Wuthering Research Articles

A Study of STEAM Model Development and Assessment Method for Deep Learning: Through the Voice of Mimesis and Brontë

This research aimed to explore a humanities-based STEAM (H-STEAM) model for EFL undergraduates (n = 72) to improve deeper thoughts and language proficiency in a multidisciplinary setting. The H-STEAM focused on the integration of a literature text, Emily Brontë’s Wuthering Heights, and the philosophical analysis framework of mimesis as a humanities resource. For a specific teaching and learning method, various group activities based on project-based learning (PBL) were fabricated to enhance collaborative and conceptual learning both inside and outside of the classroom. Analyzing the relationship of Wuthering Heights and mimesis, learners shared and adopted peers’ opinions with openness. They could improve problem-solving ability, caring, communication skills, and self-reviewing practice when accumulating content knowledge and generating creative ideas. This study organized student-based assessment; self-assessment (SA) and peer-assessment (PA). SPSS 25 was conducted for the correlation and reliability analysis of SA and PA, and the evaluation of linguistic improvement. The results indicate that the H-STEAM facilitating PBL can be more workable through openness and community caring. The integration of collaborative and conceptual learning through PBL can empower learners’ autonomy and produce deeper thoughts, which can contribute to deep learning. Consequently, this study may suggest a path to develop H-STEAM for higher education.

The Presentation of Hindley Earnshaw in Wuthering Heights

Hindley Earnshaw is quite likely to be adjudged by many readers as the most unpleasant character portrayed in Emily Brontë’s novel Wuthering Heights (1847). Certainly, the number of negative references to him far outbalance those made to any other figure in the narrative. Yet it is interesting to note that, in spite of our perforce reacting unfavourably for the most part to Hindley’s speech and behaviour, we nevertheless find ourselves eventually having quite ambivalent feelings about him, and that principally through his association with people outside his immediate family: Nelly Dean, Joseph, Isabella and, to some extent, Mr Kenneth. It is, moreover, through these relationships that Brontë partly supplements what we think we already know about these characters by revealing unusual or unexpected aspects of them. Indeed, it is a testimony to Emily Brontë’s profound knowledge of human nature that she enables us to understand why we may sometimes feel sympathetic towards someone all too readily dismissed as a mere villain.

Sepulchral Sensuality and Heretical Heavens in Wuthering Heights and Romeo and Juliet

Though the notion that comparisons might be drawn between Emily Brontë’s Wuthering Heights (1847) and William Shakespeare’s Romeo and Juliet (1597) may seem readily apparent, surprisingly little academic inquiry has been conducted into the subject. This article surveys the many parallels between the two works, then explores in greater depth their similar presentations of the interplay between sexuality and death: the eroticized graves of Catherine and Juliet, Heathcliff and Romeo’s passionate exhumation attempts, and in both couples the conception of a transcendent alternative heaven figured in terms not of proximity to God, but to each other.

“It is unutterable”: Sexual Transgression in Emily Brontë's Wuthering Heights

When we speak of Gothic texts, it is tempting to do so with reference to gender, categorising texts as either Male Gothic or Female Gothic. However, the definitions of these categories are somewhat nebulous – classification can depend on the gender

HeathcliffWalks

Heathcliff<i>Walks</i>

An Analysis of Edgar Linton’s Psyche Based on Archetypes Theory

Wuthering Heights is one of the most significant realistic novels in British literature, primarily depicting the tragic love story of Catherine and Heathcliff. Nevertheless, involved in the love triangle, Edgar Linton receives much less attention from the researchers. In an attempt to further unravel the characteristics of Edgar Linton, this paper, in conjunction with Carl Jung’s archetypes theory, interprets Edgar’s psyche by analyzing his persona, anima, and shadow through qualitative analysis. The result shows a strong relevance of these three archetypes that are closely related to his childhood experiences. The joint influence of the archetypes forms typical features of his psyche that affects not only him but also his social networks and his soft personality is a good approach to alleviating the heaviness of this work and forming a sharp contrast with Catherine and Heathcliff.

Counter-narratives

Adrian A. Husain, “Counter-narratives: Wuthering Heights and the Intervals of the Brutalized Self” (pp. 33–56) This essay is concerned with meaning and genre and how these become accessible in our encounter with the critically strange. The focus is on a deconstruction and redefinition, by Emily Brontë in Wuthering Heights (1847), of “reality” as a given of domestic realism and a situating of the “real” in the interstices of Gothic romance and domestic realism. The essay contends that Brontë perceives the question of reality and the related question of genre as initially arising at the level of reading and as a problematic of perception necessarily linked to the esoteric nature of literary discourse itself. That reality, to be inclusive, must allow for the crucial idea of pain and the sentient self is understood. The departure from contemporary fiction is seen as involving a symbiosis and at the same time a radical disjunction between civil and visceral, localized and phantasmagorical, whereby a renewed reality—a new narrative space—is enabled to come about. Wuthering Heights is perceived as moving away, with a view to achieving a realized meaning, from the deliberate construct of language toward an involuntary and fragmented mimetic mode—or a language of the gut—more directly expressive of emotion. The essay argues that the production of a hybridized temporal perspective—or a “Bergsonian” time—is equally part of Brontë’s quest for reality.

Poe-Related PhD Dissertations (2017–2021)

Poe-Related PhD Dissertations (2017–2021)

On Double Narration in Wuthering Heights

Emily Bronte's Wuthering Heights is characterized by the narrative mechanisms and techniques it employs. Building on its structure, the novel is obviously rich in its underlying elements that are worth examining. One of these elements is the choice of multiple narrators and the complex organization of narrative time. This theoretical framework deals mainly with narration and narrative techniques as approached by structuralist narratology. As an approach that examines narration and its major hybrids, narratology delves into a structural study of Wuthering Heights allowing for a deep examination of the underlying narrative elements in the novel. Having said that, it is believed that the study of narratology is pertaining in the sense that it sheds light on how the narrative structure of the novel puts into question the status of the narrators as reliable sources. This structure also mystifies the story giving the reader a chance to decipher the intent of the characters involved as both narrators and characters. Without taking such structure into account, the readers are missing some key elements in understanding and interpreting the stories told by the narrators

Listening to “the Squirrel's Heart Beat”

Listening to “the Squirrel's Heart Beat”

Catherine Earnshaw Meets Katherine Lester: Revisioning the Brontë Body by Sustaining the Self in William Oldroyd’s Lady Macbeth (2016)

William Oldroyd’s Lady Macbeth (2016) presents a recognisable Brontëan cinematic language that invites comparison between its protagonist, Katherine Lester, and Emily Brontë’s Catherine Earnshaw from Wuthering Heights (1847). Whilst Earnshaw’s self-deprivation mirrors her struggle for a disembodied self that transcends her gendered body, Oldroyd’s Katherine uses her appetite to colonise her household and preserve herself. These attempts at grasping agency in order to sustain the self are ignited by their necessity to palliate what they perceive as sickly bodies, tainted by gender and class: one in detriment to the body, and the other in its favour. In envisioning Katherine Lester as Catherine Earnshaw’s neo-Victorian double, this article sets out to revision the second’s diseased body as a politicizing force that disrupts the dynamics of power in Wuthering Heights through the commentary that Katherine’s own process of sustenance provides on the Brontë body.

On Double Narration in Wuthering Heights

Emily Bronte’s Wuthering Heights is characterized by the narrative mechanisms and techniques it employs. Building on its structure, the novel is obviously rich in its underlying elements that are worth examining. One of these elements is the choice of multiple narrators and the complex organization of narrative time. This theoretical framework deals mainly with narration and narrative techniques as approached by structuralist narratology. As an approach that examines narration and its major hybrids, narratology delves into a structural study of Wuthering Heights allowing for a deep examination of the underlying narrative elements in the novel. Having said that, it is believed that the study of narratology is pertaining in the sense that it sheds light on how the narrative structure of the novel puts into question the status of the narrators as reliable sources. This structure also mystifies the story giving the reader a chance to decipher the intent of the characters involved as both narrators and characters. Without taking such structure into account, the readers are missing some key elements in understanding and interpreting the stories told by the narrators.

A Freudian Reading of Emily Bronte’s Wuthering Heights

There are many theories that emerged in fields other than literature but influenced the literary works greatly. These theories are used by scholars and critics to analyses and study the literary text. Among these theories are Sigmund Freud’s psychoanalysis and the theory of interpretation of dreams. According to Freud, the human mind is divided into two parts: the conscious and the subconscious. Freud used this theory to treat his patients by making them lie down and talk about their dreams, childhood and other thoughts. It is an attempt to make the unconscious conscious. Additionally, the unconscious can be revealed through the slips of the tongue (paraphrases) and dreams. Moreover, Freud assumes that the human psyche consists of three parts: Id (a store of the human desires and needs); superego (the part of the psyche which represents the high ideals); ego (the part which tries to make a compromise between the id and the superego). He also emphasizes the effect of our childhood upon our lives. The present study is a Freudian reading to Emily Bronte’s Wuthering Heights with reference to the impact of the author’s life upon the flow of the events and the lives of the characters.

