...test of time. Jane Eyre and The Joy Luck Club both connect the maternal figure and use the narrative language to tell the stories of the women in both novels. Charlotte Brontë has created a novel that is referenced often and allows coming of age novels to spring-board off of her beliefs. Amy Tan’s coming of age novel could stand to be the test of time and can be modeled after Jane Eyre. Jane Eyre not only stands the test of time by showing the importance of women in society through Jane, but also first person to iterate the importance that Charlotte Brontë draws the reader into the narrator’s feelings. The Joy Luck Club uses the narrative language which can stand the test of time for the future similarly to Jane Eyre and develop characters through first person. Often times Brontë does not mention Jane’s mother, however, when she does elaborate on a...
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...Film Review: Jane Eyre Review by: L. E. J. Target audience: 16+ Medium: Magazine Starring: Ruth Wilson, Toby Stephens, Lorraine Ashbourne. Run time: 202 min 1 Introduction Inspired by the 1847 novel written by Charlotte Bronte, director Susanna White created this interesting adaptation in the form of a four-episode miniseries simply called “Jane Eyre”, released in 2006, starring actors Ruth Wilson, Toby Stephens and Lorraine Ashbourne. 2 The story The story of Jane Eyre is one of hardship, jealousy and contempt, but also one of love, forgiveness, happiness and much, much more. Throughout the roughly three-and-a-half-hour plot we witness a woman’s journey from being an unwanted child left at an orphanage at an early age, into developing a far more interesting life than most would have expected. Jane Eyre never knew her parents. She spent her early years with her aunt and two cousins, all of whom despised and resented her. Little Jane is an intelligent child, but her stubbornness only adds to her aunts hatred of her. Her aunt is convinced that the child is “possessed by Satan”. Still a child, Jane is kicked out of her Aunts home and has to live in an orphanage for girls. The rule there is strict, and she is quite eager to get out, which she finally does eight years later when she is employed as a governess to the ward of a wealthy man named Edward Fairfax Rochester. It is here in Sir Rochester’s castle most of the plot plays out. For the first time in the...
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...GNST 200 Term Paper Jane Eyre: Charlotte Brontë One of the most brilliant works of Charlotte Bronte, Jane Eyre was published in 1847 during a time when women were considered social embellishments, and nothing more than offspring bearers for that matter. She defied these beliefs by doing something no women did in that time, write. This book was revolutionary, especially since the release of Jane Austen’s works, which had a lot more of a happy ending feel that were published a century before. Charlotte Brontë and her sisters Emily and Anne, wrote novels that were much more dark and mysterious. Jane Eyre became one of the most successful novels of its era. This novel is set in the early decades of the nineteenth century, and depicts themes such as social class, religion, and gender relations. The novel is a hybrid of three genres: a romantic novel, a bildungsroman novel, and a gothic novel. Each of these genres are used in Jane Eyre, and rightfully so. They help to tell the story of Jane Eyre’s life in the most mysterious, sometimes supernatural, and retrospective way. I believe that Charlotte Brontë depicted her life through the novel of Jane Eyre, she did this by using her own experiences in life, namely through some key developments from her life translated into Jane Eyre’s life. Jane Eyre and Charlotte Brontë embody each others lives. This is clear through all the similarities between the novel and real life. Some examples of these are: both Jane and Charlotte being orphans...
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...Brontë’s use of imagery throughout Jane Eyre symbolizes clashing emotions of many different characters. Most of the imagery present in Jane Eyre symbolizes characters’ moral struggles against their conscience ("Jane Eyre." Novels for Students 12). Jane Eyre is full of diverse forms of imagery from nature (Gregor, 115). Different forms of imagery serve important roles in the novel by displaying the wild passion and also self control of the characters (Solomon, 2). In order to completely understand Charlotte Brontë's Jane Eyre, the reader must first start with the symbolic form of the novel (Solomon, 2). Two ubiquitous images that dominate Jane Eyre are fire and water. These two images symbolize the great heat of lust and also the...
