Uzbekistan state world languages university philology faculty
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- Scientific advisor: Mukhlisa Khidirova Group: 1908 Full name
- КУРС (иши) ЛОЙИҲАСИ Гуруҳ: 1908, талаба: Мирзатиллаев Фаррух, Раҳбар: Мухлиса Хидирова. ТОПШИРИҚ
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UZBEKISTAN STATE WORLD LANGUAGES UNIVERSITY PHILOLOGY FACULTY Course paper Theme: Social rejection in the novel “Jane Eyre” by Charlotte Bronte. Scientific advisor: Mukhlisa Khidirova Group: 1908 Full name: Mirzatillaev Farrukh Tashkent 2022 Илмий раҳбар томонидан берилган ТАҚРИЗ Исми, шарифи Мирзатиллаев Фаррух. Тили ўрганилаётган мамалакат адабиёти фанидан ёзган курс иши ______ ______________________________________________________________________________ Мазкур курс иши якунланган деб ҳисоблайман ва уни ҳимояга тавсия этаман. Тақризчи _________________________ ____________ (исми, шарифи) (имзо) “___”________ 2022 йил “Тасдиқлайман”
Ишлайдиган лойиҳа (мавзу) Social rejection in the novel “Jane Eyre” by Charlotte Bronte. Бошланғич маълумотлар The aim of this course paper is to the study social rejection in the novel “Jane Eyre” by Charlotte Bronte. Қўлланмалар “Jane Eyre” by Charlotte Bronte. https:/www.tamploon.com https://www.researchgate.net Чизма қисмининг тузилиши The course paper includes introduction, main part, conclusion and list of references. Ёзма қисмининг тузилиши Gender inequality as a part of social rejection in the 19th century Jane Eyre's success and Charlotte Brontë's personal failure Psychoanalytic literary criticism The main theme of the novel. The usage of male pseudonyms in female writers' works Қўшимча вазифа ва кўрсатмалар ___________________________________________ Курс (иши) лойиҳасини бажариш режаси
“A PORTRAIT OF AN ARTIST AS A YOUNG MAN” BY JAMES JOYCE AS AN EDUCATIONAL NOVEL CONTENTS:
INTRODUCTION The relationship between character and atmosphere is one of the central concerns of Jane Eyre. It was designed based on Jane's movement from place to place. Movement from one place to another can be called atmospheric movement in the novel. There is movement in character to match the movement in atmosphere. Changes in location correspond to similar changes in the nature of Jane's experience. Each location represents a physical and experiential stage. The significance of the five locations (Gateshead, Lowood, Thornfield, Moor House and Ferndean) is that each house is a metaphor for each of the stages Jane goes through in her journey of self-discovery. . For the most part, the mood of the novel is sad and depressing. Jane has to overcome one challenge after another. Since the novel is related in the first person, everything is colored by Jane's sad point of view. At the beginning of the novel, Jane displays a certain exuberance, and the mood brightens accordingly. As the novel progresses and the hardships intensify, the mood sometimes turns to gloom and despair. Over the course of the novel, Jane gradually matures in confidence. In the end, Jane triumphs in her quest for love, and the mood is one of peace and contentment for the first time. Jane's passionate rebellion at Gateshead leads to her isolation and rejection. Charlotte Brontë often presents Jane as an individual. This isolation is due to the atmosphere of Gateshead, a place characterized by physical coldness. Jane's character is not one that makes her endearing to others. Her experience in the Red Room causes her emotional outbursts. Even friendly Bessie is limited in both understanding and sympathy. John Reed physically abuses Jane. Mrs. Reed exerts her tyrannical authority over him. Jane's situation and character lead her to solitary introspection. "You are passionate, Jane, you must let it," said the lady. Jane Eyre is a story about the desire to be loved. Jane is looking not only for romantic love, but also for a sense of appreciation and belonging. Jane said to Helen Burns, "To get real love from you, or Miss Temple, or any other person I really love, I would be willing to break a bone in my arm, or be thrown by a bull, or stand behind a kicking horse and see its hoof." let him strike me" (Chapter 8). Yet, throughout the book, Jane must learn how to win love without sacrificing or harming herself in the process. Her fear of losing her autonomy prompts her to reject Rochester's marriage proposal. In Jane's mind, "marrying" Rochester, legally bound to Bertha, would mean sacrificing her integrity for the sake of pretending to be a mistress and emotional gratification. On the other hand, her life in the Moore House tests her in the opposite way. There he will achieve economic independence and engage in