronte’s Jane Eyre was written at a time when society was deeply entrenched and was still wrestling with the upshots of the workers’ revolutions that shook 1700-Europe. Marxist reading of Jane Eyre looks at the social and economic conditions of the characters at the time the book was written and investigates how class relations help the dominant group in a society to maintain its hegemonic position.

The character Jane Eyre enforces imperialist ideals of white purity and xenophobia, simultaneously identifying with and profiting off of the racial “other.” As Jane perpetuates the idea of racial “otherness” as contamination, Bronte highlights the oppressive constructs of whiteness and its consequent paranoia, as Jane’s "female empowerment" ultimately stems from her adoption and exploitation of imperialist dogma.

The setting for gothic fictions is very often domestic, which is a descriptor with distinctly feminine connotations, particularly given the centrality of the home and family life in the female gothic. Much critical work following Ellen Moers focused on gothic authors’ articulations of women’s dissatisfaction with patriarchal norms that trapped them within the home. Despite the association between domesticity and femininity, these home environments are very often owned by, and ruled by men.

When Jane Eyre rails against the limitations placed upon women through this alignment of domesticity and femininity, she compares her situation and herself to the masculine norms of a patriarchal society saying that women feel ‘just as men do’. But how do men feel? How are men positioned within these homes, and these texts? The proposed paper explores the representation of men’s anxieties about their domestic identities - as fathers, sons, and heads of households – in the Victorian gothic novel, concentrating particularly on the figures of Edward Rochester, Heathcliff, and Philip Pirrip. This paper traces the parallels in characterisation between Miss Havisham and Heathcliff, in their passionate responses to romantic rejection and their desire to control the next generation, and the construction of the figure of the gentleman through the experiences Rochester and Pip, to explore the intersection of class and gender in the construction of the domestic masculinity in the mid-Victorian gothic.

This dissertation joins the theoretical conversation about Jane Eyre by examining the relationship between femininity and abjection in the characters of Jane, Helen Burns and Bertha Mason. This work analyses the actions and reactions of these women to demonstrate the nature of the abject. As a whole, Kristeva and Bronte’s texts are united by feminist interpretations of women’s actions, and as a result this connection allows for an evaluation of how the abject is intertextually connected with Jane Eyre. This dissertation, therefore, incorporates a range of theoretical perspectives as well as contextually significant readings of Bronte and Kristeva. The correspondence between religion, the human body and death are assessed in this dissertation in three chapters, which examine how these Kristevian concepts can be extracted from Bronte’s text despite their historical separation. This dissertation finds that alternative versions of femininity test patriarchal order in Jane Eyre, and Kristeva’s theory of abjection offers an explanation for how the abject affects this. Consequently, the relevance of the findings in this piece contribute to the theoretical debate surrounding Jane Eyre, by offering the combination of a feminist and Kristevian reading of the text.

1. The >Bildungsroman« (novel of formation): Towards a definition -- 2. The Bildungsroman in the High Romantic mode - 2.1 Beginnings: Goethe's »Wilhelm Meisters Lehrjahre« (Wilhelm Meister's Apprenticeship Years, 1795/96) - 2.2 Novalis's »Heinrich von Ofterdingen« (1802): A radical version of the »Bildungsroman« in the High Romantic mode - 2.3 The genre-type and its variants (Wordsworth, »The Prelude«; Thomas Carlyle, »Sartor Resartus«; Gérard de Nerval's »Aurélia, ou le Rêve de Ia Vie«) -- 3. From the Bildungsroman to the novel of disillusion - 3.1 » Weak« variants of the Romantic Bildungsroman: »Romance« vs. »novel« (Thomas De Quincey's »Confessions of an English Opium-Eater«, »Suspiria de Profundis«; Charlotte Bronte's »Jane Eyre«; Edgar Allan Poe's »The Narrative of Arthur Gordon Pym of Nantucket«) - 3.2 Towards the »novel of disillusion« (Stendhal's »Le Rouge et le Noir«; Balzac's »Illusions perdues«) -- 4. Conclusion: The Bildungsroman in the genre-system of Romantic fiction (with a short note on the »artist novel«)

