Consider the view that literature within the Gothic genre is always shocking.

Gothic literature has always been characterised as having the effect of being shocking to its readers. It is a useful tool to have the effect of making the readers think on the deeper message, usually a hidden and symbolic message, about societies treatment of class, gender and ideologies. If the Gothic wasn't shocking, the message may not be as powerful or even noticed. For example, the Marquis' 'bloody chamber' filled with his dead wives which are ornamented around the room, has connotations of the implications of patriarchy and its effect of how women were/are treated. This can also be seen as an extreme and melodramatic way to represent gender inequality, thus pointing out one of the main problems of the Gothic. If it tries to be too shocking or scary, it can fall into the genre of melodramatic. However, for Gothic plays such as 'Dr Faustus', it is the melodramatic of the supernatural which is used to help create a message of humour against Catholicism, for example the fooling of the Pope. It may have been staged with actors dressed in white sheets-clearly portraying ghosts- haunting the Pope in an over-exaggerated fashion, to which he gives a melodramatic reaction believing it is those he conned out of indulgences who have returned from purgatory to reek revenge. However, in Emily Bronte's novel 'Wuthering Heights' the shocking permeates the plot, mainly through the actions of Cathy 1 and Heathcliff due to their obsessive and destructive love, a common stricking event of the novel is the necrophillia of Cathy 1 by Heathcliff who has Sexton dig up her grave. He tells Nelly, who thus in turn tells Lockwood who tells the reader, 'I'll have her in my arms again'. This is a transgression of the moral boundaries and not only shocked the original readership but still shocks modern day readers, showing that the Gothic still has a powerful and shocking effect that is timeless.

The relationship between Cathy 1 and Heathcliff can almost be viewed as overbearing for the reader. Their love is so extreme that it defies the hegemonic ideologies of 19th Century society and 21st Century society. Their relationship is corruptive as they often transgress moral boundaries for one another that they can be described as mentally diseased characters. An example of this is when Heathcliff told Sexton to remove the earth from Cathy 1's grave so he could look upon her in again, regardess of her dead state. Before he told Nelly on how he planned to hold her again, he said his instructions in which he parted to Sexton, that when he dies he must be placed inbetween Cathy 1 and Edgar, so when all their bodies 'melt'  Edgar will never know 'which is which', creating gruesome and Gothic imagery for the reader that is represented of the 'fallen world' that the moors represents (Ann B Tracy). This is a significant moment, which is just one of the many moments when Heathcliff defies the hegemonic ideologies of society. By placing himself between Edgar and Cathy 1, he is disrupting the bond of marriage, the cornerstone of Victorian society, thus shocking the original readership. Furthermore, Heathcliff's placement inbetween Cathy 1 and Edgar is a tool used to show the conflict between men over Cathy 1. Cathy 1 has divided feelings for both men, her love is contrasting and reflecting on the personality of both men, for Edgar is like the 'foliage', she understands that her love for Edgar will change 'with the seasons' yet it shows it is natural and promotes human flourishing. Whilst Heathcliff is like the 'rock' her love for him is 'eternal' yet it is not pretty like the foliage, showing her love for Heathcliff is hard and will always withstand any conflicts or barriers placed inbetween them (such as social class or death). Critics have picked up on moments such as Cathy 1 using nature to explain her feelings, as the use of romantic language with the nature of the Yorkshire moors shows biographical influences, just as the Heathcliff's digging up of Cathy 1's body is reflective of the grave yard in front of the Parsonage, it was often (due to diseases such as consumption which raged havoc in 19th Century Britain) that bodies were re-dug up due to the extreme amount of deaths in the village, thus the smell of rotting corpses surrounded the Bronte house. This may be a reason for why Heathcliff talks of his immoral deeds in such a casual tone, as it was a normality for Bronte. Or because he is the dark 'villain'- a Gothic byronic hero.

Shocking elements in the play 'Dr Faustus' evolve around the conflicting ideas of Catholicism and Protestanism. Christopher Marlowe uses this conflict to present these issues to the audience, for example predestination. Whilst Catholicism believed that only certain people could recieve God's grace and go to Heaven whilst the rest were damned, verses the Protestant view that anyone and everyone who has lead a moral life can go to heaven- which created mass confusion as people didn't know which concept they should follow. Marlowe plays on this, which can be seen through Faustus who manipulates these ideas in order to sin and have the power of 'necromancy'. He does by selling his 'soul' to the devil- a shocking and blasphemous concept- and will not repent for his sin, this is due to his belief that 'the reward of sin is death', thus convincing himself that he is already damned to an eternity of torture hence he tries to have fun with his new 'power' within the 24 years he has left to live. However critics have focused on Marlowe's structure which form 4 parts: doubt, persuation, resolve and gain. For example his doubt when he asks himself what the devil would want with his soul yet the enticing gain of 'riches' beyond his imagination. However although Faustus aspires for this accomplishment and the power of necromancy too, he never actually achieves it. It is only Mephastophilies who has the power to bring back 'spirits' however these are not the actual spirits, they are sucubine, for example Helen of Troy, who's 'lips sucks forth [Faustus'] soul'. The fact that Mephastophilies can summon spirits from the dead is another shocking aspect to the play, as it goes against (both) religious beliefs that someone else has the power to bring back what God had sent away, as he is an all-powerful being. This could be interpreted as Marlowe macking a mockery on all of religion, a view some critics of the play believe is likely, however it is also believed that Marlowe was paid by the state to write a play against Catholicism. However Marlowe can be seen as a reckless man, due to his bar fights which later resulted in his death, thus he may have placed atheist ideas in the play to rebel against the state itself.

Angela Carter's collection of tales has used issues such as gender stereotype and gender inquality which have been reinforced, inverted and transformed in an attempt to 'decolonise our habits of thought'. Critics have been excitied as well as shocked by the post-modern Gothic Feminist book- as she takes them out of their 'set shapes' out of 'children's stories and folk art' and 'into the world of change'. Her first tale, is the Bloody Chamber, a re-shaped story of the tale Bluebeard by Charles Perrault. The title 'The Bloody Chamber' is viewed as representative of a torture chamber or a womans vagina, the fact that two completely different concepts come from the same title gives a symbolic meaning, as Carter shows they are both one in the same. Carter highlights that a torture chamber is linked to a womans vagina through the chamber where the Marquis' wives are 'strung up', 'denuded of flesh' and 'enbalmed' on a bed of 'silk', which is gruesome and shocking imagery for the reader. It has been interpreted that the torture chamber is Carter's main feminist message, as it is due to patriarchy that women have allowed themselves to be submissive to male autonomy, thus showing societies strucutre in the past has had negative consequences.Yet Carter's tales when viewed as one whole tale highlights the feminist journey women have had to take to gain their own power through sexual liberation-as is displayed by the end tale when the girl liberates herself from societial influence. The most shocking aspect of the tale can be seen when it is the mother who rescues the female protagonist, stereotypically in fairy tales, the man save the damself in distress. Charles Perrault used the traditional form of the fairy tale plot where a man helped the woman 'forget her time with Bluebeard'. Yet, as the critic Makinen said, Carter ironically uses Perraults patriarchal tales against him. By the mother, who in Gothic literature is either absent or dead, actively rescue the damsel in distress, Carter is changing the hegemonic ideologies and thus showing the start point of women taking power into their own hands. However it is important to note, the mother could only save the daughter with the use of her husbands 'service revolver', which means at this point in the story a woman has to still rely on male autonomy, but this is changed by the time of the story of The Erl King, when the female protagonist strangles the Erl King with his own hair, making a mans possession his iwn weakness. Carter highlights the importance of gender equality in the most shocking and daring way, and it is only possible to see ths message if the reader is willing to 'place themselves out of a phallocentric culture'.

