...books; you are a dependent, mamma says; you have no money; your father left you none; you out to beg, and not to live here with gentlemen’s children like us..’ Jane endures physical cruelty when John flung the book at Jane, striking her on the head. Through the red room we are able to see the symbolism of Jane’s entrapment, isolation and desire to break free. There is also an element of foreshadowing and imagery emphasises on how isolated Jane is from the rest of her peers “dark and haunted chamber” Even at Lowood this is a recurring theme of the unjust and sufferable nature of her childhood. The endurance from the Red Room is a symbol of her isolation from compassion during her childhood. Through the repeated use of this symbol we see how Jane is imprisoned by her own treatment. Following Jane’s escape from the Red Room we see that she when she is “then happy” with Edward the door on the Red Room almost closes but never fully, because her isolation never truly perishes. The plot of Jane Eyre follows the form of a Bildungsroman, which is a novel that tells the story of a child’s maturation and focuses on the emotions and experiences that accompany and incite his or her growth to adulthood. In Jane Eyre, there are five...
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...Breaking Into Cars—Stephen I had never broken into a car before. We were in Laredo, having just finished our first day at a Habitat for Humanity work site. The Hotchkiss volunteers had already left, off to enjoy some Texas BBQ, leaving me behind with the college kids to clean up. Not until we were stranded did we realize we were locked out of the van. Someone picked a coat hanger out of the dumpster, handed it to me, and took a few steps back. “Can you do that thing with a coat hanger to unlock it?” “Why me?” I thought. More out of amusement than optimism, I gave it a try. I slid the hanger into the window’s seal like I’d seen on crime shows, and spent a few minutes jiggling the apparatus around the inside of the frame. Suddenly, two things simultaneously clicked. One was the lock on the door. (I actually succeeded in springing it.) The other was the realization that I’d been in this type of situation before. In fact, I’d been born into this type of situation. My upbringing has numbed me to unpredictability and chaos. With a family of seven, my home was loud, messy, and spottily supervised. My siblings arguing, the dog barking, the phone ringing—all meant my house was functioning normally. My Dad, a retired Navy pilot, was away half the time. When he was home, he had a parenting style something like a drill sergeant. At the age of nine, I learned how to clear burning oil from the surface of water. My Dad considered this a critical life skill—you know, in case my aircraft...
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...Jane Eyre by Charlotte Brontë An Electronic Classics Series Publication Jane Eyre by Charlotte Brontë is a publication of the Pennsylvania State University. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. Jane Eyre by Charlotte Brontë, the Pennsylvania State University, Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18202-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2003 - 2012 The Pennsylvania State University is an equal opportunity university. Charlotte Brontë Jane Eyre by Charlotte Brontë PREFA PREFACE A PREFACE TO THE FIRST EDITION of Jane Eyre being unnecessary, I gave none: this second edition demands a few words both of acknowledgment and miscellaneous remark. My thanks are due in three quarters. To the Public, for the indulgent ear it has inclined to a plain tale with few pretensions. To the Press, for the fair field its honest suffrage...
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...Patriarchal Oppression and Cultural Discrimination in Jane Eyre and Wide Sargasso Sea “In order to be irreplaceable one must always be different” (Coco Chanel) “We may have all come in different ships but we’re in the same boat now” (Martin Luther King, Jr.) “Share our similarities, celebrate our differences” (Morgan Scott Peck) These quotations, which were uttered in the 20th century, have in common that to be different is regarded not only as tolerable but also as something that should be pursued. Also, they reflect the process of increasing tolerance towards females and foreigners, which in many countries has taken place during the end of the 20th and beginning of the 21st century, with the result that, today, these two groups are widely, although by far not entirely, regarded as equal. However, only two centuries ago, people who were different or ‘other’ were considered subordinate or even frightening, and in the 19th century, this was true for both females and people from the orient or colonized people (Barry 134, 193). In Jane Eyre (JE), published in 1847, and in Wide Sargasso Sea (WSS), the prequel or paraquel of JE that was written about one hundred years later and published in 1966, the two female protagonists, Jane, a female orphan, and Antoinette, a female Creole, struggle against displacement and patriarchal oppression and, in Antoinette’s case, also against imperialistic domination. In JE, the reader learns that Jane can handle this pressure whereas Antoinette/Bertha1...
