Gender and Space in Rural Britain, 1840-1920
90 Gender and Space in Rural Britain, 1840–1920 the simultaneous strengthening of a discourse of respectable femininity meant th ...
‘Wandering Like a Wild Th ing’ 91 form to the social expectations of femininity and her habit of ‘wanderin’ like a wild thing’ i ...
92 Gender and Space in Rural Britain, 1840–1920 rural lower classes like Hetty Sorrel walking is a necessary act of everyday lif ...
‘Wandering Like a Wild Th ing’ 93 she and Philip meet again for the fi rst time in fi ve years while walking there; following th ...
94 Gender and Space in Rural Britain, 1840–1920 lover, else that could never have happened’.^34 Tom’s assumption that she ‘must ...
‘Wandering Like a Wild Th ing’ 95 I wished to see you very much. I watched a long while yesterday on the bank near your house .. ...
96 Gender and Space in Rural Britain, 1840–1920 woman who has travelled away in such circumstances, nothing can reclaim her virt ...
‘Wandering Like a Wild Th ing’ 97 while making her way home alone from the journey upriver with Stephen she fi nds herself in Yo ...
98 Gender and Space in Rural Britain, 1840–1920 by the end of her journey she is so overcome by weariness that she faints, losin ...
‘Wandering Like a Wild Th ing’ 99 between women and landscape as being in harmony with one another: far from being ‘in place’ or ...
100 Gender and Space in Rural Britain, 1840–1920 mobility to recast the position of women in the rural landscape. While Adam Bed ...
‘Wandering Like a Wild Th ing’ 101 unrestrainedly, and in which she can take pleasure from the natural environment around her. T ...
102 Gender and Space in Rural Britain, 1840–1920 native, a place to escape to, and, in its privacy, a woman could affi rm a self ...
103 – 7 ‘I NEVER LIKED LONG WALKS’: GENDER, NATURE AND JANE EYRE’S RURAL WA N D E R I N G Katherine F. Montgomery Although Jan ...
104 Gender and Space in Rural Britain, 1840–1920 gest that this vulnerability is not unique to Jane, but a common condition for ...
‘I Never Liked Long Walks’ 105 undercut, however, and what had seemed like Jane’s opportunity to assert her individualism is nea ...
106 Gender and Space in Rural Britain, 1840–1920 a sublime fantasy of nature to the real nature of the moors to a social, econom ...
‘I Never Liked Long Walks’ 107 sublimity, with a combined sense of terror and power. At the moment of the greatest sense of ineq ...
108 Gender and Space in Rural Britain, 1840–1920 Jane’s romance with Rochester reinforces her affi liation with nature, as he re ...
‘I Never Liked Long Walks’ 109 She broke forth as never moon yet burst from cloud: a hand fi rst penetrated the sable folds and ...
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