Among the classroom strategies described in part 2, Approaches, are the following: - Uncovering the hidden elements of race, gender, and class through close analysis of the narrative- Teaching the novel from the vantage point of gothic conventions, biographies of Bronte family members, and the debates about the place of the novel in the canon- Familiarizing students with historical and legal documents to reveal social and economic issues of the period like child custody and women's property rights- Comparing film and TV adaptations with one another and with the novel itself

The text of the novel is based on the first edition of 1847. For the Fourth Edition, the editor collated the 1847 text with the two modern texts (Norton’s William J. Sale collation and the Clarendon), and found a great number of variants, including accidentals. This discovery led to changes in the body of the Norton Critical Edition text that are explained in the preface. New to "Backgrounds and Contexts" are additional letters, a compositional chronology, related prose, and reviews of the 1847 text. "Criticism" collects five important assessments of Wuthering Heights, three of them new to the Fourth Edition, including Lin Haire-Sargeant’s essay on film adaptations of the novel.

Wuthering Heights is unique among novels of its time for its poetic presentation, its lack of authorial comment, and its unusual narrative structure, exerting the energies of hate and love from the confined world of the story. The book deeply challenged embedded Victorian conventions regarding gender equality, religion, and class. This compelling volume discusses the author Emily Bronte's background, the details of which are still not well understood; class conflict in the context of rural and industrial Britain; and contemporary perspectives on class conflict.

Wuthering Heights is the name of Mr. HeathcliffÕs dwelling. ÔWutheringÕ being a significant provincial adjective, descriptive of the atmospheric tumult to which its station is exposed in stormy weather. Pure, bracing ventilation they must have up there at all times, indeed: one may guess the power of the north wind blowing over the edge, by the excessive slant of a few stunted firs at the end of the house; and by a range of gaunt thorns all stretching their limbs one way, as if craving alms of the sun. Happily, the architect had foresight to build it strong: the narrow windows are deeply set in the wall, and the corners defended with large jutting stones. Before passing the threshold, I paused to admire a quantity of grotesque carving lavished over the front, and especially about the principal door; above which, among a wilderness of crumbling griffins and shameless little boys, I detected the date Ô1500,Õ and the name ÔHareton Earnshaw.Õ I would have made a few comments, and requested a short history of the place from the surly owner; but his attitude at the door appeared to demand my speedy entrance, or complete departure, and I had no desire to aggravate his impatience previous to inspecting the penetralium. One stop brought us into the family sitting-room, without any introductory lobby or passage: they call it here Ôthe houseÕ pre-eminently. It includes kitchen and parlour, generally; but I believe at Wuthering Heights the kitchen is forced to retreat altogether into another quarter: at least I distinguished a chatter of tongues, and a clatter of culinary utensils, deep within; and I observed no signs of roasting, boiling, or baking, about the huge fireplace; nor any glitter of copper saucepans and tin cullenders on the walls. One end, indeed, reflected splendidly both light and heat from ranks of immense pewter dishes, interspersed with silver jugs and tankards, towering row after row, on a vast oak dresser, to the very roof. The latter had never been under-drawn: its entire anatomy lay bare to an inquiring eye, except where a frame of wood laden with oatcakes and clusters of legs of beef, mutton, and ham, concealed it. Above the chimney were sundry villainous old guns, and a couple of horse-pistols: and, by way of ornament, three gaudily-painted canisters disposed along its ledge. The floor was of smooth, white stone; the chairs, high-backed, primitive structures, painted green: one or two heavy black ones lurking in the shade. In an arch under the dresser reposed a huge, liver-coloured bitch pointer, surrounded by a swarm of squealing puppies; and other dogs haunted other recesses.

The literary output of the Brontë sisters was small, but their novels remain immensely popular more than 150 years after their deaths. Each sister wrote a novel that challenged the ideas of the day on what was fit to print: Charlotte’s Jane Eyre by examining the interior life of a young girl; Emily’s Wuthering Heights by overturning the conventions of the novel, even while making use of traditional literary forms; Anne’s The Tenant of Wildfell Hall by depicting a husband’s alcoholism and debauchery. This guide, which roots the writers’ work in their unusual upbringing and describes and challenges the so-called Brontë myth, aims to provide both first-time readers and long-time Brontë enthusiasts with a deeper understanding of their work and the reasons it continues to engross readers today.

"Rhetoric, broadly conceived as the art of making things matter, is both a practice and theory about that practice. In recent decades, scholars of rhetoric have turned to approaches that braid together poetics, performance, and philosophy into a "practical art." By practical art, they mean methods tested in practice, by trial and error, with a goal of offering something useful and teachable. This volume presents just such an account of rhetoric. The account here does not turn away from theory, but rather presumes and incorporates theoretical approaches, offering a collection of principles assembled in the heat and trials of public practice. The approaches ventured in this volume are inspired by the capacious conception of rhetoric put forth by historian of rhetoric Jeffrey Walker, who is perhaps best known for stressing rhetoric's educational mission and its contributions to civic life. The Practice of Rhetoric is organized into three sections designed to spotlight, in turn, the importance of poetics, performance, and philosophy in rhetorical practice. The volume begins with poetics, stressing the world-making properties of that word, in contexts ranging from mouse-infested medieval fields to the threat of toxin-ridden streams in the mid-twentieth century. Susan C. Jarratt, for instance, probes the art of ekphrasis, or vivid description, and its capacity for rendering alternative futures. Michele Kennerly explores a little-studied linguistic predecessor to prose-logos psilos, or naked speech-exposing the early rumblings of a separation between poetic and rhetorical texts even as it historicizes the idea of clothed or ornamented speech. In an essay on the almost magical properties of writing, Debra Hawhee considers the curious practice of people writing letters to animals in order to banish or punish them, thereby casting the epistolary arts in a new light. Part 2 moves to performance. Vessela Valiavitcharska examines the intertwining of poetic rhythm and performance in Byzantine rhetorical education, and how such practices underlie the very foundations of oratory. Dale Martin Smith draws on the ancient stylistic theory of Dionysius of Halicarnassus along with the activist work of contemporary poets Amiri Baraka and Harmony Holiday to show how performance and persuasion unify rhetoric and poetics. Most treatments of philosophy and rhetoric begin within a philosophical framework, and remain there, focusing on old tools like stasis and disputation. Essays in part 3 break out of that mold by focusing on the utility and teachability of rhetorical principles in education. Jeanne Fahnestock and Marie Secor update stasis, a classical framework that encourages aspiring rhetors to ask after the nature of things, their facts and their qualities, as a way of locating an argument's position. Mark Garrett Longaker probes the medieval practice of disputation in order to marshal a new argument about why, exactly, John Locke detested rhetoric, and the longstanding opposition between science and rhetoric as modes of proof that has lasting implications for the way argument works today. Ranging across centuries and contexts, the essays collected here demonstrate the continued need to attend carefully to the co-operation of descriptive language and normative reality, conceptual vocabulary and material practice, public speech and moral self-shaping. The volume promises to rekindle long-standing conversations about the public, world-making practice of rhetoric, thereby enlivening anew its civic mission"--