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Edición anotadaBrontë, Emily JaneEdited by Janet GezariTranslated by Lucía Márquez De La PlataEdiciones AkalISBN: 978-84-460-5748-2November 2025
Cumbres borrascosas (1847), de Emily Brontë, ha sido calificada como la historia de amor más hermosa y profundamente violenta de todos los tiempos. En su centro están Catherine y Heathcliff, sus protagonistas, que habitan en los brumosos, ventosos y sombríos páramos de Yorkshire, el singular escenario donde se desarrolla con fuerza arrebatadora esta historia de venganza y odio, de pasiones desatadas y amores desesperados que van más allá de la muerte y que hacen de ella una de las obras más singulares y atractivas de todos los tiempos.Era una novela controvertida ‒acogida con tibieza por la crítica‒, porque desafió los puntos de vista victorianos sobre moralidad, religión, clase, desigualdad de género y feminismo, también proporcionó una descripción inusualmente contundente de la crueldad física y mental. Fue escrita en un momento en que a la mayoría de las mujeres no se les permitía tener una educación ni expresar sus opiniones, pero Emily Brontë desafió las convenciones al convertirse en una mujer independiente. Nació y vivió en una casa parroquial situada a las afueras de Haworth (West Yorkshire, Inglaterra), junto a su padre, pastor protestante, y sus hermanas Charlotte, Anne y Bradwell (sic). La pérdida de su madre y dos hermanas mayores, fallecidas a consecuencia de la tuberculosis, marcaron la infancia de los hermanos que crearon un microcosmos, un lugar seguro en el que refugiarse de la tragedia familiar, así como un poderoso vínculo entre ellos cimentado en la pasión por los libros y la escritura, que su padre les alentó a cultivar.¿Cómo es posible que Emily, que pasó gran parte de su corta vida aislada en la intimidad de su casa, escribiese sobre pasiones irrefrenables como hizo Cumbres borrascosas? La Brontë se manchó las manos de tinta para dar rienda suelta a aquello que la fría y protocolaria sociedad victoriana le obligaba a reprimir, pero que, igualmente, sentía y pensaba. Que algo no se muestre no significa que no exista, y Emily reivindicó precisamente eso, la existencia de la profunda complejidad psicológica y sentimental que atesoraba tanto ella como sus heroínas.Cumbres borrascosas. Edición anotada ofrece a quienes se encuentran con la novela por primera vez ‒así como a quienes vuelven a ella‒ una amplia gama de contextos en los que leer la poderosa obra maestra de Brontë. La editora del volumen, Janet Gezari, explora los contextos filosóficos, históricos, económicos, políticos y religiosos de la novela y sus conexiones con otros escritos de Brontë, en particular sus poemas. Las anotaciones explican las alusiones de Brontë a la Biblia, a Shakespeare y a sus otras lecturas; aclaran sus referencias a temas como el folclore, la teoría educativa y la esclavitud; traducen el grueso dialecto de Yorkshire de Joseph, el hosco criado de Cumbres borrascosas, la granja que da nombre a la novela.Cumbres borrascosas editada por Janet Gezari encuentra innumerables maneras de ayudarnos a ver de nuevo la obra maestra de Emily Brontë; a la que el lector querrá volver durante muchos viajes.
Part of the introduction to the edition can be read here.
Esta edición anotada de Akal viene a recordarnos que los fantasmas de la literatura no mueren, que siguen susurrando entre las páginas, entre los páramos, entre las vidas que rozan la nuestra cada vez que abrimos un libro. Y que Cumbres Borrascosas, lejos de ser un mito agotado, sigue siendo una historia viva. Una que por más que intentemos explicarla, siempre guarda un resto de misterio. Volver a leer la novela en esta edición anotada ha sido como recorrer un libro dentro del libro. Cada nota abre una ventana. Y lo que se revela, de fondo, es una evidencia: la gran literatura no se agota, se expande. (Gemma Solsona) (Translation)
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by Emily BrontëTranslated by Jacques de Lacretelle and Yolande de LacretelleIllustrations by Isabella MazzantiGallimardCollection Papillon Noir GallimardISBN: 97820731203422025Chef-d’œuvre sauvage et intemporel, Hurlevent, d'Emilie Brontë trouve une nouvelle intensité dans cette édition grâce à l’univers graphique percutant d’Isabella Mazzanti. Roman unique, à la croisée du fantastique et du romantisme noir, ce texte inclassable bouleverse les conventions du XIXᵉ siècle par sa violence émotionnelle, sa narration fragmentée et ses personnages bruts.Sur les landes battues par les vents, dans l’ombre de Hurlevent, se joue une tragédie d’amour et de vengeance entre Catherine et Heathcliff, deux âmes tourmentées, liées par une passion aussi absolue que destructrice.L’illustratrice italienne Isabella Mazzanti, au style baroque et expressionniste, magnifie la noirceur et la beauté du texte avec des compositions puissantes, mêlant onirisme, tension et sensualité.
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Cime Tempestose, ISBN: 9791256730704
by Dongmie Kim (탁진영) and Jinyoung Tak (탁진영) Sejong University한국통번역교육학회 통번역교육연구 제23권 제4호 (Korean Society for Interpretation and Translation Education Interpretation and Translation Education Research) Volume 23, No 4, December 2025.12 45 - 66Literary works convey the author's ideas, emotions, and the central themes and messages of the text through their characters, who serve as vital intermediaries in the narrative. Therefore, analyzing the relationships between characters is a crucial first step in understanding the deeper meanings of a literary work. The analysis was conducted in four stages. First, the degree of connection between specific characters and others was examined. Second, the co-occurrence frequency of specific characters within the same sentence was analyzed to measure the weighted degrees of their relationships. Third, the relationships between “Jane” or “Rochester” and other characters in the original and translated text were analyzed. Fourth, the comparative analysis of character relationships was investigated in the original English and translated Korean texts. The results indicate that, although both the original and translated versions share the same conclusion, they differ in narrative flow due to a shift in the focal point of the main character.
