New Brontë-related scholar research: An Overlooked Adulteress: Annabella’s Irresistible Passion in Anne Brontë’s The Tenant of Wildfell Hall Martín Alegre, Sara Bellaterra: Departament de Filologia Anglesa i de Germanística, Universitat Autònoma de Barcelona, November 2018. https://ddd.uab.cat/record/197221 Most critics and readers of Anne Brontë’s The Tenant of Wildfell Hall (1848) focus on the triangle formed by Helen Graham, her first husband Arthur Huntingdon and the second one Gilbert Markham. However, as I argue here, Brontë narrates yet another romantic story, that of Arthur and his mistress Annabella. Helen’s unhappiness is actually caused by Annabella’s earlier decision to marry a richer, aristocratic man rather than Arthur, whom she loves. Since Helen is Arthur’s second choice he never truly loves her, nor does Annabella love her husband Lord Lowborough. Arthur and Annabella’s irresistible passion and ensuing adultery ultimately destroys both marriages and are, thus, a central (but neglected) aspect of the plot. Likewise, both Annabella’s unique characterization as an adulteress and her adultery with Arthur have been overlooked as Anne Brontë’s singular contribution to the history of how this theme has been represented in British fiction
An Analysis of Passive Constructions Found in Emily Brontë's Wuthering Heights Prisella, Melvina (2018) Skripsi thesis, Universitas Teknologi Yogyakarta.
The research concerns passive constructions found in Emily Brontë’s Wuthering Heights. The researcher is interested to analysis passive constructions because some troubles happen dealing with practical passive voice in sentences. It is unique grammatical construction that is to make sentence but not always subject in the first sentence. Most of people are not quite understand, but it is important to know what the typical of sentence is. This research discusses two problems. The first problem is to investigate the structures of passive constructions are used in Wuthering Heights novel. The second problem is to find out when passive constructions are used in the novel Wuthering Heights by Emily Brontë. The method of this research is qualitative research. The data are found in form of text and then they are classified and analyzed based on structure, function, and meaning appropriate with used passive constructions theory. Then the researcher draws the conclusion of this research. The first answer for this first problem indicates the seven structures of passive constructions in Wuthering heights novel: basic sentence pattern I, infinitive, causative have, participle “need”, past participle, verb transitivity, and subject. The second problems is passive constructions are used in the novel Wuthering Heights to avoid subjectivity in a sentence, focus or emphasize what happened to somebody or things, make a statement, ignore an agent because the agent is not important, or in other words, the agent is not needed in a sentence, be in angry situation.
Writing the biofictive: Caryl Phillips and The Lost Child Stephen Clingman Journal of Commonwealth Literature November 2008 https://doi.org/10.1177/0021989418808010
This article is an exploration of the biofictive in Caryl Phillips’s writing, in particular in his novel The Lost Child (2015). The term “biofiction” has been in critical use for some 20 years, but is in general under-theorized. The article intends to help fill that gap by considering the biofictive in Phillips’s work as a form of postcolonial epistemology. It also introduces a new but logical dimension by setting the biofictive in conversation with biopolitics. However, whereas the dominant focus in discussions of the biopolitical (formulations from Foucault to Agamben and beyond) concerns the structures and dispositions of power, the role of the biofictive is inflected differently insofar as it both acknowledges a history of power but also creates a space of narrative alterity and resistance. In Phillips’s work this is revealed both in his nonfiction and fiction, not least where the two are combined; and it is especially evident in the multimodal operations of his fiction, dispersed across time and space in the aftermath of slavery, migration, and empire. We see all this in The Lost Child, which also introduces a complex rereading of Emily Brontë’s Wuthering Heights. Overall, Phillips’s version of the postcolonial is capacious, intersecting with other forms of post-traumatic and fugitive experience. The biofictive becomes a bona fide form of knowledge in our postcolonial, post-imperial moment.
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