By P. Menon

This lucid and tightly-argued examine makes use of the motif of the mentor-lover - embodying different variations of sexual love, strength and judgement - to discover, evaluation and examine the works of Jane Austen, Charlotte Brontë and George Eliot as they cope with problems with sexuality, relatives, selfhood, freedom, behavior and gender. The determine additionally offers a way to probe their courting to the reader as they turn into mentor-lovers via authorship, each one eliciting a unique type of love and electing a special form of guideline.

Show description

Read Online or Download Austen, Eliot, Charlotte Bronte & The Mentor-Lover PDF

Similar women writers books

Jane Austen: The Critical Heritage Volume 1 1811-1870 (The Collected Critical Heritage : 19th Century Novelists)

The severe history gathers jointly a wide physique of serious assets on significant figures in literature. every one quantity provides modern responses to a writer's paintings, permitting scholar and researcher to learn the cloth themselves.

Meet Me in the Parking Lot

A foray into the rocky terrain of the brain. in additional than pleasing the promise of her first assortment, Leggat ups the ante to discover all points of the ambulatory: the motor vehicle that brings us into the realm, the automobile we get round in whereas right here, and the car that frequently loses regulate and crashes.

Politics of the Female Body: Postcolonial Women Writers of the Third World

Is it attainable to at the same time belong to and be exiled from a neighborhood? In Politics of the feminine physique, Ketu H. Katrak argues that it isn't basically attainable, yet universal, specially for girls who've been matters of colonial empires. via her cautious research of postcolonial literary texts, Katrak uncovers the ways in which the feminine physique turns into a website of either oppression and resistance.

The Woman’s Historical Novel: British Women Writers, 1900–2000

The old novel has been probably the most vital varieties of women's examining and writing within the 20th century, but it's been continuously under-rated and significantly missed. within the first significant research of British ladies writers' use of the style, Diana Wallace tracks its improvement around the century.

Extra resources for Austen, Eliot, Charlotte Bronte & The Mentor-Lover

Example text

Mr Knightley calls himself a “very old and intimate friend of the family” (9), but, as a consequence of the moral nullity of Emma’s father, he has clearly assumed the paternal role with a parent’s awareness of her childhood faults and triumphs (37). By insisting on the discrepancy in ages – Emma has lived “nearly twenty-one years in the world” while Mr Knightley is “seven or eight-and-thirty”(5, 9) – Austen forces into prominence two problems deriving from potential characteristics of the father.

And I am afraid very natural for you to feel it was done in a disagreeable manner. I do not believe I did you any good. (462) In both cases he justifiably criticizes himself for his manner (although in the first the emphasis is on Emma’s unique ability to have “borne with it”, here on naturalness of her objections) and raises important questions about interference and resistance, but above all, about whether one adult has the duty or the right to criticize another. Clearly, however, the first two issues are not intended to be seriously considered, and in passing over them, the reader is persuaded to pass over the other, the duty to criticize, the lesson of Box Hill in this regard being forgotten.

Like Frank Churchill, Harriet is only superficially appealing to Emma and therefore offers no real threat to her self-sufficiency. As Cicely Palser Havely notes, the most common deduction from Emma’s characterization of herself as an “imaginist” (335) is that she is “‘an aspiring but failed novelist who wishes to rewrite the community around her’” (221), and hers is certainly a nature that draws on the detachment of the novelist who created her: “A mind lively and at ease, can do with seeing nothing, and can see nothing that does not answer” (233, emphasis mine).

Download PDF sample

Rated 4.99 of 5 – based on 40 votes