The most astonishing thing about the first trailer for Emerald Fennell’s Wuthering Heights is not the extreme closeup of dough being kneaded into submission. It’s not that in the lead roles Margot Robbie is blonde and 35, and Jacob Elordi is white, when Emily Brontë described Cathy as a teen brunette and Heathcliff as “a dark-skinned gypsy”. (...)The most astonishing thing is that the trailer says Wuthering Heights is “the greatest love story of all time”. Which is almost exactly how the 1939 Laurence Olivier and Merle Oberon film was trailed – as “the greatest love story of our time … or any time!” Have we learned nothing? I am not talking about the fact that (like Oberon’s!) Robbie’s wedding dress is white, which is not period-correct. This has exercised many people on the internet. I’m more worried about the fact that almost a century since Olivier’s film, we are still calling it a love story – a great one! The greatest! It’s being released the day before Valentine’s Day! – when what actually happens is that Cathy rejects Heathcliff because she’s a snob, and he turns into a psychopath. (...)It’s true it’s low on laughs. It’s no romcom. Instead of a meet-cute there’s Cathy’s father bringing home a ragged orphan he’s found starving on the streets of Liverpool. The boy-loses-girl part is all there, but the boy-gets-girl ending never quite happens. The real question is whether it’s too brutal for the screen – Andrea Arnold’s raw, stripped-down 2011 version is probably the closest to the book’s dark energy, and even she stuck to the first half of the book.There’s so much cruelty. Heathcliff is abused by Cathy’s brother Hindley. He then goads Hindley into drinking himself to death, takes his house and abuses Hindley’s son. He tricks Cathy’s sister-in-law into marriage, beats her, calls her a slut, hangs her dog and gaslights her, insisting this is what she wants. Cathy is too narcissistic to care about any of this. So even ignoring her death and the second half of the novel, it’s a lot. If Fennell continues to the (bittersweet) end she’ll have to deal with Heathcliff abusing his own son and Cathy’s daughter, forcing them to marry, and renting Cathy’s marital home to a middle-aged fop who slashes a ghost girl’s wrists with broken glass. (In a frame narrative. The complexity of the plot is another reason it’s a nightmare to adapt.) (...)Perhaps it’s not the greatest love story of all time, our time or any time, but is the greatest story about what we think love is like when we haven’t experienced it.
The house at Thornton opened to the public for the first time in its 200-year history in March.Contributions from more than 700 individual investors – together with grants from Bradford 2025 UK City of Culture, and the Community Ownership, National Lottery Heritage and Rural England Prosperity funds – led to the property being bought and placed under the care of Brontë Birthplace Ltd, a community benefit society.An extensive renovation was carried out ahead of the public launch.And the official opening of the building – as a museum and education centre, with facilities for overnight stays in the historical rooms – was performed in May by Her Majesty Queen Camilla.Whilst the Brontë siblings are inexorably associated with Haworth – where they lived and drew inspiration for their work from the surrounding moorland – Charlotte, Branwell, Emily and Anne were all born at the house in Thornton.Brontë Birthplace fundraising co-ordinator, Nigel West, says: "This is an amazing story of Bradford 2025 UK City of Culture using its legacy funding and then 770 members contributing – and the formation of a community benefit society – that will protect the Birthplace for the community."This was the most important heritage opening anywhere in the UK in 2025, and it is as significant to this country as Shakespeare's birthplace." (Alistair Shand)
Also in Great British Life.
Haworth is the kind of village that makes you want to slow down and take it all in. Nestled on the edge of the Yorkshire moors, it’s best known as the home of the Brontë sisters, whose novels immortalised the windswept landscape. But the village itself has a story worth exploring, a mix of literary history, industrial heritage, and small-town charm that feels genuine and unpolished.The village grew around the textile industry in the 18th and 19th centuries. Many of its stone houses were built for workers in the local mills, and the streets still echo that past. Cobbled lanes twist between stone cottages and independent shops, and while tourism has increased over the years, Haworth retains an authenticity that makes it feel like a lived-in place rather than a museum. Today, the Brontë Parsonage Museum sits at the top of the main street, a constant reminder of the village’s literary fame, while the moors beyond provide the dramatic backdrop that inspired Wuthering Heights and Jane Eyre. (...)It’s easy to see why the Brontës found the surrounding landscape so inspiring: dramatic without being forbidding, wild but still inviting. (...)After dinner, I walked uphill toward the Brontë Parsonage Museum. The street narrows as it rises, with stone cottages gradually giving way to more open space.Even without entering the museum, wandering around the gardens and the lane leading up to it is evocative. Low walls, rough grass, and flower beds frame the house, while beyond the gate the moors roll endlessly into the distance.It’s easy to imagine the Brontës pacing these paths, their minds wandering as far as the open land before them. (Aditi Rane)
The Craven Herald & Pioneer coincidentally also has an article about how the Old Post Office in Haworth has been named the cosiest place to eat by The Yorkshireman.
Meanwhile, Irving returns to his signature subjects: circumcision, tattoos, wrestling, and the endless possibilities of sexual attraction and intercourse. He examines works by the Bronte sisters, Charles Dickens, Arthur Schnitzler, and Anne Frank, the films High Noon and The Seventh Seal, and songs by Bob Dylan. (Glenn C. Altschuler)
The photographer James Glossop shares his favourite images of 2025 in The Times, including one of a Northern Ballet’s performance of Jane Eyre on March 20, 2025.
