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Некоторые тезисы из работы по теме Художественные особенности романа Эмили Бронте "Грозовой перевал"
Introduction
Wuthering Heights is the only published novel by Emily Bronte, written between December 1845 and July 1846 and published in July of the following year. It was not printed until December 1847, after the success of her sister Charlotte Bronte's novel Jane Eyre. It was finally printed under the pseudonym Ellis Bell; a posthumous second edition was edited by Charlotte.
The title of the novel comes from the Yorkshire manor on the moors of the story. The narrative centres on the all-encompassing, passionate, but ultimately doomed love between Catherine and Heathcliff, and how this unresolved passion eventually destroys them and the people around them.
Today considered a classic of English Literature, Wuthering Heights was met with mixed reviews when it first appeared, mainly because of the narrative's stark depiction of mental and physical cruelty. Although Charlotte Brontë's Jane Eyre was generally considered the best of the Bronte sisters’ works during most of the nineteenth century, many subsequent critics of Wuthering Heights argued that it was a superior achievement. Wuthering Heights has also given rise to many adaptations and inspired works, including films, radio, television dramatisations, a musical by Bernard J. Taylor, a ballet, three operas (respectively by Bernard Herrman, Carlise Floyd), a role-playing game, and the 1979 chart topping song by Kate Bush.
The aim of work is to search poetic and structure of «Wuthering Heights» by Emily Bronte.
The problems have defined the following tasks:
- to investigate some features of Major Characters of «Wuthering Heights»;
- to research the poetic of «Wuthering Heights» by Emily Bronte;
- to investigate some features of Gothic elements in «Wuthering Heights»;
- to research the some aspects of heteroglossia, polyphony and dialogism in Emily Bronte’s Wuthering Heights.
The Object of investigation is «Wuthering Heights» by Emily Bronte.
The subject of investigation are some features of poetic and structure of «Wuthering Heights» by Emily Bronte.
The theoretical value of this work consists of results which promote the further development of the theory of studying of poetic and structure of «Wuthering Heights» by Emily Bronte. It allows understanding the mechanism of generation and functioning of the given phenomenon.
Practical value is that the concrete theoretical material can be used in training courses under the theory of language, linguistics of the text, functional grammar, stylistics, rhetoric, literary criticism, translation theory, lectures on stylistics, the literature and other disciplines.
Concerning the aim and the tasks we have used such method as a descriptive one, the method of the experience, the contextual method and the comparative method. These methods weren’t used as the isolated methods, they were used in their complex to satisfy the aim and the task in the best way.
This term paper consists of introduction (where the aim, object, subject, methods of investigation are described, and practical value and theoretical significance are underlined; two Chapters, conclusion and Bibliography.
Conclusion
On the basis of the aforesaid it is possible to draw the following conclusions.
Unlike most novels, Wuthering Heights' protagonists are anti-heroes; the very antithesis of what a hero is supposed to be. Instead of compassionate and heroic, Heathcliff and Catherine are selfish and petty. Instead of being blissfully in love, Catherine marries someone else and breaks Heathcliff's heart. Too proud to tell each other their true feelings, they fight, storm and rage against each other, destroying themselves in the process. Most people dislike this novel, for its gloomy perspective, tragic outcome and psychological drama. However, Catherine and Heathcliff are perhaps more realistic than most other novel characters claim to be. They not only make mistakes, they cause debacles, completely devastate both people and places and ruin it all by blaming solely themselves. The novel begins when all four, including the narrator and housekeeper, are children. Catherine and Hindley are true blooded siblings, and Heathcliff is sort of "adopted" into their family. The plot unravels, and with it, the characters, blooming into bitterness and pride simply by being dishonest with each other. The entire drama is a destruction of a human soul; how love can save and damn one man. Brontë brings in a whole new perspective on love. It isn't the epic ballad in tales, or the beautiful quiet bloom between spouses; this is rampant, tragic and interbred with other less desirable qualities until it is no longer recognizable until the very end.--Submitted by Leyla Shakew.
