A Breath of Fresh Eyre: Intertextual and Intermedial by Margarete Rubik, Elke Mettinger-Schartmann

By Margarete Rubik, Elke Mettinger-Schartmann

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I would like to end with Morson’s words on how the recognition of alternative ways of seeing unmasks The Future That Has Happened 47 the fallacy of a one-dimensional reality: “If time is open and final truths are chimerical, then we might benefit from a more dialogic approach to alternative values and perspectives held by people unlike ourselves” (Morson 14). Works Cited Davidson, Arnold E. Jean Rhys. , 1985. Davies, Todd F. and Kenneth Womack. ” Jean Rhys Review 11, 1 (Autumn 1999): 63-78. S. ” 1917.

In fact, the sense of both characters is complicated by their extreme reactions to landscape, both in its hostility and alien forcefulness, and its accommodations and comforts – the two primary, but opposing reactions to landscape most often expressed in literature identified by Leonard Lutwack. The details of landscape in Wide Sargasso Sea often have an intense sense of immediacy in terms of relationship to character, because of the way it compounds complexities between the narrating-I and the experiencing-I.

Jane Eyre is a novel which addresses the particular social concerns of its time, but which at the same time reaches beyond the historical limitations of its context and touches on archetypal human conditions. In terms of its narrative and ideological form, Jane Eyre is an ideal example of what Umberto Eco has called the Poetics of the Open Work. The category of openness here should not, however, be confused with the range of possible interpretations available to every text. Every reception of a work of art is, of course, an interpretation as well as a performance.

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