In conclusion, the Gothic genre is shocking as it's its purpose to be. Through the use of the readers shock, it draws them in, making them interested in the plot. And by doing this, it enables the writer to suggest new ideals which rebel against societies ideals. Thus the Gothic marginalises the readers norms and brings central the ideas such as necrophillia and gender equality which society tries to marginalise. Thus the effect of the shocking in the Gothic is one of the most important elements of the genre itself.

How far do you agree with the view that, in 'Wuthering Heights', Emily Bronte shows that more suffering is caused by a diseased mind than by a diseased body?

Emily Bronte's novel Wuthering Heights presents the reader with the key Gothic element of suffering which is caused by either the mind or body. Psychological pain is caused to characters such as Cathy 1 and Heathcliff, who represent the divided self due to their obsessive nature over the other, causing suffering and unhappiness the characters such as Edgar and Isabella, who are used as mere pawns used to help Cathy 1 and Heathcliff have a better quality of life. Whilst the diseased body can be highlighted in characters such as Linton and Frances (who eventually die of their illness), they do not have such an impact as characters like Cathy 1 and Heathcliff, stressing a diseased mind produces more chaos and torment. Although, the character Hindley's alcoholic abuse significantly rises to extremes after his wife Frances death, although this signifies that diseased bodies do cause suffering, it is Hindley's depressed and tormented state which causes the pain for the other characters not Frances herself- Bronte's Hindley would have most likely been influence by her brother Bramwell too had a problem with alcohol which later consequented his death, it is this and the romantic language used to talk of the moors which shows her own biographical influences. Bronte also would have had the influencing factor at living at a time of critical diseases such as consumption, thus death in the novel is presented as a normality. Hence why Emily stresses a higher importance of a healthy mind than body.

A diseased mind is highlighted through characters such as Cathy 1 and Heathcliff through their obsessive and controlling nature which thus causes suffering for other characters, (such as Edgar and Isabella). Their corruptive relationship can be viewed in many different ways, an example of this can be seen when Cathy 1 discusses her 'engagement' to Edgar and her love for Heathcliff to Nelly. Her love for both men causes the divided self for Cathy 1, as with Edgar Cathy flourishes as the 'greatest woman in the neighbourhood' thus becoming a woman of high social status. Her transformation from a 'little savage' into a 'lady' happens after she has spent 'five weeks' at the Linton's house (Thrushcross Grange). The reason for her change may be due to the symbolic meaning of the houses thus a significant influence over their inhabitants, as the Grange is a 'splendid place' with 'crimson carpets', 'gold' bordered ceilings with have a 'shower of glass droplets' hanging from the centre on 'silver chains' highlighting the extent of the Lintons wealth and social status. It is for this reason Cathy 1 choose to marry Linton as not only would she would be 'proud' to call him a husband, but this would 'aid' her the help Heathcliff 'rise' out of Hindley's 'power'. Cathy 1's materialistic desire to marry Edgar would have been comphrensible to the contemporary audience of the time as marriage to an upper class gentleman was the aim of all the 19th Century women, this was due to the patriarchal structure of society which ensured women had a lack of legal rights, thus marriage was their only financial security. However her idea of using the marriage to help Heathcliff have a higher quality of life would have also been viewed as a corruptive use of marriage-the cornerstone of Victorian society-showing how manipulative and selfish Cathy 1 is when she is around Heathcliff.

On the contrasting side, Cathy 1's relationship with Heathcliff can be seen as restricting and obsessive, regressing from the stable mental influence from Edgar. This is presented when Cathy 1 returns from the Grange, and is formally presented to the residents of the Heights, it is then that the reader sees the first strain on Cathy 1 and Heathcliff's relationship, as when Heathcliff is permitted (by Hindley) to welcome Cathy 1 back, the contrast between their appearance is starkly highligted. For Cathy 1 is clean and presentable with ringleted curls, a 'silk frock', where as Heathcliff is 'dirty' and grimy with 3 months worth of 'mire and dust' coating him, showing a distance created between them through the reality of their class difference, hence why she tells Nelly it would 'degrade' her to marry Heathcliff. The social class difference having a negative impact on their relationship is further highlighted when Cathy 1 laughs at Heathcliff's bewilderment of her radical change from  the 'rough headed counter-part of himself', making the excuse that she was surprised at his dirty state as she was surrounded by clean people at the Grange, thus Heathcliff was upset with Cathy 1 maturing into a lady. Although the social void between the two lengthens as Cathy 1's time with the Linton's increases, her bond with Heathcliff is stronger. This is exampled when Heathcliff makes the special effort to look presentable in front of the Lintons- 'Nelly make me decent, I'm going to be good'- because once again the idea of the Gothic divided-self reappears as Cathy 1's two worlds merge.  This is clearly highlighted when Nelly tells Lockwood, 'the notion of envying Catherine was incomprehensible to him, but the notion of grieving her he understood clearly enough', as because he loves her he wants her to have everything she wants, however he fears that by the gaining of her desires he will lose her, thus his attempt to change his appearance- so he can be apart of her life whilst she also changes.This however backfires when Edgar insults Heathcliff's effort to change along with Cathy, evoking Heathcliff's rage and causing him to hurt Edgar in return. This escalates to Edgar and Isabella crying which causes Cathy 1 to snap at them both to be quiet to lessen the rage Heathcliff will receive from Hindley, signifying Cathy 1 will always side with Heathcliff.

It is Cathy 1's divided feelings on the two men that stimulates her corrupted notion that she can have them both, however when she later realises that this will not happen she creates suffering through self harm of starvation to make her lovers become 'friends', thus showing the idea that a diseased mentality causes more suffering.  Her self harm to keep both men can be viewed as transgressive of moral boundaries, this is not only due to the violation of the sanctity of marriage, the cornerstone of Victorian society, but also a corrupted use of her own body. In the contemporary time of the novel, society was relatively religious, although new radical ideas- such as Darwinism- cropped up, Victorians still idolised the moral perspective, which not only promoted a patriarchal structure, but also created the idea of the upper class being respectable. Thus Cathy 1's inverted use of her body (which belongs to God) is transgressive of religious boundaries, and would have shocked the reader. However, Bronte's Gothic approach of inverting traditional values to create a new radical approach to a new way of life is a common use of the Gothic, as it's shocking elements (such as Cathy 1's self harm) would have shocked the readers and therefore making them confront issues they may have marginalised, such as the only weapon women have in a phallocentric culture is their own health.

However the effect of death (caused by a diseased/neglected body) also causes suffering. This is exampled when Heathcliff asks Sexton to dig up Cathy 1's grave, signifying the consequences of Cathy 1's neglected body which has catalysied Heathcliff's diseased mind. Heathcliff blurrs the moral boundaries, as when Heathcliff tells Nelly what he will say when he holds her dead body in his arms-if she is still I will tell myself she is sleeping, if she is cold I will tell myself it is the north wind- it evokes pathos for Heathcliff from the reader (and quite possibly Nelly) as although it is transgressive on the level of necrophillia (highlighting he is the dark byronic hero), it is his obsessive love for Cathy 1 which is his redeeming feature for all of the immoral actions he commits. It is also quite tragic as it highlights the fact that in the plot of the novel there has always been something (Hindley's abuse and degredation of Heathcliff; Edgar's marriage to Cathy 1 due to social status; death) that has seperated the two lovers, and Heathcliff is left behind to mourn her loss alone. However, this would not have been unusal for Emily Bronte as her house (the Parsonage) looked out over on the grave yard, and due to extreme death rates from diseases such as consumption in the 19th Century, it would have been a normality to see the dead being buried- or because there was an overwhelming amount of dead bodies, some graves would have been dug up and the body removed (even when it is decomposing) to make room for the other dead in the Village of Haworth.