Wuthering Heights, Emily Bronte’s only novel, is a harrowing tale of passion and tragedy with a sunny ending. This gothic book entwines romantic and eerie threads to form the ultimate heart-throbber. The story is told by two characters in the sidelines: Mr. Lockwood, the new tenant of the Grange, and Mrs. Dean, an old servant of the Earnshaw family. It recounts the saga of two star-crossed lovers, Heathcliff-a gypsy boy rescued from the streets of London by Mr. Earnshaw-and Catherine Earnshaw, Mr. Earnshaw’s daughter. Catherine’s older brother Hindley cruelly tyrannizes over Heathcliff after Mr. Earnshaw’s death, treating him worse than a servant. When Catherine becomes a woman and the suitors start calling, Heathcliff, destitute and illiterate due to Hindley’s cruelty, is no match for the rich and handsome Edgar Linton, owner of Thrushcross Grange. Heathcliff mysteriously disappears after overhearing Catherine’s low opinion of him, only to reappear two years later and disturb the married life of his love Catherine, who by now has become Mrs. Linton. The uncanny gypsy then spends the remainder of his unhappy life wreaking vengeance upon the multiple recipients who had hurt him in the past, including Catherine who killed them both by marrying for money. Wuthering Heights is the recounting of this tragic love story, and of happiness redeemed through the next generation.
As we have seen, Wuthering Heights is a novel in which a great deal of gothic elements can be found. The passionate and painfully convincting nostalgia for the Heights, the moor, evinced mainly by Catherine and Heathcliff, their values and their world are doomed are evidences of it.
We came to a conclusion that Bronte's perception of the novel clearly rests upon a vision of the world as essentially heteroglot, polyphonic and dialogic. Therefore, her work does not fit any of the preconceived forms of the Victorian novel. Bronte's way of looking at tins world is in terms of multi-languages, multi-voices, pluralism, dialogism, multiple centres as we experience it rather than a single centre, a single language, a kind of voice. Her world is a harmony of the languages, voices winch are the basic principles of dialogue rather than monologue. What Bronte seeks is a representation of different languages and different voices in a harmonious way and a representation of dialogical characteristic of these languages and voices. She captures that the novel as a genre has such potential, and she employs the technical resources of narrative to include all languages and voices which will save her novel from a dominating monologue. Her heroes are not exposed to the domination of an omniscient narrator. Bronte sees and accepts her characters as subjects rather than treating them as objects who are bound to a dominating narrator. As opposed to the monologic novel in winch the consciousness of the authors prevails over all characters, m Bronte's dialogic novel, although the consciousness of the author is constantly and everywhere present, it does not interfere with the consciousnesses of the characters. Through her vision of life and her sense of novel, she tries to destroy the monologic structure of the Victorian novel. When we have looked at her work Wuthering Heights from the vantage point of monologic perspective of the traditional Victorian novels, it seems an enigma winch is difficult to capture, hi order to perceive the novel, it is essential to capture the distinctive artistic features of her new novelistic structure. To reduce Bronte's novel to a monological artistic product means not to perceive the fundamental plurality and dialogic characteristic of the novel. Wuthering Heights transcends the traditional view of the novel form. Emily Bronte had a deep interest in the question of narrative. Through this question, she leaves her readers in ambiguity about the nature of the reality which cannot be reached and which cannot be represented fully through the language. The reader has to find out his own medium in his search of reality since he understands that he no longer depends upon homogenous, monologous stories. The act of narration constantly undermines the readers' mastering of the text as a whole. As the readers chase it in order to find a clear meaning, it escapes them. Wuthering Heights introduces a great uncertainty, and a complex relationship with its double narration. The most prominent effect upon its readers is left through its double narration and narrative technique. Wuthering Heights draws on a variety' of inspiration from further afield than its immediate precursors, and beings influences together into an unprecedented 'whole'; and we have suggested that Bronte's achievement had the effect of opening a wide range of new possibilities for the novel, that had been imagined before it appeared. In short, the influences upon Wuthering Heights are unquantifiable, and its own influence is incalculable" (Marsh. 199: 207). With its shifting perspectives, with its double narration, with its competing languages, voices and texts, Wuthering Heights is a representation of the distinguishing features of the novel as a genre. Bronte welcomes heteroglossia, language diversity', different voices and combines them as a whole to form a structured artistic system. Wuthering Heights is the expression of plural perception of language that denies the absolutism of a single and unitary language.
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