studying Jane Eyre in school and being drawn to characters who are always unapologetic and tenacious, some characters come into your life to teach you lessons – that you should take up more space or challenge the rules a little. (Harriet Curzon)
Many critics cite Brontë’s noticeable personal prejudices throughout the story as well as a plot lacking intensity and depth as reasons to consider this the lesser of her four novels. They may be right on one level, but others note that Brontë cleverly used a male narrator to point out and address areas in which women weren’t treated as they should have been, most noticeably in the workforce and in terms of their pay.Whether you see the story’s flaws or prefer to see its good points, “The Professor” deserves a read by anyone wanting another glimpse into the mind of the woman who gave us “Jane Eyre.” (Tammy Marshall)
“It’s mad, isn’t it? But I’m from North Yorkshire, and I just thought Jane Austen wasn’t a writer for me. She was more for posh southern people. I used to read loads of Brontë because that was the world I was from,” the actor said. (Amy Glover)
“Like a great character in a romance novel, Evelyn plays a leading role in life. Her fierce independence, passion for life, and intense love for family makes her a modern Jane Eyre.” (Chris John Amorosino)
The Brontë Sisters UK explores her personal collection of Wuthering Heights editions.
7 The Professor (written 1846; published 1857) by Charlotte BrontëThis was the first novel that Charlotte Brontë completed. It was rejected by publishers nine times. Written in the voice of a male narrator, William Crimsworth, it offers a downbeat story of everyday middle-class striving as the protagonist travels to Brussels to establish his career as a teacher. But the last publisher to see it thought it showed promise, despite being too short and insufficiently “striking and exciting”. Had the author anything else to offer? Luckily, Jane Eyre – which amply supplied the earlier book’s deficiencies – was already in train and was soon accepted with alacrity. Although The Professor remained unpublished in Charlotte’s lifetime, she continued to believe that it was “as good as I can write”; its subtly ironised male voice reveals her underlying literary sophistication.6 Agnes Grey (1847) by Anne BrontëIn 1846, the three Brontë sisters had – at their own expense – published a joint poetry collection under the pseudonyms Currer, Ellis and Acton Bell. It sold just two copies. Realising that fiction was more saleable, they decided that each should write a novel under the same pen names. While Charlotte toiled over The Professor, the youngest sister, Anne, was working on Agnes Grey. It also sought to portray everyday life, but the result has a more authentic ring since she drew so directly on her personal experience working as a governess in well-to-do families. The first-person heroine is initially excited at the thought of earning her own living. But she finds herself underpaid and unappreciated by the snooty parents, while her tantrum-prone charges include a vile little boy who likes pulling the legs off baby sparrows. Had it not been overshadowed by Jane Eyre and Wuthering Heights when it came out in 1847, it might perhaps have caused more of a stir as a Nanny Diaries-style exposé.5 Shirley (1849) by Charlotte BrontëThis flawed follow-up to Jane Eyre was written under trying circumstances. Charlotte’s brother Branwell and both her sisters sickened and died in quick succession during the writing of it, so it was abandoned for a while before being resumed by the bereaved author. That’s not, however, the only reason why this “condition of England” novel – which announces itself on page one as “something unromantic as Monday morning” – has failed to entrance readers as much as its predecessor Jane Eyre. Its third-person narrative does not focus on a single hero or heroine and as a result the book feels comparatively diffuse, though Charlotte herself might have defended it on the grounds that real life is diffuse. Set during the Luddite riots of 1811-12, it explores social unrest, capitalism and the “woman question”. Because of her proto-feminism, Charlotte’s ideological position has often been called progressive, yet she was in fact a political conservative.4 The Tenant of Wildfell Hall by Anne Brontë (1848)In feminist terms, Anne’s second novel is the most radical and socially engaged of all the sisters’ books. The eponymous tenant, Helen Huntingdon, is hiding out at Wildfell Hall with her young son after leaving her abusive husband. At the time, unequal marriage laws meant that it was very hard for a woman to get a divorce at all and nigh impossible for her to get custody of her children. In Jane Eyre, Charlotte had made Mr Rochester a sexy Byronic rake; Anne, in reply, exposed the toxic masculinity behind that character type. Despite the novel’s strong Christian message, its unvarnished portrayal of addiction and adultery shocked Victorian readers more than any of the other Brontë books. More interested in the real than the ideal, Anne was drawing on her experience as a witness to Branwell’s chaotic behaviour.3 Jane Eyre by Charlotte Brontë (1847)The first of the Brontë novels to be published, Charlotte’s melodramatic tale of the poor plain governess and the madwoman in the attic became a bestseller on first publication. Its genius, in fact, lies less in the plot than in what George Eliot’s future partner GH Lewes, who was one of its first reviewers, called its “strange power of subjective representation”. Ditching the distancing device of a male narrator for a female voice proved Charlotte’s creative breakthrough: it enabled her to inject a then unprecedented first-person intensity into the novel form. However, Jane Eyre proved controversial at the time among sexist critics. Correctly surmising that the author behind “Currer Bell” was a woman, they decried the book as “coarse” and the heroine as too assertive for a female.2 Wuthering Heights by Emily Brontë (1847)It is mind-boggling to think that Wuthering Heights was written alongside The Professor and Agnes Grey, quite literally on the same dining room table in Haworth Parsonage at which all three sisters sat together working on their first novels. Emily’s masterpiece was called “a strange book baffling all regular criticism” on publication; it remains enigmatic, completely sui-generis and totally outside the norms of Victorian fiction. Justly regarded as one of the greatest works in the western canon, it’s far from the cliched love story it later became in popular culture. Though grisly with violence, it’s oddly devoid of sex. The writing is astonishing: scarcely any adjectives and not a purple passage in sight. The Victorian poet Swinburne was right to compare it to Greek tragedy.1 Villette by Charlotte Brontë (1853)Less famous than Jane Eyre or Wuthering Heights, Villette is Charlotte Brontë’s masterpiece and deserves to be better known. Here, she goes back to the Brussels material that she had already used at a tangent in The Professor – and which was rooted in her real-life experience of studying and teaching there in 1842-4. Reworking those memories from a first-person female perspective, she now incorporated her own secret into the story: the unrequited love she had felt for her Belgian writing tutor Constantin Heger. Yet the result is anything but naïve autobiography. Instead, it shows Charlotte push the classic realist Victorian novel in new, artistically experimental directions. The unreliable narrator, Lucy Snowe, has intimacy issues and sets a challenge for the reader. Long before Freud, Charlotte was exploring questions about repression and the unconscious in a complex, self-knowing psychological novel whose generic status hovers ambiguously between naturalism, gothic and autofiction. The extent to which Villette mined and refracted her own inner life was only discovered posthumously by her biographers.