„Das Lied von Storch und Dromedar“ ist ein multiperspektivischer Roman, der durch Emily Brontës doppeltes Erzählen im Roman „Sturmhöhe“ inspiriert wurde.Dadurch wirkt Daanjes Erzählen wie ein postmodernes Puzzle und besitzt zugleich die Eleganz eines englischen Gesellschaftsromans.Anjet Daanje sagt: „Man könnte sagen, dass dies das gemeinsame Lied von elf Personen ist. Die elf Kapitel bilden zusammen eine Art Gedicht, also ein Lied. Der ganze Roman ist ein bisschen wie ein Musikstück angelegt. Mit Themen, die variiert werden.“Zum Beispiel Geschwisterbeziehungen. Klavierspiel. Oder der Umgang mit Zeit.„Ich sehe „Das Lied“ aber auch als Ballade. Früher wurden Balladen gesungen, um Geschichten zu erzählen. Und das macht Anjet in diesem Buch sehr stark. Und das nennt sie dann ein „Lied“, sagt Anton Scheepstra.Daanjes Ballade umfasst drei Jahrhunderte. Sie beginnt in England, geht weiter unter Auswanderern in den USA, macht im Ersten Weltkrieg einen Abstecher nach Frankreich, im Zweiten Weltkrieg nach England und kehrt am Ende geradezu heim nach Groningen.„Das letzte Kapitel spielt in den Niederlanden. Das hatte ich zuerst gar nicht vor", berichtet Daanje. „Ich dachte eher an England. Aber dann recherchierte ich zu Glockentürmen und dachte: Die gibt es auch bei uns. Warum den Roman also nicht in den Niederlanden abrunden?“ (Katharina Borchardt) (Translation)
And of course, Wuthering Heights 2026, features in many list of the films to watch next year: The Tab, Evoke, Glamour, Breaking News, The Journal, Soap Central, Elle, Forbes, Euronews, Time Out... The Times of India includes Emily Brontë in a list of haunting lines from books and classics.
AnneBrontë.org posts about the Patrick-Maria wedding preparations in 1812.
Martyna Piotrowicz (2025)Università di Bologna, Corso di Studio in Mediazione linguistica interculturaleJuly 2025L’elaborato presenta un’analisi comparativa di due traduzioni italiane di Jane Eyre, celebre romanzo di Charlotte Brontë pubblicato nel 1847. Il lavoro si articola in tre capitoli principali: il primo introduce il tema della ritraduzione dei classici, approfondendo le sfide traduttive dei testi letterari, il concetto di “ritraduzione” e la Retranslation Hypothesis (RH); il secondo capitolo fornisce un’introduzione all’autrice e all’opera, con una panoramica sulla vita di Charlotte Brontë e un’analisi del genere letterario cui Jane Eyre appartiene; il terzo capitolo è dedicato all’analisi comparativa delle traduzioni italiane curate da Lucilla Kánizsa Jacchia (1946) e Stella Sacchini (2014). Dopo aver illustrato la metodologia di analisi adottata e aver messo a confronto e commentato alcune scelte traduttive particolarmente significative, si verificherà la validità della Retranslation Hypothesis nel caso in esame.
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by LauraRamírez Sainz (Volume editor) Carmen Cayetana Castro Moreno (Volume editor)Series: Studien zur Translation und Interkulturellen Kommunikation in der Romania, Volume 15Peter Lang PublishersISBN: 97836319249832025El libro explora la intersección entre lengua, cultura y traducción en un mundo globalizado. A través de un enfoque interdisciplinar, los autores examinan cómo las diferencias idiomáticas y culturales impactan en la comprensión cultural y en la traducción. El libro está dividido en capítulos que ofrecen una revisión crítica del papel esencial de la idiomaticidad y la traducción en la comprensión intercultural.Asimismo se profundiza en las estrategias para superar barreras culturales y lingüísticas, resaltando la importancia de la efectividad en la comunicación intercultural en diversos contextos.La publicación aquí presente es de especial relevancia para traductores, lingüistas y todo aquel que investigue en el diálogo cultural e invita al lector a ver la traducción y la producción lingüística no solo como un acto lingüístico, sino como un proceso de mediación cultural y entendimiento mutuo.
The cultural legacy of Emily Jane Brontë and the retranslation in Spain: analysis and evaluation of the editions by Montoliu (1921) and Castillo (1989) (Ana Pérez Porras)Index1. Introduction2. Emily Brontë and the Brontëan cultural dissemination of Wuthering Heights (1847): A Publishing Phenomenon in Spain3. Analysis: Translating the cultural heritage of the novel3.1. The translation by Montoliu (1921)3.2. The translation by Castillo (1989)4. Conclusions5. Works Cited
The Virago Book of Friendship (2024) is an anthology of excerpts that was her excellent idea, and ranges from the tragic (Jane Eyre) to the comic (Bridget Jones) and fraught (Virginia Woolf and Katherine Mansfield). (Susanna Rustin)
Charli XCX has dropped an appropriately dramatic new music video for “Chains of Love,” the latest single from her upcoming album tied to Emerald Fennel’s Wuthering Heights adaptation.Directed by C Prinz, the clip finds Charli performing the song in a grand but empty dining hall where she contends with an unseen force that flings cutlery and candlesticks in her direction, and lifts the giant table off the floor. At the cathartic climax, Charli stomps on the glass table, sending up a storm of shards.Charli released “Chains of Love” last week, the song arriving fast on the heels of her other recent single, “House,” with John Cale. Both songs will appear on the Wuthering Heights companion album, which Charli crafted with songwriters/producers Finn Keane and Justin Raisen. Wuthering Heights the movie — which co-stars Margot Robbie and Jacob Elordi — is set to arrive Feb. 14, 2026, while the album is slated to drop Feb. 13. (John Blistein)
Wuthering Heights tells us that love should hurt. Actually, it should burn. Lacerating your heart and excavating your soul, it will, in the words of Emily Brontë herself, drive you mad. Fans of the 19th century classic were reminded of this last week, thanks to the release of the first full-length trailer for Emerald Fennell’s highly contentious but much anticipated adaptation, which stars Margot Robbie and Jacob Elordi.The trailer depicts Cathy (Robbie), meeting Heathcliff (Elordi), as children before becoming embroiled in what it describes as “the greatest love story of all time”. While it’s not clear how far Fennel has strayed from the 1847 novel – the film has raised eyebrows among literary types who’ve pointed out that Heathcliff is described as “dark-skinned” in the book, while Cathy wears a red latex dress among other things in the film – it’s set to be a major cinematic event, with original songs by Charli XCX and a Valentine’s Day release date.Make no mistake: Wuthering Heights – which focuses on the intense bond that develops between Cathy and Heathcliff as children into young adulthood, and the subsequent devastation that occurs when social mobility prevents them from being together – is a heart-wrenching tale, one that offers up meaningful commentary on everything from class and revenge to generational trauma. For me, though, it has always been about one thing and one thing only. And that’s Heathcliff, AKA literature’s original fuck boy. Brooding, handsome, and troubled beyond repair, he epitomises everything straight women are supposed to run from and yet somehow run towards. Or, at least, I do. (Olivia Petter)
