Beruflich Dokumente
Kultur Dokumente
Literatura Inglesa I
Coordenador da Disciplina
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Crditos desta disciplina
Coordenao
Coordenador UAB
Prof. Mauro Pequeno
Coordenador Adjunto UAB
Prof. Henrique Pequeno
Coordenador do Curso
Prof. Vldia Maria Cabral Borges
Coordenador de Tutoria
Prof. Joo Tobias Lima Sales
Coordenador da Disciplina
Prof. Michel Franois Felix.
Contedo
Autor da Disciplina
Prof. Carlos Augusto Viana da Silva
Setor TecnologiasDigitais - STD
Coordenador do Setor
Prof. Henrique Sergio Lima Pequeno
Centro de Produo I - (Material Didtico)
Gerente: Ndia Maria Barone
Subgerente: Paulo Andr Lima / Jos Andr Loureiro
Transio Didtica
Elen Cristina S. Bezerra
Eliclia Lima Gomes
Ftima Silva e Souza
Jos Adriano de Oliveira
Karla Colares
Kamille de Oliveira
Thiago Alencar
Formatao
Camilo Cavalcante
Damis Iuri Garcia
Elilia Rocha
Emerson Oliveira
Francisco Ribeiro
Givanildo Pereira
Sued de Deus
Stephan Capistrano
Publicao
Joo Ciro Saraiva
Gerentes
Audiovisual: Andrea Pinheiro
Desenvolvimento: Wellington Wagner Sarmento
Suporte: Paulo de Tarso Cavalcante
Design, Impresso e 3D
Andrei Bosco
Eduardo Ferreira
Fred Lima
Iranilson Pereira
Luiz Fernando Soares
Marllon Lima
Onofre Paiva
Sumrio
Class 01: An Introduction to the Elements of Fiction ........................................................................... 01
Topic 01: Presentation............................................................................................................................ 01
Topic 02: What do we mean by fiction? ................................................................................................ 05
Topic 03: Technical terms used to describe formal elements of a short story ....................................... 07
Class 02: The Elements of Fiction ........................................................................................................... 14
Topic 01: Poes Critical Theories........................................................................................................... 14
Class 03: English Language Writers: D. H. Lawrence .......................................................................... 18
Topic 01: D.H. Lawrence ....................................................................................................................... 18
Class 04: English Language Writers: James Joyce ............................................................................... 21
Topic 01: James Joyce............................................................................................................................ 21
Class 05: English Language Writers: Katherine Mansfield ................................................................. 24
Topic 01: Katherine Mansfield .............................................................................................................. 24
Class 06: The English Novel and the Victorian Context ....................................................................... 27
Topic 01: Some Historical and Social Aspects ...................................................................................... 27
MULTIMDIA
Ligue o som do seu computador!
OBS.: Alguns recursos de multimdia utilizados em nossas aulas, como
vdeos legendados e animaes, requerem a instalao da verso mais
atualizada do programa Adobe Flash Player. Para baixar a verso mais
recente do programa Adobe Flash Player, clique aqui! [1]
PALAVRA DO COORDENADOR DA DISCIPLINA DE LITERATURA DA LNGUA INGLESA
VERSO TEXTUAL DO FLASH
Caros alunos,
A literatura em lngua inglesa se estende por um longo perodo
que vai desde as primeiras manifestaes literrias
nos dialetos Anglo-Saxes at o ingls contemporneo.
um acervo inestimvel que nos traz uma viso rica
em contrastes sociais em vrios pases onde o ingls a principal
lngua de expresso.
A disciplina de literatura em lngua inglesa
no pretende dar conta desse vasto universo cultural.
Daremos nfase na prosa, mais precisamente, no conto em lngua
inglesa,
do sculo XVIII ao sculo XX.
Nosso objetivo abordar o texto literrio com uma viso crtica e
analtica.
Alguns contos sero lidos, discutidos e analisados.
Quanto avaliao, levaremos em conta a participao em fruns,
atividades de portflio e a produo escrita em geral.
