She used her novels to comment on the society, values in life and importance of education, as well as to point out the irony of life. Although her works are most noticeable because of the critique of the times, she is often remembered for the romances she depicts in her novels. Her usual protagonists are young women, only entering adult world, trying to find their position in the society. Such is the case in Northanger Abbey, where Catherine, turning 17, starts to experience the real life and troubles of an unmarried woman among the landed
Female sexuality and its representation has been the primary concern of this research while applying each of the approaches to proves that du Maurier’s work builds on Jane Eyre but the portrayal it grants to feminine sexuality and identity renders her work a narrative of modernity on its own. Several critics have analyzed the intertexuality between the two novels. However, this study builds what has been said before to dwell on the not yet exhausted topic of feminine sexuality. Nungesser is one of the critics who have presented a comparison between the novels to conclude that both works bring an air of freshness and novelty to the traditional female Gothic plot, the novel of development and the fairy-tale narratives. Nonetheless, Nungesser overlooks to precise subject of female sexuality which happens to be submerged in Jane Eyre’s concern with presenting a financial independent heroine whom in spite of what she suffered prefers to spend the rest of her days as a mere angel of the house.
Silber. Its main points focused on the antagonist mother-daughter dynamics as they appear in fairy tales. I was particularly interested to discover the role of the wicked stepmother in the heroine’s path toward “femininity” (Fisher and Silber 123). In this source, the authors discus that in the absence of the heroine’s true and righteous mother, her pathological stepmother is “the only available, living ‘model’ of feminine maturity” (124). And since the stepmother was put under severe social criticism, the heroine’s ‘reaction’ was to associate herself with “the passive, feminine identity of the first queen, avoiding any identification with the active principle embodied in the characterization of the bad mother/witch” (124).
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.
Katherine Mansfield wrote about an aged woman, Miss Brill who is isolated from the real world. Miss Brill attempts to build a fantasy life to protect herself from the harsh facts of her existence. The short story “Miss Brill” is very descriptive and has decent examples of imagery to help readers better understand and see what is happening. Robert Peltier mentioned that “Miss Brill” has a rise and fall in each paragraph, so in his overview of “Miss Brill”, he also “chose the rise and fall of every paragraph to fit her, and fit her on that day at that moment” (Peltier), to help readers picture what is happening. The character Miss Brill does not look past what is present, which causes her to be narrow minded and not understand why things happen the way they do.
This article intends to study Carter’s attempt in revising the gender role and applying a different approach to the Gothic genre in The Bloody Chamber. Though a retelling of the fairy tales, The Bloody Chamber is branded as a Female Gothic text because of the dark motives and Gothic elements present in the book in association with the female sexuality. Like a conventional Gothic story, the setting of The Bloody Chamber is in a remote castle which symbolizes doom from the beginning of its description in the story. The castle is described
Have you ever had difficulty reconciling the way you imagined something to be in your head with the reality of it? As with most people, there are several points throughout Jane Austen’s Northanger Abbey where the main character, Catherine Moreland lets her imagination run wild. This often leads to disappointment, or sometimes relief, upon coming face-to-face with the reality of the situation. It can be seen at the start of the book in regards to Bath, then again with Northanger Abbey, and finally with General Tilney. Upon facing this final reality Catherine makes a maturing promise to stop letting her imagination get the better of her, thus transforming her further into an adult.
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.
The construction of Austen’s function as an author within her texts can be seen by her development of her personal ideologies through the development of her characters. Northanger Abbey is centred around Catherine Morland, a young female protagonist who is trying to establish herself within society. Within each of Austen’s novel, “we are introduced to a heroine in some way or ways immature, one who has not yet become the person she is inherently capable of becoming, and who has, judging from the circumstances in which she is found, a good chance of failing ever to develop into a person genuinely adult,” (Mathison, 139). At the beginning of Northanger Abbey, we are introduced to Catherine Morland who from infancy no one Austen states, “would have supposed her to be born a heroine,” (5). When Catherine hits her teenage years she began her training to become a respectable young woman.
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 excerpt, 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 excerpt within the novel’s wider themes.