Modern artists like Manet, who portrayed purely modern scenes without conforming to the “grain,” provoked viewership fury. French critic of the time, Émile Zola, argued in an essay titled “Édouard Manet”, originally published in 1867, that public outrage simply reveals how tightly audiences cling to expectations of what art ought to resemble. The public, up until this point, had maintained neoclassical values in art: to flatter, narrate, and moralize. Manet refused all three of those familiar imperatives by producing art that felt uncomfortable and bluntly new — a choice that is now heavily applauded. True art, a point Zola returns to time and time again, does not come from a desire to conform to norms or follow the “grain” but from individual temperament and personal vision.Nearly two centuries later and across the Atlantic, my girlfriends and I visited the Cineplex on Rue Sainte Catherine to watch Emerald Fennell’s 2026 “Galentines” adaptation of “Wuthering Heights”. The reaction to the film was generally varied. Some praised it, while lovers of the novel jumped to Twitter and Reddit to vent their anger over yet another inaccurate adaptation. To give credit to these bibliophiles, Fennell abandons many of the themes that make this story so impactful by portraying a narrative based on her initial impression of the book as a 14-year-old girl. In depicting this youthful interpretation, Fennell centres the film around a glorified toxic romance between Catherine and Heathcliff. Frustrated viewers were appalled at Fennell’s tone-deafness in foregrounding obsessive love while sidestepping and softening the harsher themes of the novel, particularly those pertaining to Heathcliff’s racial marginalization and the systemic class violence in the setting.In reading tweets alleging the film’s negligence, just as I did in December when choosing my winter semester electives, I turned to modern art history. Two hundred years apart, both Manet and Fennell have something in common: they’ve both committed to their personal visions and rejected traditional expectations. Manet counters aesthetic norms and produces art that depicts the tensions of modern life in a way that is truthful to himself. Similarly, Fennell abandons the expectation that adaptations be reflective of their source material to create a film rooted in her own experience, a decision Zola might have applauded. Whether or not you enjoy or even “agree with” either of these artist’s work, they both made the choice to commit to their personal truths and abandon external expectations. In practicing artistic autonomy, they choose their own temperament as an anchor in their work.If these two artists are correct and individual temperament is the “True North” of art, it leads us to question: are there traditions or expectations that artists must uphold, or is personal vision all that truly matters? Between these contexts, “tradition” is understood very differently. For Manet, “traditions” are expectations set by the Art Academy surrounding what defines academically valid (and objectively good) art. For Fennell, “tradition” underlines the source material from which she draws her film: Emily Brontë’s Wuthering Heights. Both these artists abandon tradition in their works, making audiences question: where is the line drawn between artistic autonomy and deviations from tradition?In deviating from tradition, one can question the difference between innovation and avoidance.If artists do have a responsibility to uphold a certain tradition, both Manet and Fennell have failed to do so. Yet we celebrate Manet as a transformative turning point in modern art history. Why? In my opinion, it is because Manet’s work denies the comfort of ignorance and bluntly presents his audiences with uncomfortable social realities, forcing them to analyze their own lives through his work. In contrast, Fennell’s Wuthering Heights does exactly the opposite. While she also deviates from “tradition”, she does so by refusing to inherit the uncomfortable and darker themes of the novel. She allows her audiences to find comfort in the avoidance of difficult themes surrounding the intersection of violence, race, and class. If Manet makes audiences question how closely art should adhere to academic standards, Fennell forces them to question how much personal vision we are willing to accept in interpretations of classic narratives.In some cases, we respond well to moving away from tradition when artists depict their personal visions because it feels honest and revealing, confronting you with art rooted in social reality. This is what Manet did in pulling at the seams of academic art to reveal true modern life. On the other side of the coin, moving away from tradition can feel dishonest if viewers don’t feel it is rooted in these social truths — the very social truths that made Emily Brontë’s novel so impactful in the first place.Now, as I wrap up this article in my student apartment a few streets from campus, I have to conclude that this argument is somewhat of an open-ended question. I think that is because there is no universal line that separates avoidance from innovation in art. That line is unstable by design, and artists have always toed it by pushing their own personal vision forward while balancing a respect for tradition. Perhaps this tension is what produces great art. That being said, in my art history class, we are still marveling at Manet’s impact on the evolution of modern art two centuries later. But as I left the Cineplex on Sainte Catherine after seeing Fennell’s Wuthering Heights, I got the impression that this particular adaptation might not make it onto the syllabus of a film class in another two hundred years. (Lyla Burt)
Contemporary psychology doesn’t view their relationships as “tragic lovers divided by social class and circumstance.” Instead, people agree that this story is about two deeply wounded people who cannot escape each other’s influence.Behind the perfect visuals and stunning costumes, it’s still possible to get the idea that this movie is a “psychological horror,” as often described on Reddit. Catherine, Heathcliff, and nearly every supporting character become trapped in a cycle of resentment and revenge.
Wuthering HeightsWe went to see Wuthering Heights within the last two weeks, and we totally loved it. I know that a lot of people felt really mixed about it, but we loved it, and so I took the opportunity to see if she might be into listening to Jane Eyre on Audible. I thought she might want to hear what another Brontë sister was writing, but I got sort of a mixed reply on it. We listened to her for a little bit, but I’m still trying. (Padma Lakshmi as told to Marah Eakin)
I struggled to write a film review of “Wuthering Heights” because, to be honest, there’s not that much to say about the film itself. We were told ahead of time in no uncertain terms that the film would be an unfaithful adaptation of the beloved novel by Emily Brontë, and it was. We were promised a jaw-dropping collection of costumes and sets, and we got it. We were given a glimpse of Charlie XCX’s pretty-good soundtrack, and the extended music in the film was exactly what it sounded like in the promotional materials. We could see in advance trailers that this was going to be a highly sexualized and romanticized retelling of the novel, and boy was it ever. They told us exactly what kind of film they were making, and then they released exactly that film. (...)Anyone who has darkened the door of a major bookstore in the last 15 years knows that “romantasy” novels have exploded in popularity. In the theater, watching “Wuthering Heights” (2026), Watching it, I half expected a ticker to crawl across the screen reading: THIS ONE’S FOR THE BOOKTOK GIRLIES. “Wuthering Heights” (2026) is not a retelling of Wuthering Heights by Emily Brontë. It’s an adaptation of the original source material into a mass-market romantasy smut fable that would do numbers at airport bookstalls. (Margaret Handel)