No final da disciplina, o aluno ter que escrever
um paper sobre a obra de Emily Bronte, Wutherings Heights.
importante que todos os alunos leiam os textos
do incio at o fim da disciplina.
Sabemos que a prtica da leitura imprescindvel em literatura.
OBJETIVOS
CONTEDO
AVALIAO
BIBLIOGRAFIA
TIPS
Look up the glossary [1]of literary terms to be in contact with formal
terminology for literary analysis.
MULTIMEDIA
LISTENING ACTIVITY
BIBLIOGRAPHY
BURGESS, Anthony. English Literature. Ediburg: Longman, 1996.
GOTLIB, N. B. Teoria do Conto. 10 ed., So Paulo: Editora tica,
2002.
MAY, C. E. (ed.). The New Short Story Theories. Athens: Ohio
University Press, 1994.
PERRINE, L. & THOMAS, R. Arp. Literature Structure, Sound and
Sense. New York: Harcourt Brace Jovanovich, 1983.
3. 1. CHARACTER
A character is a fictional person in a story, and readers first reaction to
him or her are usually based on their subjective capacity to empathize with
the characters experiences. A character is often revealed through his or her
actions, which provide readers with clues about the characters personality,
motives, and expectations. Many stories present a conflict between the
protagonist (the storys central character) and the antagonist (the opposing
character or force); the conflict is revealed through the authors use of
dialogue and narrative. In Alifa Rifaats story Another Evening at the Club,
for example, the main character or protagonist, Samia, is in conflict with her
husband, the antagonist, because of her inability to liberate herself from his
dominating behavior.
Fictional characters are sometimes referred to as round or flat, static or
dynamic.
ROUND
3.2. PLOT
Plot is the arrangement of the events in a story according to a pattern
devised by the writer and inferred by the reader. Often the plot develops
when characters and situations oppose each other, creating conflicts that
grow and eventually reach a climax, the point of highest intensity of the
narrative. After this climatic turning point, the action of the story declines.
Then, it moves toward a resolution of the conflict.
Although the time frame in a story may vary from recapturing an intense,
momentary experience to narrating an event that covers a much longer
period, the story teller must focus on what Edgar Allan Poe calls single
effect (more details on this theoretical concept will be presented in class II)
as the action of the story moves toward a resolution of the conflict.
EXAMPLE
Taking the short story Another Evening at the Club as an example, it
can be observed the following: since the plot is centered on a conflict
between Samia and her husband, the action starts to rise in dramatic
intensity (THE RISING ACTION) when Samias loss of the emerald ring
destabilizes her relationship. After this initial exposition (narrative
introduction of characters and situation), the action reaches its crisis (THE
CLIMAX OF THE ACTION) when Samia decides to exonerate the maid,
even though she is conscious of her innocence. Observe that this external
conflict also parallels the internal conflict of the protagonist when she
recognizes the degree of the husbands control over her and her inability to
oppose him. The action of the story moves toward the resolution of its
conflict (THE FALLING ACTION) when Samia yields to her husbands
authority.
The traditional plot has a beginning, middle, and an end. However, some
authors may also vary their patterns of narration in which sometimes the
story ends without a resolution of the conflict. Sometimes the story does not
follow a chronological sequence in its development and instead it uses
flashbacks, selecting a few episodes to build a plot that moves backward and
forward (foreshadowing), providing details and hints about what will
happen next.
3. 3. SETTING
The setting of the story is the context where, when and in what
circumstances the action occurs. By observing in a story, elements such as
time, place and social context that constitute setting, we see that they reveal
the motivation of the characters and establish the story credibility.
It is important to pay particular attention to the writers use of visual
imagery aimed at helping the reader to create mental pictures of the setting
and assessing its effects on the characters actions.
3.4. THEME
Theme may be defined as the central or dominant idea of the story
reinforced by the interaction of the fictional devices such as character, plot,
setting, and point of view. The theme is the overall generalization we can
make about the storys meaning and significance. Sometimes the theme can
be stated in a short phrase. For instance, racism and sexism are themes that
emerge in the novel The Color Purple by Alice Walker.
