Jane Austen’s Northanger Abbey is a bildungsroman, a coming of age story that focuses on the psychological development, and maturity of the protagonist Catherine Morland. This essay will analyse the language, and narrative techniques of the set extract, and discuss how this excerpt suggests vicissitude in Catherine’s priorities and relationships. In addition, it will discuss the ‘domestic gothic’ and real life abuse that prevails in ordinary situations. Furthermore, it will argue how Austen’s rhetorical techniques work to encourage reader interest, and to exercise perception, when distinguishing between appearance, and reality. Finally, it will conclude by briefly discussing the significance of the extract within the novel’s wider themes.
Jane Austen’s Northanger Abbey is a Bildungsroman, a coming of age story that focuses on the psychological development, of the protagonist Catherine Morland. This essay will analyse the language, and narrative techniques of the extract, and discuss how this excerpt suggests vicissitude in Catherine’s personal perspectives, and relationships. In addition, it will discuss the ‘domestic gothic’ and abuse ubiquitous in ordinary situations. Furthermore, it will argue how Austen’s rhetorical techniques work to encourage reader interest, and to exercise perception, when distinguishing between appearance, and reality. Finally, it will conclude by briefly discussing the significance of the extract within the novel’s wider themes.
The heroines of Jane Eyre and Fanny Price can be contrasted as the individual persons in relation to the British society. Both novels were written as the works of the different literary movements and thus both authors approached their characters from the different angles. These literary movements – Neoclassicism and Romanticism – represent the contrary attitudes of the society towards an individual. Jane Austen as an authoress of the Neoclassical movement reflects some of its attitudes. According to these views an individual is expected to conform to the established social norms.
Freedom of Spirit in an Ambivalent Society – With Reference to Edith Wharton’s Select Novel K. Kalpana Karthi, Assistant Professor of English, PSG College of Arts & Science, Coimbatore Edith Wharton’s fiction which emerged during the period of Post-World War I is a social analysis, based on Culture, Class and Morality. Her characters reflect the ambivalences prevalent in the environment, sometimes as antimodernists and often as liberal cultural critics. They stand evident, acknowledging that the past was not utopian and the present and future are mired in unpredictable political and social follies. The paper is attempt to study how her female protagonists struggle in this unstable and oscillating society which evade ethics and responsibility to embrace the easy solutions of scapegoating, evasion, cynicism and denial of truths and facts. Her novels depict how women fit themselves into this society either by rejecting or by accepting the changes to construct their emancipated New Selves.
This article reviews the concept of pilgrimage in children’s literature, and how John Bunyan Pilgrims progress is used throughout these texts. “Women writers were intent on shaping contemporary discourse through narrative. Fictional narratives often depict the protagonist 's ethical journey as a pilgrimage.” (Pg.134) According to this argument, children literature functions as mirror from which American culture and ideas is reflected. Anne Lundin is Professor of Library and Information Studies at the University of Wisconsin-Madison. She is also a member of the American Library Association, Children 's Literature Association.
How would it feel to forego all sense of conformity within a society to have relationship with a loved one? Has it ever come to mind that one could project their feelings towards another as disgust, only later to reveal them as love? In Jane Austen’s novel, Pride and Prejudice, she portrays Elizabeth Bennet and Mr. Darcy to experience this exact struggle; Elizabeth and Mr. Darcy both find a way to challenge specific reputations they are expected to uphold among their social classes, so they can ultimately be with each other. Throughout the novel Pride and Prejudice, Jane Austen draws a connection among the frequent aspects of prejudice, social order, and reputation to enhance the progressive love between Elizabeth Bennet and Mr. Darcy. Due to both Elizabeth Bennet and Mr. Darcy’s prejudicial personalities, the two are eventually able to notice the intense love they had for each other.
Jane Austen’s Northanger Abbey is a Bildungsroman, a coming of age story that focuses on the psychological development of the protagonist, Catherine Morland. This essay will analyse the language and narrative techniques of the extract, and discuss how it suggests vicissitudes in Catherine’s personal perspectives and relationships. In addition, it will discuss the ‘domestic gothic’ and abuse ubiquitous in ordinary situations. Furthermore, it will argue how Austen’s rhetorical techniques work to encourage reader interest as well as exercising perception when distinguishing between appearance and reality. Finally, it will conclude by briefly discussing the significance of the extract within the novel’s wider themes.
336). With the many similarities and allusions du Maurier makes to Brontë’s work, Rebecca lends itself particularly well for this feminist reading as well. As was explored above, the readers’ only way to gather more information about Rebecca, her deviant sexual proclivities, and madness is through the unreliable narration from residents of Manderley as well as the novel’s editorial protagonist. As was suggested by both Williams and Pons, the narrator uses her editorial position to further distance herself from the madness of her predecessor by highlighting her own naiveté and upholding the norms of patriarchy and passive femininity. To keep her position as both Maxim’s living wife and the narrator to the tale, the unnamed heroine had to adhere to these norms to avoid being marginalized in the way that Rebecca seemingly is.
Projection of Feminist Elements in the Fictional World of Jane Austen and George Eliot: A Note Dr. S. Chelliah Professor , Head & Chairperson School of English & Foreign Languages Madurai Kamaraj University, Madurai – 21. (TN-IND) ______________________________________________________________ An Abstract This article is nothing but a critical evaluation for renowned writers like Jane Austen and George Eliot and the Feminist elements highlighted in their works with their feminine and defiant tone of expression, they left their indelible imprint on the annals of English fiction. In the light of feminist critical theory, it can be the proved that both the writers explored the unexplored sense of agony and complex solitude of women character. This article also throws light on the characters of both the writers, who have developed their self – identity with an optimistic prospect. The term ’Feminism’ is defined by the Webster’s Dictionary as the principle which states that women should have political rights equal to those of men and the movement to win such rights for women and feminists were affected by contemporary scientific ideas about women, by the social conventions governing women’s behaviour, by moralistic and religious advice to women and the ways in which women were imagined in fiction Simone de Beauvoir remarks: “The situation of women is that she – a free and autonomous being like all creatures – neverthless finds her living in a world where men compel
The re-appearance of Female Gothic also coincides with the rise of postmodern theory that aims to legitimize the re-development of the long trivialized genres of the past. Accordingly, Fred Botting says: “Marginalized genres have begun to prevail over their canonized counterparts” (qtd. in Tavassoli and Ghasemi 110). In fact, since its inception in the eighteenth-century, the gothic genre has been maligned as a ‘marginalized’ literary form in relation to nineteenth-century realistic literature narratives of Daniel Defoe and Samuel Richardson, which mark the outset of the century. Juliann Fleenor, in The Female Gothic, further elucidates this: “The Gothic has generally had a negative critical reception.