We are in a strange, hybrid place, where the tropes of Victorian England and the Bronte oeuvre – sweeping dark moorlands, tight corseted dresses, the ubiquity of death, the class system and fancy manor houses – are chopped up, set to electronic music, soaked in sickly colours and Tiktok-ified so that while you can’t look away, you wish you could.I winced in the hanging scene – how could you not? But mostly I winced at the non-subtlety of the thematic set-up. We get it, we get it! Sex and death are fatefully intertwined!Cathy and Heathcliff, with their mutual obsession, will drive themselves to oblivion.But just in case we don’t get it, we are subjected to the post-hanging scene, where the filthy (literally) peasant villagers who have been watching the execution proceed to get all horny with each other.Even a spectating nun is left heavy-breathing, awakened by erotic forces she doesn’t understand. (...)In that way, Wuthering Heights is the perfect movie for the moment – flashy and attention-grabbing, fast-paced, celebrity-driven and fun.As for its confused sexual politics, well, that only makes it more relevant.We live in the age of heterofatalism, where men and women are famously estranged.And Heathcliff and Cathy hate each other as much as they love each other.We live in the age of TLDR – and Wuthering Heights is the filmic embodiment of that acronym.Ultimately, though, who cares?The box office numbers say it all, and that such an acclaimed director would take on this classic tells us everything about its enduring relevance. (Jacqueline Maley)
So, should we be hating it?That depends on what we expect from “Wuthering Heights”. If one views the novel purely as a gothic tragedy grounded in social critique, this adaptation may feel too romanticised. But if one sees Brontë’s work as an exploration of obsessive love as destiny — destructive, consuming, inevitable — then this film arguably captures that spirit in its own way.Perhaps the discomfort surrounding the 2026 version says more about us than it does about the film. We are uneasy with stories that refuse moral clarity. We are suspicious of adaptations that reinterpret rather than replicate. But “Wuthering Heights” has never been comforting. It unsettles, it provokes, and it resists easy categorisation.And maybe that is exactly what this version understands. (Naveen Islam Toree)
The new Wuthering Heights film by Emerald Fennell is putting its windswept moorland setting firmly in the spotlight.From the famous Brontë village of Haworth to the stone-built hills and villages of Calderdale in West Yorkshire, estate agency Charnock Bates says it has seen an uptick in the number of house-hunters enquiring about homes in the area.Charnock Bates has rounded up eight standout homes on the market, from character cottages and period townhouses, to sizeable family houses and showstopping barn conversions, all with that unmistakable Brontë-country backdrop. (Abigail Kellett)
The screen-to-station effect is also being seen following the recent cinematic release of Wuthering Heights, as audiences drawn to its dramatic landscapes look to experience Yorkshire’s moorland scenery first-hand. Bookings to Settle, the gateway to the Yorkshire moors, rose 52% around release weekend compared to the previous month, as audiences seek out the landscapes associated with Emily Brontë’s classic.Sajjad Motamed, UK country manager at Trainline, said: “Viewers aren’t satisfied just by watching these stories unfold - they’re heading out to experience the settings for themselves. Our data reflects an increasing desire/need to experience locations first-hand.“The figures reflect a wider revival in period and gothic storytelling, with these dramas creating a powerful connection to place. When audiences fall in love with a location on screen, they increasingly want to explore it in real life.“From Bath’s Georgian streets to the Yorkshire moors, many of these destinations are well connected by rail and often just a short walk from the station, making it easier than ever to turn that inspiration into a day trip or weekend escape.” (Grace Piercy)
Miriam Lafuente: ¿Hay mucho de Emily Brontë en las emociones y el paisaje de Cumbres Borrascosas?Patricia García Medina: La Emily seria, antisocial, algo mandona, que no conoce los juegos de cartas que se juegan en las fiestas y que corre en los páramos ingleses donde creció con sus hermanos, crea un mundo que se mimetiza en perfecto equilibrio con estos personajes tan complejos y oscuros, uno de los elementos más atractivos de la novela.Catherine, por ejemplo, nunca consigue deshacerse de su naturaleza pasional, elementalmente idéntica a la de Heathcliff, y tras aceptar su matrimonio con Linton y mudarse a la casa “civilizada”, le es físicamente imposible habitarla y está (sin hacer spoilers) literalmente atada a cumbres borrascosas. (Translation)
El Diario (Spain) rediscovers Haworth as the real place that inspired the novel. El Día (Argentina) returns to the original novel. The Huffington Post remarks that The Professor and Agnes Grey are the only novels by the Brontës without an audiovisual adaptation. Although they could also mention that the only adaptations of Shirley (1922 silent film) and Villette (1970 BBC series) are lost.
‘Cumbres Borrascosas’ de Emerald Fennell no es perfecta, pero es valiente, visualmente deslumbrante y emocionalmente honesta. Es el tipo de adaptación que no busca complacer a todos, sino crear su propia identidad cinematográfica. Y en eso, como en casi todo lo que toca, Fennell vuelve a acertar. (Calopez) (Translation)
See, as adaptations go, this is quite — what is that word — artistic? expressive? inspired? sexually depraved? Perhaps they all fit, and then some. One can see it working as a carnally driven, hard-romance Valentine’s Day release, though only for adults. A Ramazan release doesn’t work at all, even for those who might want to see it. (...)While I am not a fan of deviances from original works, the kind of trimmings and excesses Fennell weaves into this version’s DNA, makes for a beguiling, edgy, restive update. (Mohammad Kamran Jawaid)
Deric Berberabe, Jordan Silverberg for Wuthering Heights - Official Teaser
Qurbonova Nodira Roziqovna, Associate professor of the Department of English literature andtranslation of Bukhara State UniversityAbdullayeva Bikajon Alisherovna, 1st grade master student of History and Philology Department of Asia International Universand ity/Vol. 2 No. 4 (2025): Journal of International ScientificAbstractCharlotte Brontë’s “The Professor” offers a unique lens through which to examine the role and representation of teachers in 19th-century literature. This paper explores the portrayal of educators, particularly the protagonist William Crimsworth, within the novel, focusing on the intersection of gender, class, and pedagogy. By analyzing the teacher-student dynamics and the societal expectations of educators, this study highlights how Brontë critiques and reinforces contemporary educational norms. The findings reveal that “The Professor” not only reflects the challenges faced by teachers in a rigid social hierarchy but also underscores the transformative potential of education.
The Portrayal of the Protagonist in "Jane Eyre" by Charlotte Brontë
Kurbonova, N., & Latipova, R. (2025).
Modern Science and Research, 4(2), 487–491.
Brontë’s The Professor: An Educational Perspective
Gassim H. DohalMigration Letters, 20(8), 127–133 (2023)Charlotte Brontë wrote The Professor as a result for her stay at Brussels. She tries to immortalize her experience as a student there at a girls’ school. And due to the fact that the most part is about schooling and students, I intend to explore this aspect from an experienced teacher’s perspective. The paper aims to analyse and address the narrative and focus on the educational elements that Brontë hints at. The outcome of this analysis shows that teachers are human and that they share most of the traits that one encounters in schools. Despite the prestige of their position, teachers tend to act in ways that are dictated by their ideologies, tendencies, and sense of belonging, which they strive to instil in their students.