To define the theme of a story, look for clues provided by the author, such
as the title, imagery, symbolism, and dialogue between the characters. A
story may evoke a range of meanings. And readers because of their
diversity of interests, cultural backgrounds, and expectations will react
individually and produce varied meanings. However, meanings should be
supported by evidence from the story.
3. 5. POINT OF VIEW
Point of view refers to who tells us the story and how it is told. What we
know and how we feel about the events in a story are shaped by the authors
choice of a point of view. The teller of a story, the narrator, inevitably
affects our understanding of the characters actions by filtering what is told
through his or her own perspective. The narrator should not be confused
with the author who has created the narrative voice, because the two are
usually distinct.
If the narrative voice is changed, the story will change.
The possible ways of telling a story are many, and more than one point of
view can be worked into a single story. However, the various points of view
that storytellers draw upon can be conveniently grouped into two broad
categories: the third-person narrator; and the first-person narrator.
The third-person narrator uses he, she, or they to tell the story and does
not participate in the action.
The first-person narrator uses I and is a major or minor participant in the
action. A second-person narrator, you, is possible but rarely used because of
the awkwardness in thrusting the reader into the story, as in the following
passage: you are minding your own business on a park bench when a drunk
steps out of the bushes and demands your bag.
The most important and most often used variations within first-and thirdperson narrations:
THIRD-PERSON NARRATION (NONPARTICIPANT)
1) Major character
2) Minor character
No type of third-person narrator appears as a character in a story. The
omniscient narrator is all-knowing. Into this perspective, the narrator can
move from place to place and pass back and forth through time, slipping into
and out of characters as no human being possibly could in real life. The
narrator can report the characters thoughts and feelings as well as what they
say and do.
The limited omniscient narrator is much more confined than the
omniscient narrator. With limited omniscience the author very often
restricts the narrator to the single perspective of either a major or a minor
character. Sometimes a narrator can see into more than one character,
3. 6. STYLLE
Style refers to the way writers express themselves. Style depends on
diction (the writers choice of vocabulary), syntax (grammar and sentence
structure), and as well as voice and rhythm. Style reveals the writers
linguistic choices or preferences and therefore is a private and unique as
their personalities and identities. In order to make their language unique and
particular, writers can use devices such as the following:
IRONY
SYMBOL
METAPHOR
OBSERVATION
Note: It is important to remark that we are using here the very
traditional concept of metaphor, but there are some theories in which the
concept is developed, presenting new perspectives of studies (see Lakoff,
10
3. 7. TONE
Tone is the manner, mood, pervading attitude, or tone of voice that
writers establish in relation to the characters, situations, and readers. It can
be understood as the various tones of voice that fiction writers establish
through style. Authors use a variety of different tones, including intimate or
distant, ironic or direct, hostile or sympathetic, formal or casual, humorous
or serious, and emotional or objective.
Fonte [1]
In the short story First confession, for example, Frank OConnor uses
humor to communicate his young protagonists terror, reinforced by his
sisters threats of punishment, as he faces his first religious confession.
That successful creators of fiction must be involved with the intricacies of
their craft is clear, but remember also that their primary purpose is to use
language to communicate to you. As the novelist William Faulkner reminds
us, in his 1950 Nobel Prize acceptance speech, writers like to tell and retell
stories about love and honor and pity and pride and compassion and
sacrifice in other words, stories about the lives and experiences of all
human beings.
ALIFA RIFAAT
(June 5, 1930 - 1996) was a controversial Egyptian author, whose
short stories reflect on the life of traditional Muslim women in rural
Egypt. She was an anomaly in the Egyptian literary scene, speaking
only Arabic but having left Egypt many times. Her books were
translated to English, German, Dutch, and Swedish, among many
other languages.
MARY ELEANOR WILKINS FREEMAN
(October 31, 1852 March 13, 1930) was a prominent 19th century
American author. Freeman began writing stories and verse for
children while still a teenager to help support her family and was
quickly successful. Her best known work was written in the 1880s and
1890s while she lived in Randolph. She produced more than two dozen
volumes of published short stories and novels.
