Le cime invisibili di Emily
A meeting on the life and work of Emily Brontë
Thursday, November 7, 6:00 PM
Sala Presidenziale, Biblioteca of the Società Economica di Chiavari
In collaboration with the reading group "Inguaribili Lettori," the meeting will feature guest speaker Mattia Morretta, author of the essay 'Between Us the Ocean: The Modernity of Emily Brontë and Emily Dickinson.' This book explores the "parallel" lives of literature's two most enigmatic Emilys: Brontë and Dickinson.
What to expect
Through a narrative that weaves together biography and literary criticism, Morretta will unveil the artistic and personal connections between Brontë and Dickinson and their ability to still speak today with a powerful and contemporary voice. A journey into the modernity of both authors, discovering eternal themes such as pain, identity, love, and solitude, which continue to resonate in the consciousness of contemporary readers.
Who is Mattia Morretta?
A psychiatrist and psychotherapist with extensive studies and collaborations in psychological and educational fields, Morretta combines a scientific approach with a deep passion for literature. His research explores the complexity of human existence, from youth distress to emotional bonds, always with careful attention to both psychological and literary dimensions.
The event is free and open to all lovers of literature and poetry. Don't miss this unique opportunity to rediscover the magic and modernity of Emily Brontë and Emily Dickinson's words!"
Via Levante News.
“Every film feels like a massive adventure,” she continues. “Like I’m starting again each time. Sometimes I’ll get an email saying, ‘Do you want to come lead a masterclass?’ I just think, ‘Why are they asking me?’”Anyone who’s watched Arnold’s films will know exactly why they’re asking her. Over the past two decades, she’s been responsible for some of the finest features to come out of our country: the knotty, sexually transgressive Red Road; the heartbreaking Fish Tank, about a young wannabe dancer who is preyed upon by an older man; the sparse, gritty Bronte adaptation Wuthering Heights; (Louis Chilton)
Done well, a literary retelling can shine fresh light on a story we think we know inside out: just look at Jean Rhys’s Jane Eyre prequel Wide Sargasso Sea, or, more recently, Barbara Kingsolver’s Demon Copperhead, which moves Dickens’ David Copperfield to contemporary opiod crisis America. Percival Everett’s James does exactly that, retreading the events of The Adventures of Huckleberry Finn from the perspective of Jim, the runaway slave. (Katie Rosseinsky and Jessie Thompson)
If you're scared of decorating with red paint, you're not alone. Paint psychologists report that red rooms ‘increase the heart rate’ and create an unsettling atmosphere, a feeling borne out by several haunted red rooms in literature. Charlotte Brontë's Jane Eyre was terrorised as a child in the red room where her uncle died, and H.G. Wells' 1894 ghost story The Red Room features a horror-struck narrator spending the night in an eponymous haunted room at Lorraine Castle. But, as Farrow & Ball's grande dame of colour Joa Studholme says, “there's red…and then there's red.” And we couldn't agree more. (Evie Delaney)
Adapted by Laura TurnerDate: 7th - 9th Nov @ 19:30Lyceum Theatre57 Maoming Nan Lu Huangpu ShanghaiEnglish with Chinese SubtitlesYoung governess Jane Eyre arrives at the mysterious Thornfield Hall deep in the Yorkshire moors and meets enigmatic Mr Rochester. So begins this most unforgettable of love stories. When a secret from the past returns to haunt them, can Jane and Rochester’s passion survive the forces that might tear them apart forever?Adapted from Charlotte Bronte’s classic novel, Chapterhouse Theatre Company presents one of the greatest romances of English literature. This beautiful story of undying love is brought alive under a summer sky at some of the most exquisite open-air venues in the UK and Ireland.
One of the most important steps of all to make sure that you have the November you deserve is, of course the entertainment element. Books, movies and music will make or break the hygge so it’s important to get it right. Emily Brontë’s Wuthering Heights, The Secret History by Donna Tartt, Jamaica Inn by Daphne Du Maurier, and Little Women by Louisa May Alcott are just a few that will get the autumnal atmosphere right.
