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Narrative Analysis THE ENGLISH GOTHIC NOVEL: A BRIEF OVERVIEW È un link È un link È un link
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Wuthering Heights straddles literary traditions and genres. It combines elements of the Romantic tale of evil-possession, and Romantic developments of the eighteenth-century Gothic novel, with the developing Victorian tradition of Domestic fiction in a realist mode. Its use of the ballad and folk material, romance forms and the fantastic, its emphasis on the passions, its view of childhood, and the representation of the romantic quest for selfhood and of aspiring individualism, all link the novel with Romanticism. On the other hand, the novel’s movement towards a renewed emphasis on community and duty, and towards an idealisation of the family seem to be more closely related to the emerging concerns of Victorian fiction. Emily Brontë’s novel mixes these various traditions and genres in a number of interesting ways, sometimes fusing and sometimes juxtaposing them. I want to direct attention to the ways in which the novel’s mixing of genres may be related to issues of gender by examining some of the ways in which specific historic genres may be related to particular historic definitions of gender. P ykett, Lyn, Emily Brontë . —(Women writers), 1989 Indeed, much of the distinctiveness of Emily Brontë’s novel may be attributed to the particular ways in which it negotiates different literary traditions, and both combines and explores two major fictional genres - the Gothic and Domestic fiction - which are usually associated with the female writers of the period, although by no means confined to them. P ykett, Lyn, Emily Brontë . —(Women writers), 1989 Impossible to categorise
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I n its transition from patriarchal tyranny, masculine competition, domestic imprisonment and the Gothic to the revised Domestic romance of the courtship and companionate marriage of Catherineand Hareton, Wuthering Heights both participates in, and engages with, the feminisation of literature and the wider culture noted by Armstrong and Spencer. However, I would suggest that Emily Brontë’s novel does not simply reflect or represent this process, but that it also investigates and explores it. The narrative disruptions, the dislocations of chronology, the mixing of genres and Brontë’s historical displacement of her story, published in 1847 but set in a carefully dated period leading up to and just beyond 1801, combine to produce a novel which goes back and traces both changing patterns of fiction and the emergence of new forms of the family. P ykett, Lyn, Emily Brontë . —(Women writers), 1989 However, at the same time as Wuthering Heights traces the emergence of the modern family and its hegemonic fictional form of Domestic realism, other elements of the novel - its disrupted chronology, its dislocated narrative structure, and the persistence of the disturbing power of Catherine and Heathcliff - work together to keep other versions of domestic life before the reader: the domestic space as prison, the family as site of primitive passions, violence, struggle and control. In its mixing of genres and in the particular genres it chooses to mix Wuthering Heights may,perhaps, be placed with those female fictions which, as Judith Lowder Newton argues ‘both support and resist ideologies which have tied middle-class women to the relative powerlessness of their lot and which have prevented them from having a true knowledge of their situation’. P ykett, Lyn, Emily Brontë . —(Women writers), 1989
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Wuthering Heights Chapter 9 È un link