EDGAR ALLAN POE
(January 19, 1809 October 7, 1849) was an American writer, poet,
editor and literary critic, considered part of the American Romantic
Movement. Best known for his tales of mystery and the macabre, Poe
was one of the earliest American practitioners of the short story and is
considered the inventor of the detective-fiction genre.
11
FORUM
1) Discuss the following questions, considering important elements of
fiction that reveal your responses to a storys effects and meanings.
a) What was your last experience as a reader of fiction (novel or short
story)? Present the main elements of this story you associate with the ones
described above.
b) How much biographical information about the author helps to
determine the central concerns of the story? Justify your position.
c) How much historical information about the story provides a useful
context for interpretation?
d) What kinds of evidence from the story are you focusing on to support
your interpretation? Does your interpretation leave out any important
elements that might undercut or qualify your interpretation?
e) To what extent do your own experiences, values, beliefs, and
assumptions inform your interpretation?
PORTFOLIO ACTIVITY
Based on the reading of the story we have previously discussed, choose
at least two formal elements of fiction and analyze them, observing their
roles and functions to the development of the narrative.
ATTENTION
12
13
LITERATURA INGLESA I
CLASS 02: THE ELEMENTS OF FICTION
TOPIC 01: POES CRITICAL THEORIES
VERSO TEXTUAL DO FLASH
http://opioids.com/opium/poe.jpg
"All that we see or seem
Is but a dream within a dream"
Edgar Allan Poe
(1809-1849)
According to James L. Roberts (1994, p.11), Edgar Allan Poe is
considered to be Americas first significant critic or, at least, the first
writer in America to write seriously about criticism, about the theory
of composition, and about the principles of creative art. He was also
the first one to set down a consistent set of principles about what he
thought was acceptable in art and what should be essentially rejected
in art.
Poes views on literary criticism were influenced by the nature of the
short works of art that would appeal to the magazine-reading public.
But irrespective of his journalistic position, his critical views on the
nature of what was and was not acceptable in a work of art have
become famous and have a great influence on subsequent writers.
5)And, finally, in the critical principles that can be drawn from Poes
writings themselves, principles which he did not include in his critical
dicta (dictums).
Poes emphasis is on the unity of effect that one should strive for in any
work of art. Into this perspective, the artist should decide what effect he
wants to create in the readers emotional response and then proceed to use
all of his creative powers to achieve that effect, whether by incidents or plot,
by narration, or by a peculiar tone, or by a peculiarity both of incident and
tone, looking for such combinations of events, or tone in the construction of
the effect.
In much of his poetry, the effect he most aimed for was one of beauty and
melancholy. For him, the most elevating and the purest pleasure is found in
the contemplation of the beautiful.
As a result of these views, Poe felt the most effective subject for a work of
art was the death a beautiful young lady; this is perhaps Poes most famous
and most often repeated dictum, and, furthermore, to achieve the greatest
amount of emotional melancholy, the death of the beautiful young lady
should be expressed by the lips of the bereaved lover.
In conjunction with the unity of effect, we have Poes dictum on the
appropriate length of a work of art. For him, a work of art should be able to
achieve its effect in one sitting, that is, to be read in one sitting.
15
READING
READING ACTIVITY
1. Read Poes poem The Raven and then, the essay The philosophy of
composition, observing the main elements of his theory on narrative.
http://www.heise.de/ix/raven/Literature/Lore/TheRaven.html
[1]
FORUM
How can you explain the idea of the length of the narrative and the
reaction it may cause in the readers?
Poe argues that the unity of effect is the most important point in
composition. What is it necessary, according to him, to get that?
As it can be observed, the action in the poem The Raven takes place in
closed room or possibly, as some people say, within the narrators mind.
How can you associate that to the way environment is developed in Poes
perspective in order to achieve unity of effect?
PORTFOLIO ACTIVITY
1) Read the short story The Tell-Tale Heart by Allan Poe [3] and
answer the following questions:
QUESTIONS
16
BIBLIOGRAPHY
GOTLIB, N. B. Teoria do Conto. 10 ed., So Paulo: Editora tica,
2002.