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...http://www.historytoday.com/jerome-de-groot/signposts-historical-fiction These were some of the questions raised at a recent conference at the Institute of Historical Research at which History Today Editor, Paul Lay, hosted a discussion between Hilary Mantel, author of Wolf Hall, and the Tudor historian David Loades. Historians often describe themselves as detectives, seeking out a kind of truth among the conflicting evidence of the past. There is, furthermore, a large and growing subgenre of historical crime fiction. From C.J. Sansom to Philip Pullman, from Orhan Pamuk to Walter Mosley, from Ellis Peters to Boris Akunin, novelists have been keen to use the past as a backdrop for their stories of detection and mystery. The most famous historical detective might be Brother William of Baskerville in Umberto Eco’s peerless The Name of the Rose (Il nome della rosa, 1980). Recently we have seen a flowering of historical crime fiction as the subgenre attains maturity and becomes increasingly popular and innovative. Jason Goodwin, Philip Kerr and Susan Hill were all shortlisted for the prestigious Crime Writers Association Dagger this year (recent historical winners include Arianna Franklin, Jake Arnott and Craig Russell). Clearly the combination of thriller, crime and historical detail is compelling. Anne Perry’s new Inspector Pitt novel, Betrayal at Lisson Grove (out in paperback from Headline this year) is a pacy, twisting thriller. It is 1895 and Pitt is up against a conspiracy...
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...MLA Works Cited Page: Basic Format MLA (Modern Language Association) style is most commonly used to write papers and cite sources within the liberal arts and humanities. This resource, updated to reflect the MLA Handbook for Writers of Research Papers (7th ed.) and the MLA Style Manual and Guide to Scholarly Publishing (3rd ed.), offers examples for the general format of MLA research papers, in-text citations, endnotes/footnotes, and the Works Cited page. According to MLA style, you must have a Works Cited page at the end of your research paper. All entries in the Works Cited page must correspond to the works cited in your main text. Basic Rules • Begin your Works Cited page on a separate page at the end of your research paper. It should have the same one-inch margins and last name, page number header as the rest of your paper. • Label the page Works Cited (do not italicize the words Works Cited or put them in quotation marks) and center the words Works Cited at the top of the page. • Double space all citations, but do not skip spaces between entries. • Indent the second and subsequent lines of citations five spaces so that you create a hanging indent. • List page numbers of sources efficiently, when needed. If you refer to a journal article that appeared on pages 225 through 250, list the page numbers on your Works Cited page as 225-50. Additional Basic Rules New to MLA 2009 • For every entry, you must determine...
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...A ROOM OF ONES OWN [* This essay is based upon two papers read to the Arts Society at Newnharn and the Odtaa at Girton in October 1928. The papers were too long to be read in full, and have since been altered and expanded.] ONE But, you may say, we asked you to speak about women and fiction--what, has that got to do with a room of one's own? I will try to explain. When you asked me to speak about women and fiction I sat down on the banks of a river and began to wonder what the words meant. They might mean simply a few remarks about Fanny Burney; a few more about Jane Austen; a tribute to the Brontës and a sketch of Haworth Parsonage under snow; some witticisms if possible about Miss Mitford; a respectful allusion to George Eliot; a reference to Mrs Gaskell and one would have done. But at second sight the words seemed not so simple. The title women and fiction might mean, and you may have meant it to mean, women and what they are like, or it might mean women and the fiction that they write; or it might mean women and the fiction that is written about them, or it might mean that somehow all three are inextricably mixed together and you want me to consider them in that light. But when I began to consider the subject in this last way, which seemed the most interesting, I soon saw that it had one fatal drawback. I should never be able to come to a conclusion. I should never be able to fulfil what is, I understand, the first duty of a lecturer to hand you after an hour's discourse a...