Yes, I’m brand new to…whatever his fandom his called. The Jacobis? The Elordians? Team Jacob? And I’m sorry it took me this long, but I’m ready to pay my dues and collect my t-shirt. [...]And yes, there is plenty to criticize about the Wuthering Heights trailer and (I suspect) the upcoming film. Like, are we really calling this a “love” story—and could this really be based on one of the greatest English novels of all time?? Fennell herself admitted that this “primal, sexual” interpretation isn’t necessarily faithful to the source material. And while I was skeptical of that creative choice at first, now that I’ve seen Elordi’s shoulder-length hair, I could not be more grateful to Fennell for just going with her gut here. (Though it must be said that Brontë’s Heathcliff certainly wasn’t white.) But there will be a time and a place for all those think pieces, but that is not here and not now. (Lauren Tousignant)
Of course, Brontë’s novel doesn’t explicitly contain such a scent. Yet, as I follow the “mad” (no love has ever suited this word better) love between Heathcliff and Catherine, the relentless fate and curses spanning generations, and the windswept manor that feels like the true protagonist of those stormy hills, I sense a familiar, chilling odor at the tip of my nose. The smell of burning leaves, the earth’s resolve before winter. Literature is beautiful because it creates sensations through language alone. Though we’ve never seen Heathcliff’s face, heard Catherine’s voice, or smelled the manor, we feel and experience them through a novel written in a foreign language over 170 years ago.The second of the famous Brontë sisters—Charlotte, Emily, and Anne—she wrote only this one novel in her lifetime. Published at the age of 29, the book received little acclaim at the time, with many critics condemning its characters as vulgar and immoral. A year later, she died after a cold caught at her brother’s funeral worsened into pneumonia. I sense the same scent in Emily’s life.The original title, “Wuthering Heights,” is a proper noun, making the Korean title—literally “Storm Hill”—a near-mistranslation. Yet some mistranslations are more literary than accurate. For each of us has our own “stormy hill,” and ascending it always carries a familiar smell—the dark shadow left by late autumn. (Moon Ji-Hyuk)
It is impossible to write about the autumnal aesthetics without mentioning the dominance of Halloween in the autumnal months. Inspired by the pagan festival of Samhain, where it was believed the veil between the living and dead was weakened, and later the Eve of All Saints’ Day, Halloween has become the pinnacle of the gothic and horror lovers’ year. Autumn, therefore, becomes the backdrop for the gothic canon: Donna Tartt’s The Secret History, Bram Stoker’s Dracula, and Charlotte Brontë’s Jane Eyre. (Libby Davis)
Ahmed Faiq Almedee* & Aaya Adil Alrammah*** Department of English Language, College of Education, The Islamic University, Najaf, Iraq** Prosthetic Dental Techniques Department, Najaf Technical Institute, Al-Furat Al-Awsat Technical University, Najaf, IraqIndo American Journal of Multidisciplinary Research and Review, Volume 8, Issue 2, July - December, 2024 131Reading is one of the skills that the reader or audience should have to understand beyond the text. I will apply different methods when analyzing the novel “Wuthering Heights”. It was first published at 1847. It was divided into 34 with no titles for the chapter. Its language was feasible and very simple as well as the sentences and paragraphs are coherent. In spite of various changes in the body of the text. This depends on the translation language which is Arabic. One words in Arabic language has many meanings, while the English word has only one meaning. The sentences and paragraphs are conveyed carefully, but the translators didn’t focus on the literal translation. The translator is like the painter who draws his paintings through his ideas and thoughts. Literary translation is a way of understanding the explicit meaning of a text, while the implicit meaning can be shown when using semiotics methods. I will show how the translator interprets the meaning and attempts to keep the exact meaning when translating the original text. I will divide the analysis of the study into various subheadings including the analysis original and target texts. In addition to that, I will mention a synopsis about the author's life and the translator. I will also deal with the proper nouns that are founded in the novel to show the purpose of this study, enabling the reader to comprehend different ways of evaluation. I will use the Systematic of Designificative Tendencies method in evaluating several interpretations that the original and target texts examined.
Emily Bronte'nin 'Uğultulu Tepeler' Romanının Türkçe Çevirileri Üzerine Yeniden Çeviri Kuramı Bağlamında Karşılaştırmalı Bir İnceleme (A Comparative Analysis of Turkish Translations of Emily Bronte's 'Wuthering Heights' within the Context of Restranslation Hypothesis)Ömer Erşah ÇakmakWuthering Heights, the first and only novel by 19th-century English author Emily Brontë, is considered one of the most important works of English literature today thanks to its complex narrative structure and Gothic elements. The novel, which reflects the literary characteristics of the Romantic era and the Victorian period, has been translated into numerous languages worldwide. Wuthering Heights, which was included in the list of works planned to be translated by special publishing houses in the first issue of the journal of the Translation Bureau, was first translated from its original language into Turkish by Naciye Öncül in 1946. Especially after 2010, it has been retranslated by various publishers and translators. This study aims to examine four different Turkish translations of Brontë's Wuthering Heights within the framework of Antoine Berman's retranslation hypothesis. The twelve deforming tendencies defined in Berman's analytic of translation constitute the methodology of this study. Within the scope of the study, the translations by Naciye Akseki Öncül (1946/1983), Ertuğrul Koç (2016) and Başak Bekişli (2023) were analysed. A total of 48 samples randomly selected from each of the four translations were analyzed in terms of the deforming tendencies proposed by Berman, and the findings were evaluated within the scope of the retranslation hypothesis. As a result of the comparative analysis, although it was found that the latest retranslation of the work was source-oriented, it was observed that the assumption of linear development within the retranslation hypothesis was not proven.