To conclude, more suffering in the novel is caused by a diseased mind than a diseased body which is mainly highlighted through the main characters Cathy 1 and Heathcliff, whose destructive love causes pain and misery to all whilst also transgressing timeless moral boundaries, shocking audiences of different era's signifying the profound effect a diseased mind can have. It is the actions of those are mentally ill that produce the most shocking yet memorable events in the plot, whereas characters such as Linton and Frances are not paid much attention to. This could be because they are not apart of the key structual doubling that is within the novel and thus may not be seen to play a key role in the story- thus a diseased mind, being more focused on shows more suffering.

The Gothic elements of Wuthering Heights are made credible by the novel's setting and 'narrators'. How far would you agree with this view?

Credibility within a Gothic novel is important as it is a effective tool used to draw the reader in whilst creating a believable story in a 'fallen world' (Ann B Tracy) which is far removed from the norms of civilised society. The novel of Wuthering Heights is made credible through its use of settings based in the bleak 'solitary' Yorkshire moors. The landscape on the moorside is difficult to negotiate due to the harsh 'stormy weather' that the inhabbitants are 'exposed' too, which can furthermore be seen to act as a metaphor for moral uncertainity. In addition, the story is further made credible through the use of narration which is doubled between two characters- Nelly Dean and Lockwood. Whilst Lockwood anchors the tale in the present time of '1801', Nelly Dean uses the structural device of analepsis in a bildungsroman form, to tell Lockwood the tragic history of his neighbours at the Heights- as he is new to the moors and therefore an outsider. The critic Q. D Leavis believed that Emily Bronte purposefully set the novel in the 18th Century instead of her contemporary 19th Century time as she believed it would be easier for the readers of a rigid structured society obsessed with class and male autonomy to see a different way of life. With the traditional values of farming lifestyle challenged by ideas about progress, culture and civilisation. Alternatively, due to the novels Gothic form, the plot and events can be seen as melodramatic and unrealistic due to its use of extremes and doubling, for example the landscape is too violent and wild and has an incredible influence over the story. The melodramatic and use of extremes has been a main criticism of the Gothic ever since the first Gothic novel 'The Castle of Ortanto'- were a giant iron fist falls from the sky- hence implying the Gothic itself is an incredible genre as it can not truly apply to readers in society.

Lockwood is the first narrator the reader encounters, and is new to the moors- as he 'removed' himself from the 'stir of society'- therefore making him an outsider. This has the effect of making him a narrator the reader can easily identify with- as the reader too is an outsider as our beliefs and ideas of what is moral and what is not originate from a structured and rule based society (thus rational and civilised) whereas the Moors seems to have a lack of rules and morals where extremes of behaviour- such as violence- are seen as a normality. This has the effect of shocking the reader as what is marginalised by our society is inverted by Bronte who transforms the issues into something natural. Lockwood's purpose is to filter the information he learns from Nelly to the reader whilst seperating them from the action due the repetitive reminders that the story is a flashback told from the present (for example, when Heathcliff visits the Grange to see Lockwood whilst he is ill with a 'fever'). Lockwood is the new 'tennant' occupying the house of Thrushcross Grange. It is believed that Emily Bronte gained inspiration for the Grange from Shibden Hall, a place near to the Parsonage where the Bronte family grew up, this may be seen to help add realism to the novel as it is based on a real place- which helps add credible detail (such as the 'broken hedge' or the 'flower pot' that Heathcliff and Cathy 1 go through to peek into the windows of the Grange) which helps create a more potent image in the readers mind, helping them to feel as though they are there on the journey narrated by Nelly, thus breaking down the 4th wall.

Thrushcross Grange is a Gothic doubling of Wuthering Heights, and acts as its juxtaposition- whilst one house is located on the hillside, making it 'exposed' to the volitile moors (the Heights) the other is found in the valley's being sheltered and cultivated (the Grange). The fact that both houses are complete contrast of one another can also been seen to be unrealistic, however Bronte may not be trying to create a realistic world but a dark Gothic one that shocks the reader through confronting issues that Nelly Dean and Lockwood judge, such as the violence and passion of the other characters, thus making the readers see an alternative side of humanity that the original readership would have most likely not want to face. An interpretation of the houses is that they are eponymous to the residents, as the Grange symbolises civilisation- thus Lockwood is the tennant that occupies it in the present and the Linton's (a past upper class family) lived there in the past. The original Victorian readership (OVR) would have identified the Grange as a dwelling for civility and morality- as it is described as a 'splendid place' which exposes the wealth of the Linton's due to the furnished 'crimson carpets' and the 'shower of glass droplets' which hang from the 'gold' bordered ceiling- highlighting it is occupied by rich upper class members of society, who were stereotyped as the class people people of lower social ranking would look up too and aim to be. This was the ultimate aim for Victorians which is why Cathy 1 told Nelly that she only wanted to marry Edgar Linton so she could be the 'greatest lady of the neighbourhood' than be 'degraded' by marriage to Heathcliff. Alternatively, some readers may not view the Grange as being wholy civilised, this may be due to events such as the Linton siblings (Edgar and Isabella) fighting over who should hold the 'warm heap of hair' (a puppy). This may be interpreted as an act which is primal, which was originally only assiociated with the Heights. Ths may have been Bronte higlighting that the upper class are not so different from any other class and therefore the treatment of lower classes (espicially in 17th Century Britain) is wrong and unjustified. However the children are found 'screaming' and 'weeping' at opposite ends of the room- after the puppy has been injured- showing they feel remorse, this would help to further commmunicate the theme of learning and education which is a powerful and key message in the novel, more ovbiously conveyed by Hareton and Cathy 2, who have a relationship of education and support. This adds credibility to the novel as it shows growth and the education through consequences (the overal plot) thus making the characters more believable.

The other house is Wuthering Heights, an isolated place which stands rigidly upon the hillside and is built for practicality (e.g the 'small' inset windows  to stop heat from escaping the house). The weather surrounding the Heights is also repetitively hostile- for example the storm that keeps Lockwood trapped at the Heights overnight- and is used as a literary device (pathetic fallacy) to reflect the surly natures of the characters or to foreshadow an upcoming event. Thus the storm sets the tense and violent atmosphere for the haunting of Cathy 1's ghost child, in which Lockwood inflicts pain upon by savagely 'rubbing' her wrist on the broken glass from the window pane causing 'blood' to soak the 'bedclothes'. The haunting of Cathy 1's ghost may be viewed as melodramatic by modern day readers than intense and scary, this is due to the exagerrtion of ghosts and other supernatural events over a long period of time, making the novel less realistic. However for the OVR the Gothic was an exciting taboo so this may have not affected the credibilty of the novel, instead focusing on the collapse of moral boundaries through the use of the Gothic supernatural- an effective Gothic element- as it unsettles the reader by transporting them into a extreme world, where traditional rules do not operate. Thus the setting for Heaven which Cathy 1 envisioned is a rejection of traditional religious hegemonic beliefs, another Gothic feature- the religious debate, as it is a blurring between the natural and supernatural world. This is highlighted by Cathy 1 when she tells Nelly she had a nightmare that she went to Heaven, but she couldn't stop crying so the angels threw her out and she ended up on top of Wuthering Heights where she wept with 'joy', and then her ghost continued to wonder the moors- foreshadowing the ending of the novel where Cathy 1 and Heathcliff haunt the moors together in death. This would have been shocking for the OVR, as religious beliefs were the cornerstone of society. Cathy 1's idea of the afterlife is a complete contrast to the aims of a typical individuals resting place (Heaven), Nelly herself is shocked and presents the reader with the appropriate reaction towards (what would have been seen) as a blasphemous idea.