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...Brontë's only novel. Written between October 1845 and June 1846,[1] Wuthering Heights was published in 1847 under the pseudonym "Ellis Bell"; Brontë died the following year, aged 30. Wuthering Heights and Anne Brontë's Agnes Grey were accepted by publisher Thomas Newby before the success of their sister Charlotte's novel, Jane Eyre. After Emily's death, Charlotte edited the manuscript of Wuthering Heights, and arranged for the edited version to be published as a posthumous second edition in 1850.[2] Although Wuthering Heights is now widely regarded as a classic of English literature, contemporary reviews for the novel were deeply polarised; it was considered controversial because its depiction of mental and physical cruelty was unusually stark, and it challenged strict Victorian ideals of the day, including religious hypocrisy, morality, social classes and gender inequality.[3][4] The English poet and painter Dante Gabriel Rossetti referred to it as "A fiend of a book – an incredible monster ... The action is laid in hell, – only it seems places and people have English names there."[5] In the second half of the 19th century, Charlotte Brontë's Jane Eyre was considered the best of the Brontë sisters' works, but following later re-evaluation, critics began to argue that Wuthering Heights was superior.[6] The book has inspired adaptations, including film, radio and television dramatisations, a musical by Bernard J. Taylor, a ballet, operas (by Bernard Herrmann, Carlisle Floyd, and...
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...UNIT ONE THE GIFT OF THE MAGI By O. Henry I. Introduction O. Henry, whose real name was William Sydney Porter (1867 – 1910), is famous chiefly for his short stories. These stories are usually set amid the poorer working – class life of the cities, the characters being ordinary simple people with their daily living to earn, a life which O.Henry knew well. But the stories are not mere realistic sketches. O. Henry had both the craftsmanship of a writer and the compassion of a man. As a writer he constructs a clever plot with an unforeseen and an unexpected climax suddenly released so that the reader is kept guessing till the last moment what the outcome is to be. As a man he saw the drab surrounding and narrow circumstances which he described, but he lit them with sympathy and humour. Though in most of his stories humour seems to be predominant, yet the sympathy is always there, so the humour is warmed and enriched by its humanity. The story that follows, however, is an example of the reverse process. There are more tears in it than laughter. Yet laughter is implied and one might say that because of it the tears are touched with a more tender compassion. II. Text One dollar and eighty – seven cents. That was all. And sixty cents of it was in pennies. Pennies saved one and two and a time by bulldozing the grocer and the vegetable man and the butcher until one’s cheeks burned with the silent imputation of parsimony that such close dealing implied. Three times Della counted it. One...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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...A TEACHER’S GUIDE TO THE SIGNET CLASSICS EDITION OF G EORG E B E R N A R D S HAW ’S PYGMALION By LAURA REIS MAYER BUNCOMBE COUNTY SCHOOLS, ASHEVILLE, NORTH CAROLINA S E R I E S E D I T O R S JEANNE M. MCGLINN, Ph.D., University of North Carolina at Asheville and W. GEIGER ELLIS, Ed.D., University of Georgia, Professor Emeritus 2 A Teacher’s Guide to the Signet Classics Edition of George Bernard Shaw’s Pygmalion TABLE OF CONTENTS An Introduction .......................................................................................3 Synopsis of the Play .................................................................................3 Prereading Activities .................................................................................6 During Reading Activities ......................................................................13 After Reading Activities .........................................................................21 About the Author of this Guide .............................................................29 About the Editors of this Guide .............................................................29 Full List of Free Teacher's Guides...........................................................30 Click on a Classic ..................................................................................31 Copyright © 2007 by Penguin Group (USA) For additional teacher’s manuals, catalogs, or descriptive brochures, please email academic@penguin.com or write...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...excluded from the society. In this case, the text would then be considered an exposition of the character’s experience from their position in society rather than the author’s attempt of trying to integrate their character into society through their work. Furthermore, the author themselves may be considered an Outsider through their own status in society; they command their readers to be Outsiders themselves within the novel. As well as to read and observe the narrative in order to emulate the same feeling within themselves, within the reader or to have a specific impact on the issues surrounding humanity at the time. The contrast in the ways in which the portrayal of an Outsider can develop arose within the study of Charlotte Bronte’s Jane Eyre and Jean Rhys’ Wide Sargasso Sea as the novels highlighted the different facets of characters that are regarded to as outsiders. Throughout my exploration of this subject, I was exposed to a number of different works in literature in a variety of genres and forms, as well as looking at the critical...