ÖZET Kadın, geçmişten günümüze insanoğlunun dünyasında her zaman büyük değişimlere neden olmuş, toplumda farklılıklarla beraber yaşamış, erkeğin baskın rolü varoluş mücadelesi içinde yer almıştır. Her dönemde, her yüzyılda rolünü değiştirmek için mücadele vermiş evde, siyasette, çalışma hayatında kendini görünmezlikten kurtarıp erkeğin yanında yer almaya, var olmaya çalışmıştır. Erkeklere göre daha güçsüz görülmesi, ayrımcılığa yol açan geleneksel yaklaşımlar, "kadının yeri evidir" gibi söylemler, her zaman için kadınları kendi var olmak istedikleri her yerden soyutlamış ve savunulan bu görüşleri dikte ederek kabullenmeye zorlamıştır. Hem toplumsal hem de ailesel olarak desteklenmeyen kadınlar, kendi içsel isteklerini, yaşadıkları her alanda erkeklere göre daha zor gerçekleştirmektedirler. Bu çalışmamızda, kadının varoluş mücadelesini toplumsal ve psikolojik gerçekler etrafında anlatacak ve kadına ilişkin toplumsal cinsiyet rol ve kimliğinin kadının kendi yaşamındaki sınırlarına olan etkisinden bahsedeceğiz. Kadınların, erkek egemen toplumu içinde kültürel ve sosyal engellemeler olduğu gerekçesiyle değil hakları olduğu için kendi yaşamlarını diledikleri gibi çizebilmesini aktaracağız. Anahtar Kelimeler: Kadın, Toplum, Varoluş Mücadelesi Giriş Çalışmamızda, Türk yazar Reşat Nuri Güntekin'in "Çalıkuşu" ve Charlotte Bronte'nin "Jane Eyre" adlı eserlerinde "Kadının Varoluş Mücadelesi" konusu feminist ve psikanalitik eleştiri yöntemleri ile incelenecektir. Kadının varoluş mücadelesi konusu, okura feminist edebiyat alanını ve kadının eril hayattaki varoluş sürecini yansıtması açısından feminist eleştiri yöntemi ile ve kadının bu süreçteki yaşamış olduğu zorlukların onun psikolojisinde de yer edinmesi yönüyle de psikanalitik yöntem kullanılacaktır. Bu yöntemler ile kadının varoluş mücadelesinde, toplumda, özel hayatında, meslek ve diğer birçok alandaki yaşamında karşılaştığı zorluklar ve bu zorlukların kadının bir birey olarak ruhsal çözümlemesine içsel çatışmalarına olan etkiler ele alınacaktır. Ayrıca incelenen bu eserlerin yazarları hakkında da psikolojik bilgi vermek, bu çalışmayı etkili bir şekilde aktarmak açısından önemlidir. Dolayısıyla çalışmamızda incelenen eserlerin yazarlarının psikolojileri hakkında da bilgi verilecektir. Çalışmada ulaşılmak istenen sonuç ise, kadınların yaşadığı toplumda kendi hakları doğrultusunda varoluş mücadelesi verdikleri gerçeği üzerine farkındalık yaratma, erkek

Esej emitiran u Kozmopolisu, Treći program Hrvatskog radija, 25. 5. 2020. Vidi također dulju verziju objavljenu na engleskom: https://www.academia.edu/39786276/Realism_and_translation_Charlotte_Bront%C3%ABs_Jane_Eyre_for_an_Austro_Hungarian_minority_and_beyond

Race and culture are two important aspects of an individual's life as well as identity. Cultural pluralism can be stated as one of the factors which cause racism, because the presence of multiple cultures leads to a sort of competition between them for supremacy over one another. Different cultures compete for dominance over another, thus leading to the birth of a dominant political culture. In some nations, different cultures co-exist, for example, the term 'melting pot' is generally used to refer to the United States, which denotes the assimilation of people of different races and cultures into one homogenous whole. But with the advent of multiculturism, its proponents rejected the metaphor 'melting pot' in favour of terms such as 'salad bowl' or 'kaleidoscope', which denotes the intermixing and coming together of people of different races and cultures, but each one retaining and maintaining its distinct racial and cultural identity. Multiculturism, according to Encyclopaedia Britannica, is the view or ideology which acknowledges the differences of the minority cultures, races or ethnicities from the dominant political culture. This paper studies the role that race plays in shaping of the fate of literary characters;two novels, Jane Eyre by Charlotte Bronte and Wide Sargasso Sea by Jean Rhys have been taken into account (Rhys's novel is often seen as a prequel to Bronte's novel, as it is written from the viewpoint of Bertha Mason, a character in Bronte's novel, who was so highly discriminated against in the story that she wasn't even given a voice of her own).

This paper covers the very common theme of conflict between power and
passion in both mentioned novels introduced by two pairs who seek
their balance in order to achieve happiness. We are aware that there are
certain differences in the two main relationships presented in the two
novels. Power is central in both novels and a balance of power is needed
in both relationships to reach the love heaven. Jane Eyre and Rochester
reach their balance and a happy ending, whereas in Wuthering Heights
the unapproachable balance leads to destruction of both Cathy and
Heathcliff.The conflicts depicted in these novels lead to happiness and
power is often replaced by love, but the balance is different in each case.
Jane Eyre has a happy ending while Wuthering Heights ends with the
death of Heathcliff. The sisters, apparently, did not share the same reaction
to Byronism. Gender was also an important domain in the Victorian
age and in the novels of Emily and Charlotte Brontё. Their heroes and
heroines kept the conventions and norms of their time but in Jane Eyre
this adherence led to happiness, while in Wuthering Heights it resulted
in destruction. In neither novel marriage is for the sake of status and
wealth. It is described as conducive to love and happiness.
Key Word: power, passion, conflict, Victorian age, gender.

Brontё constructs her heroine, Jane, as somewhat of a social rebel, but one who is nonetheless affected by Victorian social codes.  Through her usage of dialect, Brontё reveals that Jane struggles between her own ideology of social inclusion, or equal potential between people of various classes, and the Victorian ideology that highly values formal education to the point of socially excluding those who do not conform to use Standard English or have a lot of book knowledge.  Jane believes that formal education is necessary for social mobility and attainment.  Brontё's technique is significant because she uses so little dialect to produce so much meaning.

This set of notes examines the apparently peripheral topic of foreign languages inJane Eyre by exploring some of the  major themes of the novel in a new light. These notes also show the practical value of being  able to speak foreign languages as well as the status that this could confer on women in the XIX century.