MAY, C. E. (ed.). The New Short Story Theories. Athens: Ohio
University Press, 1994.
ROBERT, J. L. Cliffs notes on Poes short stories. Lincoln, Nebraska,
1994.
17
LITERATURA INGLESA I
CLASS 03: ENGLISH LANGUAGE WRITERS: D. H. LAWRENCE
TOPIC 01: D.H. LAWRENCE
VERSO TEXTUAL DO FLASH
D.H. Lawrence
http://www.cswnet.com/~erin/dh3.jpg
D.H. Lawrence was born David Herbert Lawrence in Eastwood,
Nottinghamshire on September 11, 1885. Eastwood was a coal mining
town filled with hardworking Englishmen and women. Lawrence was
considered eccentric for his lack of work enthusiasm and his love of
literature.
After finishing grammar school, Lawrence received a scholarship to
attend Nottingham High School. Ironically, He did not excel in school
and after dropping out of school he gained a clerkship in a surgical
appliance factory. It was during this time that D.H. Lawrence met
Jessie Chambers and the two became fast friends. Jessie tutored
Lawrence and encouraged him to begin writing in 1905. D.H.
Lawrence went on to gain a teaching certificate from University
College, Nottingham.
In 1911, D.H. Lawrence quit teaching because of a reoccurring battle
with pneumonia. He eloped with Frieda Weekley (ne von
Richthofen), a German wife of a professor at Nottingham. The couple
traveled across Europe and was finally married in 1914 after Frieda's
divorce. During WWI, Lawrence and Frieda lived in virtual poverty in
England. After the war was over he went to Italy and never returned to
his home again. On March 2, 1930 Lawrence died in Vence, France
from complications of tuberculosis.
READING
READING ACTIVITY
FORUM
1. Concerning the short story The Rocking-Horse Winner [2], discuss
the following:
1.1. Why is there always a shortage of money in Pauls household? Is the
family poor?
1.2 Whom does the mother blame for their financial difficulties? Is she
correct?
1.3 Why does the mother think that luck is more important than
wealth?
1.4 How important is social class to the story?
1.5 Whats the role of the father in the story?
PORTFOLIO ACTIVITY
D. H. Lawrence uses THE ROCKING HORSE in the story as a powerful
and complex symbol with several layers of meaning. The deeper you delve
into the symbolism, the more it reveals about the wider personal and
social issues Lawrence is concerned with.
Choose one of the questions above and answer:
1) What does the rocking horse symbolize? Give as many details as you
can to support your answer.
2) What descriptions of the rocking horse scenes help reinforce the
symbolism?
19
3) Money is used both literally and symbolically in the text. What is its
symbolic importance?
2. Concerning the short story The Horse Dealers Daughter, discuss
the following:
2.1 What are the decisions taken by the characters after their fathers
death?
2.2. What are the implications of Joes decision in social terms?
2.3. How can you justify Mabels position?
2.4. How can you contrast Joes to Mabels decision and what is the
relevance of that to the understanding of Lawrences concept of love?
2.5. Whats the idea of Classicism discussed in Lawrence? Use the
characters positions to justify it?
CHAT
Read the article D. H. Lawrence, um classicista by Gonalves (1997)
(Visite a aula online para realizar download deste arquivo.) in which the
author discusses the attempt of classical unity in Lawrences concept of
man.
BIBLIOGRAPHY
BURGESS, Anthony. English Literature. Ediburg: Longman, 1996.
GONALVES, L. B. D. H. Lawrence, um classicista. Revista de
Letras-v.19-n1/2: Fortaleza, 1997.
MARCUS, S. A world of fiction twenty timeless short stories. New
York: Addison-Wesley Publishing Company, 1995.
THORNLEY, G. C. and ROBERTS, Gwyneth. An Outline of English
Literature. Essex: Longman, Thirteenth impression, 1994.