Nelly Dean is the second narrator the reader encounters. Some readers, for example feminist or Marxist critiques, may have had an issue with Nelly being heard through the narration of an upper class gent. However Emily Bronte may have chose Nelly to speak through Lockwood as she knew it may have added credibility for her OVR as she may have known the story may have sounded more believable from an educated man than a woman, maybe for the same reason she first published her novel in a man's name, due to patriarchy and the stereotype attached- women are feeble and dim. Furthermore Nelly can be viewed as an unbiased narrator as she has lived in both houses and been confidant to the main characters, such as Heathcliff, whilst also acting as their moral compass. An example of this can be seen when Heathcliff tells Nelly that he ordered Sexton to dig up Cathy 1's grave so he could hold her again, and if she does not stir she is asleep and if she is cold it is the wind, essentially transpiring on the level of necrophilia- thus she asked him 'have you no shame?'. In addition, he also told her how he ordered Sexton to make a space between Cathy 1's coffin and Edgar's, so when he is placed there he can rot and morph with Cathy 1 into one being so that when Edgar's body tries to rot with Cathy 1 he will not know where she starts and Heathcliff ends. This can be interpreted in different ways: one being, Emily Bronte making a mockery of Victorian social structures- by using Heathcliff to come between the bond of man and wife (the cornerstone of civilised society). The second representing the Gothic element of the divided self- a significant theme in the book, as it represents Cathy 1 and Heathcliff symbolically sharing the same soul- thus their separation pains one another, for example when Heathcliff tells Cathy on her death bed 'in breaking your heart you have also broke mine'. On the other hand, the OVR may have had issues with the credibility of the novel being narrated by Nelly. This is due to her interraction with other characters as she has moments where she withholds information- for example when Cathy 1 is ill and Nelly withholds the severity of her illness from Edgar. The OVR may have found this outrageous, as lower orders were never allowed to interfere with the lives of the upper class, this may have effected the way the readers viewed the story as they may have found Nelly unreliable from that moment forth.

In conclusion the setting of the novel of Wuthering Heights is made more credible as it creates an intense atmosphere for the reader whilst also reflecting the volatile nature of the characters, in addition the credibilty to the novel is furthered by the use of the doubling of narrators who bridge the past and the present whilst seperating the reader from the action.

'Violence breeds violence'. Wuthering Heights.

The Victorian Gothic novel 'Wuthering Heights' by Emily Bronte is set in the 17th Century Yorkshire moors. The Yorkshire moors is the birthplace of Emily and her two sisters and brother, and was influential in her works-especially Wuthering Heights which is set in the same setting, this may have been due to her love of the moors as they are wild and uncontrollable- which is further reflected in her characters which are too wild, passionate and violent, as ‘The Gothic . Emily Bronte's novel is very Gothic in terms of its transgression of social and moral boundaries which may have had a more shocking impact on the original Victorian readership than modern readers as elements of the plot- such as Cathy 1's violence to her own body, by starvation, in order to have a relationship simultaneously with the two men she loves- would have transgressed the hegemonic ideologies of relationships which their society was rigidly built upon. Violent behaviour runs through the novel and an interpretation for why the violence (and passion) of the characters are so extreme-for example Hindley threatening to kill Nelly with a gun in her mouth- is due to the lack of societal influence in the moors, merging both civil and primitive behaviour within the characters.

As previously mentioned the novel is set in the moors. The moors are displayed as a vast and un-tameable landscape which is inhabited by two houses: Wuthering Heights and Thurshcross Grange. Both houses are a doubling of each other (a key Gothic theme) as one may been seen to show the primitive side of humanity which transgresses boundaries due to the stimulation of extreme passionate and violent emotions (the Heights) whilst the other highlights the civilised culture of society which encourages human moral flourishing (the Grange). The houses have an effect on the characters and amplifies their emotions, for example in chapter 3 when Lockwood stays over night at the Heights (due to the 'stormy weather' in which the Heights is 'exposed' too as it represents a Gothic 'fallen world'-Ann B Tracy. Lockwood’s fear and terror are magnified in the Heights (the ‘central mood for the Gothic’-Punter), causing shocking actions which are unexpected of a character traited to be calm, proper and pacifist (as he is stereotyped as a gentleman, in which those trait would have been expected of an upper class Victorian male). Lockwood, after punching his hand through the glass window pane was ceased by 'cold little fingers' which awoke him stirring the feeling of an 'intense horror of a nightmare'. As 'terror made him cruel', he rubbed the child of Cathy 1's  ghost’s wrist over the broken glass of the window pane causing her 'blood' to soak the 'bedclothes' as he tried to be released from her grasp, as in the ‘Gothic we are constantly in the presence of ghosts’(Punter)An interpretation of this moment is that his violent reaction towards Cathy 1 is fuelled by the nature of the Heights, as the Heights can be seen to expose the dark, primitive side of humanity which bases action on heightened emotions –such as fear or passion- as opposed to reason and logic.

What’s more, violent behaviour within the Heights is treated as normality in everyday life of the household, as before Lockwood had his supernatural ghostly encounter he had a shock with the household dogs. The dogs are wild and savage as they are not domesticated dogs but (like the Heights) they serve for practical use such as hunting or guarding the house, and so when Lookwood went to show affection (by stroking it), the dog went to bite him which Heathcliff stopped by 'punching' the dog in the face with his foot. Thus violence is one way for people in the moors to establish power/dominance over others, causing it to become a cycle as it is learnt and breed to other characters. A key example of this is when Nelly returns to visit the Heights (to tell Heathcliff to leave Cathy 1 alone) and she meets Hareton after 10 months. His response to her is to pick up a 'flint' and throw it at her 'bonnet' and then followed his action by repeating a 'string of curses' he learnt from Heathcliff, highlighting that his aggressive nature was breed by Heathcliff’s own violent nature and his reason for inflicting degrading behaviour on Hareton is to get revenge for Hindley’s abusive treatment of Heathcliff showing that violence has been breed in a vicious cycle. Alternatively, it could be argued that violence was not breed into Hareton as he is intrinsically good and moral, this can be seen when he is the only person to morn Heathcliff after his death even after his inflicted degradation. This gives the plot hope, as the problems and issues caused by the first generation can now be fixed and restored by the second through the marriage engagement of Hareton and Cathy 2 in the ‘new-year’ with the house Wuthering Heights fully restored to the rightful Earnshore and the Grange being inhabited by a civilised man of high social standing.

In conclusion violence is breed by violence which is used as a continuous cycle for characters-mainly Cathy 1 and Heathcliff- to use to maintain or manipulate power. However the infliction of violence does not seem to apply to the second generation-Hareton and Cathy 2- who instead promote a relationship of education and civility.

"In gothic writing, the presentation of places is often more interesting than the presentation of characters." How far do you agree with this view?

