scholarly journals “Scrutinize her actions, punish her body to saver her soul”: The Figure of the Governess in Jane Eyre

2017 ◽  
Vol 7 (3) ◽  
pp. 543-545
Author(s):  
Suman Rana
Keyword(s):  
Working Class ◽  
Charlotte Bronte ◽  
Jane Eyre ◽  
Representation Of Women ◽  
Victorian Period ◽  
Employment Of Women ◽  
Working Class Women ◽  
Condition Of Women ◽  
Representations Of Women ◽  
The Way

In 1840s the figure of the governess, particularly her sexuality became a subject of much concern to the periodical essayists. The Victorian period, as Foucault argues saw an immense proliferation of discourses about sex. Sexuality thus came into being as the ultimate open secret. This justified the attention devoted to the distressed governess by emphasizing the central role she played in reproducing the domestic ideal- on one hand she, as a teacher was to teach her students ‘accomplishments’ that would attract a good husband and later make them good wives and mothers yet at the same time police the emergence of undue assertiveness or sexuality in her maturing charges. The employment of women as governess also mobilized and engaged with two of the most important representations of women: the figure who epitomized the domestic ideal-the wife/mother, and the figures who threatened to destroy it-the working-class women/prostitutes. It is within these contexts that the paper will try and place Jane Eyre by Charlotte Bronte. The paper would also analyse the way this stereotypical representation of women throws light on the condition of women in general and working-class women.

scholarly journals Communication Strategies of Warning in Novel Jane Eyre by Charlotte Bronte

2021 ◽  
Vol 8 (1) ◽  
pp. 51
Author(s):  
Fadlul Rahman ◽  
Santi Kurniati
Keyword(s):  
Speech Acts ◽  
Charlotte Bronte ◽  
Communication Strategies ◽  
Early Years ◽  
Jane Eyre ◽  
The Novel ◽  
Victorian Period ◽  
The Way

Jane Eyre’s novel was published in 1847 written by (Charlotte, 1983), in the early years of the Victorian period. This research sample is all of the communication strategies of warning that find in the novel Jane Eyre. It can be informed of dialogue between characters or inform of phrases and words related to politeness and communication strategies (Brown & Levinson, 1987). The results show that each character of Jane Eyre can be different from one to another in delivering a warning statement. They tend to give greetings before warning their addressee to respect the addressee, give information or advice toward the addressee, or impose the addressee with a threatening word. Based on basis finding data from 65 forms of speech acts of warning, it is concluded that Brown and Levinson’s communication strategies exist in the way of characters’ communication in warning their hearer. The strategies are classified into four strategies; bald on the record appear 8 times or 12,3%, positive politeness appears 32 times or 46,2%, negative politeness appears 18 times or 28,6%, and off the record appear 7 times 10,7%. Positive politeness strategy is the most frequent strategy used by characters with the elaboration of several sub-strategies. The sub- strategy most often used is to give reason 7 times or 10.7%.

Anthropology, Class and the ‘Big Heads’: An Ethnography of Distinctions between ‘Rough’ and ‘Posh’ amongst Women Workers in the UK Pottery Industry

2005 ◽  
Vol 53 (4) ◽  
pp. 710-728 ◽  
Author(s):  
Elizabeth Hart
Keyword(s):  
Women Workers ◽  
Working Class ◽  
Pottery Industry ◽  
Working Lives ◽  
Global Corporation ◽  
Ethnographic Data ◽  
Working Class Women ◽  
The Uk ◽  
Sociological Studies ◽  
The Way

In the context of the take-over by a global corporation (Royal Doulton) of a family-owned and run pottery factory in Longton Stoke-on-Trent, known as ‘Beswick’, and the subsequent re-structuring of production, this paper explores the way in which women pottery workers make social distinctions between the ‘rough’ and ‘posh’, ‘proper paintresses’ and ‘big heads’ which cut into and across abstract sociological notions of class. Drawing on ethnographic data I show that for these working class women, class as lived is inherently ambiguous and contradictory and reveal the ways in which class is gendered. I build on historical and sociological studies of the pottery industry, and anthropological and related debates on class, as well as Frankenberg's study of a Welsh village, to develop my argument and draw analogies between factory and village at a number of levels. My findings support the view that class is best understood not as an abstract generalising category, but in the local and specific contexts of women's working lives. I was the first one in our family to go in decorating end and they thought I was a bit stuck-up. My sister was in clay end as a cup-handler and I had used to walk off factory without her, or wait for her to leave before I left, though she said, ‘If it wasn't for me you wouldn't have anything to paint!’ They were much freer in the clay end – had more to do with men – we thought we were one up. 1