20
LITERATURA INGLESA I
CLASS 04: ENGLISH LANGUAGE WRITERS: JAMES JOYCE
TOPIC 01: JAMES JOYCE
VERSO TEXTUAL DO FLASH
James Joyce
www.tqnyc.org/2005/NYC051339
http://www.themodernword.com/joyce/bookcovers/caedmon_dubliners.gif
Into this context of criticism, his short stories published as Dubliners, are
considered realistic on the surface but also carry a deeper meaning.
Joyces style may be observed in his short stories through elements such
as:
Joyce uses simplicity and close details to create a realistic setting, what
enables the reader to understand the people as a function of their
environments;
He does not tell the reader what to think, rather they are left to come to
their own conclusions;
He often uses descriptions from the characters' point of view, although he
very rarely writes in the first person;
He gives great emphasis upon the specific geographic details of Dublin,
details to which a reader with knowledge of the area would be able to
directly relate;
Joyces carefully detailed descriptions of the characters and setting bring
the story to life and contribute to both plot and themes.
The author presents the idea of an epiphany: a moment where a character
has a special moment of self-understanding or illumination.
READING
READING ACTIVITY
FORUM
1. What do we learn about the values of the Dublin society in which the
characters live?
22
CHAT
1. Can you say that A powerful case is a story that deals with the
theme of isolation? Why?
2. The central character of the story, Mr. Duffy, is presented as cold,
intellectual, and emotionless. Whats the relevance of that to the
development of the narrative?
3. How can you interpret the following passage taking into account one
important element of Joyces writing? (), he realised that she was dead,
that she had ceased to exist, that she had become a memory (p.83).
4. The deceased had been in the habit of crossing the lines late at
night from platform to platform and, in view of certain other
circumstances of the case, he did not think the railway officials were to
blame (p,82). Can this situation be considered ironic? Why?
BIBLIOGRAPHY
BURGESS, Anthony. English Literature. Ediburg: Longman, 1996.
JOYCE, J. Dublinners. London: Wordsworth Classics, 2001.
MARCUS, S. A world of fiction twenty timeless short stories. New
York: Addison-Wesley Publishing Company, 1995.
THORNLEY, G. C. and ROBERTS, Gwyneth. An Outline of English
Literature. Essex: Longman, Thirteenth impression, 1994.
23
LITERATURA INGLESA I
CLASS 05: ENGLISH LANGUAGE WRITERS: KATHERINE MANSFIELD
TOPIC 01: KATHERINE MANSFIELD
VERSO TEXTUAL DO FLASH
Whose work is based on the effect as Poe, but he emphasizes the rupture
of the narrative with great happenings.
KATHERINE MANSFIELD
Who, although compared to the Russian writer in her literary style, gives
great importance to details in relation to the narrative, using simple facts
with great significance in the characters life.
Besides peculiarities concerning the structure of her short stories, one
particular aspect is very relevant to her style: the irony presented in
characters daily life.
24
Defining Irony
Irony is a term with a range of meanings, all of them involving some sort
of discrepancy or incongruity. It is a contrast in which one term of the
contrast in some way mocks the other term. It is not to be confused with
sarcasm, however, which is simply language designed to cause pain
(PERRINE, 1983, p.201).
Three kinds of irony may be distinguished:
VERSO TEXTUAL DO FLASH
VERBAL IRONY
The simplest, and, for the story writer, the least important kind, is a
figure of speech in which the opposite is said from what is intended.
The discrepancy is between what is said and what is meant.
DRAMATIC IRONY
The contrast is between what a character says and what the reader
knows to be true. The value of this kind of irony lies in the comment it
implies on the speaker or the speakers expectations.
IRONY OF SITUATION
Usually the most important kind for the story writer, the
discrepancy is between appearance and reality, or between expectation
and fulfillment, or between what is and what would seem appropriate.
READING ACTIVITY
1. Read Katherine Mansfields short stories Mrs. Brill and Life of Ma
Parker, observing the main elements of the story, characters and
situations.
http://www.readbookonline.net/readOnLine/1349 [2]
FORUM
1) Whats the center of the narratives? Are the focuses of the stories on
the happenings or on characters lives? Why?