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...Violence is a core part of the attraction of the narrative, examine the ways in which the writers explore the theme of violence. Charlotte Bronte and Jean Rhys uses violence in several scenes throughout the novel. The violence in the novel is not fatal to everyone, it is just used to catch the reader’s eye, it creates suspense and strong curiosity. This novel consists of many emotional aspects. In both ‘Jane Eyre’ and ‘Wide Sargasso Sea’ a number of characters undergo various acts of violence. This violence is presented in a number of different ways, these being mental, physical and social violence. Throughout the first four chapters Jane is both emotionally and physically tormented by Ms Reed, John Reed and Bessie. ‘you are a dependent’ Jane is mad to feel belittled and an outcast, she does not only take emotional abuse from John Reed but John is known to take frequent blows at Jane without a moment’s thought and takes somewhat pleasure in doing so. For Jane’s response to John she was punished ‘four hands were immediately laid upon me’ showing the harsh brutality Jane undergoes under the command of Ms Reed as she is places in the ‘red room’. ‘Penetrating rain’ symbolises Ms Reed and how piecing of a character she is. The neglect Jane faces is very similar to that Antoinette faces with her own mother. Emotionally her mother is absent she is merely there physically ‘flung me from her’ her mother was not at all emotionally attached to her but was very much so to her brother...
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...INTRODUCTION The present course- paper is devoted to the comprehensive study of stylistic device – the epithet in the literary work “Jane Eyre” by Charlotte Bronte. The topicality of chosen by us theme lies in the fact that a human being perceives the reality by means of various images. These images exist everywhere: in art, in nature, in thoughts, and in speech in particular. Each of us at least ones created an image. We use different means (stylistic expressive means and devices) to achieve the aim. In our research we would like to concentrate our attention on “epithet”, a figure of speech which gives the opportunity to create the most expressive and vivid images. Despite the fact that there are many works devoted to the problem under analysis some important aspects such as structural - the lexical stylistic device the epithet as its component have not been fully investigated. This defines the actuality of the work and its theoretical value. The basic purpose of this course-paper is formulated as a research of linguistic nature of epithet, its types from the point of semantic, structural parameters and its informational significance in the text. The given aim predetermines the concrete tasks of the research. The course- paper pursues the following objectives: 1) to read the novel “Jane Eyre” and to find epithets; 2) to reveal the theoretical notion of the epithets and its categories; 3) to observe emotional, evaluative, expressive components of the lexical...
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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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...From Literature to Film Film adaptation is transferring the written work, such as novel, short story comic books and etc., into a film as a whole. The most common form being used to make a film adaptation is the novel. According to George, “between 1994 and 2013, 58% of the top grossing films in the world were adaptations. (Bluestone, George)” According to Linda Cahir, there are three types of adaptations. The first one is “literal”, “which reproduces the plot and all its attending details as closely as possible to the letter of the book. (Linda, Cahir, p16) The second one is traditional, which maintains the overall traits of the book (its plots, settings, and stylistic convention) but revamps particular details in those particular ways that the filmmakers see as necessary and fitting. The third one is radical, which reshapes the book in extreme and revolutionary ways both as a means of interpreting the literature and of making the film a more fully independent work. (Linda Cahir, p17) Traditional adaptation and radical adaptation are considered to be the top two types of film adaptations to discuss since traditional adaptation and radical adaptation are mostly seen in films. In order to examine the effectiveness of both traditional adaptation and radical adaptation in films, Pride and Prejudice (both novel and film), Heart of Darkness (novella) and the film adaptation of this novella Apocalypse Now are going to be discussed here. According to Linda Cahir, “Traditional adaptation...
