sempozyum_bildiri_kitabi

esidue of unprocessed mourning but the unsayable secret that haunts the descendants of the
victim, in the chapter “Notes on the Phantom: A Complement to Freud’s Metapsychology.” Ibid.,
171‐176.
12
See Ronald R Thomas, “Capitalizing the Unconscious: Nineteenth‐Century Fictional
Autobiography” for an analysis on Brontë and Dickens, where Thomas argues that dreams and
the autobiographical narrative are related in that they both encode a desire to discover who the
self is while asserting at the same time, what it has become, thus helping the psychic economy of
the subject heal. Dreams of Authority: Freud and the Fictions of the Unconscious (Ithaca: Cornell
University Press, 1990), 137‐191.
13
Refer to Geoffrey H. Hartman’s chapter, “A Culture of Inclusion” to read about how the
shrinking rural culture during the nineteenth‐century brought on anxieties for the people who
seek a “new alliance between poetry and memory” to sustain their sense of the loss. The Fateful
Question of Culture, (New York: Columbia University Press, 1997), 165‐203.
14
See Gretchen Braun, “A Great Break in the Common Course of Confession”: Narrating Loss in
Charlotte Brontë’s Villette” for the suggestion that the burden of trauma shifts onto the reader in
confessional writing. ELH 78 (2011) 189‐212.
15
See Garrett Stewart’s chapter “Oh Romantic Reader, where he suggests that
the
apostrophized asides to the inducted readers act as a chorus to the narrative flow. At the same
time, the aural quality of the narration that requires an inner ear shuts the reader out of the
subjectivity of the narrator. This, according to Stewart, is a special problem for the readers of
Charlotte Bronte fiction, since it is situated in a particular cultural moment and invests the
narratives with “Victorian vibrations” that is outside the reader’s temporality. Dear Reader: The
Conscripted Audience in Nineteenth‐century Fiction (Baltimore: The Johns Hopkins UP, 1996), pp.
235‐274.
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