Wednesday, September 02, 2015

Wednesday, September 02, 2015 8:50 am by Cristina in , , , , , ,    No comments
Theatre People looks at what the new season is bringing to London:
The National Theatre offers a plethora of intriguing productions during Artistic Director Rufus Norris' debut season. The play I am perhaps most looking forward to is 'Jane Eyre.' The National's co-production with the Bristol Old Vic, directed by Sally Cookson, begins performances in the Lyttelton Theatre on 8th September and continues through to 10th January 2016. It will be interesting to see how the two theatrical power houses adapt Charlotte Brontë's classic novel for this eagerly anticipated stage revival. (Tom Millward)
And so does The Shields Gazette, which highlights the National Theatre Live dates in cinemas:
Finally, almost 170 years on, Charlotte Brontë’s story of the trailblazing Jane Eyre is as inspiring as ever. This bold and dynamic production uncovers one woman’s fight for freedom and fulfilment on her own terms on December 8. (Vicki Newman)
Tribune de Genève (Switzerland) features the fourth volume of Stieg Larsson's Millenium saga by David Lagercrantz and makes it clear that.
Il y a bien eu des suites aux romans de Margaret Mitchell, Jane Austen, Emily Brontë, Agatha Christie ou Ian Fleming. Mais rien de si «top secret». (Pascale Frey) (Translation)
RTÉ (Ireland) also uses this book to discuss other books that have received similar treatments such as Jane Eyre and Wide Sargasso Sea.
Described as a prequel to Charlotte Brontë's novel Jane Eyre, the highly-regarded novel Wide Sargasso Sea by Jean Rhys was published in 1966 and remains a kind of cult classic. Prequels – now that’s a whole other ball game. (Paddy Kehoe)
Another recently-released book on Flavorwire: Elena Ferrante's The Lost Child, which 'Concludes Her Tetralogy on Female Friendship and Feminist Doubles'.
Doubles — whether twisted sisterhoods or dark mother-daughter duos — are a common feature of feminist fiction. They appear in many iconic works, from Bertha, the infamous madwoman in the attic whose violence symbolizes Jane Eyre’s suppressed rage to saintly-or-evil Rebecca, laughing from beyond death at the mousy second Mrs. DeWinter, to the returned spirit of Beloved torturing her mother, Sethe, the two women growing and shrinking in proportion to each other. Doubles represent different kinds of womanhood: the furious and the complacent; the sexual and the proper; the one who stays and the one who leaves; the radiant and the ordinary; the sacrificed and the survivor. The structures of racism, classism, misogyny, the world of men — these intruders bifurcate the lives of women, who by necessity must take different routes through the hostile maze; they must choose either to combat the forces that push them down or cooperate with the oppressor. (Sarah Seltzer)
More traditionally, The Irish Times discusses the English literature curriculum.

This article from The Guardian also mentions the classics:
Growing up, the books I read were littered with dead mothers: Wuthering Heights, Oliver Twist, any number of fairy tales. Before I was old enough to even figure out how women got pregnant in the first place, I knew that the process of becoming a mother was incredibly dangerous. (Lilit Marcus)
Racked looks at bedridden female characters and coincidentally mentions a scene connected to Catherine's motherhood.
Wuthering Heights
By Emily Bronte
Mr. Lockwood spends the night snowed in at a house called Wuthering Heights and sees a ghost named Catherine. As it turns out, she was in love with WH's housekeeper Heathcliff, but married someone else, even professing her love for him on her deathbed.
Catherine's dead the entire novel, which is not great ~for women~ but she has a pretty high-octane flashback sickbed scene, wherein she swears she sees birds coming out of her pillow and pines for Heathcliff aloud. And if there's one way to be the ultimate bed-dweller, it's to put on a melodramatic show about it. Then, people will come visit you in bed instead of you ever having to leave that warm place. (Claire Carusillo)
The Oxford University Press Blog wonders whether Yorkshire was the birthplace of film recalling that,
However, filmmaking in Yorkshire carried on. A 1920 adaptation of Wuthering Heights (A.V. Bramble), filmed 9 miles north of the Brontes’ home in Haworth, was hailed in The Biograph as ‘a real triumph of film art’. (Annette Kuhn and Guy Westwell)
Fast forward many years and we have Michael Fassbender playing Mr Rochester on screen. According to Jezebel,
Those of us partial to the Victorian period film might have difficulty conceiving him as anyone other than Jane Eyre’s Rochester, but I for one am perfectly content to have the option. (Rachel Vorona Cote)
Bustle lists '17 Songs For Book Nerds Perfect For Your Next Read, From Bowie To The Beatles' and of course Kate Bush's Wuthering Heights is included on the list:
Kate Bush meets Emily Brontë. It's your moody teenage self's dream. (Rachel Semigran)
Bedford and Bowery mentions the song too when speaking about Faten Kanaan,
a synth captain who wrangles a sound that balances between Kate Bush at her most forlorn and the closing credits to a film about some murderous British-schoolgirl love triangle. Perhaps she’s a descendent of the Brontës. (Nicole Disser)
More pop culture as Forward's The Sisterhood discusses what the MTV Music Video Awards 'Taught Us About Female Friendship'.
By the modern period, female friendships became a fixture in history and literature, with important depictions by authors like Jane Austen and the Brontë Sisters. (Maayan Dauber)
Spirituality Today reviews Jane Eyre's Sisters by Jody Gentian Bower.

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