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An Analysis of Wuthering Heights from the Gothic Traditional Perspective
Emily Bronte, the 19th-century British writer, occupies an important and unique position in British literary history and though she only had one novel-Wuthering Heights, she was still one of the most influential writers in the world literature. The paper will analyze the gothic style in Wuthering Heights mainly from four aspects, including the theme selection, characterization, depiction of the environment and the use of supernatural factors.
Gothic Structures of Being in Emily Bronte’s ‘Wuthering Heights’
Dialogos, 2022
The current study attempts to uncover Gothic structures of being in Emily Bronte's novel 'Wuthering Heights'. The Gothic could be seen as illustrating a comeback to the mystery of the Middle Ages. We see mystery as a search for the unknown, unconscious part of the being. According to Jung, our past is always underlying the structure of our being, lurking beneath the rational, conscious mind. It is a pivotal part of our spirit, as, '…Without these inferior levels, our spirit is left hanging in the air' (Jung, 1997: 41). Jung states that there is a sort of primitive fear regarding the possible contents of the unconscious, a secret terror towards the 'perils of the soul' (Jung, 1997: 20). It is these 'perils' we are trying to shed light on in the current paper, in the hope of presenting a reading of the novel that will enrich its meaning and clarify some of the mythical patterns which form the basis of the story.
Wuthering Heights as a Gothic Novel
Wuthering Heights "is an English genre of fiction popular in the 18th century. It is characterized by an atmosphere of mystery and horror and having a pseudo-medieval setting. It is a multi-generational Gothic and romantic novel. It revolves around the doomed love between Heathcliff and Catherine .Wuthering Heights sheds the lights with Lockwood, an owner of Heathcliff's, coming the home of his landlord Mr. Earnshaw, a Yorkshire Farmer and owner of Wuthering Heights, brings home an orphan from Liverpool. The baby is called Heathcliff and lives with the Earnshaw children, Hindley and Catherine.It is a movement that refers to ruin, decay, love, romance death, terror, and chaos, and unusual irrationality and compassion over rationality and sense.
JETIR International Journal, 2024
In English literature, there is a fairly broad classification of the gothic genre. The study delves into the consequences of Julia Kristeva's 'Power of Horror' theory in order to gain a deeper comprehension of the Gothic genre. The present research compares the themes of historical and contemporary Gothic literature, showing how gothic genres thematically vary with time. The initial gothic novels were mostly concerned with exaggerated thriller and horror themes, such as monsters, demons, and supernatural evils. The emphasis of the current gothic novels is primarily based on social issues of exploitation, subjection, and suffering for weaker groups of people. The contemporary gothic novels began to shape from real criminal cases or actual life events, compared to the superstitious and convictions in traditional ones. The criticism of local social views, race, politics, gender, and religion that characterizes contemporary Gothic literature is combined with aspects of the paranormal, magic realism, and satire. The writers and artists of Gothic literature altered the Gothic subgenre by including certain characteristics like mystery, darkness, and obscured areas. The exaggerated romances of the traditional gothic novels were given less emphasis in their contemporaneity while seeking to examine psychological insights. Gothic writers began to develop their emotional impacts through the gothic aspects, which allowed gothic literature to offer a fitting atmosphere that corresponded within the genre. This article attempts to present an overview of Emily Bronte's Wuthering Heights (1847) from past gothic novels and Toni Morrison's Beloved (1987) as contemporary classic gothic novels, contrasting thematically how they developed.
Emily Bronte's Wuthering Heights: An Unconventional Victorian Masterpiece
2014
Wuthering Heights by Emily Bronte (1818-1848) is a novel which is windswept and weatherbeaten both in the world outside and in the world inside of human emotion. The total book leaves a deep impression of an intense but dreary romantic view of life and of an unusual mystery and conflict. None of the Victorian novelists has been able to create these traits. Some of Emily's characters appear like creatures of their autonomous, unreal world. This paper shows that the novel is an expression of Emily's rare sense of imagination that is absent in many other contemporary novelists. It also shows that Emily paints an unusual love before which the demonic passion melts. So, this novel stands far apart from other Victorian masterpieces. Not only this, Wuthering Heights does not portray Victorian realism which is the focal point of most of the Victorian great novels.
