References to Sue's Homosexuality in Thomas Hardy's Jude the Obscure

As C. Sykes examines Victorian literature in his essay, he recognizes that many authors reveal gender issues. While some define characters by his or “her marital status,” others reveal inequality through “female capabilities” (Sykes). Victorian literature, like Bronte’s Jane Eyre, reveal gender

Jude started to lighten up more and enjoy life. He got a job, met and fell in love with Becka. Becka introduced her friend, Daphne, to Jude’s best friend, Corey. Corey has stood beside Jude through everything

When reading Jandy Nelson’s I’ll Give You The Sun, the presence of foreshadowing allows the reader to gain a deeper insight into Jude’s life, shedding light onto the greater theme of fate. At a young age, Jude falls in love with a drawing Noah did of a man. She would do anything for that drawing, even trade the metaphorical sun. Jude’s extreme desire for the sketch is demonstrated when she replies, “‘Oh all right,’ she says, totally surprising me. ‘I’ll give you the sun.’ ‘I practically have everything now!’ I say. ‘You’re crazy!’ ‘But I have him.’ She carefully rips the naked english guy out of my sketchbook” (Nelson 74). Jude felt as if the english man was speaking to her, drawing her towards the portrait. This unexplainable connection foreshadows

Robert Ross and Holden Caulfield’s stages of growing up The authors Timothy Findley and J.D. Salinger have similarities and differences in their novels: The Wars and The Catcher in The Rye, regarding the main characters Robert Ross and Holden Caulfield. Both characters go through similar stages of growing up which are isolation and sexual innocence. However, Robert Ross reaches a destination in his journey of growing up and finds himself, but Holden Caulfield remains lost. Robert and Holden face isolation in their stages of growing up. Rowena’s death leads Robert to isolate himself from humans and wanting to spend more time with animals, especially after the horrific act of killing the rabbits, he lost his faith in humanity.

He may also see Sula as a temptress, a surefire poison that causes the death of his marriage to Nel. On the next page, Jude changes his tune a bit. “But thinking that Sula had an odd way of looking at things and that her wide smile took some of the sting from that rattlesnake over her eye. A funny woman, he thought, not bad-looking. But he could see why she wasn’t married; she stirred a man’s mind maybe, but not his body.” (104) This thought process shows Jude coming around to the idea that Sula may not be so bad, after all. She shows intellect and that can be appealing, making her seem more tempting as a whole, regardless of her body. Although…thinking this and deciding Sula might be attractive means he’s tempted by her fruit and aroused by her somehow.

Throughout The Catcher in the Rye Holden as a character alludes to being wounded. Holden thinks that because of the “wounded” way he is acting women will never want to sleep with him. Holden narrates, “Sex is something I really don't understand too hot. You never know where the hell you are.” () Holden is upset that he does not understand a sometimes-sensitive topic that he thinks he should know everything about.

To most, Pride and Prejudice is a work of romance and social satire; an apex in wit and dialogue. There are no spectres at Pemberley nor is there an insatiable tyrant or haunted castle at Derbyshire. However, there is a sense of fear amongst many of the characters. The houses are often large and hiding a painful secret. And love, at least between a few, transcends the boundary into the supernatural; or at least has elements thereof. Contrary to its popular, and overly common, definition and perception, I will argue that Austen’s Pride and Prejudice (hereon referred to as P&P) is an established piece of Gothic fiction, as it

Jude is now out as homosexual and is dating. In earlier seasons of the show Jude begins to wonder about his sexuality. He does so after he makes

Jude Greene, Nel’s husband, is initially introduced as a character fueled solely by his desire to achieve a state of masculinity. He works as a waiter, but yearns to be chosen by the white men to work on the new bridge that will be constructed, and longs to be able to be able to say that he, “...built that road.” (82). Jude longed for the validation that building the road would have given him, and felt similarly towards marrying Nel. When the white men refused to hire him to help with the impending construction, he was enraged and that rage, “...and a determination to take on a man’s role anyhow that made him press Nel about settling.” (82). Jude is so anxious to take on the role of a true man that he pushes for a more grueling job, and subsequently marriage just so he can assume responsibility. Ajax, like Jude, also seeks to achieve a level of masculinity but does so in a vastly different way. Ajax states that the only thing he loves is his mother and airplanes, but the rest of his life is filled with the, “...idle pursuits of bachelors without work in small towns.” (126-127). Ajax, though effortlessly kind to women, is shown displaying a decent

Coming from the perspective of Jude, she is unhappy. She would not have run away that often if she was content with her circumstances and environment. She had lost an eye, had a large scar on her elbow, and had several scars on her face, which reveals that Jude was severely physically abused. Also, Jude was and attractive mulatto woman that worked in the house. She could have been subject to sexual abuse, but the presence of a male slaveowner is not presented in the advertisement.

Jude is the female twin. During the ages of 13-14, as told from Noah’s view, she was outgoing, a daredevil, and one of those popular girls that had several friends and romantic

Irene’s queer personality lives repressed in her id and the attraction can be noticed through many too detailed descriptions of Clare body parts and personality. “Her lips, painted a brilliant geranium red, were sweet and sensitive and a little obstinate. A tempting mouth” (45). It is impressive to see how this supposedly straight woman describes Clare’s mouth as tempting, yet she does not stop there, because Irene also describes her voice, “What was it about Clare's voice that was so appealing, so very seductive?” (52). The utilization of these adjectives is questionable because even when Irene talks about her husband Brian, she never uses adjectives that could express desire or even love. Irene is aware that her marriage is an arrangement where according to Brian sex is a just grand joke (60).

Jane Eyre is a novel written by Charlotte Brontë. It is distinctly a female Bildungsroman, as it follows the progress and growth of Jane’s character on her quest for selfhood and independence in a society that tries its best to impress upon her the roles and expectations of women in the Victorian era (which is neatly packaged in the figure of the ‘Angel-in-the-house’.) This is something with which this essay seeks to engage by looking at female figures which feature prominently in Jane’s life, how those who embrace the figure of ‘Angel-in-the-house’ are treated and viewed, versus those who do not. Furthermore, important male figures will also be looked at in order to understand Jane’s own feelings to the ‘Angel-in-the-house’ figure and how she approaches it, as well as how the Byronic hero might relate – if it even does.

Jane Eyre was a steamy novel for its time, with imagery as blatantly concealed as Jane’s description of Rochester’s hand as being “rounded, muscular; and vigorous…long, strong…” (Brontë 312) A modern reader might blush at the description and its obvious phallic undertones, but the imagery would be shocking to a Victorian reader, sexually repressed and unaccustomed to female sexuality. Brontë’s use of indirect sexual imagery caused the book to be labeled by a contemporary as “one of the coarsest books which we ever perused” (Jordison). A Victorian doctor named William Acton stated that “The majority of women are not very much troubled with sexual feeling of any kind.” (Hughes) Many readers in the era of hidden passion and extreme modesty accepted the concept of a pure, sexless woman (Fisk), so the portrayal

In this piece I will be showing the role of women in the 18th century