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Edited by Jeffrey Meyers. This set comprises 40 volumes covering nineteenth and twentieth century European and American authors.
Publication Cycnos
Edited by Kathleen Williams. New All Published Forthcoming. Craik First published in , this reissue of Dr. Separate… Paperback — Routledge. Bestsellers Routledge Revivals Popular Fiction of the s, 1st Edition By John Sutherland First published in , this book offers a study of British and American popular fiction in the s, a decade in which the quest for the superseller came to dominate the lives of publishers on both sides of the Atlantic.
It analyses the tradition of the epic as it has evolved from antiquity, through Joyce to its American manifestations and describes how this tradition has impacted upon… Paperback — Routledge Routledge Transnational Perspectives on American Literature. Count Leo Nikolaevich Tolstoy: Knowles This set comprises 40 volumes covering 19th and 20th century European and American authors. This second set compliments the first 68 volume set of Critical Heritage published by Routledge in… Paperback — Routledge.
This second set compliments the first 68 volume set of Critical Heritage published by… Paperback — Routledge. Anton Chekhov 1st Edition Edited by Victor Emeljanow This set comprises forty volumes covering nineteenth and twentieth century European and American authors. This second set compliments the first sixty-eight volume set of Critical Heritage… Paperback — Routledge. Ernest Hemingway 1st Edition Edited by Jeffrey Meyers This set comprises 40 volumes covering nineteenth and twentieth century European and American authors. Jane Austen Routledge Library Editions: Virginia Woolf Routledge Revivals: The manner in which we interpret the text in this respect affects how we view the novel in terms of genre: Ultimately, however, this conflict, like many others in the novel remains unresolved.
Significantly, both are heavily influenced by the gothic fiction of the late-eighteenth and early-nineteenth centuries thus Jane Eyre arguably occupies the space in between gothic fiction and the later genre of sensation fiction ; both transfer the mysteries of the gothic novel — typically set abroad — to the more familiar landscape of nineteenth-century England.
Both novels tell the story of an impoverished governess who marries into the upper classes, and the themes of bigamy and madness feature in each text. The madwoman in both narratives has become an important figure for feminist critics, largely as a consequence of her perceived rebellion against patriarchal authority — a rebellion symbolised by the attempt made by the protagonist in each novel to kill the male oppressor as he sleeps, by starting a fire.
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Of particular concern to reviewers of both Jane Eyre and the female sensation writers was the notion that women could produce such immoral tales. In a letter to her publishers written after the publication of Jane Eyre , she provides a significant insight into her attitude towards writing and fiction, and in particular the emphasis she placed on both originality and realism:. The standard hero[e]s and heroines of novels, are personages in whom I could never, from childhood upwards, take an interest, believe to be natural, or wish to imitate: Were I obliged to copy any former novelist, even the greatest, even Scott, in anything, I would not write — Unless I have something of my own to say, and a way of my own to say it in, I have no business to publish; unless I can look beyond the greatest Masters, and study Nature herself, I have no right to paint; unless I can have the courage to use the language of Truth in preference to the jargon of Conventionality, I ought to be silent.
Indeed, like Jane Eyre , sensation fiction can be seen to incorporate a number of features of the typical realist novel: However, as Derrida notes, it is practically impossible for texts to obey to the letter the rules of a particular genre: The novel clearly supports the notion that generic categorisation is in many respects — if not entirely fruitless - problematic.
Jane Eyre encompasses characteristics associated with the Bildungsroman, fictional autobiography, the gothic novel, sensation fiction and realism, as well as containing elements of the supernatural and making extensive use of fairytale — yet it does not belong entirely to any one of these various genres.
Routledge, , p.
McFarland, , pp. Modern Language Association of America, , pp. Eden, , pp. Female Development and the British Bildungsroman, Lewisburg: Bucknell University Press, Cambridge University Press, Princeton University Press, , p.
Pickering and Chatto, , p. The Critical Heritage [London: Routledge and Kegan Paul, ], p. A Life in Letters London: Viking, , p. Yale University Press, ], p. Rodopi, , pp. Subsequent references to this edition are given in the body of the text. University of Wisconsin Press, , p. Oxford University Press, , p.
Texte intégral
Penguin, , p. Northcote Publishers, , p. Routledge and Kegan Paul, Essays on Sexual Difference in Gothic Literature. A Life in Letters. Da Sousa Correa, Delia ed. Female Development and the British Bildungsroman, The Madwoman in the Attic: