In this article I attempt to engage with Charlotte Brontë as both a teacher and a philosopher. In her depiction of two impoverished gentlewomen as teachers Brontë is, as is often pointed out, drawing on her own history, but she is also exploring two conflicting contemporary philosophic notions: the romantic ideal and the ideal of rationality, as they are played out in the lives of women. Brontë uses the plot device of taking her teachers into new environments, from where (...) as strangers they can report to the reader on the conditions they experience. But the teachers are also strangers in the teaching environments of their employment and, moreover, as individuals are stripped of all familial and social support. While her pedagogic strategies may not be appealing to twentieth century tastes, Brontë and her creations still have something to say about the issues, choices and constraints faced by young and inexperienced teachers, and the available subject-positions teachers may construct for themselves as they grapple with their own foreignness in their classrooms or other teaching situations. (shrink)

Publication date: 22 December 2020 Source: International Letters of Social and Humanistic Sciences Vol. 89 Author: Shiva Hemmati This paper examines Charlotte Brontë’s masterpiece Jane Eyre through Irigaray’s notion of feminine divine in order to argue how Charlotte Brontë’s main characters achieve their autonomous gendered identity by expressing their erotic desire. It discusses the resistance of Charlotte Brontë’s female protagonist, Jane Eyre, to the dichotomies of active subject/passive object, self/other, body/mind, passion/intellect, and the domination/submission through her ethical (...) and intersubjective relationship with Rochester, her counterpart, rather than being an object of his desire. It is argued how Jane challenges these dualities of patriarchal society and the logic of the same by expressing her erotic nature. Where the patriarchal society tries to confine women in the patriarchal culture, Brontë develops Jane within and against those confines and allows her to experience her female desire by exploring the internal and external nature. Jane’s liberation from the dualities can be read through the lens of Irigaray’s feminine divine which focuses on women’s autonomous gendered identity and creates a balance between their passion and reason. Charlotte Brontë indicates how women are able to achieve individuality, social standing, and subjective identity by expressing their female desire. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Echoes of Romanticism and Expatriate Englishness in Charlotte Brontë's The ProfessorDavid SiglerCharlotte Brontë's many debts to Romanticism, and especially Lord Byron, are a well-known feature of her fiction. Yet only recently has this become an important part of the discussion surrounding The Professor, her first-written and last-published novel. The novel, written between 1844 and 1846 and published posthumously in 1857, is increasingly seen to be in dialogue with (...) William Wordsworth and Walter Scott, in addition to Byron. Anna Barton, seeing Brontë as "the pupil of Wordsworthian Romanticism" and "a daughter of Romanticism," shows how The Professor develops "intertextual exchanges that perform the failure of the Romantic lyric within the Victorian novel."1 Tanya Llewellyn has argued that the protagonist William Crimsworth, seemingly influenced by Byron's Turkish tales, Orientalizes the women in his life as a way to manage sexual threats.2 Mandy Swann, meanwhile, sees in Brontë's early work an ambivalent response to the Romantic figure of the poet-prophet, as part of the author's general struggle, early in her career, to theorize female creativity.3Yet in other recent accounts, William Crimsworth seems to be as un-Byronic and un-Wordsworthian as possible. Crimsworth has been said to be a "particularly off-putting" narrator, "defensive and humourless," whose "dubious masculinity," passionlessness, and, in one reading, stiflingly repressed homosexuality render him a comically overliteral thinker.4 I will suggest that this incapacity in him for meaningful human engagement is what leads him to fixate on British Romantic poetry as a solution, however backhanded, to his erotic and professional difficulties. [End Page 30] Yet as the echoes of Romanticism that haunt his erotic and professional relations quickly take on lives of their own, they enable the story, and its ethical vision, to exceed William's control. Once the novel directs its protagonist's obsessive personality in the direction of Romantic poetry, it can become an intriguing meditation on ethics, expatriate Englishness, and time.William Crimsworth is a hardworking Englishman living and working in Brussels. The city, which William finds too "cosmopolitan," becomes the site of his zealous self-exploration as he mingles, ever defensively, with the locals.5 Approaching the city like "a morning traveller," as he puts it, William must analyze his foreignness if he is to survive his own residual and aspirational Englishness.6 The phrase "morning traveller" is drawn from Robert Southey's 1798 poem "The Traveller's Return," which describes love as an echo-effect. It is a very auditory poem: Southey's "morning traveller" spends the day listening to unfamiliar sounds, until, in the evening, he hears a "distant sheep-bell," which teaches him that "sweetest is the voice of Love / That welcomes his return."7 A sheep bell is, of course, a tracking mechanism, facilitating the free movement and eventual return of sheep to a shepherd. Southey's speaker learns to grasp the hidden similarity between love and the sheep bell. Just as the sound of the bell goes away and comes back, signifying the wandering and return of livestock, the human "morning traveller" must begin to identify with it. He himself, hearing the sound, gets interpellated by it, once it becomes his objective correlative. Brontë's The Professor, in matters of love, uses Romantic poetry, including Southey's, as a similar tracking device for William. The echo it produces constantly and ambivalently connects the protagonist to England and secures his place within the ideological apparatuses of the state.Judith Butler has observed that "my own foreignness to myself is, paradoxically, the source of my ethical connection with others."8 She explains that because there are aspects of oneself that remain forever baffling and inexplicable, we should suppose that other people—who can also seem foreign and inexplicable—contain similar aporias. If their accounts of themselves are difficult for us to understand, we should recognize, through our inability to sympathize, that we too are surely baffling and that they, like us, are likely also baffling to themselves. Thus, [End Page 31] through the sheer dubiousness of understanding other people, we can achieve a kind of negative shared humanity. We all probably confront an inassimilable kernel... (shrink)

What does it mean to be human? The Brontë novels and poetry are fascinated by what lies at the core - and limits - of the human. The Brontës and the Idea of the Human presents a significant re-evaluation of how Charlotte, Emily, and Anne Brontë each responded to scientific, legal, political, theological, literary, and cultural concerns in ways that redraw the boundaries of the human for the nineteenth century. Proposing innovative modes of approach for the twenty-first century, leading (...) scholars shed light on the relationship between the role of the imagination and new definitions of the human subject. This important interdisciplinary study scrutinises the notion of the embodied human and moves beyond it to explore the force and potential of the mental and imaginative powers for constructions of selfhood, community, spirituality, degradation, cruelty, and ethical behaviour in the nineteenth century and its fictional worlds. (shrink)

Mary Taylor, Charlotte Bront"e's closest and lifelong friend, did indeed fulfill Bront"'s prediction in both her life and her writings. Recently, however, the authenticity of Taylor's feminist classic, Miss Miles, has been put into question. A controversy is now raging among experts and scholars of Victorian fiction over the true authorship of Miss Miles. Did Mary Taylor labor over this novel from her early womanhood until the end of her life, and offer it as her last great act of (...) friendship to women? Or is it the last work of Charlotte Bront"e, taken from her home to prevent its destruction, then published posthumously under Taylor's name? Regardless of its authorship, Miss Miles is a passionate and compelling novel, well deserving of its literary status on its own terms, and fascinating as a part of the Bront"e world. In this, the only edition of Miss Miles available, Taylor breaks with tradition by creating a profoundly feminist and morally intense novel which depicts female friendships as sustaining life and samity through the vicissitudes of Victorian womanhood. Set in the small Yorkshire village of Repton against the backdrop of starvation in the wool districts and the rise of Chartism in the 1830s, this extraordinary work chronicles the lives of four socially disparate women as they learn to find their own voices and support one another. Taylor's own courage and allegiance to her friends is wonderfully reflected in each of these individually ambitious women, while the novel's emphasis on the healing power of women's friendships echoes the relationship between Bront"e and Taylor herself. Originally published in 1890, Miss Miles continues to stand as an eloquent polemic in favor of a women's personal obligation to support herself. It is a classic that will delight all lovers of fine literature. (shrink)

This paper examines how Charlotte Brontë's belief in phrenology influences the narration of her novel Jane Eyre. Phrenology was a nineteenth-century belief that the shape of the skull could give information about a person's temperament. Phrenologists speculated that the brain was split into separate parts, or faculties, that defined the individual's ability to feel a particular emotion. A bump on the skull implied that the faculty underneath that part of the skull was bigger, so the individual was more inclined (...) to feel that emotion. By placing Jane Eyre within the historical context of the rise of phrenology, I explore the ways in which Brontë's phrenological representation of Jane's mind informs and parallels the autodiegetic narration of Jane Eyre. My analysis focuses on moments when Jane draws attention to the fact that she is a first-person narrator telling the story of her own past experiences. I argue that these moments are comparable to those when Jane’s experiencing-self is fractured into phrenological faculties. Concomitantly, I seek to trace how Jane's narration changes as she moves between the locations of Thornfield, the Moor House, and Ferndean. I suggest that the shifts in narration draw attention to these locations as metaphors for varying degrees of restriction on Jane's faculties. Through an application of nineteenth-century psychological studies, I conclude that Brontë uses her narration style to criticize phrenologists who promote an unnaturally restrictive control of the faculties. (shrink)

Gayatri Chakravorty Spivaks seminal contribution to contemporary thought defies disciplinary boundaries. From her early translations of Derrida to her subsequent engagement with Marxism, feminism and postcolonial studies and her recent work on human rights, the war on terror and globalization, she has proved to be one of the most vital of present-day thinkers. In this book Stephen Morton offers a wide-ranging introduction to and critique of Spivaks work. He examines her engagements with philosophers and other thinkers from Kant to Paul (...) de Man, feminists from Cixous to Helie-Lucas and literary texts by Charlotte Bronte, J. M. Coetzee, Mahasweta Devi and Jean Rhys. Spivaks thought is also situated in relation to subaltern studies. Throughout the book, Morton interrogates the materialist basis of Spivaks thought and demonstrates the ethical and political commitment which lies at the heart of her work. Stephen Morton provides an ideal introduction to the work of this complex and increasingly important thinker. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 39.3 (2005) 44-57 [Access article in PDF] Literary Biography: The Cinderella of Literary Studies Michael Benton There are no prizes for guessing who are the two ugly sisters: Criticism, the elder one, dominated literary studies for the first half of the twentieth century; theory, her younger sister, flounced to the fore in the second half. Meanwhile, 'Cinders,' who had been doing the chores for (...) centuries, has been magically transformed in recent times, decked out in new clothes by Richard Holmes, Claire Tomalin, Juliet Barker, Peter Ackroyd et al., and, as the millennium approached, celebrated and admired on all sides. At the start of the new century, literary biography remains in vogue. The bibliography that carries it forward is rolling, and there is no sign of it turning into a pumpkin. Why is Cinderella so popular?One obvious if superficial answer might be that literary biography is where literary people go who find the contemporary preoccupation with theory to be personally undernourishing and critically unenlightening; they would rather stay with the literary works themselves and with the lives, the minds, and the times that produced them. Yet it is not only literary biography that is thriving; life writing in general is the fastest-growing area of mainstream publishing, evidence for which can be seen in Waterstone's flagship store in London's Piccadilly, which devotes its prime ground-floor site to thousands of biographies. This commercial high profile is responding to an evident, if unfocused, need to look at other lives and understand them. Individual reasons for the popularity of biography range from prurient interest and hero worship to a, perhaps unrecognized, search for coherence and purpose in an age that is often disinclined either to accept institutional values or to respect traditional authority. The motives for this search usually include the desire for recognizable success, to which end the invention of a convincing identity is essential. Biographies offer models of how others live, face challenges, and cope with change; they are prime sites for studying ourselves. Curiously, this justification for biography as providing [End Page 44] a model for living was felt most strongly when this literary genre first emerged in the eighteenth century. The difference today is that the model has changed: Biography as a moral exemplum based upon Christian principles has been replaced in today's celebrity culture by the demand for models of success provided by public personalities. Nonetheless, whatever the range of satisfactions readers seek in biography, life writing offers, in one form or another, detailed pictures of widely different ways of living and amid these, perhaps, some clues to how an individual sense of identity might be shaped.Literary biographies (i.e., biographies of writers, not biographies with a particular literary quality) are a significant and, in some respects, a unique subgenre since they purport to offer access to the creative imagination. They have a long and distinguished history from Johnson and Boswell to the present day; they are sometimes written by other novelists (Elizabeth Gaskell on Charlotte Bronte, Peter Ackroyd on Dickens); and autobiographical writing may take the form of poetry (Wordsworth) or fiction (Joyce).1 Furthermore recent writing in this field has increasingly introduced elements of metabiography in books by Adam Sisman2 and Lucasta Miller.3 It is evident, therefore, that literary biography offers a rich and varied area of study that raises issues about the relationships among biography, history, fiction, and poetry that are fundamental to aesthetic education.Yet despite this promise, it has become a truism to declare that biography has failed to establish any theoretical foundations upon which to build. Backscheider quotes Ira Nadel's remark on the absence of "a sustained theoretical discussion of biography incorporating some of the more probing and original speculations about language, structure, and discourse that have dominated post-structuralist thought."4 She goes on to lament the poverty of criticism; the absence of a cultivated readership; the failure to engage even with the practical questions of selection, organization, or presentation; and indicates that readers of biography are too easily... (shrink)

Like all people, atheists contemplate issues of love, death, and morality, and in times of stress we long for solace and inspiration. A collection of uplifting quotations from some of mankind’s most important philosophers, scientists, writers, and even comedians, THE INSPIRATIONAL ATHEIST will be a treasured daily companion for the growing demographic of humanists who believe that life has meaning when we live it meaningfully, independent of the existence of a higher power. With words from Carl Sagan, D. H. Lawrence, (...) Julia Child, Douglas Adams, Charlotte Bronte, Bertrand Russell, Ralph Waldo Emerson, George Carlin, Joan Didion, Alfred Lord Tennyson, Thomas Jefferson and dozens of others on topics ranging from Love and Nature to Wisdom and Beauty, this book is a celebration of the sublime without the divine. (shrink)

Bodily expression of affection through movement is both simple and complex: simple insofar as it puts us into immediate communion with the affective lives of others; complex insofar as it relies on rapid and subtle movements that generally escape explicit notice. The difficulty in understanding the bodily basis of intersubjectivity comes in understanding how in and through complex movement the simplicity of expression is possible. It is here that reflection on the arts proves valuable. Hans-Georg Gadamer points to the role (...) of art in contemplating the truth of appearance, and he observes that nature appears as self-renewing play. Drawing on these insights, this paper considers the treatment of bodily expression in the work of three artists: the portraiture of El Greco, a novel by Charlotte Brontë, and several poems by Gerard Manley Hopkins. All three artists employ the imagery of fire to represent bodily expression. Fire recommends itself because of its subtle movement and its radiance. In light of these artists’ approach to the phenomenon, the paper argues that “radiant interplay” characterizes the how of bodily expressiveness. Our bodies radiate our felt affectivity through the play of our features, and this play is always reciprocally related to the play of others radiating their felt affectivity. Reflection on art enriches the phenomenology of intersubjectivity. (shrink)

El objetivo fundamental de este artículo está dirigido a valorar las funciones de la intertextualidad en la construcción del espacio insular caribeño en WideSargasso Sea, de la escritora dominiquesa Jean Rhys. Por tal motivo se analizaron las relaciones intertextuales entre Jean Eyre, de Charlotte Brontë, y Wide Sargasso Sea, de Jea Rhys, con énfasis en la isla en tanto espacio literario presentado de manera explícita. Como resultado se pudo constatar que la principal función de la intertextualidad en dicho texto (...) responde a la intención calibanesca y desmitificadora de desmonte de los arquetipos en los que la imagen del otro ha sido construida en el discurso del poder. De igual manera, el presente análisis permite develar la riqueza de las connotaciones otorgadas en el texto al espacio isla y a sus significados añadidos. La red de significaciones encontradas refuerza su identidad cultural caribeña. (shrink)

El objetivo fundamental de este artículo está dirigido a valorar las funciones de la intertextualidad en la construcción del espacio insular caribeño en WideSargasso Sea, de la escritora dominiquesa Jean Rhys. Por tal motivo se analizaron las relaciones intertextuales entre Jean Eyre, de Charlotte Brontë, y Wide Sargasso Sea, de Jea Rhys, con énfasis en la isla en tanto espacio literario presentado de manera explícita. Como resultado se pudo constatar que la principal función de la intertextualidad en dicho texto (...) responde a la intención calibanesca y desmitificadora de desmonte de los arquetipos en los que la imagen del otro ha sido construida en el discurso del poder. De igual manera, el presente análisis permite develar la riqueza de las connotaciones otorgadas en el texto al espacio isla y a sus significados añadidos. La red de significaciones encontradas refuerza su identidad cultural caribeña. (shrink)

Still Life: Suspended Development in the Victorian Novel rethinks the nineteenth-century aesthetics of agency through the Victorian novel's fascination with states of reverie, trance, and sleep. These states challenge contemporary scientific and philosophical accounts of the perfectibility of the self, which privileged reflective self-awareness. In dialogue with the field of literature and science studies and affect studies, this book shows how Victorian writers used narrative form to respond to the analytical practices and knowledge production of those other disciplines. Drawing upon (...) canonical texts--by Charlotte Brontë, George Eliot, George Meredith, and Thomas Hardy--Still Life contends that depictions of non-purposive perceptual experience suspend the processes of self-cultivation central to Victorian aesthetics, science, psychology, and political theory, as well as most critical accounts of the novel form. Departing from the values of individual cultivation and moral revelation associated with the genre, these writers offer an affective framework for understanding the subtly non-instrumental powers of narrative. Victorian novels ostensibly working within the parameters of the Bildungsroman are suspended by moments of "still life": a decentered lyricism associated with states of diminished consciousness. They use this style to narrate what should be unnarratable: experiences not dependent on reflective consciousness, which express a distinctive ambivalence toward dominant developmental frameworks of individual self-culture. (shrink)

Those who live in retirement, whose lives have fallen amid the seclusion of schools and other walled-in and guarded dwellings, are liable to be suddenly and for a long while dropped out of the memory of their friends, the denizens of a freer world … there falls a stilly pause, a wordless silence, a long blank of oblivion. Unbroken always is this blank, alike entire and unexplained. The letter, the message once frequent, are cut off, the visit, formerly periodical, ceases (...) to occur; the book, paper, or other token that indicates remembrance, comes no more. Always there are excellent reasons for these lapses if the hermit but knew them. Though he is stagnant in his cell, his connections without are whorling in the very vortex of life … The hermit – if he be a sensible hermit – will swallow his own thoughts, and lock up his own emotions during these weeks of inward winter… (Charlotte Brontë, Villette, 1979: 348). (shrink)

This study suggests that news obituaries have a role to play in educating practical reason using The New York Times’ Overlooked project to illustrate. The argument draws from virtue ethicist Alasdair MacIntyre’s book Ethics in the Conflicts of Modernity. A close reading of Overlooked’s15 initial obituaries used the biographies in MacIntyre’s book as templates. The analysis concluded that the articles on LGBTQ activist Marsha P. Johnson and novelist Charlotte Brontë illustrated lives that were happy in an Aristotelian sense despite (...) misfortune. The articles on journalist Ida B. Wells and mathematician Ada Lovelace illustrated incomplete lives despite overall directedness. The articles on novelist Nella Larsen and Brooklyn Bridge supervisor Emily Warren Roebling illustrated the challenge of reconciling different aspects of one’s life to achieve unity of character. This finding was closely tied to how structural injustice prevents or distorts the kinds of relationships MacIntyre says agents need to flourish. (shrink)

According to Adam Smith, vanity is a vice that contains a promise: a vain person is much more likely than a person with low self-esteem to accomplish great things. Problematic as it may be from a moral perspective, vanity makes a person more likely to succeed in business, politics and other public pursuits. “The great secret of education,” Smith writes, “is to direct vanity to proper objects:” this peculiar vice can serve as a stepping-stone to virtue. How can this transformation (...) be accomplished and what might go wrong along the way? What exactly is vanity and how does it factor into our personal and professional lives, for better and for worse? This book brings Smith’s Theory of Moral Sentiments into conversation with William Makepeace Thackeray’s Vanity Fair to offer an analysis of vanity and the objects to which it may be directed. Leading the way through the literary case study presented here is Becky Sharp, the ambitious and cunning protagonist of Thackeray’s novel. Becky is joined by a number of other 19th Century literary heroines – drawn from the novels of Jane Austen, Charlotte Brontë and George Eliot – whose feminine perspectives complement Smith’s astute observations and complicate his account of vanity. The fictional characters featured in this volume enrich and deepen our understanding of Smith’s work and disclose parts of our own experience in a fresh way, revealing the dark and at times ridiculous aspects of life in Vanity Fair, today as in the past. (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on literature and science, this volume presents (...) fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on literature and science, this volume presents (...) fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

One measure of the validity of [Joseph] Frank's insight is the extent to which other versions of his ideas appear in other contexts: for if "spatial form" refers to something real, it cannot have escaped notice by other readers. One thinks, for example, of Northrop Frye's description of the critic viewing all the elements of the poem as a simultaneous array before him; or of Gaston Bachelard's evocative descriptions of The Poetics of Space. Or Pound's interest in ideographic script; or (...) the frequent critical association of modern literature with impressionist painting. Or Eliot's poet synthesizing Spinoza, the sound of the typewriter, and the smell of cookery into a unified whole. Or—at the root of it all, perhaps—Poe's insistence on the unified effect of the story or poem.1 All of these instances reflect a more or less casual assumption of the basic premise of Frank's essay. More recently another critic, Frank Kermode, has offered an alternative description of this general problem. In The Romantic Image2 he assesses symbolist poetic theory; here the verbal image , autonomous and autotelic, presumably unites meaning and feeling without intervening reflection or discourse: the "image" so hypostatized seems very close to a "spatial" form, and certainly the suppression of discourse, of reflection generally, follows from the disruption of syntax and narrative that results from the impulse toward "spatial" effects. Provisionally, we might say that Joseph Frank's essay is grounded in an essentially formalist conception of the literary work as artifact, and that the striking features of his argument result from an attempt to assimilate extended works to a theory basically lyric in its orientation: as corollary, we must assume that the modern writers he cites had themselves operationally defined the concept in the course of their writing. · 1. Northrop Frye, "Literary Criticism," in The Aims and Methods of Scholarship in Modern Languages and Literature, ed. James Thorpe , p.65. See also Fables of Identity: Studies in Poetic Mythology , p. 21. Gaston Bachelard, The Poetics of Space, trans. Maria Jolas . Ernest Fenollosa, The Chinese Written Character as a Medium for Poetry, ed. Ezra Pound . T.S. Eliot, "The Metaphysical Poets," Selected Essays , p. 247. Edgar Allan Poe, review of Twice-Told Tales, in Works, 17 vols., ed. James A. Harrison 11: 104-13.· 2. Frank Kermode, The Romantic Image . William Holtz, professor of English at the University of Missouri-Columbia, is currently preparing an edition of an unpublished juvenile manuscript by Charlotte Brontë. (shrink)

The front page of the [New York] Times on July 16, 1951, serves to outline, quickly enough, the situation of the world into which The Catcher in the Rye made such a successful and relatively well-publicized entrance. The main action of the world, the chief events of its days were occurring within a framework of struggle between two systems of life, two different ways of organizing human being socially, politically, economically. The opposition between East and West, between socialist and capitalist, (...) was determining what happened in Kaesong, Budapest, Madrid, Teheran, Washington, New York. Name-calling the Administration, Republicans threw out the term "socialist," and the bid for millions to build schools in the five boroughs of New York would finally have to dovetail with allocations of taxes for defense. The review of The Catcher in the Rye in the back pages of the Times made no mention of any of this. The kind of reality reported on the front page belonged to one world; the new novel was about to be assimilated into another, into the world of culture, which was split from politics and society. And this separation repeated itself in other reviews: typically, they did not mention the framework of world history contemporary with the novel; they did not try to relate Catcher to that framework even to the extent of claiming that there was only a partial relationship or complaining, however simplistically, that there was none. Our concern from here on will be to try to sketch what reviewers and what academic critics after them did see in the novel and what they might have seen in it. We are interested in the conceptual frameworks, the alternatives to history, they used to respond to and interpret Catcher as they passed it on to its millions of lay readers. Carol Ohmann is currently working on a book about Charlotte Bronte, George Eliot, and Virginia Woolf. Her previous contribution to Critical Inquiry, "Virginia Woolf's Criticism: A Polemic Preface" , appeared in the December 1974 issue. Richard Ohmann's most recent book is English in America: A Radical View of the Profession. Both are professors in the department of English at Wesleyan University, and contributed "CRITICAL RESPONSE: Universals and the Historically Particular" to Critical Inquiry in the Summer 1977 issue. (shrink)

This essay deals with American fiction between the early 1850s, when Hawthorne and Melville produced their best work, and the first novels of Howells and James in the early 1870s. The familiar notion that this was the period of transition from pre-Civil War Romanticism to postwar Realism tells us nothing in particular about it. Yet we need some historical frame in which to place both of the later efforts of Hawthorne and Melville and the apprentice work of the next generation (...) of novelists. To this end, I propose to examine a few examples of the popular fiction that held at least quantitative dominance of the field. Hawthorne and Melville believed that the unprecedented sales of a new kind of stories by women writers contributed significantly to the loss of audience they both suffered in the early 1850s; and not only Howells and James but also Mark Twain showed in their early careers an unacknowledged attraction toward the procedures of the popular novelists along with a conscious effort to escape from them...the type of best-seller that appeared in the 1850s was an accidental creation rather than the result of conscious contrivance on the part of either authors or publishers. In fact, it caught the publishers by surprise. According to the author's sister , Susan Warner's The Wide, Wide World was rejected by "almost all the leading book firms in New York," and the manuscript was returned with the comment "Fudge!" written on it by a reader for Harper's. Miss Warner, a thirty-one-year-old spinster, was the daughter of a once prosperous New York lawyer who had fallen into financial difficulties. The story resembles Charlotte Bronte's Jane Eyre to the extent that its heroine is an orphan exposed to poverty and psychological hardships who finally attains economic security and high social status through marriage. But the American writer places much more emphasis on the heroine's piety, and the book sets an all-time record for frequency of references to tears and weeping.Henry Nash Smith, professor of English at the University of California at Berkeley, received the John H. Dunning prize and the Bancroft Award for hisVirgin Land: The American West as Symbol and Myth. He has also written Mark Twain: The Development of a Writer, and Popular Culture and Industrialism. (shrink)

This is a response to Professor Fennell's paper on the recent influence and impact of the best interests test on the treatment of patients detained under the Mental Health Act 1983 (MHA) for mental disorder. I discuss two points of general ethical significance raised by Professor Fennell. Firstly, I consider his argument on the breadth of the best interests test, incorporating as it does factors considerably wider than those of medical justifications and the risk of harm. Secondly, I discuss his (...) contention that the apparent permeability of the line between the interests of the patient and the interests of society is something to be concerned about in itself. Since the overarching theme of the paper is the proper place of social and cultural values, my reponse considers the implications of Fennell's arguments in the light of Charlotte Brontë's novel ‘Jane Eyre’, which, through the character of Bertha Mason (the infamous ‘mad woman in the attic’) provides a provocative study of the relationship between mental disorder and society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mensonge MélodramatiqueTriangular Desire in Sense and SensibilityMatthew Taylor (bio)The Passions are perfectly unknown to her; she rejects even a speaking acquaintance with that stormy Sisterhood; even to the Feelings she vouchsafes no more than an occasional graceful but distant recognition; too frequent converse with them would ruffle the smooth elegance of her progress. Her business is not half so much with the human heart as with the human eyes, (...) mouth, hands and feet; what sees keenly, speaks aptly, moves flexibly, it suits her to study, but what throbs fast and full, though hidden, what the blood rushes through, what is the unseen seat of Life and the sentient target of Death—this Miss Austen ignores.—Charlotte Brontë1"Oh! mama, how spiritless, how tame was Edward's manner in reading to us last night! I felt for my sister most severely. Yet she bore it with so much composure, she seemed scarcely to notice it. I could hardly keep my seat. To hear those beautiful lines which have frequently almost driven me wild, pronounced with such impenetrable calmness, such dreadful indifference!" [End Page 189]—Marianne in Sense and Sensibility2Charlotte Brontë had probably not read Sense and Sensibility (SS) before making her famous indictment of Jane Austen above, otherwise she would have found herself prophetically, and mercilessly, parodied through the character of Marianne Dashwood.3 Marianne's critique of Edward above matches Brontë's denunciation with uncanny precision. Marianne, the "stormy sister" of the novel, carries on in the same vein through most of it. What she proclaims as passionate sensibility comes off instead as, at varying times, snooty, self-indulgent, exhibitionist, and histrionic. Marianne even assumes the role of Brontë's "sentient target of Death" not long after she is cruelly jilted by Willoughby, when she wanders listlessly outdoors in the damp. It is not unlike Jane Eyre's numb wanderings when she flees Thornfield and Rochester. This "acting out" by Marianne comes close to killing her.Marianne's romantic "sensibility" contrasts with her sister Elinor's "sense." Yet, of course, readers of SS will come to know that Elinor can feel just as deeply and passionately as Marianne; she just has to conceal it. Elinor can suffer as much, too, only without the luxury of wearing it on dew-drenched sleeves. Thus, we have the thematic frame of the novel, suggested in the title. As Austen's first published novel, SS is brilliant, mature, and confident. One weakness seems to be a Brontëan one, the melodramatic coincidence in the plot that connects Colonel Brandon's secret life of compassion to Willoughby's secret sins. Otherwise, SS sits very well alongside Austen's other five masterpieces.4From the perspective of René Girard's mimetic theory, mimesis comes out with a bang in SS.5 Not only is Marianne a principal character in Austen's first canonical novel, but her romantic sensibility is thematized in the title.6 "Sensibility" for Marianne is feeling, unmediated desire expressed in unrestrained language and impulsive action. Yet Marianne's actions are anything but unmediated, and they are compulsive rather than impulsive. Even when she finally overcomes the worst symptoms under the influence of Elinor, and even though we do develop genuine sympathy for her, Marianne never comes to any deep self-knowledge. Marianne perfectly encapsulates Girard's mensonge romantique, or "romantic lie."Implying that Marianne is a liar is not a comfortable stance, and not just because we may be fond of her, but because she is open and sincere—to a fault. Yet just because Marianne is honest about her feelings, it does not follow that she is accurate about them. In fact, this is often a problem in interpreting Marianne: Her self-characterization is accepted uncritically.7 From that basis, she is framed, somewhat understandably, as representing one side of a moral debate about sensibility.8 Austen is seen as being for it, or against it, or working out some sort of accommodation. Austen is further assessed as having done [End Page 190] so well, or badly, or indifferently, as the case may be. Then Austen is seen as conforming to cultural standards, or challenging... (shrink)

Due to the COVID-19 Pandemic, several changes have been forcibly made and observed in various fields and areas of society, one of which include the field of education; the foundation of the formation of intellect and knowledge. After two years of studying indoors and private educational institutions holding virtual classes, the time has finally come for students to be re- adjusted once more to the blended mode of learning; a combination of virtual and in-person classes. Thus, this study aimed to (...) investigate the development of students’ study habits and how these habits could potentially affect the students’ academic achievement or performance. The study utilized a descriptivecorrelational design to examine the impact of study habits to the academic performance of 137 senior high school students. The study made use of the Palsane and Sharma’s Study Habits Inventory, or also known as PSSHI, and using this instrument, the study has been able to procure sufficient results that will answer the present study’s problems. Using linear regression analysis, the present study found that there was a significance between the study habits and academic performance of the senior high school students, thus the study’s null hypothesis was eventually rejected. (shrink)

BackgroundSexual boundary violations in healthcare are harmful and exploitative sexual transgressions in the professional–client relationship. Persons with mental health issues or intellectual disabilities, especially those living in residential settings, are especially vulnerable to SBV because they often receive long-term intimate care. Promoting good sexual health and preventing SBV in these care contexts is a moral and practical challenge for healthcare organizations.MethodsWe carried out a qualitative interview study with 16 Dutch policy advisors, regulators, healthcare professionals and other relevant experts to explore (...) their perspectives on preventing SBV in mental health and disability care organizations. We used inductive thematic analysis to interpret our data.ResultsWe found three main themes on how healthcare organizations can prevent SBV in mental health and disability care: setting rules and regulations, engaging in dialogue about sexuality, and addressing systemic and organizational dimensions.ConclusionOur findings suggest that preventing SBV in mental health and disability care organizations necessitates setting suitable rules and regulations and facilitating dialogue about positive aspects of sexuality and intimacy, as well as about boundaries, and inappropriate behaviors or feelings. Combining both further requires organizational policies and practices that promote transparency and reflection, and focus on creating a safe environment. Our findings will help prevent SBV and promote sexual health in mental health and disability care organizations. (shrink)

Reorienting the Political examines the reception of two controversial German philosophers, Carl Schmitt and Leo Strauss, in the Chinese-speaking world. This volume explores the powerful resonance of both thinkers in Chinese political thought from a cross-cultural and interdisciplinary perspective.

Quarterly publication discussing various topics in environmental ethics, including features, discussion papers, book reviews, editorial commentaries, and other text related to environmental philosophies. Some issues also include announcements and other news related to the environmental studies community.

Coral bleaching has impacted reefs worldwide and the predictions of near‐annual bleaching from over two decades ago have now been realized. While technology currently provides the means to predict large‐scale bleaching, predicting reef‐scale and within‐reef patterns in real‐time for all reef users is limited. In 2020, heat stress across the Great Barrier Reef underpinned the region's third bleaching event in 5 years. Here we review the heterogeneous emergence of bleaching across Heron Island reef habitats and discuss the oceanographic drivers that (...) underpinned variable bleaching emergence. We do so as a case study to highlight how reef end‐user groups who engage with coral reefs in different ways require targeted guidance for how, and when, to alter their use of coral reefs in response to bleaching events. Our case study of coral bleaching emergence demonstrates how within‐reef scale nowcasting of coral bleaching could aid the development of accessible and equitable bleaching response strategies on coral reefs. Also see the video abstract here: https://youtu.be/N9Tgb8N-vN0. (shrink)

Recent longitudinal observations show that human menstrual cycles, sleep‐wake cycles and manic‐depressive cycles can become synchronized with lunar cycles, but do so in uniquely complex and heterogeneous ways that are unlikely to have been detected by past studies. Past studies’ negative results have given rise to a scientific consensus that human biology and behavior are unaffected by lunar cycles. The recent observations show that synchrony can be temporary, and can occur with more than one type of lunar cycle, more than (...) one phase of a lunar cycle and more than one resonant frequency of a lunar cycle. Given the variability of human responses to lunar cycles, aggregate analyses used in almost all previous studies would likely have cancelled out individuals’ responses and led to false negative results. In light of these observations, the question of lunar influence should be investigated further, with longitudinal observations and case‐by‐case analyses of individuals’ data. (shrink)

Charlotte Wolff was born in Riesenburg, West Prussia into a middle-class Jewish family. She studied philosophy and then medicine at several German universities, completing her doctorate in Berlin in 1926. Working in various institutions over the next few years, she was also interested in psychotherapy and had a small private medical and psychotherapeutic practice. In 1933 she was forced to leave Germany because of the Nazi regime, and settled for a few years in Paris. As a German refugee she (...) was unable to practice medicine, so she began her research into the correlation between hand traits and personality. In 1936 she went to London to continue her research work and lived there until her death. An active lesbian from an early age, her later research turned to sexology and her writing on lesbianism and bisexuality were influential early works in the field. This is a great opportunity to rediscover her early work, including her first autobiography. (shrink)

Hume is committed, By one of his criticisms of reason as the route to moral knowledge, To an internalist position. In the argument from motivation, Hume starts by observing that morality is practical--That morals excite passions and produce or prevent actions. But, Hume argues, Rationalist moral theories cannot explain how moral considerations motivate. This is because reason alone is incapable of motivating us. The premise that morality is practical, However, May be interpreted in two ways--Either in an externalist or internalist (...) manner. Charity requires us to adopt the internalist reading because only then is the argument valid. An internalist reading of the argument, However, Commits hume, In his constructive phase, To construing the moral sentiments of approval and disapproval as possessing motivational influence by themselves. But an examination of what hume has to say about the motives that prompt us to do what is right shows that he fails to provide such an account himself. This points to an inconsistency in hume's moral theory. (shrink)

There is growing interest in examining dark personality traits, to better explain malevolent and self-serving behaviour patterns commonly observed in clinical and non-clinical settings. Recently, taxonomies of dark personalities have been developed, along with psychometric tools to measure and delineate between traits including psychopathy, Machiavellianism and narcissism. The extent to which these constructs are distinct or overlapping remains controversial. Psychophysiological research can improve understanding of biological mechanisms contributing to personality that may help to evaluate taxonomies. This study investigated diurnal variations (...) in salivary cortisol (on waking, cortisol awakening response, and at bedtime, over two days) and their relationship to personality traits (Short Dark Triad Scale and IPIP Mini), psychopathology (Depression, Anxiety and Stress Scale; DASS) and quality of life (WHOQOL-BREF) in a non-clinical sample (N=45, 26 females, 19 males, 18-59 years). Dark personality traits correlated with low bedtime cortisol, reduced sleep, depression and poorer quality of life. Hierarchical linear regressions analyses indicated that bedtime cortisol levels significantly accounted for variance in Psychopathy (F(1,39)=5.55, p=.02, R=.52, B=-1.81, 95% CI [-3.37-(-.26)], β=-.33, sr2=.10) and reduced sleep uniquely accounted for variance Machiavellianism (F(2,40)=5.99, p=.01, R=.48, B=1.01, 95% CI [.16-2.02], β=.34, sr2=.11). These data provide preliminary evidence that supports the cortisol hypoarousal hypothesis of Psychopathy and has identified a link between Machiavellianism, sleep-wake cycles, and chronotype. The hypoarousal hypothesis of Psychopathy contends that the hypothalamic-pituitary-adrenal axis is unresponsive to the stress of social engagement. Machiavellianism was predicted by longer days with evidence for an evening chronotype. These findings indicated that the Dark Triad traits have different underlying biological mechanisms that require further exploration. (shrink)