Brainscape's Knowledge GenomeTM

Browse over 1 million classes created by top students, professors, publishers, and experts.


See full index

6 ENGLISH JANE EYRE > Bertha > Flashcards

Bertha Flashcards

You may prefer our related Brainscape-certified flashcards:
Proverbs and Idioms flashcards
1
Q

Sandra Gilbert and Susan Gubar on the ‘monsters’ (Bertha, Frankenstein’s monster)

A

fear of the power of female creativity by female writes helped produce ‘monsters’ as displaced symptoms of authorial anxiety

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
2
Q

‘it snatched and growled… _____ wildly at her visitors’

A

gazed

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
3
Q

‘the lunatic ____ and grappled his throat viciously and laid her teeth to his cheek’

A

sprang

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
4
Q

‘she was a ___ woman, in stature almost equalling her husband, and corpulent besides: she showed virile force in the contest - more than once she almost throttled him’

A

big

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
5
Q

‘this is what I wished to have.. this young girl, who stands so ___ and quiet at the mouth of hell’

A

grave

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
6
Q

‘compare these ___ eyes with the _____ yonder’

A

clear

red balls

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
7
Q

‘this face with that ____ - this form with that ___’

A

mask

bulk

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
8
Q

Adrienne Rich’s influential early feminist reading; she finds in Rochester’s insistence upon…

A

the absolute distinction between Bertha’s sexually aggressive animalism and Jane’s puritanically bridal virginity a crystallisation of sexual double standards of Victorian masculinity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
9
Q

Quote Rich

A

‘the nineteenth-century loose woman might have sexual feelings, but the nineteenth-century wife did not and must not’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
10
Q

sexual ________ is imprisoned in the third-storey attic at Thornfield

A

virility and excess

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
11
Q

Bertha’s appetite is of

A

‘giant propensities… the most gross, impure, depraved I ever saw’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
12
Q

Bertha’s appetite of ‘giant propensities… the most gross, impure, depraved I ever saw’ threatens…

A

encroach on the protected space of domesticated femininity

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
13
Q

Is Bertha

a) a warning against the perils of passionate sexual inclination
b) a critique of Victorian repression of female sexuality and the associated distortions of that repression
c) or both?

A

The meaning of Bertha is unsettlingly protean and multiple

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
14
Q

Bertha focalises ____________ anxieties, in ways which are similar to the figures of the governess and the child with whom Jane is aligned

A

Victorian cultural

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
15
Q

Sally Shuttleworth: the two figures in Victorian psychological discourse

A

‘who demarcated the sphere of excess were the passionate child and the madwoman’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
16
Q

Bertha’s dramatic power is that she gives disturbing________ to Jane’s psychological fears

A

physical presence

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
17
Q

In the gypsy scene Rochester ventriloquizes Jane’s habitual suppression of her stronger feelings to find the ____ inside Jane

A

Bertha

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
18
Q

Embodied within Bertha as Jane’s alter ego are all the feared ____ possibilities of Jane’s measured demeanour

A

inverse

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
19
Q

what are the inverse possibilities of Jane’s measured demeanour?

A

energies unleashed and uncontrolled in primal snarls, growls, demoniac laughter (embodied within Bertha as Jane’s alter ego’

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
20
Q

there is a _________________ or proximity between the incidents of Bertha’s escape into inhabited areas of the house and moments of high emotional intensity for Jane

A

successive narrative overlap. e.g. the fire and Rochester’s revel of his erotic backstory.

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
21
Q

Bertha’s incontrovertible presence suggests…

A

Jane cannot control her own deeper and Truer self and story

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
22
Q

Bertha is not just what Jane could or might be….

A

she represents what Jane demonstrably is

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
23
Q

When Rochester dramatically points to the antipathetic opposition -“Compare”- between Jane and Bertha in Chapter 26…

A

he makes explicit the connection between them, a connection which is submerged during most of the Thornfield section of the novel

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
24
Q

When Jane finds her ‘sole relief’ on the third storey, venting the ‘restlessness’ which ‘agitated me to pain sometimes’, she hears the…

A

‘eccentric murmurs’ of Bertha and replicates the prisoner’s desire for liberty, even aping her very actions walking ‘backwards and forwards’ along the corridor

How well did you know this?
1
Not at all
2
3
4
5
Perfectly
25
Q

the attic which imprisons Bertha is….

A

directly analogous to the red room to which Jane was banished as a child, precisely as a punishment for her own deeds of excess (‘bad animal’ ‘frantic’ ‘beside myself; or rather out of myself’)

26
Q

R contributes to trail of associative likeness between Jane and Bertha by…

A

calling Jane ‘bewitched’, ‘a witch, a great sorceress’

27
Q

eve of wedding night directly recalls the red room incident as

A

‘for the second time in my life- only the second time’ Jane becomes ‘insensible from terror’ at what she sees in the mirror

28
Q

‘A woman, ___ and large, with thick and dark hair hanging long down her back’ (Chapter 25)

A

tall

29
Q

‘She took my veil from its place; she held it up, ____ at it long, and then she threw it over her head… (Chapter 25)

A

gazed

30
Q

‘fearful and ____ to me’

A

ghastly

31
Q

‘I never saw a face like it… it was a ____ face’

A

savage

32
Q

‘the ____ eye glared upon me’

A

fiery

33
Q

‘her lurid visage _____ over mine and I lost consciousness’

A

flamed

34
Q

On a level of inner story, Bertha is Jane’s dark double…

A

the ferocious secret self she has been trying to suppress since Gateshead

35
Q

Adrienne Rich on Jane and Bertha

A

‘Jane’s instinct for self-preservation… must save her from becoming this woman by curbing her imagination at the limits of what is bearable for a powerless woman in the England of the 1940s’

36
Q

Bertha’s existence divides Jane and Rochester. But her psychological resonance….