The Ontological Work of Genre and Place:Wuthering Heightsand the Case of the Occulted Landscape

This essay shows howgenreandplaceenable the “ontological reading” of narrative fiction. Such sense-making dialectics enable readers to infer the terms of existence that shape fictional worlds. World-systems thinkers have theorized the critical premise of material worlds shaped though ongoing processes of combined and uneven development. Ontological reading is a comparative practice for studying the narrative work of “figuring out” those processes—for example, through the “occulted landscapes” of Yorkshire noir. Emily Brontë'sWuthering Heights() can be likened to a species of crime fiction in prefiguring the “hardboiled” pull from epistemological certainty to ontological complication. Whereas David Peace's millennialRed Ridingseries of novels and films palimpsestically layers multiple pasts and presents,Wuthering Heights’ photomontage-like landscape airbrushes the seams of combined and uneven histories. Both narratives evoke moorland terrains conducive to a long history of woolens manufacturing reliant on the energized capital and trade flows of Atlantic slavery. Both works body forth occulted landscapes with the capacity to narrate widely: their troubling of ontological difference—between human and animal, life and death, past and present, nature and supernature—lays the ground for generically flexile stories of regional becoming. Ontological reading thus widens literary study.

L'homme aux trois lettres: dernier royaume XI par Pascal Quignard

Reviewed by: L'homme aux trois lettres: dernier royaume XI par Pascal Quignard Eilene Hoft-March Quignard, Pascal. L'homme aux trois lettres: dernier royaume XI. Grasset, 2020. ISBN 978-2-246-82487-9. Pp. 192. This volume is the eleventh in Quignard's opus, Le dernier royaume, a themed series of meditations. In thirty-eight short and varied reflections, this book attempts to capture the experience of reading literature. The overall effect is one of a beautiful tracery of history and myth, almost all classical or medieval, the most recent example being Emily Brontë's Wuthering Heights. Quignard's adamant disregard for anything more modern underscores his contention that reading opens the infiniteness of our human past. Other unconventional associations with—or dissociations from—reading spill out chemin faisant. Quignard retells the legend of St. Augustin observing St. Ambrose reading silently and turned inward to his own thoughts, an apparent anomaly of his era, and one that so impressed Augustin that he converted to Christianity. "Requoy" with its added connotations of withdrawn, meditative searching recurs in the author's examples (e.g., the angel Gabriel's [Jibril's] command to the prophet Mohammed to read). Secrecy also figures importantly in Quignard's conception of reading. The "man of three letters" refers to a Roman epithet for a thief, "fur" being Latin for one who steals, both "fur"-tively and silently. Connotations of criminality do not cling to this reader-thief. Rather, the latter, in a readerly state, remains unobtrusively outside of human conventions, laws, and institutions. The author revels in the expansion of human existence and the concomitant if temporary loss of consciousness of self that reading promotes. Liberatory reading is at the heart of the [End Page 260] author's writing: "[É]crire assure une prise entre deux mondes possibles (entre le premier monde et le dernier royaume)" (92). If these are possible communications with and of other experiences and worlds, Quignard refuses the chestnut that literature is communication with readers. He sternly dissociates spoken language from writing. As illustration: the only "dialogue" he re-stages in L'homme is a lopsided one between Petrarch and Cicero, dead some 1,300 years at the time he was so passionately addressed by the Renaissance poet. Petrarch's interrogation could be likened to the book's example of mushroom hunting, the absorbed free association of the sights secreted in the soil and the odors spanning all the natural, autumnal decompositions. This same "odeur de jadis" is the reader's recompense. One last meditation stood out for this reader: the story of Louis XI's defense of the (then) new technology of the printing press, especially the king's defense against allegations of witchcraft and the better-founded fears of insubordination to political regimes and religious hierarchies. Louis XI was an inveterate, solitary, nocturnal reader who, perhaps, paved the way for the incorrigibly independent habits of the rest of us readers. L'homme aux trois lettres understands literature as liberations from time, from the body, from spoken language, and from servitude. A welcome read for 2021. Eilene Hoft-March Lawrence University (WI) Copyright © 2021 American Association of Teachers of French