worthwhile and useful work, teaching the poor; but it lacks emotional sustenance. Although St. John proposes and offers her a partnership built around a common goal, Jane knows their marriage will be loveless. Yet Jane's events at the Moore house are a necessary test of Jane's autonomy. Only after proving self-sufficiency can she marry Rochester and not be asymmetrically dependent on him as her "master." Marriage can be one between equals. As Jane said: “I am my husband's life as he is mine. . . . To be together is for us at once to be as free as in solitude, as gay as in companionship. . . . We fit the character very well - this is the result of a perfect harmony" Throughout the novel, Jane struggles to find the right balance between moral duty and worldly pleasure, between commitment to her soul and attention to her body. He encounters three major religious figures: Mr. Brocklehurst, Helen Burns, and St. John Rivers. Each represents a model of religion that Jane ultimately rejects in forming her own ideas about beliefs and principles and their practical implications. Mr. Brocklehurst describes the dangers and hypocrisies that Charlotte Brontë perceived in the Evangelical movement in the nineteenth century. Mr. Brocklehurst uses the rhetoric of Evangelicalism when he wants to rid his students of their pride, but the method is to subject them to various deprivations and humiliations, such as when he orders one of Jane's classmates to cut off her naturally curly hair. outright lying is totally unchristian. Of course, Brocklehurst's prohibitions are difficult to follow, and her hypocritical support of her luxuriously wealthy family at the expense of Lowood's students shows Brontë's wariness of the Evangelical movement. Helen Burns' mild and tolerant Christianity, on the other hand, is too passive for Jane to accept as her own, even though she loves and admires Helen. Many chapters later, St. John Rivers presents another model of Christian behavior. His Christianity is one of ambition, glory, and excessive self-esteem. St. John encourages Jane to sacrifice her emotional labor to fulfill her moral duty, offering her a way of life that requires her to be true to herself. Although Jane rejects all three models of religion, she does not abandon morality, spiritualism, or belief in the Christian God. When her wedding is interrupted, she asks God for comfort. Destitute and starving, he leaves his survival in God's hands. She strongly objects to Rochester's sexual immorality and will not consider living with him if the church and state consider him married to another woman. Still, Jane can barely bring herself to leave the only love she's ever known. He credits God for helping him escape from an immoral life. Jane eventually finds a comfortable middle ground. His spiritual understanding is not as hateful and tyrannical as Brocklehurst's, nor does it require withdrawal from the everyday world like the religions of Helen and St. John. For Jane, religion helps curb excessive passions and motivates a person to worldly endeavors and achievements. These achievements include complete self-knowledge and complete trust in God. Throughout the novel, Jane defines her idea of home as a place where both can belong and be useful. When the Reeds' apothecary, Mr. Lloyd, asks if Jane is happy living in Gateshead, Jane insists that it is not her home because she has no right to be there. In the first chapter, Jane describes herself as a "discord" in Gateshead because her personality does not match that of the Reeds, and "useless" because her incompatibility with the family keeps her from adding "discord." household happiness. Also, Jane's sense of alienation is heightened because no one in Gateshead loves Jane and no one loves her in return. At Lowood, Jane tries to find work elsewhere after Miss Temple leaves because she believes that Miss Temple is the one who made Lowood home. Without the person she loves most, Jane's usefulness is no longer enough to establish Lowood as a home. Later, at Thornfield, Jane develops such a deep emotional bond with Rochester that she declares him "her only home," but she leaves Rochester because living with him contributes to her sin and harms her soul. When Bertha finds out about Mason, she feels morally useless around him. By the end of the novel, when Jane finally returns to Rochester, he can finally be useful to her, as he now has to depend on Jane for his sight. Jane's desire to belong is linked to her desire to be valuable to another person, and these desires guide her decisions throughout the novel. Download 338 Kb. Do'stlaringiz bilan baham: 
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