A

as a thing inadmissible or denied and for that reason more damagingly powerful, is what unites them.

37
Q

What Bertha means in relation to Rochester is more disturbing than the rich, fluid symbolism which attaches her to Jane because…

A

she so singularly and literally reflects his nature

38
Q

Bertha stands for the visible burden of polluted memory, past mistakes and contaminated conscience - ___ _______ and refusing to die.

A

sin incarnate

39
Q

Bertha’s meaning is as much religious and moral as it is psychological and sexual, these aspects of human experience are never credibly _____.

A

separable

40
Q

Bertha draws on Victorian constructions of colonial identity. Bertha’s outbreaks of violence connote ____ ____ in the English colonies as well as political rebellions at home.

A

slave riots

41
Q

Context of psychological doubles

A

they were a stable of 19th century Gothic fiction; Shelley’s Frankenstein and Robert Louis Stevenson’s ‘Strange Case of Jekyll and Hyde’ posit twinned characters or selves which roughly correspond to Freud’s notion of the ego and the id.

42
Q

It has become critical orthodoxy to regard Bertha’s representation of madness, sexuality and savagery as resonant of Victorian discourses for demarcating the ____, especially gendered and racially inflected notions of insanity.

A

Other

43
Q

Jane’s ‘hunger, _______ and rage’

A

rebellion

44
Q

Sandra Gilbert and Susan Gubar on the double

A

‘On a figurative and psychological level… Bertha is… Jane’s truest, darkest, double: she is the angry aspect of the true orphan child, the ferocious secret self Jane has been trying to repress ever since her days at Gateshead’

45
Q

Sally Shuttleworth quote response to Gilbert and gubar

A

their reading is ‘resolutely ahistorical, failing… to place Brontë’s work firmly within the context of Victorian psychological discourse’

46
Q

Sally Shuttleworht suggests that the issue of madness cannot be ______ from the wider social and economic context which actively defines it

A

isolated

47
Q

Shuttleworth follows Michel Foucault

A

arguing that with the rise of secular capitalism, a new interiorised notion of selfhood arose, and concomitantly, new techniques of power designed to penetrate the inner secrets of the hidden domain e.g. psychiatry emerged

48
Q

What is Focault’s thesis in Madness and Civilization?

A

the 19th century witnessed the emergence of a new secular capitalist economy of the individual, centred on a new interiorised notion of selfhood.

49
Q

What does Focault say changed in physiological and social discourse?

A

the old religious divide between health and sickness, good and ill, had been supplanted by a sliding scale of the normal and pathological, where insanity and health weren’t absolutes but states of health pushed to extremes.

50
Q

Sally Shuttleworth: “the incipient parallel… between Jane and the “Mad” Bertha turns on the issue of the ___ __ ______: at what point does productive forcefulness turn into self-destructive anarchy?”

A

flow of energy

51
Q

Sally Shuttleworth: “In constructing the parallel histories of Jane and Bertha, Brontë constantly negotiates between those _____ _____ ____ _______, trying to find an image of female empowerment and control which would not also be a negation of femininity”

A

different models of womanhood

52
Q

Who does Shuttleworth’s reading build on and extend?

A

Gayatri Spivak and Terry Eagleton

53
Q

What does Spivak argue?

A

Bertha is to be interpreted in the context of Victorian political ideology of imperialism - an ideology which went hand in hand with capitalist individualism

54
Q

QUOTE GAYATRI SPIVAK

A

‘the dark and untamed Other must set fire to the house and kill herself, be sacrificed as an insane animal, so that Jane Eyre can become the feminist individualist heroine of British fiction’

55
Q

Terry Eagleton on the bourgeois ethic

A

Jane Eyre ‘preserve[s] the social and moral conventions intact, and so preserve[s] intact the submissive, enduring everyday self which adheres to them’

56
Q

Terry Eagleton QUOTE on passion locked away

A

‘Passion springs from the very core of the self and yet is hostile, alien, invasive; the world of internal fantasy must therefore be locked away, as the mad Mrs Rochester stays locked up on an upper floor of Thornfield’

57
Q

According to Eagleton Jane’s sexual passion is…

A

‘strikingly imaged in the grotesque figure of Bertha’

58
Q

Eagleton on Bertha and Rochester’s connection

A

she ‘masculine, black-visaged and almost the same height of her husband’ and thus ‘appears also as a repulsive symbol of Rochester’s sexual drive’

59
Q

Bertha seems to offer a ______ _____ of the dangers of excessive sexual appetite

A

cautionary illustration

60
Q

With Bertha’s ‘dark, grizzled hair, wild as a mane’

A

she could hardly be a better image of the petrifying, castrating Freudian medusa

6 ENGLISH JANE EYRE (14 decks)

Brainscape helps you reach your goals faster, through stronger study habits.
© 2024 Bold Learning Solutions. Terms and Conditions