In Gothic literature, the presentation of place has an important significance to the plot and the development of characters. This is a key tool to show the inhospitable landscapes that reflect a 'fallen world' (Ann B. Tracy). The landscapes have the power to reflect or emphasise aspects of characters which would not have as much impact on the reader if they were merely described a sole traits. It is the symbolism which intrigues the reader and makes the story more captivating. For example, Wuthering Heights and Thrushcross Grange in Bronte's Victorian Gothic novel are representative of the doubling-a key Gothic element. Both landscapes are contrasts of each other, as are the characters. Whilst the Heights is an 'atmospheric tumult' that is 'exposed' to the moors 'stormy weather', the Grange is a 'beautiful...splendid place' that is sheltered in the valley. It is the use of Gothic opposition that places the reader in an intense world. Similarly, the Marquis' castle in The Bloody Chamber is a fairyland of 'solitude' which is shrouded in mystery, quite like the Marquis himself. The isolation from the stir of society places it in the Gothic realm as the marginalised becomes a normal transgression. It is the mirroring of the character's and the places they inhabit which make up the dark elements of the Gothic. Wittenburg, the setting Faustus is placed holds religious reference in which his original readership would have been aware of- as Wittenburg is the birth place of Protestantism. Religion is central to the plot as religion and science are debated(another key Gothic theme). Therefore the use of characters alone would make the plots significantly less interesting.

Wittenburg (in Germany), the central setting to the Gothic Elizabethan play Dr Faustus, has key religious importance as it is the birth place of Protestantism. England, in the 16th Century, was experiencing religious conflict between the Catholics and the Protestants. John Calvin, born in Wittenburg created the Protestantism Reformation due to the belief of corruption within the Catholic faith (such as priest's talking indulgences to 'reduce' someones time in purgatory) and placed 95 theses on the church door, this lead to the radical opposition of conducts in worshipping the same God. Christopher Marlowe, the playwright, purposely placed Dr Faustus in the birth place which created the conflict between religions, as Faustus uses both of the religious ideas to excuse his sin of selling his soul to the devil. This transgression of religious boundaries is forewarned in the Prologue by the chorus-'waxen wings did mount'- who use the mythical story of Icarus to show Faustus tried to surpass the humanities limits. Marlowe creates a satire of the religious conflict which can be seen in scenes such as Act 3 Scene 1 where Marlowe employs the use of melodrama as Faustus 'haunts' the Pope, essential mocking the Catholic faith as the Pope is portrayed as a feeble and docile man who is corrupt by selling indulgences. Wittenburg has further significance as it is also the place Dr Johann Faust lived. Johann Faust  is an old German legend which Dr Faustus is based upon. Johann Faust supposedly sold his soul to the devil to gain dark necromantic powers, similar to Faustus who too sold his soul to the devil to gain powers of 'necromancy'.

Places contribute significantly to Wuthering Heights as they add the gothic element of mirroring. The novel is set in the English Yorkshire moors, Which are highlighted as a wild and extreme environment which provoke the extremes of emotion in humanity such as passion and violence, as it is 'completely removed' from the civilised 'stir of society'. The story is set between the two houses Wuthering Heights and Thrushcross Grange. The Heights is portrayed as an uncultivated land with its 'stunted firs' and 'gaunt thorns' which stimulate a grotesque and gothic environment, highlighting the hardships of life there. The house is made for practicality as the windows are narrow and set deep inside the stone of the house, and the house orientates around the centre of the house-the harth- as it is the only source of heat. The Heights additionally seems to encourage violence in the characters, the dogs are voitile and can only be controlled through violence and commands, and even Lockwood becomes agressive with the ghost of Cathy 1 (after just a night in the house) when he rubs her wrist across the cut glass in Chapter 3- the house seems to influence an uncivilised way of life. This is key to the plot as Heathcliff symbolises the life of the Heights- transgressive of moral boundaries, passionate and violent. Whereas the Grange however is a contrast and represents the civility of society, the house is decorated with 'carpeted crimson', has 'gold' bordered on the ceiling with a 'shower of glass-drops hanging in silver chains in the centre', displaying their materialistic higher social class. The Grange is set in a cultrivated land in the valleys with 'hedges' and 'flower beds' showing the chance of flourishing and education in an extreme landscape. Edgar represents the Grange as he embodies the calm civility of the upper class. As Cathy 1 belongs to both houses she embodies both sides of the houses, her passionate love for Heathcliff and her upper class roots with Edgar, this symbolises the Gothic element of the divided self, as Cathy is torn between both men, beliving she can love Heathcliff without being degraded by his social status due to her marriage with Edgar.

Angela Carter's 'The Bloody Chamber' uses setting to create a place of beauty and transgression which alienates the characters. The narrator describes the castle of the Marquis as 'a lovely sad, sea-siren place', it is a castle full of mystery and surrounded by the wild sea, showing its exposure to the elements-just like in Wuthering Heights. the phrase 'sea-siren' shows the castle has a dangerous deathly allure, identical to the Marquis who has the 'opulant male scent of spice and leather' which is one of his features which draws the narrator into his trap. However the castle later serves as a form of imprisonment which entraps the narrator with the Gothic stereotype of a predatory male. The plot of a young virgin being entrapped within a isolated place and being chased by the predatory male is a common gothic theme which first appeared in 'The Castle of Ortranto' when Isabella was chased in the underground labyrinth by Manfred. Carter uses the castle to represent the will of the sadistic male as in 1979 Carter was writing at a time when the objectification of the 'male gaze' was a popular issue in the women's rights movements- thus why the Marquis uses the 'assessing eye of a conniseur' to objectifiy the narrator. However Carter shows that women too are apart of this objectification as the narrator feels for the first time a 'sense of corruption' within herself. This is further symbolised in 'the bloody chamber' a 'slaughterhouse' were the Marquis previous wives are ornamented in their gruesome deaths-such as the 'iron maiden' who had been killed by '100 spikes' or the wise who was 'embalmed' on a bed of satin- highlighting the male fantasy. Some feminists have previously commented that Carter uses the bloody chamber to show the cycle of women subservience to men and how this has ultimately lead to their own fate- a lack of rights even in death.

In conclusion, all three texts use gothic setting to compliment and emphasise the characters traits which work together to create a dark and transgressive atmosphere. Places often highlight character personality or motive which may not be reflected by the character themselves therefore useful in expanding the key gothic elements.

'How is Gothic language and imagery used to develop themes and characters in ‘Dr Faustus’?'

The Gothic play 'Dr Faustus', by Christopher Marlowe, is an Elizabethan Tragedy based on the German legend of Faust- a scholar who sold his soul to the devil. This legend is based on a (believed to be) 'actual magician' who lived in North Germany in the 15th Century. This play further explores the struggle for supremacy between the Protestants and the Roman Catholics in the 16th Century, a topic that caused mass spiritual terror in society. Through the use of Satire in Gothic elements such as language and imagery, Marlowe develops the themes and characters in the play which would have added to the total dramatic effect of the play that entertained thousands. An example of this is when Faustus uses his supernatural gifts to make a mockery of self-important figures like the Pope and his fellow friar's who cannot see their invisible tormentors. This was due to Catholicism (a key theme in the play) which was banned in England since Queen Elizabeth I had succeeded her sister making the Pope widely loathed and mocked or feared. Therefore there is an ironic joke for the Protestant audience who see one set of 'devils' tormenting the other. However it is key to note that Marlowe is essentially making the audience commit a sin through satire. This is for two reasons; one) that they are laughing at the torment of a human being suffering and two) with a man who sold his soul for the devil- the worst of sins. By using the Gothic he is blurring the boundaries of the hegemonic ideology society had imposed on society and making his audience question their beliefs.

The two big schisms between Protestants and the Roman Catholics in the 16th Century boiled down to 2 big schisms: communion and the soul. When taking communion the Catholics literally believed that the bread and wine used in mass had transformed into the blood and body of Christ (transubstantiation), whereas Protestants believed  that the bread and wine remained bread and wine and was just a celebration used in the memory of Christ- causing his spirit to be nearby (consubstantiation). 
Furthermore the second difference was the soul. The Protestants believed that God made us intrinsically good and the only way our soul would go to hell is if we did immoral acts, alternatively Catholics believed that we are born into original sin and that we must spend our mortal lives repenting for the sins of Adam and Eve through good moral acts. However an important addition to these theories is predestination. This is the idea that God has pre-decided where our immortal souls will go, to heaven or hell. This caused mass panic in society as there were different ideas of where the soul would go. 