Wisconsin writer Jane Hamilton’s eighth novel – the “A Map of the World” writer’s first since “The Excellent Lombards” in 2016 – is of a familiar type. It’s a summer-that-changed-everything story that focuses on Phoebe, who is 17, very dramatic, obsessed with “Jane Eyre,” frustrated with her mother Greta and eager for her life to begin, particularly if it does not include her do-gooding mom. (Chris Hewitt)
Growing up, the White Lotus star felt a "deep need" to be "normal", but she realised it was OK to be different like the people she admired, including Jane Eyre - the fictional bildungsroman in the novel Jane Eyre by Charlotte Bronte.Aimee explained: "Growing up, I felt a deep need to be 'normal', but then I realised all my favourite people, all the people I admired, were weird - even my favourite characters, like Jane Eyre.
Richard - It's something called Ignis Fatuus, which I guess is Latin for foolish flame. It's a luminous phenomenon witnessed over the centuries by observers around the world. People have attributed all types of things to it, often pretty scary, lost souls, babies that haven't been baptized who have died, all types of folklore. It was reported in the literature by the Chinese long ago. William Shakespeare refers to it, and Henry IV, even Charlotte Bronte has it in Jane Eyre, this Ignis Fatuus, or Will of the Wisp, as it's often called.
An enriching and haunting tale of grief, generational trauma and the weight of the past, Emily Brontë’s stunning novel “Wuthering Heights” is a must-read for lovers of literature. Brontë spins a tale of unresolved agonies that tear their way into the present, as a new tenant finds himself unraveling the tangle of broken relationships that rose and fell between his own house and the estate on the nearby moors.A masterwork of the gothic style, a sense of mourning clings to every page of “Wuthering Heights” like creeping fog on the moors. The tempestuous relationship between the headstrong Catherine and the sullen Heathcliff is threatened by external and internal forces alike; what is left unsaid between them echoes outwards and pulls the ones around them into their tragedy. Brontë writes with incredible force, decisively exploring how abuse and grief send ripples of pain into future generations through just a handful of characters.Gothic novels are already best suited to being read in the colder, darker months of the year, and “Wuthering Heights” is so exceptional among them that it deserves top priority on your list for this autumn. Thrilling, tragic and ultimately, rather hopeful, “Wuthering Heights” is a stunning work of literature undeniably deserving of the title of “classic.” (Natalie Salter)
This Rogers Park Author Combined ‘Wuthering Heights’ And Ice Dancing Into A Bestseller. (...)The names Katarina and Heath may bring to mind another famous fictional romance. Undertones from Charlotte Brontë’s (!!!) gothic classic “Wuthering Heights” are plentiful in “The Favorites,” including a sibling ice-dancing pair that the couple competes against (the Lins, standing in for the Lintons in the book). You can also find some Brontë pseudonyms as character names. (...)“When I first came up with the idea, I completely doubted it. And even the whole time I was writing it, I was kind of like, ‘I’m really into this, but will anyone else like this? Like ‘Wuthering Heights’ and ice dancers?'” (Gwen Ihnat)
Jane Eyre – Charlotte Brontë (1847)If “Pride and Prejudice” is the pinnacle of Romantic Comedy, then “Jane Eyre” can certainly be nominated for the coveted title of Greatest Love Story Ever Written. It was actually Charlotte Brontë's second novel, but the first to be published, her earlier effort being “The Professor” which did not appear in print until much later.One of the most passionate novels of all time, it was regarded as revolutionary on its publication due to its heroine's conscious awakening, her thoughts and feelings becoming the focus of the narrative.Jane is morally conservative, but the book deals with more radical notions including sexuality, religion and proto-feminism due to the nature of her fierce spiritual outlook, which is consistently at its core, driving the novel's questioning and searching tone.Finding love and attaining happiness with the Byronic Mr Rochester is the crux of the tale, and there is a fair amount of hand- wringing heartbreak along the way.
Ever since I read Wuthering Heights during my senior year of high school, I’ve had a fascination with the moors. (And, okay, maybe Heathcliff, too.) Is it any wonder, then, that said fascination would translate to the current British countryside style trend sweeping the … well, not the moors, but the fashion world? (Jamie Allison Sanders)
So, when the latest trailer for Emerald Fennell’s Wuthering Heights was released to the soundtrack of Charli XCX, you would think that my natural inclination for era crossing would be satisfied? Truthfully, I’m not entirely sure.You see, as much as I enjoyed watching A Knight’s Tale inject a modernised soundtrack into a medieval tale, I can’t say it added much artistic edge. It was simply an easy trope to ignite entertainment and an elementary level of joy. Ultimately, I think there is a similar argument to be made in the case of Fennell’s upcoming project.She has dialled the sexuality of this Victorian love story up to ten and has enlisted the voice of modern pop culture to do so. While you may say the same can be said for Bridgerton, which regularly used string quartet adaptations of chart hits, I would argue that the project did so to open the doors of accessibility to what has traditionally been a very secular genre. (...)Wuthering Heights, however, feels more obnoxious in its approach. It’s playing to a gallery of viewers obsessed with highlight reels, soundbites, not songs, and not to thought-out artistic crossovers that they can quickly label “iconic”. I don’t genuinely see what purpose is served to Charli XCX, an artist who has perennially pushed traditions in pursuit of sonic innovation, by juxtaposing her music with a salacious and misrepresented tale of Victorian romance. (Callum MacHattie)
In another scene, you can spot Kat reading "The Brontës: Three Great Novels," a compilation of three of the Brontë sisters' most famous works: "Jane Eyre," "Wuthering Heights," and "The Tenant of Wildfell Hall." (Gabbi Shaw)
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Pierce Brosnan’s Bond still feels like a classy elder statesman of action stories, while Timothy Dalton represented a kind of Byronic take on Bond, the sort of Bond that our moms loved because he felt like a brooding hero out of a Brontë novel. (Dalton’s Heathcliffe in the 1970 Wuthering Heights remains unmatched.) (Ryan Britt)
A little harsh. Bella’s self-abasing devotion is hardly new. “You can have my soul. I don’t want it without you – it’s yours already,” she tells Edward, like an overwritten Cathy talking to Heathcliff. The titles New Moon and Eclipse describe Bella’s total darkness with Edward gone. It’s not far from Jane Eyre on that monster Rochester: “He stood between me and every thought of religion, as an eclipse intervenes between man and the broad sun.”
