Tuesday, May 12, 2015

Tuesday, May 12, 2015 1:18 am by M. in ,    No comments
A couple of papers and a thesis. Recent Brontë research:
Now You See It: Concealing and Revealing Pregnant Bodies in Wuthering Heights and The Clever Woman of the Family
Victorian Network, Issue: Vol 6, No 1: Summer 2015
Pages: 32-54
Author(s): Livia Arndal Woods (CUNY Graduate Center)

This essay reads the concealment and revelation of pregnancy in Emily Brontë’s Wuthering Heights (1847) and Charlotte Mary Yonge’s The Clever Woman of the Family (1865) in order to demonstrate Victorian textual convention for the treatment of pregnancy. These readings establish the period tendency to conceal the pregnancies of modest/moral women and to reveal (as punishment, example, and narrative necessity) the pregnancies of immodest/immoral women. I also explore the ways in which a vocabulary of illness cooperates with the concealment and revelation of pregnant bodies. Reading illness and pregnancy in Wuthering Heights makes particularly legible our participation in the punishing narrative treatment of reproductive bodies that transgress normative behaviours: this heightened legibility prompts my unconventional pairing of Brontë with Yonge, a novelist invested in the novel as means of moral instruction and correction. This essay is about the gender, narration, (un)ethical modes of reading, and the specificities of bodies, about what pregnancy can tell us about these things and about what these things can tell us about pregnancy. The message in both directions is simple and important: when we see a character’s pregnant body in a Victorian novel, chances are it is because she has done something wrong.
“Quem não arrisca, não petisca”: Como as mudanças no enredo de O morro dos ventos uivantes de Emily Brontë acrescentam novos significados às suas adaptações para o cinema
Sandra Elisabeth de Oliveira Santos
Via Litterae, v. 6, n. 2 (2014)

Este artigo tem como objetivo analisar e discutir três adaptações do romance O morro dos ventos uivantes, de Emily Brontë, para o cinema a partir de teorias sobre adaptação midiática, intertextualidade, intermidialidade e remediação de Julie Sanders, Linda Hutcheon e Irina O. Rajewsky. Para essa análise selecionei as adaptações feitas pelos diretores William Wyler (1939), Peter Kominsky(1992), e Andrea Arnold (2011), as quais receberam o mesmo nome do romance. Este trabalho procura, ainda, demonstrar que as diferenças existentes entre romance e filme não significam necessariamente perdas em relação ao enredo do romance, mas sim a construção de novos significados e a discussão de outros temas pertinentes aos espectadores.

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