Gothic Experiences in Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall
This paper thoroughly analyses the theme of the gothic imagination in the works of Charlotte, Emily, and Anne Bronte, specifically in Jane Eyre, Wuthering Heights, and The Tenant of Wildfell Hall. The novels portray romantic and sublime scenes with elements of terror, horror, and the uncanny, which intensify the expression of the gothic feelings experienced by the characters. The study also explores women's suffering in the context of gothic thought. Various factors inherent to the gothic genre contribute to the 19thcentury readers' fascination with the supernatural and thrilling emotions. This work explores gothic experiences depicted in novels using gothic tropes and critical approaches such as Marxism, feminism, or psychoanalysis. The use of the framing narrative technique remains a distinctive aspect of this study which worthily includes The Tenant of Wildfell Hall, a book that many critics have wrongly overlooked when interpreting the Bronte sisters' novels in the light of the gothic trend. The analysis considers the common gothic features that characterize the novels, rather than treating them separately. This reinforces and enhances the scope of the analysis of the Gothic vision of these Victorian novelists.
The Romantic and Victorian in a state of Violent Clashes or Confrontation The Female Gothic and the Monstrous, 2024
Wuthering Heights expanded the Female Gothic within the New Gothic genre. Thus from the Gothic genre, the female gothic genre emerges. The main contention of my studies of Wuthering Heights, by Emily Brontë, is the violent confrontation or clash between two extremely powerful forces: Catherine dies because she cannot choose between the Romantic forces clashing against the Victorian forces. She feels pulled by the Romantic characteristics of Wuthering House such as the satanic, violent and passionate Heathcliff, the forces of nature, the rocks beneath that never change, the medieval manor in decadence, the irrational love for a gypsy or a stranger from another land, the presence of the supernatural, the union with Heathcliff in nature and Heathcliff as part of nature. In the case of the Lintons, she is mesmerized by the Victorian home, in a period in which the industrial revolution worked on comfort of houses and the activities. In a time where the aristocracy enjoyed nothing but pleasure such as playing the piano, social gatherings, the development of the concept of the gentleman, the art of conversation and being the lady of the land. Thus, Catherine gets pulled by these two forces at work and no matter her choice and her types of love for Linton and Heathcliff, her choice leads her to death. Each house is located as the loci after death. Wuthering Heights is an analogy of Heaven while Thrushcross Grange is located below, becoming a reference to a paradise lost or the final hell. Only through death, and in the shape of a ghost, she finds the way to go back to her heaven, Wuthering Heights.
Wuthering Heights: A Challenge to the Victorian Universe
Emily Bronte’s Wuthering Heights (1847) is considered one of the most enigmatic novels of the Nineteenth century. Despite its centrality to the canon of Victorian literature and women’s writing in the nineteenth century, it paradoxically embodies both an anti-Victorian universe in its refusal to adhere to the moral and sexual codes of the time as well as upholds some of its major traits, especially with regard to the disappearance of the sexual body while violence keeps on reappearing. Despite this dearth of a moral universe was criticized by its earliest commentators, there was a predominantly patriarchal logic at work which led them to simultaneously grudgingly appreciate the male author, since Bronte was using a male pseudonym, who had, 'at once gone fearlessly into the moors and desolate places for his heroes' and discovered the deeper recesses of the mind.
The Othered Half: Monstrosity, Identity, and Romance in Emily Brontë’s Wuthering Heights
Using various theories of monstrosity, degeneration, and the morphic figure in Gothic studies, this essay explores explicitly the manifestation of Gothic archetypes and tropes in Emily Bronte's Wuthering Heights. The essay further explores figures of the werewolf, the vampire, and the revenant in the general sense, deconstructing the romance of Heathcliff and Cathy, and the interplay of masculinity and femininity, along with a 'natural', atavistic horror, at work in the text.
THE GOTHIC AND SUPERNATURAL METAMORPHOSES OF THE BYRONIC HERO IN WUTHERING HEIGHTS AND JANE EYRE
This paper focuses on the interplay of romantic and Gothic elements in the two most famous novels of Charlotte and Emily Brontё: Jane Eyre and Wuthering Heights. Special attention is paid to the metamorphoses of the Byronic hero in those novels as well as to the presence of supernatural and Gothic elements in them. At the beginning, the paper discusses the Byronic heroes in the two novels Jane Eyre and Wuthering Heights and their characteristic features as Byronic heroes. I likewise identify other types of Byronic heroes in Jane Eyre. The following chapters are concerned with the supernatural and gothic elements in Wuthering Heights and Jane Eyre starting with an introduction of Gothicism, its appearance and development. I further consider the question of whether Wuthering Heights is Gothic or realist. Having in mind the sub types of Gothicism, I place Jane Eyre in the group of new Gothic romances which is confirmed by many critics. Key words: Byronic hero, Gothicism, supernatural, realism, mysticism