Janet Gezari - Böcker
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The poems of Emily Jane Brontë are passionate and powerful works that convey the vitality of the human spirit and of the natural world. Only twenty-one of her poems were published during her lifetime - this volume contains those and all others attributed to her. Many poems describe the mythic country of Gondal and its citizens that she imagined with Anne, and remain the only surviving record of their joint creation. Other visionary works, including 'Remembrance' and 'No coward soul is mine', boldly confront mortality and anticipate life after death. And poems such as 'Redbreast early in the morning' and 'The blue bell is the sweetest flower' evoke the wild beauties of nature she observed on the Yorkshire moors, while also examining the state of her psyche.
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At present, Emily Brontë's poetry is more frequently celebrated than read. Ironically, the very uniqueness of her poems has made them less interesting to current feminist critics than other poems written by Victorian women. Last Things seeks to reinstate Emily Brontë's poems at the heart of Romantic and Victorian concerns while at the same time underlining their enduring relevance for readers today. It presents the poems as the achievement of a powerfully independent mind responding to her own inner experience of the world and seeking always an abrogation of human limits compatible with a stern morality. It develops Georges Bataille's insight that it doesn't matter whether Brontë had a mystical experience because she 'reached the very essence of such an experience'. Although the book does not discuss all of Brontë's poems, it seeks to be comprehensive by undertaking an analysis of individual poems, the progress she made from the beginning of her career as a poet to its end, her poetical fragments and her writing practice, and her motives for writing poetry. For admirers of Wuthering Heights, Last Things will bring the concerns and methods of the novel into sharper focus by relating them to the poems.
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Emily Brontë's poems are more frequently celebrated than read. Ironically, their very uniqueness and strangeness have made them less interesting to current feminist critics than other poetry written by Victorian women. This much-needed study reinstates Emily Brontë's poems at the heart of Romantic and Victorian concerns while at the same time underlining their enduring relevance for readers today. Last Things presents the poems as the achievement of a powerfully independent mind responding to its own inner experience of the world while seeking always an abrogation of human limits compatible with a stern morality. Although the book does not discuss all of Brontë's poems, it seeks to be comprehensive by undertaking an analysis of individual poems, the progress she made from the beginning of her career as a poet to its end, her poetical fragments and her writing practice, and her motives for writing poetry. Last Things also brings the emotions and concerns that inform Wuthering Heights into sharper focus by relating them to the poems.
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Selected by Choice magazine as an Outstanding Academic TitleIn both her life and her art, Charlotte BrontË was alive to the difficulty of responding to attacks that are denied or underacknowledged, so that any defense risks seeming defensive in our modern sense of the word: too quick to take offense or covertly aggressive. For some, BrontË's novels are deformed by hunger, rebellion, and rage; for others, they are deformed by the repression of these feelings. Both views ignore hunger, rebellion, and rage as powerful resources for BrontË's art rather than as personal difficulties to be surmounted or even deplored.Janet Gezari reassesses Charlotte BrontË's achievement by showing the ways in which an embodied defensiveness is central to both the novels and their author's life. She argues that BrontË's novels explore the complex relations between accommodation and resistance in the lives of those who find themselves-largely for reasons of class and gender-on the defensive. Gezari rehabilitates the concept of defensiveness by suggesting that there are circumstances in which defensive conduct is both appropriate and creditable. The emphasis on a different kind of bodily experience in each novel identifies BrontË's specific social concerns in the text; and the kinds of self-defenses at issue in it.This book arrives in the wake of renewed critical interest in Charlotte BrontË, especially on the part of feminist critics. They have substantially revised our understanding of Jane Eyre and Villette, but there have been few studies of The Professor and Shirley, and few book-length studies of Charlotte BrontË's work as a whole. Although Gezari's book is not a biography, she also seeks to revise our sense of BrontË's life by turning attention from its familiar romantic circumstances-the bleakness of the Yorkshire moors and unrequited love-to its less familiar practical circumstances-her struggles as a woman of a certain class and a publishing author. They reveal a woman more embattled, contentious, and resilient, though no less passionate, than the more familiar trembling soul.