Additional+Journal+Articles

Fine, Ronald E. “Lockwood’s Dreams and the Key to //Wuthering Heights.//” __Nineteenth-Century Fiction__ 24.1 (June 1969): 16-30.
=== Fine concentrates on Lockwood’s dreams in the beginning of the novel and how they intimate the rest of the plot. Symbols appearing in dreams throughout the work—including blood, windows, wind, and weapons—are also analyzed. Fine asserts that Lockwood is sexually repressed, and his night terrors reflect this: the appearance of the ghostly Catherine at his window represents sexual impotence, as Lockwood hurts her while trying to reach her through the broken glass. This meshing of sex and violence, Fine states, hints at the spousal abuse, quasi-incest, implied necrophilia, and other forms of unhealthy relationships within the work.  === === ===

Jacobs, Carol. “//Wuthering Heights//: At the Threshold of Interpretation.” __boundary 2__ 7 (Spring 1979): 49-72.
The title of Jacob’s essay does not make her subject matter entirely clear. Although she begins by discussing the markings over the Earnshaw’s estate and the symbolism of passing through an entrance, her main concern is exile and excommunication within the novel. Names do not guarantee possession, and characters are continually uprooted or banished from their homes. To be sure, after a night of violent dreams, Lockwood is sent from the Heights to Thrushcross Grange. Indeed, declares Jacob, the entire Lockwood episode serves as an allegory of homelessness. In addition, although the Earnshaws have been in possession of Wuthering Heights since the 16th Century, the arrival of the orphan Heathcliff threatens their legacy. Similarly, just as property ownership is not fixed, neither are names, as evidenced by their repetition. Jacob also discusses the concept of interpretation: we “hear” the story second-hand through Lockwood’s reconstruction of Nelly’s narration. However, while this idea seems most linked to the article’s title, it does not appear connected to the rest of her thesis.  

===Homans, Margaret. “Repression and Sublimation of Nature in //Wuthering Heights//.” __PMLA__ 93.1 (Jan. 1978): 9-19. === === While this article from the Modern Language Association at first appears to deconstruct Yorkshire’s weather and flora and fauna, it is actually a Freudian reading of the work, dealing with no less than sexual desire and repression. Although Catherine and Heathcliff are so closely associated with the moors, Homans points out that there are actually few scenes outside, and little description of the grounds surrounding the houses. For Brontë, she argues, the natural world is a visceral, primary force. By omitting it from the text, not only are her characters suppressed, but she is, as well. === === ===

Shannon, Edgar, F., Jr. “Lockwood’s Dreams and the Exegesis of //Wuthering Heights.//” __Nineteenth-Century Fiction__. 14.2 (Sep. 1959): 95-109.
Like other treatises on Lockwood’s dreams, Shannon examines the linkage between the visitor’s reveries and the remainder of the novel. To fully comprehend //Wuthering Heights//, he argues, one must first understand Lockwood’s initial experiences there. Lockwood’s dreams and misadventures in the first three chapters authenticate Nelly’s tale, and his erratic behavior serves as both counterpart and contradiction to Heathcliff. In his analysis of the well-bred Lockwood’s violence against the dream-Catherine, the essayist points out that unlike Heathcliff, the latter’s brutality stems not from sexual repression, but from years of physical and emotional abuse. 

=== In this special //Representations// issue on music, rhythm, and language, Stewart examines how //Wuthering Heights// draws on themes of traditional English and Irish ballads, as well as British folklore, in its presentation of plot and character. The oral traditions passed down through the British Isles often spoke of a need for protection from supernatural forces like goblins, changelings, elves, fairies, and, of course, ghosts. In ballads and folktales, these beings could be demonic, erotic, or both. In addition, states Stewart, the world of the ballad is often filled with claustrophobia, violence, sexual confrontation, and incest. It is also common to find ballads and folktales that start when an experience has already occurred, or that begin in media res. Lastly, Stewart notes that in romantic ballads, when one lover dies of an illness, the other dies of sorrow. Afterwards, these lovers are frequently reunited beyond the grave. ===