Voices of Angels

2020 ◽  
pp. 153-174
Author(s):  
Stephanie Vander Wel
Keyword(s):  
World War Ii ◽  
Working Class ◽  
Single Mother ◽  
Country Music ◽  
World War ◽  
Musical Style ◽  
Musical Discourse ◽  
Working Class Women ◽  
And Gender ◽  
Representations Of Women

Chapter 6 traces the musical and lyrical developments of honky-tonk in the late 1930s and 1940s with Al Dexter, Ernest Tubb, and Hank Williams and remained a predominant mode of country music after World War II, right when Kitty Wells, Goldie Hill, and Jean Shepard contributed to the musical discourse. These female artists, taking over male-defined and often parodic representations of women, developed narratives that articulated class-specific voices couched in the metaphors of sexual and material desire, heartache, and loss juxtaposed with 1950s ideals of domesticity. Examining the particulars of musical style and vocal expression, this chapter argues that female artists in their various enactments of the honky-tonk angel, the angry, jilted housewife, the single mother, and the forsaken lover disclosed the paradoxes of class and gender and helped to lift the cloak of invisibility shrouding working-class women.

Experts in Womanhood

2018 ◽  
pp. 14-40
Author(s):  
Samantha Caslin
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
World War ◽  
Victorian Period ◽  
The First World War ◽  
Gender Ideals ◽  
Women Police ◽  
Working Class Women ◽  
The City ◽  
First World

This chapter examines the development of some of Liverpool’s most significant moral welfare organisations between the late-Victorian period and the end of the First World War. It unpacks the early historical trajectories of the House of Help, the Liverpool Vigilance Association, the Liverpool Catholic Women’s League and the Liverpool Women Police Patrols, and it argues that these organisations continued to view women’s relationship to the city through the lens of Victorian gender ideals. Moreover, the chapter examines how the pioneering and well-intended efforts of these organisations to craft a ‘respectable’ form of public womanhood during the first two decades of the twentieth century were still steeped in presumptions about the immorality of the working class, and working-class women in particular.

scholarly journals Vintage Ladies in Cubist Exhibitions: Pablo Picasso's Cubist Women and Judith Butler's Performativity

k ta ◽  
2020 ◽  
Vol 22 (1) ◽  
pp. 28-35
Author(s):  
Samaneh Saeid ◽  
Laleh Atashi
Keyword(s):  
Subject Matter ◽  
Pablo Picasso ◽  
Gender Performativity ◽  
Representation Of Women ◽  
Gendered Identities ◽  
The World ◽  
History Of ◽  
The Subject ◽  
Representations Of Women ◽  
The Way

As a prominent figure in the history of painting, Pablo Picasso has bestowed upon the world his uniquely striking paintings in different styles, the most revolutionary of which being his Cubist art. The representation of women occupies a significant space in Picasso’s Cubist works. While the painter’s style is highly revolutionary, rejecting the accepted principles of painting, the subject matter does not change as such: nude women are objectified with a cubist look. Judith Butler’s theory of gender performativity which examines the roots of naturalized concepts of gender, has been applied to Picasso’s representations of women in his cubist paintings. This research examines the way naturalized definitions of gender have found their way into Picasso’s paintings.  By applying the Butlerian concept of gender performativity to a number of Picasso’s cubist artworks, we try to indicate how stereotypes of gender linger in the discourse of modernism. Analyses lead to the conclusion that although the cubist style of painting is an experimentation in form, hardly any avant-gardism can be traced in the representation of gendered identities in Picasso.

scholarly journals Conjunctive Adverbials Used by Charlotte Brontë in the Novel “Jane Eyre”

2020 ◽  
Vol 10 (3) ◽  
pp. 48
Author(s):  
Eva Leláková ◽  
Nikola Šavelová
Keyword(s):  
Charlotte Bronte ◽  
Literary Work ◽  
The Self ◽  
Jane Eyre ◽  
The Novel ◽  
Linguistic Study ◽  
Semantic Categories ◽  
Semantic Coherence ◽  
The Way

Conjunctive adverbials or simply conjuncts represent specific sentence elements contributing to the overall semantic coherence of a text. Their use or omission depends entirely on the decision of the author of the text, the way he or she perceives and intends to convey a particular type of connection between its individual parts. In the present linguistic study of the literary work—the self-selected novel “Jane Eyre”—we observe and subsequently specify and evaluate occurrence of conjunctive adverbials in the text with the focus on their particular semantic categories and positions within a sentence.