Another significant Gothic theme that can be identified is Faustus as a doomed hero. The main reason for Faustus' downfall is due to his two main characteristics of intellect and ambition which was fuelled by is shamefulness of being products of 'base parentage' and aspires towards rewards which can be associated with the deadly sins. His predestined doom is forewarned by the chorus' clear condemnation in his use of 'cursed necromancy' in the Prologue- 'waxen wings did mount above his reach'. This is done through the classical referencing of the didactic myth about a boy called Icarus who over reached human limits due to greed and ambition causing his downfall through supernatural abilities. The foreshadowing of Faustus' fall from grace-embodies some aspects of the tormented, wilful yet romantic Gothic heroes that emerged in works of the early 19th century. This can be seen in classical works such as Macbeth by Shakespeare who's protagonist embodies the true qualities of human nature, such as a lust for power, treachery and madness.

The play is split up into 3 significant parts: Faustus' decision to pursue necromancy and to forsake God by making a perilous deal with the devil, his exploits with moments of wavering resolve and the climatic finale where Faustus' time has come (24 years) and he is dragged to hell for an eternity of torture.

Marlowe uses Faustus’s own words in Act 1 Scene 1 to expose Faustus’s blind spots. For example, Faustus establishes a hierarchy of disciplines by showing which are nobler than others. He does not want merely to protect men’s bodies through medicine, nor does he want to protect their property through law. He wants higher things, and so he proceeds on to religion. There Faustus selectively quotes passages from the bible, "Why, then, belike we must sin and so consequently die. Ay, we must die an everlasting death.", this is so he can manipulate himself into sinning without having to suffer any loss or bad consequences. Due to this idea he rejects theology altogether as if he is already determined to go to hell then what would be the point of studying it- it would be a worthless activity. This is a reflection of the Calvinist doctrine of predestination- that a mans fate is set in stone of salvation or eternal damnation before he was born. In addition, he uses religious language blasphemously to describe the dark world of necromancy that he enters ironically- “necromantic books are heavenly”. Having gone upward from medicine and law to theology, he envisions magic and necromancy as the crowning discipline, even though by most standards it would be the least noble.

However in the introduction of the play the audience are told that Faustus is not saved because he is refused divine grace. This opens up different debates that have surrounded religion and this is evident in the play as the conflict between belief and unbelief is a dominant motif in the play which is embedded in the dialogue and imagery. A significant Gothic image is in Act 2 Scene 1, when Faustus makes a blood pact with Lucifer however is first unable to as his blood congeals due to the divine intervention of the omni-benevolent God and later on when god inscribes on his arm "homo, fuge!" which translated from Latin means 'man, flee'. This therefore raises God's omni-potence into question, as if he is all powerful he could save someone even if they were already lost.  For God, all things are possible, and this should, presumably, extend to the ability to save someone who has damned himself. Or should it?

However structually the audience can see that as time goes by Faustus loses his enthusiam for power and gain and instead asks questions which is evident through Faustus' narrative sequence of; doubt, persuasion, resolve and gain. This is shown when Faustus experiences doubt in his choice to sell his soul for 'unlimited power' therefore he questions Mephistopheles 'what good will my soul do thy Lord?' however he is easily persuaded out of his doubt by Mephistopheles who appeals to Fastus' characteristic of greed by promising to give him 'more than thou hast wit to ask'. A Marxist critic would observe Faustus' need to obtain what he cannot have due to his birth which was 'low of stock' hence his desperation to climb up the hierarchy and achieve fame through his mastery of a wide range of subjects. However they would believe that Faustus' obsession with social class and money is due to societies effect of Capitilism which ensures the rich get richer and the poor get poorer.

Critical Anthology Coursework

Feminism's History

For some, the mention of the word 'feminist' inspires an image of a group of violent, angry women protesting 'women are better then men' and therefore believe they should be treated better then the male population. This is a stereotypical image which has arisen due to the lack of knowledge about what feminism is and what they fight for (although violence has been used by women in the past- purely to have their voices heard).

A feminist is a person (male/female) who believes that women everywhere should be able to to "define and re-define themselves in a world they believe has been predominantly shaped by men and male interests"- patriarchy- although most feminists also believe in extension that defining people in any way is also a product of patriarchy. So briefly, feminism is about challenging the way we think and the beliefs we uphold provoking individuals to see the world from a different perspective (in this case a woman's.)

'Feminism is about challenging the division of labour in the world that puts men in charge of the public sphere - work, sports, wars, government - while women slave away unpaid in the home, carrying the whole burden of family life.' (Introducing Feminism, Icon Books, 1994 p.3)

Although feminism believes that society has been shaped by men throughout history it is important to remember that there have been important examples of strong women, such as Joan of Arc - a martyr who was executed at the stake for being a 'witch'. Joan had devoted her life to her country fighting as a solider for her King and Country (France) but was betrayed as her death was a condition for King Charles to reclaim his country back and used her vision in a dream from God (informing her France should fight back against England) as evidence for her being a witch. Another example of a strong woman is Queen Elizabeth I, the Virgin Queen. Her 45- year reign is generally considered one of the most glorious in English History and during it she established and secured the Church of England.

However, it is important to note that these women are exceptions to male dominated roles (solider/monarch) rather then the norm (domestic jobs). History in general has been written by men for men and women have been assigned their place in society and history accordingly (marginalised). Therefore it is logical to assume that most of our thinking has been shaped and formed by patriarchal interests.

It wasn't until the Industrial Revolution (late 18th century early 19th century) that gender roles became defined, males became the 'breadwinners' and the females became 'housewives'. Furthermore there was a great disturbance to the Victorian Class Structure, as a new class was developed- 'urban middle-class' (those who- from labour- had became increasingly rich) this came with problems such as a struggle for rights and people fighting against the oppression that came from feudal masters.

It was at this time of social, religious and political mass change that women began to express a desire for freedom against the ownership of men. Previously women had worked for their fathers/ husbands at home. But due to the new industrial centres across Britain, women could work independently from home. They received their own wages for their labour although they were lower in amount to a man's, furthermore they also had to work longer hours even though their jobs were not secure. Even during the late 19th century, the best financial security a woman could have was marriage. This meant that they would have to forfeit their rights to their own property and income to their husband. This ensured that a woman was completely dependant on the man as everything belonged to him.

“Strengthen the female mind by enlarging it, and there will be an end to blind obedience.” (A Vindication of the Rights of Woman- Mary Wollstonecraft)

Mary Wollstonecraft, was one of the women who fought for liberation. Mary Wollstonecraft opened up a girls school in London (1783) which was unsuccessful although it did lead her to gain contact with other 'dissenters' (a group who disagreed to the treatment of all oppressed- not just women). Wollstonecraft also published a book called 'A Vindication of the Rights of Woman' which was a foundation stone for the modern feminism we still have today. In this she expressed passionate views for the fight to equal rights of women and against their 'domestic tyranny' that had left them impotent to fight against patriarchy. By this she meant that women were 'forced' to stay at home and be domestic as they were uneducated, had no political rights and were socially and materially dependant on men for everything. Wollstonecraft had very liberal thoughts which was very shocking in the Victorian era, as a woman was brought up to be patriarchal, so saying things such as “My own sex, I hope, will excuse me, if I treat them like rational creatures, instead of flattering their fascinating graces, and viewing them as if they were in a state of perpetual childhood, unable to stand alone.” was very scandalous. And what's more this had a rippling effect not just in Britain, but reached out to other countries. In France, the playwright Olympe de Gouges, published the 'Declaration of the Rights of Woman and the Female Citizen', in which she called for equal rights in law, government and education.

