In the novel Jane Eyre, by Charlotte Brontë, the reader is presented with depictions of many aspects of Brontë’s own life. The novel is a classic example of a Bildungsroman, written in the Victorian period, and many characteristics are focal in the text, one of which was of course gender inequality, as men seemed to rule the society in which Jane Eyre lived in. A woman couldn’t be successful in this period without a powerful man. Jane Eyre however, sought to prove everyone wrong as she attempted to abolish the rules of this Victorian society. “The novel suggests possibilities for gender subversion within a seemingly normative romance narrative” (Godfrey, 2005).
Examine the view that in the literature of love, male characters are presented as coming to the rescue of female characters in their time of need. In the literature of love, particularly within the context of the Gothic and Victorian novel, thematic representation of the damsel in distress is frequently explored. Situating female characters in an inherent position of vulnerability, the stylistic usage of this classic archetype traditionally reflects hegemonically patriarchal ideas of the author’s own cultural and social context. Repressing female autonomy, European tales such as Rapunzel and Snow White situate the embodiment of the eternal feminine in a critical predicament, in desperate need of a chivalrous prince to come to her aid and save her and subsequently marry her. This notion is continually explored by Charlotte Bronte in Jane Eyre through the inherent depiction of Mr. Rochester as an intellectual and emotional outlet for Jane.
The focus is on the elements of gothic and how their abundance in this work successfully enables the author to criticize all aspects of the Victorian era and depart form the established Victorian values. Structurally, in the paper, the novel Wuthering Heights will be presented as a gothic novel in the Victorian era and explored how it is an example of the Female Gothic genre. Various elements of gothic throughout the novel, mainly through themes of duality, oppositeness of heaven and hell, dreams and reality and occurrences of ghosts will be explored and
The gothic has a close affinity to the literature of the fantastic which is about the not-yet or what is to be achieved in the future. It is defined as a ‘fantastic escapist genre’ as it enables female writers “escape from powerlessness, from meaninglessness, from lack of identity except through the performance of unstable and unsatisfying roles, and from the covert perception of the hollowness of the promises of social mythology about women’s lives,” to use the words of Kay J. Mussell (qtd. in Vokey 5). Yet, the gothic’s engagement with the fantastic raises the question about its potential to criticize the ideological practices of the dominant discourse. Glennis Byron and David Punter define the gothic genre as “an escapist form, in which
Both texts ‘The Handmaids Tale’ and ‘The Bloody Chamber’ were written during the second wave of feminism which centralised the issue of ownership over women’s sexuality and reproductive rights and as a result, the oral contraceptive was created. As powerfully stated by Ariel Levy, ‘If we are really going to be sexually liberated, we need to make room for a range of options as wide as the variety of human desire.’ Margaret Atwood and Angela Carter both celebrate female sexuality as empowering to challenge the constraints of social pressure on attitudes of women. Both writers aim to expose the impact of patriarchy as it represses female sexual desire and aim to control it thus challenge contemporary perspectives of women by revealing the oppression
While many differences exist between the two texts, they have several aspects in common. Jane Eyre is presented as a fiction, encompassing the romance and gothic genre. Jacob’s text, on the other hand, is a narrative non-fiction and an autobiography of Harriet Jacobs herself as Linda Brent. At first glance, everything opposes Harriet Jacob’s Incidents in the life of a slave girl and Brontë’s Jane Eyre. However, if we dig a little further, we see that the two texts share some similarities.
This thesis took dividing of Austen’s heroines into the two categories of wrong and right heroines into a consideration and focused on the category of the wrong (fallible) heroines Emma Woodhouse from Emma and Elizabeth Bennet from Pride and Prejudice. Its aim was to analyse the actions of these fallible heroines with the main focus on the development of their characters and feelings. The first part of the thesis introduced Jane Austen as a significant author in literary history who contributed many novelties to literature. Jane Austen proved her great writing skills mainly in the way she described the development of her heroines’ feelings. Emma and Elizabeth are special among other heroines as Emma is able to examine her own state of thinking of being in love to the realization she is not, and Elizabeth shows her own introspection in the process of thinking and re-thinking.
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
The social expectations, rights, class, and value could not be more different when it came to man versus woman. Throughout the Renaissance period these roles of each gender can often be identified in literary work however at times the characters tend to sway between each role. This sway in the role can be seen in Shakespeare 's As You Like It. The idea of men and women can be identified easily in the Renaissance period but Rosalind possess many traits that are generally associated with men or masculine characters. Rosalind used her masculinity to manipulate Orlando.
Discuss how gender is represented in at least two of the novels of your course In this essay the novels chosen to discuss the above question are Bram Stoker’s Dracula, Elizabeth Bowen’s The Last September and Joseph Sheridan Le Fanu’s Carmilla. Each of the named novels were written during the Victorian period, a period whereby there was mass political and social turmoil. As well as this, it was a time where the English rejected new ideologies and concepts that may disrupt the fabric of society. As a result of this, the way in which gender is represented conforms to the society that the characters lived in during this era. In this essay one will particularly look at the gender role of women, as one of the main concerns was the place and role of women during the