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• W2620773003 abstract "Henson, Eithne. Landscape and Gender in Novels of Charlotte Bronte, George Eliot and Thomas Hardy: The Body of Nature. Surrey: Ashgate Publishing Ltd., 2011. 225 pages. Hardcover $119.96. Eithne Henson's stated aim for this book is to look at wide range of representations of physical and mental landscapes in work of three nineteenth-century while also way in which gender attitudes expressed, both in descriptions of physical and also in idea of itself (1). In this her study of novels by Charlotte Bronte, George Eliot, and Thomas Hardy is largely successful. Her readings of all three authors probe what constitutes experience and perception of Nature as gendered construct, exploring multitude of both positive and negative connotations but never losing sight of idea that looking at landscape gives pleasure (1). Both cultivated and uncultivated landscapes explored within Henson's chosen novels, with attention duly being paid to recurring theme of industrial encroachment and despoliation, particularly as represented in Bronte's Shirley. Literary landscape implies viewer, whether narrator or character (5), and, of course, in Hardy's The Return of Native Egdon heath itself becomes character, imbued with physiognomy and personality that pervades novel. Henson points out that such literary landscapes imply an aesthetic theory of construction and evaluation, theory that in nineteenth century differed greatly from that of Romantics of preceding century. With coming of railways, agricultural mechanization, and mass movement of populations from rural to urban settings, changes in aesthetic and scientific approaches to resulted in change in definitions of Englishness (4) (and Henson's book does indeed concentrate solely upon English countryside rather than British countryside). In common with tradition of idyll Henson notes that pastoral often proves moral indicator for reader: country life is always represented as innocent, symbol of an easier past, contrasted with inherent corruption of city or court. For nineteenth-century novelists and artists alike, countryside, or Nature, directly opposed the dynamic, mechanized, inventive present of industrial city, serving to highlight the filth and misery concomitant upon such 'progress' (6), trope employed with particularly powerful effect in Elizabeth Gaskell's North and South. Henson's idea of as gendered relies heavily upon psychoanalytic theory and work of Simone de Beauvoir, and her decision whether or not to capitalize word nature throughout book depends upon whether appears as a personified entity or as more generally representative of the biological or geological worlds (9). She quotes from de Beauvoir's The Second Sex. woman is related to nature, she incarnates it (9), and she informs us that such metaphors as sea as archetypal mother of all life, enclosures represent[ing] female [and] verticals phallic, will be adopted as interpretations throughout her study (9). Henson is also careful, however, to refer to Edmund Burke's theory of sublime, William Gilpin's observations on picturesque, and John Ruskin's writings on perception of landscape and how these equally impact upon critical analysis of nineteenth-century realist novel. Hardy is only male novelist Henson has chosen to discuss, specifically because he writes from point of view of both sexes when describing the physical labour of cultivation (20). Bronte's female characters usually observers and recorders of landscape, and Eliot's female laborers are hardly more than part of rustic chorus, their indoor life linked with the economics of farming, female agricultural work playing little or no part (20). …" @default.
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• W2620773003 title "Woman as Nature, Nature as Woman" @default.
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