...Tiffany Tsao This comparative study of Wuthering Heights (a mid-nineteenth-century British novel by Emily Brontë) and Saman (a late-twentieth-century Indonesian novel by Ayu Utami) examines the two novels' respective treatments of internal colonization — a shared thematic concern that only becomes...

... is certainly no stranger to comparative work. In a recent study, for example, James Murphy discusses the way that various Victorian novels such as Middlemarch, Dracula, or Wuthering Heights can be (and have been) read as texts that covertly deal with Irish questions by transplanting those questions...

.... Salmon, the Beldover miners, the level-crossing laborers, Halliday, and the Pussum —​are “of no account.”11 Mrs. Kirk, the Criches’ former nanny, is no more a traditionary figure than is Nelly in Wuthering Heights. Levin’s parents are absent but signifying; Ursula’s parents are present...

...). That is, the reader of imaginative literature is one who is willingly instructed to construct by the writer, some- times—if we accept the detail of Scarry’s readings—with stunning exactitude. Thus, the verbal descriptions embedded in the narratives of Madame Bovary or Wuthering Heights activate, through...

... of Madame Bovary or Wuthering Heights activate, through generally implicit directions to the reader’s imagination, a mental mi- mesis that seems essential to what literature can and should foster. Scarry identifies five “formal practices” that writers engage to effect this mimesis, to compose...

... construction” (p. 37). That is, the reader of imaginative literature is one who is willingly instructed to construct by the writer, some- times—if we accept the detail of Scarry’s readings—with stunning exactitude. Thus, the verbal descriptions embedded in the narratives of Madame Bovary or Wuthering...

...—if we accept the detail of Scarry’s readings—with stunning exactitude. Thus, the verbal descriptions embedded in the narratives of Madame Bovary or Wuthering Heights activate, through generally implicit directions to the reader’s imagination, a mental mi- mesis that seems essential to what...

...). That is, the reader of imaginative literature is one who is willingly instructed to construct by the writer, some- times—if we accept the detail of Scarry’s readings—with stunning exactitude. Thus, the verbal descriptions embedded in the narratives of Madame Bovary or Wuthering Heights activate, through...

... construction” (p. 37). That is, the reader of imaginative literature is one who is willingly instructed to construct by the writer, some- times—if we accept the detail of Scarry’s readings—with stunning exactitude. Thus, the verbal descriptions embedded in the narratives of Madame Bovary or Wuthering...

...). That is, the reader of imaginative literature is one who is willingly instructed to construct by the writer, some- times—if we accept the detail of Scarry’s readings—with stunning exactitude. Thus, the verbal descriptions embedded in the narratives of Madame Bovary or Wuthering Heights activate, through...