El cómic está pintado a mano con témpera sobre papel y evoca la época victoriana, pero con colores rojos, malvas y verdes, que son los que dominan en el paisaje que la autora vio en su viaje en solitario al pueblo de Haworth, en el condado de Yorkshire, donde residían las hermanas.Para dibujar a Anna, Spucches se basó en retratos reales, en concreto uno realizado a mano el 17 de abril de 1833, cuando tenía 13 años.Con la obra, la ilustradora quiere transmitir al lector su pasión por el mundo de las hermanas Brontë, “poniendo una piedrita y adelantando a la hermana menor” y contando, además, la hermandad entre ellas y su amor al arte, a la naturaleza y a los derechos de la mujer. (Begoña Fernández) (Translation)
¿Qué libro, película, serie, disco y obra de arte salvaría en un diluvio o un incendio?Cumbres Borrascosas, de Emily Brontë; Ben-Hur, de William Wyler; The Wall, de Pink Floyd; y Saturno devorando a su hijo, de Goya. (Translation)
Ce soir, l’émission est consacrée à la façon dont les classiques ont influencé les lecteurs et les auteurs. Quel est votre « classique » préféré ?Les Hauts de Hurlevent, d’Emily Brontë, grand roman du XIXe siècle, à la lisière entre le romantisme et l’ère victorienne. Je l’ai lu une bonne dizaine de fois, car j’en ai fait le sujet de mes études. C’est, pour moi, ce qui se rapproche le plus d’un chef-d’oeuvre, et c’est la plus grande histoire d’amour de tous les temps. (Translation)
Charlotte Brontë’s Villette is often overshadowed by Jane Eyre and Wuthering Heights, but hidden inside its pages is a Victorian secret that shaped women’s lives in ways we rarely hear about.In this special Victober bonus video, I explore the world behind Villette, uncovering the real social pressures, the so-called ‘surplus women problem’, and the challenges faced by single women in Victorian Britain. From governesses and teachers to women who managed to carve out independent lives, this is the reality Charlotte Brontë was weaving into Lucy Snowe’s story.So was Villette simply fiction, or was Charlotte drawing from her own life and the world she knew so well? This video peels back the layers to show how deeply personal and socially revealing the novel really is.
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Paulina SpucchesTranslated by Carme RosellóGarbuix BooksISBN: 978-84-19393-63-0September 24, 2025Las hermanas Brontë dejaron su huella en la historia del siglo XIX con sus novelas.En concreto, Emily y Charlotte Brontë son célebres y mundialmente leídas. La más joven, Anne, es a menudo olvidada, descrita en el mejor de los casos como la más sensible de las tres.Atrapada en un mundo que siempre esperó de ella que fuera callada y gentil, Anne ignoró sin embargo las advertencias de sus mayores, arriesgándose a escribir y dejando brillar su propia voz…Brontëana, una biografía de ficción, da protagonismo a la imaginación
de las hermanas, que inventaron mundos paralelos para sí mismas a través del juego de roles de la escritura.
Further information in Es la Hora de las Tortas!!!
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Date: 19 May 2025 – 12 November 2025Location: Held by Rare Book School on the second floor of the Edgar Shannon Library of the University of Virginia
The show offers a perspective on changes in literary reputations, as well as the shifting tastes of readers: the east side of the gallery features authors who were famous during the nineteenth century and who remain household names to this day; the west side of the gallery tells the story of writers who were lauded during their lifetimes, but who are no longer recognized as literary celebrities.
Dante. Shakespeare. Dickens. Brontë. Eliot. Twain. Baldwin. It will come as no surprise that these major literary figures appear in the game of Authors. These writers and their iconic portraits will be we
ll known to most visitors. Charles Dickens, for instance, appears in every deck in RBS’s collection, which contains more than a hundred examples.But many would be hard pressed to identify a work written by Robert Southey, who served as Britain’s Poet Laureate for three full decades (1813–1843). It is perhaps ironic that he advised Charlotte Brontë (then aged 20) that “Literature cannot be the business of a woman’s life & it ought not to be.”
The exhibition's examination of the Brontë legacy extends beyond the cards themselves to address broader questions about literary canonization and cultural memory. While Charlotte Brontë's works like Jane Eyre remain recognized today, positioned on the "famous" east side of the gallery, the exhibition also traces how the representation of women writers in these games evolved from a handful of 19th-century figures to more inclusive 20th-century decks. Special events on September 12 will include exhibition tours and film screenings, providing visitors with the opportunity to examine this intersection of literary fame and the forces that determine which authors are remembered and which are forgotten.
Further information in Fine Books & Magazines.
Charlotte BrontëEdited and Translated by Francesca RizziMondadoriCollana: ClassiciISBN: 9788804793281February 2025Due fanciulli diversissimi per nascita e destino – un neonato abbandonato e un erede al trono – stanno al centro di questi racconti adolescenziali di Charlotte Brontë: Il trovatello narra infatti le peripezie di Edward Sydney che, adottato da un ricco proprietario terriero, alla sua morte parte alla ricerca delle proprie origini nel mitico regno di Verdopolis; la trama de Il sortilegio è invece incentrata sugli intrighi e i misteri che circondano il re Zamorna dopo la morte del figlioletto, il marchese di Almeida, che lascia senza erede i due regni di Wellingtonsland e Angria. Vicende di amori, passioni, gelosie, complotti e ambizione ambientate in un mondo immaginario nelle quali si riconosce già il talento dell’autrice di Jane Eyre.
by Tessa BickersHodder & StoughtonISBN: 9781399706063 (hardback) (September 2024)ISBN: 9781399706087 (paperback) (August 2025)Fall in love between the pages . . .Still grieving the death of her best friend, Erin knows she needs to start living - but has no idea how. Then she loses her favourite book, heavily annotated and containing her friend's final words to her.When James finds Erin's note-filled book in his local community library, he writes his own message back, and soon they are locked in an anonymous book exchange . . .But Erin and James have a shared history that neither of them realise. How will Erin react when she discovers the other writer isn't a stranger at all - but the person she once swore she'd never forgive?A story of second chances and new beginnings, this is a love letter to books - and a love letter to love.