Key Fact: The move to allow women the right to basic education, to keep their own earnings and to vote, took three generations of feminist struggle.

In 1859, The Society for Promoting the Employment of Women was founded and a Ladies Institute at 19 Langham Place. In 1865, The group The Ladies of Langham Place organised a petition for a Woman's Suffrage Bill to be presented in parliament by John Stuart Mill, a key Philosopher involved with Utilitarianism (a normative ethics theory which believes that the proper coarse of action is to bring about the greatest amount of happiness). John Stuart Mill took the issue of Woman's rights to parliament (something no woman could do). He even wrote a book 'The Subjection of Women' that argued that men and women are equal, and the differences between them were due the result of upbringing and education. ("I consider it presumption in anyone to pretend to decide what women are or are not, can or cannot be, by natural constitution. They have always hitherto been kept, as far as regards spontaneous development, in so unnatural a state, that their nature cannot but have been greatly distorted and disguised; and no one can safely pronounce that if women’s nature were left to choose its direction as freely as men’s, and if no artificial bent were attempted to be given to it except that required by the conditions of human society, and given to both sexes alike, there would be any material difference, or perhaps any difference at all, in the character and capacities which would unfold themselves.”)

In the 1870's and 80's, discussion moved towards the issue surrounding a woman's sexual subordination and the moral division between virtue and vice. Josephine Butler (a feminist who was especially concerned with the welfare of prostitutes) campaigned against the 'Contagious Diseases Act', which forced prostitutes to undergo a medical examination. The Acts were administered by groups of plain clothed policemen (who became known as the ‘spy police’). Their job was to keep the women in their area under surveillance. They harassed prostitutes and working-class women, many of whom were vulnerable and illiterate, with no knowledge of their legal rights. Women accosted were presumed guilty and if they would not comply with an examination they had to go before the magistrate to try and prove their virtue. Any woman could be identified as a ‘common prostitute’- as the definition of ‘common prostitute’ was vague which gave the police power. By one of these policemen a woman would be forcibly subjected to a fortnightly internal examination. Under these laws, any woman in designated military towns could be forcibly inspected for venereal disease. There were many instances of women who were not prostitutes and underwent the ordeal of examination (‘rape by speculum’). If found suffering from gonorrhoea or syphilis, she would be interned in a secure, certified lock hospital (a hospital with special venereal wards) for up to 9 months. Subsequently, the women who went through this ordeal were forced into the sex trade as, to all intents and purposes, she would have lost her respectability and with it her choice. Poor women were particularly at risk as they, unlike middle or upper class women, could not afford to always travel in a carriage or with a chaperon. It was decided that soldiers/sailors and other men should not be examined because they would not accept it as they believed the female body, not the men they serviced, was identified as the primary source of disease and prostitution. As the men were not checked, the Acts were futile in preventing spread of disease.Josephine Butler recognised the distorted and differing affects that the 'Contagious Disease Acts' had on each sex (harming women and privileging men) and interpreted prostitution as ‘abuse’ or 'exploitation' of one sex by another. She also raised the issue that for some women prostitution was their only work, and that this was fuelled by men’s sexual desires.

In 1892, 'The Local Government Act' allowed women the right to vote in local elections, and the right to stand as councillors. Furthermore at this time there was a rise in 'social purity' feminism (a movement that sought to abolish prostitution and other sexual activities that were considered immoral according to Christian morality).This lead to some women claiming 'moral superiority' to men as they had ridden themselves of their 'animalistic' sexual urges. Though some women opposed this such as Elizabeth Cady Stanton who claimed "A healthy woman has as much passion as a man.". However some women took a more direct and drastic action against the 'male sub-culture' by damaging bars- which they thought was the source of male brutality towards women.

The suffragettes (militant women) were the main movement that took this drastic approach as at the time, it was obvious to them that situations some women were in (even young girls) were so outrageous that action had to be taken, and they felt that violence was a natural, normal reaction that would get their message across quickly and would have instant effect for their cause. "I was a Poor Law guardian, and I shall never forget seeing a little girl of 13 lying in a bed playing with a doll - I was told she was on the eve of becoming a mother, and she was infected with a loathsome disease. Was not that enough to make me a Militant Suffragette? We women Suffragists have a mission - to free half the human race, and I incite this meeting to rebellion". This is a quote by Emmeline Pankhurst, a main figure to the Suffragettes, which examples one of the poor conditions females were put through due to their lack of rights. 

Emmeline Pankhurst was married to Richard Pankhurst, a radical reformer, atheist freethinker and supported the women's rights movement- which was a key issue at the time. Herself and her husband became apart of the 'Independent Labour Party', (ILP) but when her husband died and the ILP opened a hall in memory of Richard, she was outraged to discover that women were not allowed to join the branch of the ILP. It was at that moment that understood her socialist movement had been wasted and instead formed a new woman's organisation named 'Women's Social and Political Union' (WSPU). Their motto was "Deeds, not words". The WSPU grew rapidly to the point that in 1907 they had 3,000 branches, their own newspaper 'Votes for Women' which sold 40,000 copies per week and had 250,000 members attend the Hyde Park demonstration which called for the right to vote. However in 1911, the Prime Minister Asquith sidelined the suffrage issue. This caused the women to attack government buildings and to go on hunger strike.

Emily Davidson is another key figure to the suffragette movement. She joined the WSPU in 1906 and 3 years later gave up her job as a teacher to devote her full time for the suffragette movement. She was frequently arrested for acts ranging from causing a public disturbance to burning post boxes and spent a number of short periods in jail. By 1911, Davison was becoming increasingly militant and on the 4th of June 1913, she ran out in front of the king's horse as it was taking part in the Epsom Derby. Her purpose was unclear, but she was trampled on and died on 8 June from her injuries.

In 1914 war broke out, and although many women opposed it, more and more women were being  given 'men's jobs' for example- Engineering, making armaments, working in factories etc. They also got the same pay as men. As the Pankhurst's predicted war provided new employment opportunities for women. Just 2,000 had been employed in government dockyards, factories and arsenals in July 1914, but by November 1918, this figure had risen to 247,000. The number employed in the transport industry expanded by 555% to roughly 100,000. In other areas such as agriculture, banking and the civil service, there were smaller, but still noticeable, increases. At least one million women were formally added to the British workforce between 1914 and 1918. Many women did find their wartime labour experiences in some way 'liberating', if only because it freed them from woefully paid jobs in domestic service. And on 6 February 1918 the Representation of the People Act gave women over thirty years of age the vote if they were householders, the wives of householders, occupiers of property with an annual rent of £5 or more, or graduates of British universities. Although this bill enfranchised only about eight and a half million women, it was a start. Ten years later, in 1928, women won the right to vote on the same terms as men.

Modern Feminism

This video is just one example of how modern feminists are trying to get their voices heard in issues on women's rights. These young girls, use a blunt and shocking approach to show how women are still treated unfairly in a modern patriarchal structured society.

Statistics collected in 2013 show that approximately 85,000 women are raped on average in the UK every year, in addition over 400,000 women are sexually assaulted each year. This means that 1/5 women (aged 16-59) have experienced some form of sexual violence since the age of 16. Furthermore it was recorded that in January 2014, over a third of rape cases are dropped- this is most likely due to the victims being too frightened or ashamed to speak out.

In addition, recently the TV show EastEnders, the company has used the sensitive topic of rape in their story line, in an attempt to try and raise awareness on an issue that many feminists believe is dismissed through lack of understanding.