"The House of Trauma": The Influence of Frederick Douglass on Heathcliff in Emily Brontë's Wuthering Heights

"The House of Trauma": The Influence of Frederick Douglass on Heathcliff in Emily Brontë's Wuthering Heights

The Starving Sex: Psychoanalysis of Gendered Identity Crisis in the Gothic Novel

This paper investigates the socio-historical context in which the Gothic novel appeared. It seeks to shed light on the psychological side of this debut. One of the problems of recent studies in this regard is that they tend to detach the appearance of the Gothic novel from the historical context that gave birth to this genre. This leads to inaccurate findings and conclusions because this genre rose out of necessity. It was a method of fighting back the suppressive social conditions from which females suffered. This study is necessary to reveal the oppressive context females endured, and how that patriarchal ideology was universally and rationally justified and eluded any possible questioning. This suppressive condition was deeply rooted in the unconscious of subjects. Gothic novel was a revolution against that prevailing ideology, socially, religiously, and intellectually. It was considered a form of atheism. In this regard, this paper seeks to question the validity of the appearance of this genre and the way it is justified. It also presents a host of findings that displays the necessity out of which this genre rose, with references to Emily Bronte’s Wuthering Heights and Mathew Lewis’ The Monk.

Storm, Stress, and Solastalgia: Climate Change in the Undergraduate Literature Classroom

Climate change has become a major force in shaping human experience. Climate change affects not only the Earth's atmosphere, biospheres, glaciers, and oceans; it also affects our perception of humanity's role in the natural world. While the majority of the grand narratives on climate change is in the hands of scientists, the literary humanities have an important role to play in creating a forum in the English literature classroom for students to read fiction that stimulates critical thinking about climate change, its contexts and history, and the future. This paper examines literary trends that creatively explore and cope with the effects of climate change on society. While several literary genres directly address climate change, this paper will contextualize two examples of climate science fiction - Paulo Bacigalupi's The Water Knife and Octavia Butler's Parable of the Sower – with William Shakespeare's King Lear, Charlotte Brontë's Wuthering Heights, and Mary Shelley's The Last Man. These works address solastalgia, a neologism that describes profound sadness and frustration about irreversible changes to one's home environment and the feeling of powerlessness. Similar to the influential Sturm und Drang (storm and stress) movement in Romantic literature, today's environmental distress and human worries are reflected in genres like science fiction. Climate change fiction enables readers to process alarmist contemporary environmental issues by contextualizing the anxiety-inducing data generated by scientific research with the power of the human imagination and the emotional intelligence of reading fiction.

The Queer Ecological Aesthetics of Wuthering Heights

This essay explores how the contemporary English filmmaker Andrea Arnold invents a queer ecological aesthetic to adapt Emily Brontë’s classic novel Wuthering Heights in her 2011 film by the same title. A queer ecological aesthetic combines queer, ecofeminist and postcolonial approaches to disavow the institutional and cultural ways in which white heterosexist patriarchy ‘sexualizes’ nature and ‘naturalizes’ heterosexuality. Arnold’s film forges subtle intimacies between nature and sexuality and the human and the non-human by focusing on Catherine and Heathcliff’s ambiguous erotic encounters on the moor. In lieu of a formal plot, dialogue and musical score, Arnold locates Catherine’s and Heathcliff’s desires within a complex mesh of ecological and creaturely narratives. Her film critiques ecophobic and erotophobic discourses in the West by depicting tactile and affective gestures between Catherine and Heathcliff that may be deemed ‘queer ecological’. This is also evident in Heathcliff’s intersectional character as a feral/non-white/non-human child whose presence threatens the white heterosexist patriarchal structures of the Yorkshire gentry. The essay reveals how Arnold revives the subversive impact of the original novel in the Victorian age for a contemporary ecophobic and erotophobic audience.

Graeme Tytler, Facets of Wuthering Heights: Selected Essays

Graeme Tytler’s book is a welcome contribution which offers sensitive close reading on Emily Bronte’s novel. Facets of Wuthering Heights: Selected Essays consists of fifteen essays which were originally published in the journals Bronte Society Transactions and Bronte Studies. This publication puts forward a fresh look at Wuthering Heights, offering innovative interpretations of its characters, plot and themes. Of these fifteen essays, eleven examine multifarious themes in the novel whereas th...