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Pulling a pen from the drawer beside my bed, I turn to the back page of Great Expectations and write in my neatest handwriting, Meet me in Wuthering Heights? (...)“Sorry,” I say, but I stretch past and pull out the Dickens book, flicking straight to the back. Has she done it? I’d understand if not. Maybe it was just me who got something from the notes. But I can already see replies from Margins Girl, on the last page. I scan it until I reach the bottom, warmth spreading through my body as I see the final note, written in much neater handwriting than that which is scrawled across the pages of the book. Meet me in Wuthering Heights? I can’t believe it. She’s replied. Reaching back into the library, I find the book, where Helena just returned it.
by Tessa BickersTranslated by Giuseppe MaugeriEditrice NordISBN: 9788842936176May 2025
By Nichole Carey & CompanyDirected by Callie AhoRarig Nolte Xperimental TheatreAugust 1 - August 10A lonely traveler stirs up the ghosts of literature’s most dysfunctional couple in this gothic send-up full of brooding and buried secrets. Come for the melodrama, stay for the unnecessary song & dance number."Withering Lows" is a gothic homage of epic proportions—equal parts ghost story, romantic tragedy, and absurd comedy. Written by Nichole Carey, the play picks up years after the events of Wuthering Heights, with the ghosts of Heathcliff and Cathy still haunting their former home… and still arguing about whose story was more tragic. A lonely traveler stumbles into the drama, setting off a chain of eerie, hilarious, and unexpectedly heartfelt events.
Created by Nichole Carey and Andrew Lester—real-life spouses who are clearly having a ball destroying each other onstage—Withering Lows is a surreal, self-aware, and deeply funny descent into literary madness. The show is one part Brontë, one part cabaret breakdown, and one part interpretive dance fever dream. Somehow, it works.Carey stars as Cathy, and she doesn’t so much play the role as unleash it. Her Cathy is a ghostly diva, clinging to melodrama like it’s oxygen. Carey’s performance is a blend of biting wit and full-throated commitment; she knows exactly what kind of show she’s in and steers into the curve. She’s also the writer, and it shows—in the best way. The script is sharp, self-lacerating, and full of references that ping between Brontë and Bumble with wild precision.Lester’s Heathcliff is brooding, yes, but also unexpectedly hilarious. As both choreographer and designer, Lester infuses the show with physical comedy and dance sequences that oscillate between beautiful and totally unhinged. There’s a moment involving chairs that has no business being as funny—or weirdly touching—as it is. (Jared Fessler)
by Sofia VarottoUniversità degli Studi di Padova Dipartimento di Studi Linguistici e LetterariThis study focuses on the translation of the novel Jane Eyre, in particular on the comparative translation from English to Italian of three different versions of the novel. Despite the prohibition of publishing for women, the Victorian Age was dominated by women on a literary level, who published novels under pseudonyms. Jane Eyre is an example of this phenomenon and how its dissemination was central during that time. With a focus on the meaning of translation and its methods, this study on comparative translation explains the development of translation and the languages analysed. Through the knowledge of the author and the novel, it will be possible to understand the phenomenon of translation during the Victorian era. Different stylistic, linguistic and grammatical aspects will be analysed not only regarding the Italian translations, but also regarding German, Spanish, Chinese, Danish and French translations of the novel.
La obra maestra de Emily Brontë, Cumbres Borrascosas, ha perdurado a lo largo de los siglos como uno de los grandes clásicos de la literatura inglesa. Ambientada en los remotos y turbulentos páramos de Yorkshire, la historia de pasión y tragedia nos transporta a un paisaje tan salvaje y hermoso como las emociones que describen sus personajes. Pero, ¿sabías que puedes caminar por los mismos lugares que inspiraron a la autora? Hoy te invitamos a recorrer algunos de los escenarios reales que sirvieron de inspiración para Cumbres Borrascosas, sumergiéndote en el mismo entorno que una vez cautivó a Emily Brontë. (Read more) (Adrián Roque) (Translation)
Bir süredir Jean Rhys’ın “Geniş Geniş Bir Deniz” adlı romanı üzerine farklı bir okuma yapmaya çalışırken (Charlotte Brontë’nin Jane Eyre’siyle birlikte çapraz bir okuma gayreti içindeyim) Pınar Kür’ü kaybettiğimizi öğrenince, üzerine yazmak için farklı bir kitap seçtim: Daha önce okuduğum, sevdiğim, üzerine epey düşündüğüm başka bir Jean Rhys romanı. (Nilgün Karataş) (Translation)
The Bordon Herald announces the upcoming performances (in September) of Jane Eyre: An Autobiography with Alison Campbell. Daily Record, as some days ago did The Express, highlights the Rotten Tomatoes perfect score of Jane Eyre 2006. The Poetry of February posts Anne Brontë's poem In Memory of a Happy Day in February.
BBC checks how 'rain-soaked fans recreate Wuthering Heights dance' in Folkestone, Kent. As Kent Online, The Guardian includes pictures in the weekend gallery. More Most Wuthering Heights Day Ever sightings: Los Alamos Reporter, Newcastle Herald, The Courier, AFP News Agency, Australian Community Media..
When Jessica’s long-term boyfriend leaves her and promptly gets engaged to a social media influencer, she flees to London under the guise of career reinvention. Really, she’s chasing an English countryside fantasy where she plays Elizabeth Bennet, pining for a Mr. Darcy to sweep her off her feet. Instead, she finds Felix (Will Sharpe), a brooding indie musician with black nail polish, estranged family ties, and a relapsing drug addiction who is closer in spirit to Emily Brontë’s Heathcliff than Jane Austen’s Darcy. (Harry Khachatrian)
Sarah Gill: What are your top three favourite books of all time, and why?A.R.: Impossible! But for now I’ll say: Jane Eyre by Charlotte Brontë. Outline by Rachel Cusk and Ulysses by James Joyce.