Class

2021 ◽  
pp. 110-135
Author(s):  
Lyndsey Jenkins
Keyword(s):  
Working Class ◽  
Significant Source ◽  
Common Goal ◽  
Class Hierarchies ◽  
Working Class Women ◽  
Fresh Insight ◽  
Insight Into ◽  
The Way

This chapter shows that Annie Kenney’s suffragette career offers fresh insight into the way that class was represented, understood, and experienced within the WSPU. While WSPU activists frequently claimed that theirs was a classless organization, historians have often been sceptical as to whether this was reflected in their policies and attitudes. Class remained a significant source of tension in the organization even as women attempted to pursue a common goal. This chapter traces how Annie Kenney was first positioned as a representative of, and advocate for, working-class women, and later celebrated for her outstanding commitment to the cause, indicating that the meaning of class was fluid and shifting rather than fixed and static. The chapter raises ideas about the role and representation of working-class women within the WSPU, and demonstrates how women themselves attempted to navigate the complicated terrain of class hierarchies and gendered inequality.

scholarly journals ‘Noisy, restless and incoherent’: puerperal insanity at Dundee Lunatic Asylum

2016 ◽  
Vol 28 (1) ◽  
pp. 44-57 ◽  
Author(s):  
Morag Allan Campbell
Keyword(s):  
Nineteenth Century ◽  
Middle Class ◽  
Working Class ◽  
Social Status ◽  
Lunatic Asylum ◽  
Patient Case ◽  
Working Class Women ◽  
The Way

Puerperal insanity has been described as a nineteenth-century diagnosis, entrenched in contemporary expectations of proper womanly behaviour. Drawing on detailed study of establishment registers and patient case notes, this paper examines the puerperal insanity diagnosis at Dundee Lunatic Asylum between 1820 and 1860. In particular, the study aims to consider whether the class or social status of the patients had a bearing on how their conditions were perceived and rationalized, and how far the puerperal insanity diagnosis, coloured by the values assigned to it by the medical officers, may have been reserved for some women and not for others. This examination of the diagnosis in a Scottish community, suggesting a contrast in the way that middle-class and working-class women were diagnosed at Dundee, engages with and expands on work on puerperal insanity elsewhere.

Conclusion

2018 ◽  
pp. 210-216
Author(s):  
Samantha Caslin
Keyword(s):  
Twentieth Century ◽  
Working Class ◽  
Urban Space ◽  
Victorian Period ◽  
Class Woman ◽  
The Law ◽  
Working Class Women ◽  
Post War ◽  
Moral Weakness ◽  
Safe Working

While historians have examined how prostitution and promiscuity were frequently conflated by social purists and philanthropists in the late Victorian period and early twentieth century, this book examines the persistence of these ideas well into the latter half of the twentieth century. The notion that the respectable, young, working-class woman could be distinguished from the supposedly disreputable and corrupting prostitute produced a highly gendered understanding of urban space. Working-class women, and especially immigrant working-class women, were monitored for signs of apparent moral weakness. Moreover, even as social purity organisations went into decline in the post-war years, their ideas persisted in legislative efforts to control prostitution. Women who worked as prostitutes were increasingly regulated and pushed out of sight into less safe working spaces. As such, it is argued here that the law increasingly mirrored the sort of social purity thinking which considered prostitution to be a form of moral contagion which needed to be eradicated.

scholarly journals Women and the discourse of marriage: A critical analysis of Jane Eyre and Pride and Prejudice

2020 ◽  
Vol 5 (4) ◽  
Author(s):  
Gabriely Cristina Queiroga Diniz
Keyword(s):  
Critical Analysis ◽  
Charlotte Bronte ◽  
Jane Austen ◽  
Jane Eyre ◽  
Pride And Prejudice ◽  
Short Article ◽  
Male Characters ◽  
The Way

This short article aims to compare the discourse of the characters Jane Eyre from the eponymous novel by Charlotte Brontë, and Elizabeth Bennet from Pride and Prejudice by Jane austen, in which both of them refuse marriage proposals. As criteria of comparison its pointed: i) the reasons why they decided to decline the proposals, ii) the way they express their emotions during the moments, iii) the reactions of the male characters after the women’s answers. 

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