This book raises fundamental questions about our understanding of Victorian sexuality. Charlotte Brontë was no 'other Victorian' living out a secret life in a sexual underworld, but she did centre her life's work on exploring the complexities of our sexual nature. John Maynard shows how Brontë's early stories and novelettes, written from her teens to young maturity for a private audience of her sisters and brother, deal openly with a 'world below' of consuming passion, adultery, seduction, promiscuity, frigidity and incest. He traces how these themes are incorporated into Brontë's mature published work, where her psychological insight into the complexities of sexual need finds its consummate expression. Brontë's mature novels, especially Jane Eyre and Villette offer an intensely felt but finely realised vision of sexual awakening. They are however, deeply aware of the difficulties that beset sexual experience. Unlike a number of studies, this book stresses the insight, achievement and artistic mastery of Charlotte Brontë, who still challenges us to comprehend the subtleties and complexities of her impressively articulated discourse on sexuality.
This innovative and critically acclaimed study successfully challenges the traditional view that Charlotte Brontë existed in a historical vacuum, by setting her work firmly within the context of Victorian psychological debate. Based on extensive local research, using texts ranging from local newspaper copy to the medical tomes in the Reverend Patrick Brontë's library, Sally Shuttleworth explores the interpenetration of economic, social, and psychological discourse in the early and mid-nineteenth century, and traces the ways in which Charlotte Brontë's texts operate in relation to this complex, often contradictory, discursive framework. Shuttleworth offers a detailed analysis of Brontë's fiction, informed by a new understanding of Victorian constructions of sexuality and insanity, and the operations of medical and psychological surveillance.
This book raises fundamental questions about our understanding of Victorian sexuality. Charlotte Brontë was no 'other Victorian' living out a secret life in a sexual underworld, but she did centre her life's work on exploring the complexities of our sexual nature. John Maynard shows how Brontë's early stories and novelettes, written from her teens to young maturity for a private audience of her sisters and brother, deal openly with a 'world below' of consuming passion, adultery, seduction, promiscuity, frigidity and incest. He traces how these themes are incorporated into Brontë's mature published work, where her psychological insight into the complexities of sexual need finds its consummate expression. Brontë's mature novels, especially Jane Eyre and Villette offer an intensely felt but finely realised vision of sexual awakening. They are however, deeply aware of the difficulties that beset sexual experience. Unlike a number of studies, this book stresses the insight, achievement and artistic mastery of Charlotte Brontë, who still challenges us to comprehend the subtleties and complexities of her impressively articulated discourse on sexuality.
When an eager and curious Jane Eyre arrives at Thornfield Hall her sexual desires are instantly awakened. Who is the enigmatic Rochester whom she instantly feels attracted to, what are the strange and yet captivating noises coming from the attic, and why does the very air she breathes feel heavy with passion? Only one thing Is certain. Jane Eyre may have arrived at Thornfield an unfulfilled and tentative woman, but she will leave a very different person...
Seminar paper from the year 2005 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Trier, language: English, abstract: Wherever you let your eye travel these days you come across sexuality and nakedness. Three beautiful women are nakedly smiling at you from a huge advertising poster for a solarium, in the advert break on TV a woman tears an attractive man's clothes because she is mesmerized by his new scent, and in the phone book you can even find a voucher which guarantees you a bottle of champagne for free if you book a one hour-service in a certain brothel . Sexuality, and along with it desire and lust are accepted that much that they indeed build the base for a huge manufacturing branch. Of course, this has not always been the case. Sensuality and passion have been fought and punished in earlier times. During the Victorian era for example they have even been seen as dangerous and attacking the mental as well as the physical health. When in 1847 Charlotte Brontë's successful novel Jane Eyre was published, it caused riot and rage because of how the topic "sexuality" was dealt with. In this paper I am going to explain the Victorian beliefs and notions regarding this topic. Furthermore I am going to reveal the attitude of the characters Jane Eyre, Edward Rochester and Bertha Mason towards sexuality. Before though, I will give a short biography of Charlotte Brontë, to depict how her own attitude differed from the social conventions and expectations of her time.
Wuthering Heights is the name of Mr. HeathcliffÕs dwelling. ÔWutheringÕ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large jutting stones. Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date Ô1500,Õ and the name ÔHareton Earnshaw.Õ I would have made a few comments, and requested a short history of the place from the surly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience previous to inspecting the penetralium. One stop brought us into the family sitting-room, without any introductory lobby or passage: they call it here Ôthe houseÕ pre-eminently. It includes kitchen and parlour, generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fireplace; nor any glitter of copper saucepans and tin cullenders on the walls. One end, indeed, reflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to the very roof. The latter had never been under-drawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealed it. Above the chimney were sundry villainous old guns, and a couple of horse-pistols: and, by way of ornament, three gaudily-painted canisters disposed along its ledge. The floor was of smooth, white stone; the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade. In an arch under the dresser reposed a huge, liver-coloured bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other recesses.
Examining a wide range of representations of physical, metaphorical, and dream landscapes in Charlotte Brontë, George Eliot, and Thomas Hardy, Eithne Henson explores the way in which gender attitudes are expressed, both in descriptions of landscape as the human body and in ideas of nature. Henson discusses the influence of eighteenth-century aesthetic theory, particularly on Brontë and Eliot, and argues that Ruskinian aesthetics, Darwinism, and other scientific preoccupations of an industrializing economy, changed constructions of landscape in the later nineteenth century. Henson examines the conventions of reading landscape, including the implied expectations of the reader, the question of the gendered narrator, how place defines the kind of action and characters in the novels, the importance of landscape in creating mood, the pastoral as a moral marker for readers, and the influence of changing aesthetic theory on the implied painterly models that the three authors reproduce in their work. She also considers how each writer defines the concept of Englishness against an internal or colonial Other. Alongside these concerns, Henson interrogates the ancient trope that equates woman with nature, and the effect of comparing women to natural objects or offering them as objects of the male gaze, typically to diminish or control them. Informed by close readings, Henson's study offers an original approach to the significances of landscape in the 'realist' nineteenth-century novel.
