Women Writers and the Politics of Creativity, pp. In the following essay, Rosenman explicates inconsistencies in Woolf's thought at key points in A Room of One's Own, suggesting that some of the central issues raised by the essay remain disputed. Thus far I have been taking A Room of One's Own at its word, explicating its intentions and presenting it as a coherent, persuasive whole. But the essay does present the reader with certain difficulties.
How useful is knowledge of her biography when interpreting the novel? What are the disadvantages of such an approach? In what ways do wider nineteenth-century debates inform the concerns of the novel? Like many of the names in the novel, including those of the characters, these place-names are symbolic; Gateshead is so-called because it acts as a barrier between Jane and the outer world.
The fact that she spends little over a year here, compared to the eight that she passes at Lowood, and yet devotes so much time to remembering it, emphasizes its pivotal role in her story.
Each home offers Jane both positive and negative experiences, teaching her something new either about society or herself as she encounters a variety of people and viewpoints that she either must embrace or reject.
A pattern is established whereby she comes into conflict with authority represented by Mrs Reed, Brocklehurst, Rochester and finally St Johndefeats it through her inner strength and then escapes to forge new relationships and experiment with different roles.
Accompanying each departure is a growing expectation about what life has to offer. So her protagonist is both different from the conventional middle-class woman who might read the text, and also from the traditional literary portrayals of such a woman.
This technique, demonstrates how the medium is inextricable from the message in this book. The narrator struggles to negotiate between these, traditionally antagonistic, dualisms, creating a sense of tension and drama in the novel.
For example, Jane summarizes her feelings about school by stating: Rushing to return to Thornfield, Jane says: Despite the great length of many of the sentences in the novel, they are liberally punctuated with dashes and semicolons to produce surprisingly short and staccato units of sense.
No single lexical field dominates the text, and running alongside the language of the legal world is that of the spiritual and divine.
The narrator alludes to biblical characters such as Adam and Eve, and Samson and Delilah, and peppers her tale with biblical quotations. She also alludes to fairy tales and weaves in lines from work by Shakespeare, Milton and Byron. It has even been suggested that this is the first British novel in which an author extensively attempts to combine poetry and prose Peters Figurative language, including the use of metaphor and personification, also permeates the text and adds a poetic air to the novel.
Readers are offered descriptions of domestic hearths, symbolizing home and comfort, but also the inferno that destroys Thornfield, kills Bertha and maims Rochester, representative of the incandescent depths of rage.
In the following extract Jane talks about modifying her storytelling style: Thus restrained and simplified, it sounded more credible: I felt as I went on that Miss Temple fully believed me. So, while they see Jane as composed, the reader knows that this is only half the story. We regard the narrator as passionate and imaginative, independent and indomitable because we are privy to her private obsessions.
Most recently, Sternlieb argues that the narrator keeps secrets from the reader as well as other characters; she certainly does not say where she is writing this account and for whom. These types of questions are raised by first-person narrators because we are forced to think about why they might be telling their story and the extent to which their account is supposedly sincere.
Hitherto I have recorded in detail the events of my insignificant existence. I am bound to invoke memory where I know her response will possess some degree of interest; therefore I now pass a space of eight years almost in silence.
Autobiographical writing, a genre with which Jane Eyre allies itself on its title page, necessarily involves such manoeuvres, as pulling a life together into a coherent narrative involves a process of selection and omission.
It would be a different book if the narrator had, for instance chosen to say more about those eight years at Lowood, perhaps less of a meditation on passion and selffulfilment and more concerned with, say, the education of women or female friendship.
Jane possesses a particularly insistent and persuasive voice that draws us into the story. Towards the end of the novel, she suggests that we have grown to understand her fully and if we have not then the fault is ours: We are privy to the pain Jane experiences when her character is read incorrectly, whether by Mrs Reed or Brocklehurst, and so it is understandable that she wants to control her own story, stress what is important to her, and define her own life.
Their bond can be explained as a version of the Freudian oedipal triangle. Jane desires the much older, symbolic father figure Rochester who she cannot marry until the mother-figure, Bertha, is destroyed.
Rochester is the now-stereotypical tall, dark, rugged stranger but having to be rescued by Jane on their first meeting, turns upside-down our preconceptions about the identity of the rescuer in such narratives. This label is applied to a diverse group of late eighteenth-century and early-nineteenth-century writers who rebelled against order and adherence to rules.materials—passages, images, and patterns— and Teach the How: Critical Lenses and Critical Literacy.
A complex literacy requires powerful and rich tools.
Literary theory is an effective addition to students’ Jane Eyre. or.
As an orphaned child, Jane Eyre is first cruelly abused by her aunt, then cast out and sent to a charity school. Though she meets with further abuse, she receives an education, and eventually takes a job as a governess at the estate of Edward Rochester. Significant Passages - Jane Eyre Significant excerpts from the novel, Jane Eyre, including explanations. “I am no bird; and no net ensnares me: I am a free human being with an independent will.”. In Jane Eyre; chapter one, page 14 Jane sits by a window reading a book. “To the left were clear panes of glass, protecting, but not separating me from the drear November day. At intervals, while turning over the leaves of my book, I studied the aspect of that winter afternoon.”.
The Color Purple. can provide fodder for. As an orphaned child, Jane Eyre is first cruelly abused by her aunt, then cast out and sent to a charity school. Though she meets with further abuse, she receives an education, and eventually takes a job as a governess at the estate of Edward Rochester.
Key passages in Jane Eyre that are pivital points in the protagonists life. Jean Rhys further studies this character, where as Charlotte Bronte approved that it was left explained (Thorpe ). [tags: Wide Sargasso Sea, Jane Eyre] - Jane Eyre by Charlotte Bronte In this essay I am going to analyse the novel ‘Jane Eyre’ by Charlotte Bronte.
Jane is an orphaned child sent to live with her aunt and uncle. Themes and Findings The common theme for this paper is the role of the nurse in community and public health.
The terms community and public health nurse have been used interchangeably for many years. The end of Jane Eyre begins with a beginning: Jane, who calls Rochester "master," and Rochester, who calls Jane "darling," come together once more, and this time for good.
Seeing him for the first time in years, Jane is in "rapture" (), although she initially keeps .