INCLUDESAgnes Grey and The Tenant of Wildfell Hall by Anne BrontëWuthering Heights by Emily BrontëJane Eyre by Charlotte BrontëShirley and The Professor by Charlotte BrontëVillette by Charlotte BrontëEmily’s Wuthering Heights, and Anne’s Agnes Grey. These masterpieces (and more) are now available in hardback volumes we’ve wrapped in custom jackets designed by the creative team at Obvious State.“What a remarkable family! The Brontë sisters, Anne, Emily, and Charlotte, were three remarkably gifted writers who developed their imaginations and narratives together. I drew inspiration from the Greek story of the Three Graces and the Hawthorn tree, which is native to the moors where the Brontës lived and where stories like Wuthering Heights are set.” – Evan Robertson, Obvious StateThe books in the set are clothbound hardcover volumes published by Everyman’s Library, complete with silk reading ribbons, acid-free, natural cream-colored paper, and European-style half-round spines.
INCLUDESAgnes Grey and The Tenant of Wildfell Hall by Anne BrontëWuthering Heights by Emily BrontëJane Eyre by Charlotte BrontëShirley and The Professor by Charlotte BrontëVillette by Charlotte BrontëAdd in the influential works from the famed literary family of the Brontë Sisters to your library! Using pseudonyms, the sisters were able to publish some of the most well known literary classics. Charlotte’s Jane Eyre was the first to gain popularity, but soon Anne’s Agnes Grey and Emily’s only novel, Wuthering Heights, followed. Each novel is surely one you will return to again and again.This five-volume set includes these masterpieces as well as four more Brontë sister's works. Each heirloom-quality hardcover is wrapped in a custom purple jacket featuring a design inspired by antique leather bindings that were popular at the time of the books’ original publication.Each volume, from Everyman’s Library, is bound in cloth and features a silk reading ribbon, acid-free and natural cream-colored paper, and European-style half-round spines.
Wuthering Heights, Agnes Grey, and The Tenant of Wildfell Hall are also included in the Classics in Blush Book Set, Jane Eyre is in the Fall in Love Book Set, and Agnes Grey/ The Tenant of Wildfell Hall in the Classic Love Stories Book Set.
Freeman's Auctions.
The exhibition will be on view at our 1600 West Girard Avenue location on November 8 & 9 and November 13 to 15 from 10 AM to 3 PM, by appointment only.ProvenanceCollection of Katherine M. Reise, Oradell, New Jersey, Honorary American Representative of the Brontë Society, and Editor of the Brontë NewsletterLot 107:Estimate: $800 - $1,200London: Smith, Elder and Co., 1849. In three volumes. First edition. 8vo. 16 pp. publisher's ads wanting in first volume. Contemporary three-quarter blue calf over marbled paper-covered boards, red morocco spine labels, stamped in gilt, boards, extremities, and joints rubbed; matching marbled edges and endpapers; scattered foxing to text; book-plate of Charles Conway on front paste-down of each volume. Parrish, p. 93; Sadleir 348; Smith 5; Symington, pp. 25-26Lot 108:[Bronte, Charlotte] Bell, Currer: Villette
Estimate: $1,200 - $1,800London: Smith, Elder & Co., 1853. In three volumes. First edition. 8vo. Ads at rear of first volume dated January 1853. Publisher's brown cloth-covered boards, stamped in blind and in gilt, front board of first volume detached, spine starting on second volume, tear in rear joint of third volume, boards on each volume rubbed and variously faded; yellow endpapers; by Westleys & Co, and with their binder's ticket at bottom of rear paste-down in first volume; scattered soiling and spotting to text in each volume; wear in upper front gutter of third volume; loss at bottom corner, pp 267/268 in first volume, but not affecting text; small loss at bottom corner, pp. 275/276 in second volume, but not affecting text; pencil markings in margins of pp. 198-202, 230-231, and 234-245 in third volume; each in quarter blue morocco slip case and chemise. Smith 6A handsome and unsophisticated copy of Charlotte Bronte's third and final novel, published on January 23, 1853.Lot 109:Estimate: $800 - $1,200London: Smith, Elder & Co., 1857. In two volumes. First edition. 8vo. viii, 294, 2 (ads); (iv), 258, (2) pp.; with half-title in each volume; without 16 pp. ads at rear of second volume (Smith notes this may not be found in all copies). Three-quarter crimson morocco over red linen-covered boards, stamped in gilt; top edges gilt; marbled endpapers; by Bayntun; scattered light spotting to text in each volume. Parrish, p. 96; Sadleir 347; Smith 7; Symington, p. 40First edition of Charlotte Brontë's first novel. Originally written in 1846, The Professor dramatizes Charlotte's own time as a student and teacher in Brussels in the early 1840s. The book was repeatedly rejected by numerous publishers throughout 1847, but was more warmly received by publisher Smith, Elder. Although they ultimately rejected it, they encouraged Charlotte to send a longer work for their consideration. That August she sent them her manuscript for her most acclaimed and enduring novel, Jane Eyre. The Professor would not be published until two years after her death in 1855.Lot 110:New York: Harper & Brothers, Publishers, 1848. First American edition. 8vo. 288 pp. Contemporary three-quarter tan calf over marbled paper-covered boards, black morocco spine label, stamped in gilt, boards and extremities rubbed and lightly worn, head of spine chipped; all edges trimmed; remnants of contemporary book-plate on front paste-down; foxing to text. Smith 3, pp. 74-75; Symington, p. 100A lovely copy of the rare first American edition of Emily Brontë’s enduring masterpiece, her only novel. Published in April, 1848, and preceded by the first edition published in London five months earlier, in December, 1847. First published under the pseudonym Ellis Bell, this edition falsely attributes the author to Emily’s sister, Charlotte Brontë, “The Author of Jane Eyre”. It would not be until 1850, with the publication of Charlotte’s Biographical Notice of Ellis and Acton Bell, that Emily’s authorship was revealed—more than a year following her untimely death from consumption at age 30, in December, 1848.Wuthering Heights was published simultaneously in cloth and in paper covers on April 21, 1848. Both bindings contain the original printed sheets, this copy rebound from the cloth issue.Lot 111:Estimate: $1,000 - $1,500Two Proof Copies of the First Appearance of “The Outcast Mother” from The Cornhill Magazine(London, ca. 1860). Two sheets, 8 1/8 x 5 1/8 in. (206 x 130 mm) and 8 3/4 x 5 1/2 in. (222 x 140 mm). Two printed proof copies of Emily Brontë's poem "The Outcast Mother", from The Cornhill Magazine. One sheet with printed title at top. Creasing and scattered light wear to each sheet. In quarter tan morocco over green cloth fall-down-back box and chemise.Group of two rare printed proof copies of Emily Brontë's poem "The Outcast Mother", for publication in The Cornhill Magazine. First composed by Brontë in Haworth on July 12, 1839 under the title "A Farewell to Alexandria," magazine editor William Makepeace Thackeray obtained a transcript of the poem around 1860 from Arthur Bell Nicholls, husband of Charlotte Brontë and at the time owner of the Brontë sister's manuscripts. The original manuscript poem is found in Emily Brontë's Gondal Manuscript (No. 22), now held in the British Museum. The poem was first published posthumously (Emily died in 1848) in the May, 1860 (Vol. I, p. 616) issue of the magazine.Lot 112:Estimate: $800 - $1,200London: Smith, Elder and Co., 1846 (but 1848). First edition, second issue (as usual). 12mo. iv, 165, (1) pp.; errata slip bound in at front; without 16 pp. of ads found in some copies. Contemporary three-quarter green morocco over marbled paper-covered boards, stamped in blind and in gilt, boards and extremities rubbed; all edges trimmed; book-plate of James W. Hazlehurst on front paste-down. Smith 1, pp. 6-14; Parrish, p. 82Originally published in May, 1846, by Aylott and Jones of London, only a few of the 1,000 printed copies were sold or distributed, with the remaining sheets and binding cases put into storage. In September, 1848, on the heels of the success of Jane Eyre, publisher Smith, Elder purchased the languishing stock. In October of that same year, they published this second issue with a new cancel title-page, but retained the original date. Only 39 copies of the first issue were sold or distributed, making it practically unobtainable today.Lot 113:Estimate: $500 - $800Philadelphia: Lea and Blanchard, 1848. First American edition. 12mo. iv, (13)-176 pp.; without the 24 pp. ads at rear, only found in a few copies. Publisher's pale green paper-covered boards, spine perished, boards lightly soiled; all edges trimmed; contemporary ownership signature in pencil on front paste-down and on title-page; small crease to bottom corners of pp. 137-146. Smith 1, pp. 14-15First American edition, published on August 12, 1848, and preceding the second English issue.