25
2) How can you explain the level of interaction between the characters
Ma Parker and the literary gentleman in Life of Ma Parker? Whats the
effect of that to the story?
3) Whats the tone of the short story Life of Ma Parker? Is that any
similitude with the tone of Mrs. Brill? Why?
4) Discuss the presentation of irony (verbal, dramatic and/or
situational) in the two stories. Check situations in the narrative in order to
support ideas.
5) One important element in Katherine Mansfields short stories is
characters epiphany. It means that suddenly the characters have some
perceptions or a moment of illumination. Can you find in both short
stories some of these moments? Can you analyze the consequences of that
moment to the development of the story?
CHAT
Based on the short story Bliss, discuss the following:
1) Can you comment on at least one symbol in Bliss? Where are the
evidences of that in the text?
2) How are the upper middle-class intellectuals represented by Berthas
friends shown in the narrative?
3) What do you think Bertha and Miss Brill have in common that
suggests a characteristic of the author?
4) Can you say that the title Bliss is ironic? Justify your position.
BIBLIOGRAPHY
GOTLIB, N. B. Teoria do Conto. 10 ed., So Paulo: Editora tica,
2002.
PERRINE, L. & THOMAS, R. Arp. Literature Structure, Sound and
Sense. New York: Harcourt Brace Jovanovich, 1983.
MANSFIELD, K. The Collected Stories of Katherine Mansfield.
London: Wordsworth Editions Limited, 2006.
MAY, C. E. (ed.). The New Short Story Theories. Athens: Ohio
University Press, 1994.
26
LITERATURA INGLESA I
CLASS 06: THE ENGLISH NOVEL AND THE VICTORIAN CONTEXT
TOPIC 01: SOME HISTORICAL AND SOCIAL ASPECTS
Fonte [1]
Fonte [2]
Fonte [3]
and
political
problems
was
Utilitarianism
Birth rate
Darwins
Theory
Evolution
poverty.
of
Materialism
Marx s Das
Kapital
27
Ruskin,
Carlyle
and sympathetic to our own age. Ruskin wanted a
Matthew Arnold return to the Middle Ages, Carlyle adored
(1822-88)
Germany, but Arnold praised Greece and Rome
and wished to see something of the old classical
harmony in English art and life.
Philosophy
and religion
Victorian novel is represented by writers such as Charles Dickens (18121870), Lewis Carrol (1832-1839), Edward Lear (1812-1888), William
Makepeace Thackeray (1811-1863) and the three Bronts sisters: Charlotte
Bront (1816-1855), Anne Bront (1820-1849) e Emily Bront (1818-1848).
According to Thornley and Robert (1994, p.125), Emily Bront wrote one
of the greatest English novels Wuthering Heights (1847), which represents
28
the very heart and soul of the romantic spirit, with its story of wild passion
set against the Yorkshire moors. The novel has been compared to
Shakespeares play King Lear, chiefly because of its immense and
uncontrollable passions.
VERSO TEXTUAL DO FLASH
1. Themes
-The conflict between the principles of storm and calm (Heathcliff
becomes an agent of destructive power. The harmony at the end is
restored by the marriage of Cathy and Hareton).
-Romantic characteristics (isolation, supernatural elements, the
presence of nature, duality of characters)
-Hate and Love (passion x rational love) revenge, selfishness etc.
-The new conception the traditional hero (Byronic Hero) the break
of Manichaeism). It means that the hero does not have only positive
qualities. Heathcliffs construction may be seen as an evidence of that.
2. Narrative method (point of view)
- The events narrated cover a period of thirty years from the summer
of 1771 to the autumn of 1802. It presents the stories of three
generations of two families (the Earnshaws and the Lintons). Some
parts are presented in great details; at times several years are skimmed
over in the space of few pages.
- Bront ignores the chronological sequence. She uses two narrators,
Mr. Lockwood, tenant at Thruscross Grange, and the housekeeper,
Nelly Dean (a new perspective in relation to her contemporary
novelist: the autobiographical method in which the story is narrated in
the first person by a character who was involved
in the action, and third- person narration in which the story is
presented by an omnipresent and omniscient spectator who is not
personally involved in the action).