This is this episode which left viewers numb with shock as the plot quickly escalated to the shocking scene of Linda bleaching herself in the shower to rid herself of Dean's unwanted attention.

In the following episodes the viewers are shown a fragile and disorientated woman, who is trying to hold the family together (as there is a sub-plot which involves attempted murder) whilst also trying to hold herself together in a home she feels scared in.

As the storyline continues, it shows one of the strong possibilities that can be a result from rape-pregnancy.

According to medical reports, the incidence of pregnancy for one-time unprotected sexual intercourse is 5%. By applying the pregnancy rate to 346,830 female survivors, RAINN (an American website raising awareness on abuse) estimates that there were 17,342 pregnancies as a result of rape in 2012.

Linda doesn't know who the father is, and struggling with coming to the terms it could be her nephews and not her husband’s causes her to consider abortion. But being the woman she is (soft and maternal) she cannot bring herself to end a life.

Linda continues to try and move on, informing no-one of her attack, until her nephew starts to date single mother Stacey Slater.

Stacey herself was a victim of rape from a pub landlord, this resulted in her murdering the rapist and fleeing the country until this year when she returned home with her daughter and faced the court.

It isn't until Linda tries to warn Stacey that Dean is a dangerous player, that Stacey is understands there is something more sinister behind her warning. Stacey, having gone through the ordeal herself recognised the signs imediately and helped Linda gain the confidence to tell her husband by reflecting on her own past actions and what she would change.

Although the immediate events that followed were what Linda was trying to avoid by eventually telling people and letting people support her, she gained help from her husband, mother and friends and took one step closer to recovering.

This storyline has gained some negative attention which has been debated on whether it was right to expose such a sensitive topic. In an interview with the Radio Times, actress Kellie Bright, who plays Linda, was asked if she thought EastEnders should be tackling such a pre-watershed issue. She replied: "Yes. EastEnders is a programme that is supposed to be reflective of real life and this issue is part of our society. Why shouldn't it be tackled? I think it's been done in a really sensitive way. It's out there so it's not going to be a shock to viewers and they have the option to make a decision not to watch it. It's a way to educate people." Furthermore in a statement, the BBC said: ‘EastEnders has a rich history of tackling difficult issues and Linda’s story is one of these. ‘We have worked closely with Rape Crisis and other experts in the field to tell this story which we hope will raise awareness of sexual assaults and the issues surrounding them.'

Many feminists believe that it is due to rape culture that there is a lack of understanding. Rape culture means that as a society we excuse or otherwise tolerate sexual violence. More often then not it’s situations in which sexual assault, rape, and general violence are ignored, trivialized, normalized, or made into jokes.

This is the reason why most feminists were in support of the BBC's storyline, showing that rape is not something to be joked about but is a serious issue that is inflicted, on not just women but men. A feminist named Vicky Prior wrote the article, "EastEnders: Why Linda Carter’s rape by Dean Wicks is a necessary storyline.” for the Metro. 

In this article she talks about how even being "brutally aware" of the "violent" acts that happen against women, she believes in the illusion that other people are influenced by, "It will never happen to me." But there is an inescapable reality that most viewers found uncomfortable about the rape of Linda Carter: it can happen to anyone, at any time. As sexual attacks have been made more aware to society throughout time, women have learnt to take precautions against the dangers that men can hold. All women know to go on dates in public, or to avoid secluded places that aren't well lit (like back alley ways or parks).  But one of the reasons why Linda's rape was so horrific was due to it happening in her own home, a place she should have been safe and secure against danger. The other reason, apart from it happening by her nephew, was that he is the opposite to what we, as a society, imagine a rapist to appear like. Dean Wick's is an attractive man, owns his own business- quite the opposite to a "ugly old flasher in a dirty mac". This shows the viewers that this horrific ordeal can happen to the most normal of people.

As mentioned before the BBC worked closely with Rape Crisis to make the story realistic. This however means that Dean will be unlikely to be held accountable for his crime, as rape convictions are increasingly becoming lower. Furthermore, later on in the show, when Dean's secret is close to being out, he desperately tells Mick that it's Linda's fault for gaining unwanted attention as she wears "short, skin tight dresses" and that she practically "asks for it". 

This too shows a realistic attitude towards rape. That if a woman in dressed nice and is looking beautiful, it isn't for her benefit- it's for a man's- therefore she is 'there for the taking'. And when she says no or screams/ fights to get away, it's because she is being a 'dick tease' or trying to be 'kinky'. This too reflects the rape culture structure of our society.

In conclusion, the recent storyline of EastEnders’s is important, as our society has become to relaxed about rape and sexual attacks which is partly due to the rape culture. And this storyline also exposes how in danger men and women are- avoiding secluded area's is not always enough and feminists would agree.

Marxisim

Marxism is a political  movement which fights for the rights of the opressed. This theory was invented by Karl Marx and Friedrich Engels. This theory was created due to the belief that history was largely determined by the struggle between the upper and lower classes which had contrasting interests. Marxism is the theory of revolting against capitalism, the hegemonic ideology of society. The belief was, if the lower classes overthrew this structure, they would then be free to build a new socailist society which ended their oppression.

Modern Marxism

The 1970's

• On May 4th 1970- Ohio National Guardsmen were on the Kent State college campus to maintain order during a student protest against the Vietnam War. For a unknown reason, the National Guard suddenly fired upon the already dispersing crowd of student protesters, killing 4 and wounding 9 others
• In 1972 their was a terroist attack on the Olympic Games in Munich: Eight membersx of the terroist movements Black September snuck into the Olympic Village and killed 2 Israeli athletes were killed during the raid, 9 others were taken hostage. Black September tried to negotitate an exchange however their demands where not met. German officials organised a rescue resulting in the hostages murder.
• On January 22nd 1973- the U.S Government made it legal to abort babies.
• In 1974 the serial killer Ted Bundy, a notorious serial kiler and rapist, started his killing spree. Ted was connected to a minimum of 36 murders. In 1989 he was sentenced to the death penalty (electric chair). His intelligence and charm gave him a somewhat celebrity status during his trials, and his case inspired many novels and films.
• In 1975 Arthur Ashe was the first black man to win Wimbledon. He became an American World No. 1 professional tennis player. Winning 3 Grand Slam titles, ranking him among the best tennis players from the United States.
• In 1976 the first sign of Ebola in Sudan starts to show. A young boy conytracts the virus and within 10 days is dead. Over the next few months 602 cases are reported including 431 deaths.
• In 1978 the first test-tube baby was born. Though the technology that made her conception possible was seen as a triumph in medicine and science, it also caused many to consider the possibilities of future ill-use.
• In 1978, John Paul II became Pope.
• The Jonestown Massacre (1978), which had a death toll of 918 people, was the most deadly single non-natural disaster in U.S. Jim Jones founded Jonestown as he had a vision of a communist community, one in which everyone lived together in harmony and worked for the common good. This compound was under his control and far away from any U.S Government influence. However, it all went wrong when Congressman Ryan visited due to reports of bad things things happening there. It became apparent that some members of Peoples Temple were being held there against their will and offered the next day to help anyone who wanted to return home. At the airport, after an attempt on Ryan's life, followers from Peoples Temple shot innocents in cold blood. Later on that day,Jone's told his congregation that the military would react and the only way out was to commit a "relvolutionary act" of suicide. On November 18th, 1978, 912 people died from drinking the poison, 276 of whom were children.
• In 1979, Margret Thachter was the first female to become Priminister. The 'Iron Lady' is remembered for her steely resolve and determination over her conservative social and economic policies.

Reviews of 'The Bloody Chamber'