Aviva OrrDragonblade PublishingISBN: 979-8390294765 (Paperback)The only adventure Violet Greyson has ever known has come from books, but that all changes when her father dies, and she moves from remote Dartmoor to London. There, she finds her purpose amongst the pioneers of wo
men’s education and begins a new life as a teacher’s assistant at one of England’s first academic ladies’ colleges. Love is the last thing on Violet’s mind as she embarks on her new venture, but the harder she works to prove her worth to her capricious classics master, the more attached she becomes to him.Byron Thomas, schoolmaster at the prestigious St. James’s Independent School for Boys, set out in life determined to be different from his brutish father but became disillusioned and bitter after typhus took his beloved wife and infant daughter. Beset with pain, he sets his sights on a marriage of convenience to the headmaster’s stepdaughter. But his plans become muddled when he agrees to teach a course in the classics at a new ladies’ college. Drawn to his intelligent and fiery assistant, Byron struggles to maintain a proper master-student relationship as she begins to chip away at the shield that guards his heart.
Tutto comincia nella piovosa brughiera inglese – non solo nel caso di Jane Eyre, ma anche nel caso della vita della sua autrice. Charlotte Brontë nasce infatti a Thorntorn il 21 aprile 1816 e cresce a Haworth, nello Yorkshire. Sua madre perde la vita quando lei ha appena cinque anni, e a prendersi cura di lei sono il padre – un pastore anglicano –, la zia materna e un’affettuosa governante. Charlotte cresce vivace e curiosa, nonostante il clima grigio in cui è immersa e il tetro cimitero sul retro di casa, e viene incoraggiata fin da subito ad applicarsi negli studi. (Read more) (Eva Luna Mascolino) (Translation)
The cold open establishes the gory premise of what lies ahead – though, technically, the main story is told in flashback – with the writer-director fleshing out his cinematic creature in blood, cracking bones and a few Easter eggs. Together with a scalp-ripping scene you won't be able to unsee, Cronin's prologue gives fans an insight into the movie's emotional core with a little help from Emily Brontë's Wuthering Heights. (...)In the first few scenes, the frantic camerawork introduces Teresa (Mirabai Pease) as she's intent on enjoying her lake getaway with a good book. Her solo time with Brontë's spellbinding novel is interrupted by Caleb (Richard Crouchley), who informs her that his girlfriend, Teresa's cousin Jessica (Anna-Maree Thomas), is not faring well.While the obnoxious Caleb couldn't give a damn about Jessica, Teresa takes it upon herself to go check on her, her copy of Wuthering Heights firmly in hand. Her cousin is "sleeping off whatever is wrong with her," as Caleb kindly puts it, with Teresa watching on her and reading Brontë, who's about to provide an unexpected layer to the story.Teresa is only three chapters in, and we don't blame her for taking her time given she's being constantly interrupted. When she finally thinks she could get some peace and quiet, Jessica commences reciting a passage word by word in an increasingly frightful voice. A Brontë stan? Not quite. (...)Teresa wasn't reading just any passage. The movie's opening borrows from the novel's intro where, thirty years after the main events, Heathcliff's tenant Mr Lockwood has a nightmare after reading Catherine's diary.He dreams of a ghostly Catherine, who died years before, begging him to let her into her former room. Later on, readers find out that Heathcliff demanded Catherine's spirit to haunt him for as long as he lives, going as far as digging up her grave in an obsessive fit.Back to Lockwood, he's left traumatised by the encounter with a child-faced Catherine who clings onto his arm and wails to be invited in. Blood spills and glass shatters until Lockwood's very realistic nightmare is interrupted by Heathcliff, well aware that Catherine's ghost may not just be a figment of his tenant's dream.Similarly to Catherine, Jessica – whose face isn't yet shown to the audience – yowls in a melancholic, childlike voice, which slowly turns demonic. The excerpt is terrifying enough as it is, but when a Deadite asks you to let them in, those three words take on an extremely dreadful meaning.Cronin breathes new life (or should we say death) into one of the scariest moments of Wuthering Heights, bending Brontë's narrative to the rules of the undead. But, much like Lockwood realising the profound connection between Catherine and Heathcliff that night, the filmmaker also lets the audience in on the heart of the movie. (Stefania Sarrubba in Digital Spy)
Written and directed by Lee Cronin, Evil Dead Rise does begin promisingly with a lakeside slaughter involving Wuthering Heights, a scalping, a beheading, a ridiculous amount of vomit, and a facial shredding by an unmanned drone. (Bilge Ebiri in Vulture)
In a cheeky move, the opening scenes of "Evil Dead Rise" are actually, chronologically, the end. During an idyllic trip to a cabin by a lake presumably somewhere in California, Teresa (Mirabai Pease) is attempting to read Emily Brontë's "Wuthering Heights" but is rudely interrupted by her friend's new boyfriend, Caleb (Richard Crouchley), and his camera drone. Annoyed, Teresa goes to check on her friend, Jessica (Anna-Maree Thomas), who hasn't been feeling well since the trio arrived at the eerily triangular-shaped cabin in the woods.