4. Setting and atmosphere
The setting of the story is the wild and moorland country of Yorkshire
in the north of England. The time is the quarter of the eighteenth
century from 1769 to 1802. In spite of the authors limitations of two
houses (Wuthering Heights the home of Earnshaws, and the
Thrushcross Grange the home of the Lintons) and the moors which
lie between them, she has achieved the affect of vastness, confining the
universe in a small area. At the same time, she created a feeling of
isolation which makes the events of the story more probable.
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5. Style
-a unique creation (a remarkable imagination)
-Understatement and simplicity at moments of great passion.
-The use of the Yorkshire dialect (at times dialogues are artificial)
-The presence of figures of speech is effective
6. Characters
Principal characters in the novel:
Occupants of Wuthering Heights
Occupants of Thursheross Grange
First Generation
Mr. Earnshaw, owner of the Heights
Mr. Linton, owner of the Grange
Mrs. Earnshaw, his wife
Mrs, Linton, his wife
Second Generation
Hindley, their son
Edgar, their son, husband of Catherine Earnshaw
Catherine, their daughter
Isabella, their daughter, wife of Heathcliff
Heathcliff, a waif, adopted by Mr. Earnshaw
Frances, wife of Hindley
Third Generation
Hareton, sono f Hindley and Frances
Cathy, daughter of Edgar and Catherine
Linton, son of Heathcliff and Isabella
Minor characters in the novel:
Ellen Dean, housekeeper at Thursheross Grange. Joseph, servant a
Wuthering Heights. Zillah, for a brief time housekeeper at Wuthering
Heights. Lockwood, tenant at Thursheross Grange
FIM
READING ACTIVITY
This is the novel we will study, considering some elements of its
structure.
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http://www.pagebypagebooks.com/Emily_Bronte/Wuthering_Heights
[4]
FORUM
1) Outline the authors narrative in the novel. Discuss the point (s) of
view.
2) What are the main characters of the narrative? How are they
constructed? What are the motivations for their reactions?
3) How can you analyze Heathcliffs attitudes? Can he be considered a
traditional Hero? Why?
4) What can you say about the symbology of Wuthering Heights and
Thrushcross Grange in the novel?
5) As in the Romantic Novels, Nature receives a special treatment. Analyze
one case where action is reinforced by natural phenomena.
6) What are Gothic elements in a literary text? How are they manifested in
the novel? Comment on their importance.
CHAT
In order to systematize the main points observed in the novel
Wuthering Heights, discuss them with your mates, taking into account
aspects such as: elements of narrative construction, language, literary
period, themes and so on. At this moment, you have got to narrow down
your topic of discussion for the final paper if you have not done it yet.
PORTFOLIO ACTIVITY
The production of the final paper
1) Choose one of the topics presented throughout the study of
Wuthering Heights and write an essay discussing it. Use quotations from
the novel to support your ideas.
BIBLIOGRAPHY
BURGESS, Anthony. English Literature. Ediburg: Longman, 1996.
NOTE: academic writing must be observed!
BRONT, E. Wuthering Heights. London: Peguin Books, 1994.
ROBERT, J. L. Cliffs notes on Bronts Wuthering Heights. Lincoln,
Nebraska, 1961.
THORNLEY, G. C. and ROBERTS, Gwyneth. An Outline of English
Literature. Essex: Longman, Thirteenth impression, 1994.
2. http://3.bp.blogspot.com/_Dt8ed4vn7YI/SZFu65pAJ_I/AAAAAAAAAJ
A/t1b5yw7IqIc/s400/geneticDM1012_468x477.jpg
3. http://2.bp.blogspot.com/_FrBBqtvRIhE/SBznwcPyjWI/AAAAAAAACyo
/dal-cXz6dzo/s320/bralds_marx-s%2B(2).jpg
4. http://www.pagebypagebooks.com/Emily_Bronte/Wuthering_Heights
Responsvel: Prof. Michel Francois Felix
Universidade Federal do Cear - Instituto UFC Virtual
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