Analysis Of Jane Austen's Northanger Abbey

This affected his composition and actually, the English Gothic novel began with his 'Gothic story '; 'The Castle of Otranto '. Fundamentally, a Gothic novel is said to incorporate sorcery, riddle, heavenly, uncanny and tension. The interpretation of a Gothic novel contrasts from reader to reader. A Gothic work is to have a unquestionable mixing of remote setting, destroyed strongholds, dilapidated houses, mazes, cells, dull halls, cellar, moonlight, candles, winding stairs, fierce interests, inbreeding, odd fixation, and condemnations. This sort makes sentiments of agony, riddle, dread, tension since their point is to investigate humankind 's dull side and question humanity about what is great and underhandedness, address what part the powerful shows, and experience dread or fear.

Barry Lewis states that “The postmodernist writer distrusts the wholeness and completion associated with traditional stories, and prefers to deal with other ways of structuring narrative.” (Stuart Sim (ed.) 2001: 127). In this essay, I shall attempt to show how the ‘wholeness and completion’ of the conventional Victorian novel is disrupted over the narrative of Fowles’s The French Lieutenant’s Woman by drawing a number of examples out of the numerous that can be traced in the novel. The first distinct element that the reader notices in the narrative is the use of quotation references preceding the beginning of each chapter.

In Willa Cather’s essay she unfolds Sarah Jewett’s ability to express her feeling for writing through her diction to form art. In Sarah Jewett’s novel, her feeling for writing is shown through her main character who came to New England to write her own novel. Jewett shows the struggles she feels when writing her own novels through her character. In one of the passages she writes, “Literary employments are so vexed and uncertainties at best and and it was not until the voice of conscience sounded louder in my ears than the sea on the nearest pebble beach that I said unkind words of withdrawal to Mrs. Todd”(18). Miss.

In Victorian society, women had the choice between two roles: the pure woman or the fallen woman. Bram Stoker plays with these anxieties revolving around female sexuality – he follows the gothic tradition of innocent damsel in distress against looming evil. The narrative structure Stoker imploys to the text through intertextuality reveals multiple point of view distinguishing a duality in Lucy - her true self and 'thing'. In order to cope with Lucy’s worsening condition, the male authoritative figures of the text assign a duality present in Lucy to make sense of her shifting from “pure woman” to “fallen woman”. Stoker exhibits in the structure of the multi-faceted narrative how certain characters are unable to cope with the duality present

Woman is to “[direct]” and “[communicate]” (Guillemette). This is derived from the narrator’s constant interruption on the narrative to provide his own commentary and to address the “narratee”, his readers, directly (Guillemette). These functions bring to light the assumptions and prejudices that readers may have towards the text since the narrator adopts a realist Victorian style of language. For example, the narrator intrudes, on the previously discussed train scene with Charles, by claiming that “Fiction usually pretends to conform to reality” (Fowles 409). This narrative intrusion reminds the reader that the narrative is merely an illusion, hence, reinforcing the line between reality and fiction through the text’s self-reflexive and metafictional character.

Continuing to present her depiction as a ruler, Haggard portrays Ayesha has being an imperialist, for she herself asks of Holly: “how thinkest thou that I rule this people… It is by terror” (Haggard 161). Critic Julia Reid in her essay on “‘She-who-must-be-obeyed’: Anthropology and Matriarchy in H. Rider Haggard’s She,” affirms that the “narrative’s depiction of the ‘imperial She’ undoes conventional assumptions’ about gender and power, subverting nineteenth-century understandings of women as the passive objects of colonization” (367). Reid hits upon the duality of Ayesha by speaking of the ‘imperial She’ whose veiled form runs her empire through terror and witchcraft.

In Perils of the Night: A Feminist Study, Eugenia DeLamotte contends that “[g]othic terror has its primary source in an anxiety about boundaries,” particularly “the boundaries of the self” (12-13). Nineteenth-century gothic writers become obsessed by the uncanny fear of boundaries crossing that arises anxieties of “what distinguishes “me” from “the not-me”” (23). Nineteenth-century fin-de-siècle Female Gothic features the construction of pure national identity with reference to the relationship between the metropolitan center and the colonial periphery. Female monsters can also be a projection of the Victorian fear of the cultural Other that imperils the purity of the British blood through miscegenation. Judith Halberstam further examines the

For me, reading a novel is simply not enough. By reading F. Scott Fitzgerald 's The Great Gatsby, I was struck by the harsh contrast between effulgent glamour, and the scandalous underbelly of the society in which the novel was set. By studying the novel, I was able to understand how this

Through this novel the author shows how a love for a woman can led you toward everything you despise? The purpose of this paper will be critical analysis, so I will be focused to analyze this novel in general, its relevant information, the plot of the novel, the analysis of the major characters, main themes, also the analyze of internal and external conflicts, as well the motifs and symbols. Except the book The Great Gatsby written by F. Scott Fitzgerald, which I have

Actually, it is a novel of rebellion, of self and society, and changing gender expectations. But it also engages into trouble investigations of the psyche and interpretations of dreams. The methodology followed in this paper is going to benefit from various sources like books, articles, and journals. Psychoanalytic Theory will be applied in this paper.

In Northanger Abbey, Jane Austen describes Catherine Moreland, an ordinary girl who becomes an unexpected heroine. Catherine Moreland led a simple life with her plain and pleasant family, and when looking at her childhood alone, she was certainly not destined for greatness, as most heroes are attributed to be. Austen details Catherine’s childhood and utilizes literary techniques to introduce and develop Catherine Moreland’s character. Throughout the passage, Austen uses indirect characterization and direct characterization combined with point of view to illustrate Catherine’s seemingly plain and simple personality. Austen begins with a description of Catherine Moreland’s home life and family, and through these descriptions, Catherine’s character is indirectly characterized.