Turns out that no amount of pills or rest will help what ails Jessica, who begins reciting the exact text of "Wuthering Heights" at the precise point Teresa is reading them, a nod to the possessed Cheryl (Ellen Sandweiss) psychically calling out playing cards she can't see in 1981's "The Evil Dead." (Bill Bria in /Film)
The movie begins with three happy campers, Teresa (Mirabai Pease), Caleb (Richard Crouchley) and Jessica (Anna-Maree Thomas), vacationing in a pretty cabin by the woods. Teresa is the studious one, reading Wuthering Heights while meat puppet Caleb plays with his drone and Jessica is apparently sleeping off a mysterious sickness. (Mini Antikhad Chhiber in The Hindu)
The opening sequence delivers two wonderfully gory deaths, a very creepy reading of a passage from Wuthering Heights, and a title card shot that’s by far the best part of the film. (Kyle Logan in Cultured Vultures)
Schon in der nächsten Szene hören wir dann auch die klassische Dämonen-Stimme – nur liest diese diesmal nicht aus dem Necronomicon, sondern aus Emily Brontës „Sturmhöhe“, was sich erstaunlicherweise als noch viel furchteinflößender erweist. (Christoph Petersen in Filmstarts) (Translation)
The stylish intro finds us momentarily back to the woods, in an alpine house, where a young woman reads Wuthering Heights as her friend who’s across the room with her back turned starts reciting along with her friend’s silent reading (it’s naturally the “Let me in!” part). (Rich Juzwiak)
Charlotte Brontë’s hugely successful novel comes to life thanks to the Philadelphia Artists’ Collective (PAC), which prides itself on staging rarely produced classics in unexpected site-specific locations. And “Jane Eyre“ is no exception, being produced May 11-28 at Christ Church Neighborhood House, 20 N. American Street.[LaNeshe] Miller-White is also an adjunct professor in Drexel University’s Theatre Department, and in most capacities, is usually found behind the scenes. But with this show she takes to the stage, appearing in two roles — Miss Scatcherd and Mrs. Fairfax.“I have done some acting on stage but I usually prefer to stay behind the scenes,” says Miller-White. “But this is a special twist for me and I’m having a lot of fun doing it.”Miller-White explains her roles this way: “Miss Scatcherd is a teacher. She’s very strict and not a very pleasant person. She is generally unkind to her students, most particularly to Jane.“On the other hand, Mrs. Fairfax is just the opposite. She’s very friendly, extremely welcoming to Jane, and serves as a sort of surrogate mother to her.” (Rita Charleston)
Timothy Dalton, Orson Welles, Toby Stephens and Michael Fassbender are among the actors who have played which romantic figure, the creation of Charlotte Brontë?“Inspector Clouseau?” one baffled student proffered to Jeremy Paxman in an infamous exchange on University Challenge.The next series of the quiz show will expect students can do more than tell their Mr Rochesters from their French inspectors as the show’s producers warn the questions are set to get more difficult. (Peter Chappell)
One of the village gems is the 13th-century St Mary Magdalene church. Among the pews is a mild-mannered, erudite man from Chelmsford who has travelled the few miles to inspect the plaque in honour of the Rev Patrick Brontë, father of Charlotte, Emily and Anne, who was curate here from 1806 to 1809. (Robert Crampton)
The Hidden History of the AtticRadio 4, April 23, 1.30pmRachel Hurdley investigates the uses of the place where most of us store things we can’t quite bring ourselves to throw away, where servants and children were traditionally banished and where Bertha Mason was consigned in Jane Eyre. As well as revealing the many uses to which attics have been put over the centuries and what this tells us about us, Hurdley notes that they are actually relatively recent developments in the British domestic set-up. The story starts at the 16th-century King’s House within the walls of the Tower of London before moving to Harvington Hall and its priest holes. (Ben Dowell)
As well as this, there's a vast range of classes you could find yourself doing. Perhaps you'd like to get doing your best lunge during a Pilates class, or maybe blow the cobwebs away during a brain training sesh, or even unleash your inner Brontë in a poetry class. (Orla Loughran Hayes)
Likewise Eleanor Worthington-Cox as aspiring writer Lily gives impressive definition to internal moments. August and her sisters are highly cultured – literature like Jane Eyre, James Baldwin is referenced and lent out readily. (Caroline David)
Por detrás de um grande enredo, deve existir uma grande banda sonora. E existe, de facto. Cada movimento, cada riso, cada gota de chuva e cada cena capturada na natureza, o grande instigador de inspiração, são soberbamente acompanhados, tanto por efeitos sonoros como pela trilha tão suis generis. O cinema de época voltou… e voltou de forma majestosa. Que volte sempre! (Inês Carolina Gomes de Oliveira) (Translation)
Dans cet Emily (2022), elle ressemble plus à une banale adolescente rebelle qu'à une grande écrivaine en devenir, autrice de l'inoubliable Hauts de Hurlevent (Wuthering Heights, 1847), l'un des plus grands chefs-d'oeuvre de la littérature anglaise et universelle. (Isabelle Grégor) (Translation)
Y de hecho ésa es la mayor virtud de esta novela: la de lograr una síntesis funcional y moderna de Emily Brontë, Patricia Highsmith y la novela romántica actual. (Luis Artigue) (Translation)
Lucía Seles, la multifacética artista, estrena dos de sus films en el marco del BAFICI y en calidad de premiere mundial: Terminal young en Competencia Oficial Argentina y The urgency of death que participará en la sección Noches Especiales. (...) En The urgency of death es presesentada com una definicion: “siempre hasta ser enterrada de verdad respetaré a las hermanas Brontë, a los blisters y a las hermanas Ritz”. (Translation)
Caterina Boccalatte: Quale autrice ti ha avvicinata al mondo femminista?Tante, tantissime, infinite! Del panorama letterario italiano Giulia Blasi: mi ha dato uno scossone, ha una voce incredibilmente sincera e usa un linguaggio semplice. Credo però che la mia predisposizione arrivi da ragazzina, quando leggevo Jane Austen e le sorelle Brontë, soprattutto Charlotte. (Translation)
Cumbres Borrascosas de Emily BrontëCuando Emily Brontë llevó su libro a una editorial para que lo publicasen, el editor que lo leyó se negó a creer que una mujer lo hubiese escrito porque, según él, las mujeres son incapaces de crear personajes tan crueles. Al final tuvo que publicar la primera edición bajo un nombre masculino. Cumbres Borrascosas es una historia de un amor pasional y tóxico, de la destrucción que puede causar el orgullo y la venganza. Pero además es una historia de fantasmas increíble con algunos pasajes que consiguen erizarme la piel. La edición de la colección Gótica de Valdemar es la que más justicia le hace a este texto tan oscuro. (Vicky Vera) (Translation)
Tra i libri d’amore classici è impossibile non citare Cime tempestose di Emily Brontë.Scritto a metà Ottocento e ambientato nella brughiera dello Yorkshire, racconta la relazione tra Heathcliff e Catherine: un legame totalizzante, ma reso complicato e distruttivo a causa della diversa classe sociale.Emblema del Romanticismo e incentrato su temi come le relazioni, l’odio e la vendetta, questo romanzo è forse uno dei più alti capolavori inglesi di sempre. (Translation)
The Buffalo News quotes from Charlotte Brontë. SoloLibri (Italy) mentions how Van Gogh was an admirer of Charlotte Bronté's Shirley. The pseudonyms of the Brontës appear in El Periódico (Spain). A Columbia University graduate and Brontëite in Columbia News. Daily Excelsior also quotes Charlotte Brontë in an article about brothers and sisters. Folkebladet (Norway) talks about the Wuthering Heights production currently touring Norway. Finally, The Brontë Babe Blog reviews Aviva Orr's Love and Literature, a homage to The Professor.