When the show begins, Starr slowly swivels around to face us, turns in his swivel chair to face the audience, showcasing his tobacco pipe, his E.M. Forster style moustache, his penguin flippers as well as his half naked body in tuxedo – mimicking the black feathers of a penguin! Through clowning, gags, stilt walking and improvisation, Starr leads us to walk through the western literary canons – Moby Dick, Wuthering Heights, The Grapes of Wrath, Around the World in Eighty Days, and even The Communist Manifesto! No spoilers here as I won’t ruin the sole fun, but let’s just say he manages to both awe and delight in constantly unexpected ways. The surprises aren’t just in how he illustrates each classic, but also in how he correlates these canons through his unique sense of humour. (Ke Meng)
Wuthering Heights- Dark romance was born here. One day, Mr. Earnshaw returns from a trip with a young orphan, Heathcliff, who is around the same age as his children, whom he has decided to take in. From that moment onward, Catherine, Mr. Earnshaw’s daughter, and Heathcliff are inseparable. Things take a turn when Mr. Earnshaw dies and Hindley, his son, becomes the patriarch. Hindley does everything to downgrade Heathcliff, setting in motion a chain of events filled with strong, dark feelings that carry over into the following generation. Heathcliff and Catherine never get their happy ending in this life, but their love transcends into the afterlife.
Art is up for interpretation, and Wuthering Heights, along with Austen’s novels, are works of fiction. So, why do we once again need to see these stories told from the factory setting of a white perspective? Why can’t these transcendent stories instead serve as a vehicle for diverse representation while reinforcing both historical and workforce inclusivity? (Hanna Flint(
Ein Jahr nach Jane Austens Tod wird in England eine andere berühmte Schriftstellerin geboren: Emily Brontë. Von ihr und ihren Geschwistern handelt das Buch "Die kleinen Bücher der kleinen Brontës". Genau wie Jane wachsen Emily, Anne, Branwell und Charlotte in einer gebildeten und literaturinteressierten Familie auf. Auch sie lieben Geschichten - so sehr, dass sie schon als Kinder eigene Miniatur-Bücher schreiben. Die Handschrift darin ist so klein, dass kein Erwachsener im Haus sie lesen kann.Die Bücher sind winzig klein, doch die Welten darin gewaltig. Sie enthalten Kontinente und Ozeane, Liebesgeschichten und Schlachten. Es gibt Helden und Bösewichte. Und manchmal werden die, die in einer Geschichte sterben, in einer anderen wieder zum Leben erweckt.Diese Miniaturbücher sind legendär - das Buch über die Brontes erzählt also eine wahre Geschichte. Die sepiagetönten Illustrationen zeigen die berühmten Geschwister als Kinder in ihrer viktorianischen Umgebung - und im Anhang gibt es eine Anleitung, wie man selbst ein Mini-Buch basteln kann. (Katharina Mahrenholtz) (Translation)
Education secretary Bridget Phillipson: my favourite books[...]As an adult:The Country Girls by Edna O’BrienJohn le Carré’s George Smiley seriesSwing Time, by Zadie SmithWuthering Heights, by Emily Brontë
In Mizumura’s work, the town plays the central locale in “A True Novel,” a retelling of Emily Brontë’s “Wuthering Heights” set in postwar Japan. [...]The cottage we’re now sitting in became, to quote the title of Virginia Woolf’s famous essay, Mizumura’s very own “room of one’s own” and is where she has written many of her works. Karuizawa also became a vantage point from which to gain distance from her busy life in Tokyo and holds a valuable perspective when it comes to the themes of her work.“This area has a special history, and when you touch on that history, you touch on a very critical history between Japan and the West,” she says. “You can talk of Japan’s recent history from Karuizawa.”It was because of this history that Mizumura chose Karuizawa as one of the key settings for “A True Novel.” The fictional author-like figure in the narrative frame describes how she encountered a story that resembled “Wuthering Heights” and recognized it as having the makings of a different novel. Similarly, when Mizumura herself considered how she could even approach writing a love story comparable to Brontë’s classic but rooted in Japan, a “true novel” in Japanese — the answer lay in Karuizawa.“Here you could talk about love in the Western sense,” she says. “What might seem foreign can happen here.”She explains that “Wuthering Heights” and other 19th-century novels were what Japanese writers would have encountered as Western literature following the Meiji Restoration of 1868. Inspired by the notions of romantic love found in their pages, writers, artists and intellectuals were then naturally drawn to Karuizawa — a place that seemed imbued with the same qualities. Whether this was the product of their projected fantasies or inherently true to the area is perhaps now hard to distinguish — where fact and fiction begins becomes difficult to define when it comes to Karuizawa.Mizumura’s own novel features numerous locations in the town, from the bar at the historic Mampei Hotel to the scenic Kumoba Pond. This was a very deliberate decision: She wanted the novel, despite its “far-fetched” premise, to feel rooted in concrete reality. To heighten that sense, photographs of the locations — taken one summer by Toyota Horiguchi, a former Kyoto City University of Arts professor whom Mizumura met at Yale — are scattered throughout. These images, taken almost as evidence for the novel’s “real” unreality, depict the changing face of Karuizawa. Among them are shots of summer houses, nestled in leafy, secluded plots, that hint at the bygone summers of their former inhabitants.Driving through the town’s backstreets, in an attempt to trace the locations photographed for the novel, it becomes clear that many of the houses Horiguchi captured have seemingly disappeared. (Hanako Lowry)
Marta Quellos i Olive, Universitat de LleidaTutora: Kateřina ValentováWuthering Heights (1847), by Emily Brontë, is considered one of the greatest literary classics due to a long list of reasons. One of these reasons is its masterful representation 2 of the social class and background of their characters through their dialects and characteristics of their speech. Nevertheless, the vast majority of translations into Catalan and Spanish ignore the enormous load of information contained in those dialectal expressions. This article starts by exploring the use and relevance of dialect inside the novel and the diverse methodologies of dialectal translations. Taking into consideration the researched material and the acquired knowledge, I could elaborate a series of criteria that would then be used for the real purpose of the project: the production of a translation proposal for Joseph’s interventions in Wuthering Heights in Catalan and Spanish that is accurate in both its linguistic expression and its orthographic representation.
Unless explicitly said
