4nov 315.18Emily Brontë hits the heights in poll to find greatest love storyThe Readers Guide toEmily Brontë’s “Wuthering Heights”
5nov 315.36NarrativeAnalysisTHE ENGLISH GOTHIC NOVEL: A BRIEF OVERVIEW
6nov 316.17Wuthering Heights straddles literary traditions and genres. It combines elements of the Romantictale of evilpossession, and Romantic developments of the eighteenthcentury Gothic novel, withthe developing Victorian tradition of Domestic fiction in a realist mode. Its use of the ballad andfolk material, romance forms and the fantastic, its emphasis on the passions, its view of childhood,and the representation of the romantic quest for selfhood and of aspiring individualism, all link thenovel with Romanticism. On the other hand, the novel’s movement towards a renewed emphasis oncommunity and duty, and towards an idealisation of the family seem to be more closely related tothe emerging concerns of Victorian fiction. Emily Brontë’s novel mixes these various traditions andgenres in a number of interesting ways, sometimes fusing and sometimes juxtaposing them. I wantto direct attention to the ways in which the novel’s mixing of genres may be related to issues ofgender by examining some of the ways in which specific historic genres may be related to particularhistoric definitions of gender.Pykett, Lyn, Emily Brontë.—﴾Women writers﴿, 1989Impossible to categorise
7nov 1521.32Indeed, much of the distinctiveness of Emily Brontë’s novel may be attributed to the particular ways in which it negotiates different literary traditions, and both combines and explores two major fictional genres the Gothic and Domestic fiction which are usually associated with the female writers of the period, although by no means confined to them.Pykett, Lyn, Emily Brontë.—﴾Women writers﴿, 1989
8nov 316.31In its transition from patriarchal tyranny, masculine competition, domestic imprisonment and the Gothic to the revised Domestic romance of the courtship and companionate marriage of Catherine and Hareton, Wuthering Heights both participates in, and engages with, the feminisation of literature and the wider culture noted by Armstrong and Spencer. However, I would suggest thatEmily Brontë’s novel does not simply reflect or represent this process, but that it also investigates and explores it. The narrative disruptions, the dislocations of chronology, the mixing of genres and Brontë’s historical displacement of her story, published in 1847 but set in a carefully dated period leading up to and just beyond 1801, combine to produce a novel which goes back and traces bothchanging patterns of fiction and the emergence of new forms of the family.Pykett, Lyn, Emily Brontë.—﴾Women writers﴿, 1989
9nov 1519.23However, at the same time as Wuthering Heights traces the emergence of the modern family and its hegemonic fictional form of Domestic realism, other elements of the novel its disrupted chronology, its dislocated narrative structure, and the persistence of the disturbing power of Catherine and Heathcliff work together to keep other versions of domestic life before the reader: the domestic space as prison, the family as site of primitive passions, violence, struggle and control. In its mixing of genres and in the particular genres it chooses to mix Wuthering Heights may,perhaps, be placed with those female fictions which, as Judith Lowder Newton argues ‘both supportand resist ideologies which have tied middleclass women to the relative powerlessness of their lot and which have prevented them from having a true knowledge of their situation’.Pykett, Lyn, Emily Brontë.—﴾Women writers﴿, 1989
24nov 1714.29The Novel as a WholeThere are hundreds of approaches you can take to analyze the novel as a whole; for instance, You can choose to analyze the characters (their differences and reasons for their conflicts); compare the two families and their family traits and then the two generations (see Parallel Characters for example); Heathcliff as a Satanic Hero or symbol of natural energy; the narrators (their functions, and their differences from the protagonists), the use of narrative frames, and the other structural elements such as echoes and repetition; the major motifs of sickness and death (& responses to it); the function of the past as memories and inheritance; books and learning; the Gothic elements of ghost, storm, nightmare, etc.; the nature imagery and the other symbols such as window and mirror, dogs and animals; the interaction between landscape and characters; the theme of Romantic Passion, the ideas of oneness and Liebestod (lovedeath), and how Romantic Passion gets "domesticated"; the theme of revenge (see a student paper as an example): what does Heathcliff want specifically? How is his way of revenge different from Hindleys or Isabellas? the more "Victorian" issues of names (e.g. Catherine IIs full name is Catherine Linton Heathcliff Earnshaw), class, property and inheritance. (See Emily Brontes Wuthering Heights: Romantic or Victorian for example.) In Wuthering Heights scholarship, there are some classical approaches. You can get a brief introduction to some from Wuthering Heights : a summary of three different interpretations. Also, there are some approaches that involve critical theories; for instance, there is one example of psychoanalytic approach here. If you want to take a sociological/Marxist approach, the Wuthering Heights homepage will be very helpful. Also, its interesting to talk about your responses as a reader (reader response approach). See And The Intended Audience Is...(drum role!) for some reflections on the intended audience. From the relevant links section of this page, you can get to read some more papers ( mostly students work but some very good).
26nov 1714.33 black line: son or daughter of; if dotted it means adoption red line: wedding; if double it means second wedding pink line: love blue line: affection green line: hate light yellow area: active heroes violet area: external observers