A room of one’s own, CornwallPenzance’s historic Chapel Street has many a literary connection. From the house in which Maria Branwell, mother of the Brontë writing clan, grew up, to the Admiral Benbow pub – said to have inspired the inn of the same name in Robert Louis Stevenson’s Treasure Island – the street promises rich pickings for visiting bookworms. Not least at Women in Word, the bookshop of the Hypatia Trust. Sitting towards the top of the street, it specialises in women’s fiction and nonfiction and includes titles by local writers. Behind it is a stylish two-bedroom holiday apartment, income from which supports the Trust’s work.Three nights from £373.50 for four people, self-catering, hypatia-trust.org.uk (Rhiannon Batten)
Only 2% of GCSE students study a book written by a female author, according to research by campaigners who are urging exam boards to diversify their set text lists to curb the rise of misogynistic views. [...]The most common books authored by women on the approved text lists across exam boards between 2018 and 2022 were Charlotte Brontë’s Jane Eyre and Jane Austen’s Pride and Prejudice, the campaigners found.These two novels are among the longest on set lists, at 624 and 448 pages respectively, and the campaigners said teachers were disincentivised from choosing them over shorter, more accessible books. (Rachel Hall)
Brontë purists, of course, are taking issue with O’Connor’s creative liberties (how could Emily possibly have – gasp – hot sex?), but for historical accuracy can take a backseat when it comes to timeless human conditions. [...]Where did this film start for you? Did you always want to make an Emily Brontë film?I've been wanting to write and direct for a while and I've been working on the script for a while. I knew for my first thing I wanted it to be about Emily because I felt like I've always located in her a sense of being authentic and being true to who I am, even if what that is feels different. I think we all feel that we're different, ultimately. I just think she's also a really beautiful kind of role model for people in terms of being yourself. The other thing is I've always just wondered who she was as a person. She's quite a mysterious figure, so spending time with her on film was a great way of thinking about her and getting to know her a bit better. Even though, ultimately, I felt after the film, I still feel I don't really know her, but that's all right. She's elusive. [...]Some reviews have been talking about how creative liberties were taken. If you can't already tell, I'm not a Brontë purist. I didn't even know any of that, but also wouldn't have cared. But what is that about? Are people just being protective?I think some people don't like that she's not a virgin. They want to keep her in a glass case. They don't want her to go out and have a good time. I really have loved reading some of the reviews that have been like, "How dare you?" because to have such an extreme reaction means that it affected them and it means that they've maybe got their own relationship with Emily Brontë and they've placed her up on a shelf where they feel that she should stay.There's a mask scene in the first 20 minutes where a dead mother comes to visit, or in imagination does, but if you still feel like you are watching a biopic at that point, I really feel like that's on you. This is a film that's exploring the idea of Emily. Scenes from Wuthering Heights are in the film and her poetry are in the film. There's a love triangle in the film, there's a love triangle in Wuthering Heights. It’s a mix of different things. In the same way that Emily wrote what she felt, that's what I wanted to do. I've got to say, it fills me full of delight to be honest. I'm coming into the story with such respect for Emily and so much love for her, and I know when I break the rules, and I know why I'm breaking the rules.I'm doing the film to speak to people in your generation. If you like the film and you respond to it and it ties into your life and who you are in the middle of working out who you are, then I'm so happy – and that's what art should do, that's what film should do. To just watch a character through a glass case, what's the point? What's interesting is Emily kept all her reviews in her desk and there were lots of people who'd written kind of “how dare you?” reviews. She got them out and read them every now and then to kind of have a laugh, so I feel like she'd probably feel the same way as me. (Sophia June)
The lives of novelists and poets are a frequent subject for cinematic storytelling. Powerful literature, the kind that appeals to readers over the centuries, inevitably inspires visual and emotional fantasies. And that has led to film adaptations: lending concrete voices and visuals to what had been creatures of the imagination, confined to the page. Wuthering Heights is one of those novels that many of us (outside of English majors) might have first encountered as a film, starring Merle Oberon and Lawrence Olivier as the doomed lovers Catherine and Heathcliff. Emily Brontë’ wrote only one novel (under the pen name Ellis Bell) and it is considered one of English literature’s great Gothic romances. Brontë died young, at 30, and in Emily, screenwriter and director Frances O’Connor has spun an origin story for her brilliance that plumbs the emotional depths of her life, including familial strife and tumultuous romance.The film’s opening credits play over dramatic vocal music, creating an odd, tense mood, and the first scene establishes a domestic life rife with conflict. In the Brontë family home, Emily (Sex Education’s Emma Mackey) has given a copy of her newly-published novel to her sister Charlotte, author of another Gothic romantic classic, Jane Eyre. Charlotte (played by Alexandra Dowling) is disgusted with what she has read and asks why Emily would write such a book, full of such horrible people who only care about themselves. Emily is silent and stoic at this outburst. Wuthering Heights was accepted for publication not long after Jane Eyre was published. The success of Charlotte’s book (written under the pen name Currer Bell) delayed the printing of Emily’s novel. The film hints at the artistic competition among the Brontë siblings. Anne also wrote a novel, Agnes Grey (with the pen name Acton Bell), and like Emily and Charlotte, was a published poet. The undercurrent of tension establishes an intriguing dynamic. [...]The excellent cast is more than up to the task posed by this historical biopic. The chemistry between Emily and Weightman is electric, and the scenes of their sexual awakening are rendered with lush, sensual detail. Abel Korzeniowski’s (A Single Man, Nocturnal Animals) score is mostly compelling, but there are times when it feels inappropriately jolting. This unevenness in tone is also partly due to Frances O’Connor’s somewhat disjointed screenplay. The narrative is chronological, but the defining events in Emily’s young life are often dramatized in oddly random or abrupt ways. It would have been much more effective to build up to these epiphanic moments by exploring the unusual Brontë family dynamic a bit more deeply. Still, the film’s sweeping visuals serve as partial compensation, capturing the natural marvels of the landscape that inspired such iconic writing. The stone houses, rolling pastures, spreading trees, and storm-swept moors become characters in this origin story — which becomes the inspiration for one of English literature’s great doomed romances. For O’Connor (an Australian-British actress with a respectable career), the Gothic novelist is an artist who casts off repressive social norms and uses words to evoke (and exorcise) demons of terrible natural beauty.As with Greta Gerwig’s Little Women, there is an obligatory scene in which we see Emily writing her novel, by hand and by candlelight. In O’Connor’s interpretation, Wuthering Heights is a work born of grief and rebellion, a declaration of a misfit’s right to be who she is, and a paean to lost love. Despite some occasional missteps of mood and underdeveloped subtexts, Emily traverses this vision of liberation with enormous sensitivity and daring. (Peg Aloi)