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...inhabitants came from the Low Countries and the middle Rhine (Stonehenge); • Between 800 and 200 BC Celtic peoples moved into Britain from mainland Europe (Iron Age) • first experience of a literate civilisation in 55 B.C. • remoter areas in Scotland retained independence • Ireland, never conquered by Rome, Celtic tradition • The language of the pre-Roman settlers - British (Welsh, Breton); Cornish; Irish and Scottish Gaelic (Celtic dialect) • The Romans up to the fifth century • Britain - a province of the Roman Empire 400 years • the first half of the 5th century the Angles, Saxons, and Jutes (N Germany, Jutland) • The initial wave of migration - 449 A. D. • the Venerable Bede (c. 673-735) • the Britain of his time comprised four nations English, British (Welsh), Picts, and Scots. • invaders resembling those of the Germans as described by Tacitus in his Germania. • a warrior race • the chieftain, the companions or comitatus. • the Celtic languages were supplanted (e.g. ass, bannock, crag). * Christianity spread from two different directions: * In the 5th century St Patrick converted Ireland, in the 7th century the north of England was converted by Irish monks; * in the south at the end of the 6th century Aethelberht of Kent allowed the monk Augustine and his helpers, who came directly from Rome, to convert his kingdom to Christianity. * The monks adapted the Roman alphabet from Latin to write English and replaced the old writing system based...
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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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...Aldous Leonard Huxley (26 July 1894 – 22 November 1963) was an English writer and one of the most prominent members of the famous Huxley family. He spent the later part of his life in the United States, living in Los Angeles from 1937 until his death in 1963. Best known for his novels including Brave New World and wide-ranging output of essays, Huxley also published short stories, poetry, travel writing, and film stories and scripts. Aldous Huxley was a humanist and pacifist, and he was latterly interested in spiritual subjects such as parapsychology and philosophical mysticism. He is also well known for advocating and taking psychedelics. By the end of his life Huxley was considered, in some academic circles, a leader of modern thought and an intellectual of the highest rank, and highly regarded as one of the most prominent explorers of Visual communication and sight-related theories as well Biography Early years Family tree Aldous Huxley was born in Godalming, Surrey, UK in 1894. He was the third son of the writer and school-master Leonard Huxley and first wife, Julia Arnold who founded Prior's Field School. Julia was the niece of Matthew Arnold and the sister of Mrs. Humphrey Ward. Aldous was the grandson of Thomas Henry Huxley, the zoologist, agnostic and controversialist ("Darwin's Bulldog"). His brother Julian Huxley and half-brother Andrew Huxley also became outstanding biologists. Huxley had another brother Noel Trevenen (1891–1914) who committed suicide after a...
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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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...humanity cognition, way of thinking, sense of hierarchy and innovation consciousness points of view, etc. By such comparison and analysis, gaps of management standards can be easily seen between China and West. Then, some theoretical references are proposed as suggestions for the right direction of China’s hotel management methods so as to meet the international standards. 1. Introduction of hotel industry in China China’s dynamic economic growth has attracted business and investment interests from around the world over the past decade. Corporate demand for travel and lodging services will increase as additional international corporations establish operations in China. Increasing corporate demand will put great pressure on four-and five-star hotels to maintain...
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...The Tell-Tale Heart by Edgar Allan Poe (add the year yourself!) [pic] TRUE! nervous, very, very dreadfully nervous I had been and am; but why WILL you say that I am mad? The disease had sharpened my senses, not destroyed, not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How then am I mad? Hearken! and observe how healthily, how calmly, I can tell you the whole story. It is impossible to say how first the idea entered my brain, but, once conceived, it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! Yes, it was this! One of his eyes resembled that of a vulture -- a pale blue eye with a film over it. Whenever it fell upon me my blood ran cold, and so by degrees, very gradually, I made up my mind to take the life of the old man, and thus rid myself of the eye for ever. Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded -- with what caution -- with what foresight, with what dissimulation, I went to work! I was never kinder to the old man than during the whole week before I killed him. And every night about midnight I turned the latch of his door and opened it oh, so gently! And then, when I had made an opening sufficient for my head, I put in a dark lantern...
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...Emily 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,...
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