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...SECOND DRAFT Contents Preamble Chapter 1 1.1 1.2 1.3 1.4 1.5 Background Rationale Aims Interface with the Junior Secondary Curriculum Principles of Curriculum Design Chapter 2 2.1 2.2 2.3 2.4 2.5 1 Introduction Literature in English Curriculum Framework Strands and Learning Targets Learning Objectives Generic Skills Values and Attitudes Broad Learning Outcomes Chapter 3 5 7 9 10 11 11 13 Curriculum Planning 3.1 Planning a Balanced and Flexible Curriculum 3.2 Central Curriculum and School-based Curriculum Development 3.2.1 Integrating Classroom Learning and Independent Learning 3.2.2 Maximizing Learning Opportunities 3.2.3 Cross-curricular Planning 3.2.4 Building a Learning Community through Flexible Class Organization 3.3 Collaboration within the English Language Education KLA and Cross KLA Links 3.4 Time Allocation 3.5 Progression of Studies 3.6 Managing the Curriculum – Role of Curriculum Leaders Chapter 4 1 2 2 3 3 13 14 14 15 15 16 16 17 17 18 21 Learning and Teaching 4.1 Approaches to Learning and Teaching 4.1.1 Introductory Comments 4.1.2 Prose Fiction 4.1.3 Poetry i 21 21 23 32 SECOND DRAFT 4.1.4 Drama 4.1.5 Films 4.1.6 Literary Appreciation 4.1.7 Schools of Literary Criticism 4.2 Catering for Learner Diversity 4.3 Meaningful Homework 4.4 Role of Learners Chapter 5 41 45 52 69 71 72 73 74 Assessment 5.1 Guiding Principles 5.2 Internal Assessment 5.2.1 Formative Assessment 5.2.2 Summative Assessment 5.3 Public Assessment 5.3.1 Standards-referenced...
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...BS (4 Years) for Affiliated Colleges Course Contents for Subjects with Code: ENG This document only contains details of courses having code ENG. Center for Undergraduate Studies, University of the Punjab 1 BS (4 Years) for Affiliated Colleges Code ENG‐101 Year 1 Subject Title Introduction to Literature‐I (History of English Literature‐I) Discipline English Cr. Hrs 3 Semester I Aims: One of the objectives of this course is to inform the readers about the influence of historical and socio-cultural events upon the production of literature. Although the scope of the course is quite expansive, the readers shall focus on early 14th to 19th century Romantic Movement. Histories of literature written by some British literary historians will be consulted to form some socio-cultural and political cross connections. In its broader spectrum, the course covers a reference to the multiple factors from economic theories to religious, philosophical and metaphysical debates that overlap in these literary works of diverse nature and time periods under multiple contexts. The reading of literature in this way i.e. within the sociocultural context will help the readers become aware of the fact that literary works are basically a referential product of the practice that goes back to continuous interdisciplinary interaction. Contents: • Medieval Period • Renaissance and Reformation • Elizabethan Period • Milton, the Metaphysical...
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