George Eliot's Middlemarch (1872) begins with a marriage that disappoints and dissolves over time. Charlotte Brontë’s Jane Eyre (1847), by contrast, ends with a marriage between Jane and Rochester, a union that actually restores sight in one eye to a blind Rochester. The prototypical marriage plot in Jane Austen’s Pride and Prejudice (1813) converges property consolidation with a happy union between Mr. Darcy and Elizabeth Bennet. Victorian literature, after Austen, often plays with marriage as an organizing plot device, a contract that either culminates the events of the novel or catalyzes them.Netflix’s hit reality TV series Love Is Blind (2020– ) is also obsessed with the marriage plot. The show, which describes itself onscreen as an “experiment,” takes Charlotte Brontë’s blind love literally. (Samantha Pergadia)
Wuthering Heights, in its various incarnations on the screen and for television — especially the 1939 film with Laurence Olivier and Merle Oberon as Heathcliff and Cathy — has been regarded as a tragic romance. In its play version here, as in the novel, the focus is more on the roots of revenge and domestic violence, especially that of the times in which the original novel was written. As such, it becomes a harder slog to go through for modern audiences.Those with a taste for depictions of the social norms of mid-1800’s England, and those with a liking for modern British stagecraft, will no doubt be enthralled with McCarter Theatre Center’s production of Wuthering Heights. For all others, I would recommend spending an evening at home watching the 1939 film while snuggled under a blanket. (Allen Neuner)
The Scoundrel and Scamp production, directed with a sure hand by Bryan Rafael Falcón, has a solid cast. Dawn McMillan’s Charlotte slipped right into the role of the bossy big sister; Allison Akmajian made Emily’s suppressed rage and desire palpable; and Myani Watson shone as the self-righteous Anne. Hunter Hnat, who rarely disappoints, played several roles, including the drunken brother, Branwell. Tony Caprile’s principal role was as the father, Patrick, but he took on a number of other characters, giving them all distinction.The trouble with this play is the script. Skipping back and forth in time made the story convoluted and confusing. Elizabeth Falcón was tasked with playing characters from the women’s novels, who appeared to underscore what the women were writing. You know, the free-spirited Catherine from “Wuthering Heights,” the mad Mrs. Robinson from “Jane Eyre.” The device was overwrought and kind of annoying. Although the Brontë family was fascinating, this over-long play never made us care much about them.That said, this production was packed with energy and talent. That almost made up for a weak script.(Kathleen Allen)
A couple of new Brontë-related scholarly papers:
O travestismo narrativo em O Professor, de Charlotte Brontë
Sara Novaes Rodrigues, CESV - Centro de Ensino Superior de VitóriaCadernos De Literatura Comparada, (47), 73–87 (2022)
Partindo da análise do primeiro romance da escritora Charlotte Brontë, O Professor (1857), este artigo pro-cura oferecer um panorama crítico das teorias sobre o travestismo narrativo, ao mesmo tempo que reflete sobre as condições de escrita das mulheres no século XIX
Adrianna Stańczak, University of WarsawNew Vistas in Language Studies. Young Scholars’ Perspectives. ATENA 2, pp. 91-103 (2022)Half of the world’s languages are considered to be endangered, according to theEuropean Union, and one of the ways in which the EU is attempting to support minorityand less-spoken languages is with legislation. However, the European Charter for Regionalor Minority Languages, similarly to other national and international documents protectingminor languages, is often criticized for its shortcomings and inadequate support offered tothese languages and the communities that speak them. One of the criticisms is that thesekinds of documents tend to leave almost all of the power in the hands of the state, whichdecides what languages are to be protected and how. Unequal power relations between languages have been argued to be a key factor in the minority status and the endangered position of a language, and existing legislation does not seem to be attempting to disrupt them;rather, it reinforces these existing power structures. Literary translation, which is consideredto be one of the ways to promote minority language use and raise the status of a language,can also be a deeply subversive activity, perhaps especially when it involves the translationof a classic piece of literature that in itself is already a deeply subversive text. Jane Eyre, a beloved text profoundly concerned with injustice and power, could comfortably be describedas both a classic and subversive, and it was also originally written in English, the languagethat has replaced Scots as the dominant language in Scotland. Its translation into Scots hasthe potential of having a stronger impact on Scots-speaking readers and therefore beingmore empowering to them and more disruptive to the existing power structures, includinglinguistic ones.
by Ralph Obandja BoyoGeneris Publishing´ISBN-13 : 979-8886763201September 2022In the mid-19th century, Great Britain was so much facing social class inequalities that the writers of the period oriented their compositions towards those discriminations. Victorian authors such as Charles Dickens, Jane Austen, William Thackeray, Elizabeth Gaskell…strove to denounce the inequalities generated by the social class system. Charlotte Brontë did not depart from that norm. In the light of the above, the present work is an analysis of the socio-economic features surrounding Charlotte Brontë’s four novels: Jane Eyre (1847), Shirley (1849), Villette (1854), and The Professor (1857). The rationale for such an initiative resides in the fact that the authoress’s works of fiction cover a wide range of topics, where social class stratification is the most evident. More practically, four aspects inherent to the topic have been identified. These are: the defects of the upper-class, the Master-pupil/Master servant relationship, the tribulations of the middle class (represented by governesses, companions, tutors, teachers, etc.), and class-based matrimonies.
Wuthering Heights (William Wyler, 1939)An interesting adaptation of Emily Brontë’s famous novel, Wyler’s Wuthering Heights does not cover much of the narrative of the book but it manages to capture the atmospheric aura as well as the artistic sensibilities of the source material.Olivier delivers a fantastic performance as Heathcliff, a tormented lover whose life is complicated by pressing sociopolitical realities. The film ended up earning eight Oscar bids including a Best Actor nomination for Olivier but it was Gregg Toland’s mesmerising cinematography that won. (Swapnil Dhruv Bose)
7 Which Brontë sister’s first novel, The Professor (1857), centres on William Crimsworth? (Olav Bjortomt)
Charlotte Brontë (original author), Stephanie Baudet (adapted by), Arianna Bellucci (illustrator)An 8-book box set of the Brontë sisters classic novels – at an easy-to-read level for age 7+!From the haunted Yorkshire moors to the towering battlements of Thornfield Hall, experience the Brontë sisters’ famous stories of love, self-discovery and family feuds.This 8-book box set includes Jane Eyre, Wuthering Heights, Jane Eyre, The Tenant of Wildfell Hall, Shirley, Villette, The Professor and a biography about The Life of the Brontë Sisters.
Unless explicitly said
