事实上，有相当大的讽刺，这两部小说被认为是在这里，它是Jane Eyre更为深刻地关注在一个男性主导的世界，女性独立的可能性。玛丽·雪莱是玛丽·沃斯通克拉夫特的女儿，原女权主义和激进的思想家戈德温。她是革命诗人雪莱的妻子，也是拜伦的朋友。然而，弗兰肯斯坦，尽管其令人震惊的题材，在许多方面是一个传统的工作时间，一种百科全书的浪漫态度，其对妇女的作用的愿景很少试图破坏公认的看法，她的同时代人。勃朗特ë，相反，是一个牧师的女儿，其最强烈的体验，可以说，是她自己的家庭组中，谁最后嫁给了一个牧师，而Jane Eyre是一个强烈的探索一个女人的努力理解和维护对无数的压力–里德太太的暴政自我的完整性，欺负布罗克赫斯特，被罗切斯特的受薪雇员不可避免的劣势，后来他的镀金的身上，然后在其假借圣约翰河大量的利己主义宗教的无私。对独立的渴望确实是这部小说的中心问题，它是视觉的强度和简的经验，给小说的重要性及其复杂和非歇斯底里的分析。当然，自我的保护不仅仅是女性的问题；它的人物是Arthur Clennam的故事，在PIP的。但对于十九世纪女性它有一个特别的辛辣，和简渴望一个更广阔的生活比所提供的学校，她说：“女人应该是很平静但一般：女人跟男人有一样的感觉；他们需要发挥自己的能力，和一场努力为他们尽他们的兄弟会”（勃朗特ë，1966, 141）。工作，就像Margot Peters说的，“在为征服性的独立和自由的主题的关注基本上是激进的小说，维多利亚的女人
美国马萨诸塞论文代写:男性主导的世界
There are considerable ironies in the fact that, of the two novels considered here, it is Jane Eyre which is far more profoundly concerned with the possibility of female independence in a male-dominated world. Mary Shelley was the daughter of Mary Wollstonecraft, the proto-feminist, and of the radical thinker Godwin. She was the wife of the revolutionary poet Shelley, and a friend of Byron. Yet Frankenstein, for all its shocking subject matter, is in many ways a conventional work of its time, a sort of encyclopedia of Romantic attitudes, and its vision of the role of women makes little attempt to disturb the accepted views of her contemporaries. Charlotte Brontë, by contrast, was a vicar’s daughter, whose most intense experience, it might be argued, was within her own family group, and who finally married a clergyman, and yet Jane Eyre is an intense exploration of a woman’s efforts to understand and maintain the integrity of the self against innumerable pressures – the tyranny of Mrs Reed, the bullying of Brocklehurst, the inevitable inferiority of being the salaried employee of Rochester, and later his gilded possession, and then the massive egotism of St John Rivers in its guise as religious selflessness. The longing for independence is indeed the central issue of the novel, and it is the intensity of the vision and the complex and unhysterical analysis of Jane’s experience that give the novel its importance. Of course, the protection of the self is not just a female issue; it figures largely in Arthur Clennam’s story and in Pip’s. But for nineteenth-century women it had a particular poignancy, and as Jane longs for a wider life than that offered by Lowood, she declares that “Women are supposed to be very calm generally: but women feel just as men feel; they need exercise for their faculties, and a field for their efforts as much as their brothers do” (Brontë, 1966, 141). The work is, as Margot Peters says, “a novel essentially radical in its preoccupation with the themes of independence and liberty for the subjugated sex, Victorian woman