When I read Bronte’s Jane Eyre, I was dissatisfied with the savage portrayal of Antoinette. Imagine a beautiful, dazzling -indeed, so dazzling that it is almost illusory- Caribbean landscape. As the novel progresses, it is no surprise that the landscape becomes more threatening from Mr Rochester’s perspective, which reflects his detachment from the Dominican landscape. This is the drought of that pearl glazed, dazzling seashore. We become more imbued with Mr Rochester’s unreliable view as he becomes more distanced from Dominica and the Creole landscape and culture. This includes Daniel Cosway’s letter to Mr Rochester, detailing that the Cosway family have not told Mr Rochester about their past. The depiction of Antoinette as mad is a complete dismissal of the colonial figure because of their discomfort with it. Except this is just the crux of what Rhys is asking for. The colonised, the colonizer, the native and the non-native, white and black… these binaries don’t have to be isolated, but the reader can educate themselves about black history to alleviate the pressure that the colonial subject endures in retaining their identity. Caliban in Shakespeare’s The Tempest is portrayed as a brute, a noble savage, but it is somehow perplexing that he could speak so eloquently. Antoinette and Caliban have an affinity to their respective islands and cultural landscape which no other character has. Indeed, it is ignorant to view Caliban simply as a noble savage or Antoinette as ‘the madwoman in the attic’, rather than the full blazing technicolour of their individual identities.
Liu MiaoSino-US English Teaching, July 2024, Vol. 21, No. 7, 332-336The renowned translator Yang Yi passed away in 2023. Many scholars argue that, influenced by their biological gender, female translators often employ translation methods in adherence to feminist translation or reflect characteristics typical of female translators. This study examines the translation of Wuthering Heights by Yang Yi, focusing on whether there is a definite influence of gender on translator behavior. While existing literature primarily analyzes Yang Yi’s work through a feminist lens, this research takes a broader approach. By considering the translator’s social background and translation practice, this paper challenges the assumption that her work strictly aligns with feminist translation theories. Instead, this study emphasizes the importance of considering diverse factors when interpreting translated works, moving beyond a singular gender-based standpoint.
1. HaworthThis qua[i]nt village is full of shops, cafes and pubs along cobbled streets. It is also the home on the Bronte Parsonage, where visitors can dive deep into the life of the literary sisters. (Dennis Morton)
Chаmаn JonuzoqovaNews of the NUUz, 1(1.10), 238-239The аrticle highlights the uniqueness аnd complexities of poetic trаnslаtion. The chаrаcteristics of women's poetry аre аlso listed. Through this, informаtion is provided for а broаder understаnding of the topic. Chаrаcteristic feаtures of English writer аnd poetess Chаrlotte Brontë's work аre counted аnd the mаin themes of her poems аre mentioned. In the аrticle, women's spirituаl experiences аre аnаlyzed through severаl poems of the poetess. The poems аre reviewed bаsed on the trаnslаtion of the trаnslаtor Qаndilаt Yusupovа. The methods of preservаtion of аrtistic expression аnd rhythm аre considered in the аnаlysis of poems.
Initially, Layne Fargo thought that reimagining Emily Brontë’s Wuthering Heights was an “unhinged idea”, she tells me over video call from her home in Chicago. Early reservations aside, the result, The Favourites, is an utterly compulsive read that uses Brontë’s beloved text as a thematic blueprint for a story set in the world of professional ice dance.The Favourites follows Katarina (Kat) Shaw and Heath Rocha who begin skating together as children, their chemistry on the ice becoming more electric as they age and their feelings mature. But ambition divides them. For Kat, nothing will be enough until she wins Olympic gold, but all Heath wants and needs is Kat. He skates for her. Kat skates to win.Things swiftly become complicated when the duo are invited to train at the Lin Ice Academy, helmed by former Olympic gold medalist ice dancer, Shelia Lin. As Kat and Heath train with the Lin twins—Bella and Garrett—tensions mount and reach a breaking point. In the aftermath, we follow Kat’s skating career across years filled with countless competitions and her turbulent, all-consuming relationship with Heath. Fargo’s experience as a thriller writer, mostly published in the US, is evident in the breathless pace at which The Favourites unfolds. The first-person narration is deftly cut with a documentary script from a programme about Kat and Heath called “The Favourites: The Shaw & Rocha Story”. The chapters alternate between the interviews and Kat’s narrative to add context and fuel drama. “They were an obsession,” says the narrator in the opening of the documentary. “Then a scandal... and ultimately... a tragedy.” [...]Once Fargo “started really digging into” Brontë’s novel and ice dance it seemed serendipitous: “It all mapped out so well. There are themes in Wuthering Heights of class and race differences that really are a huge issue in skating—because it’s such an expensive sport, it tends to be a lot of affluent white people.” Brontë’s depiction of Cathy, a fierce and ambitious woman, defiant of the gendered restrictions of 18th-century England, also became a key touchstone for Fargo’s own unapologetic protagonist.Kat’s ambition burns through her dire financial circumstances and dismantles the expectations of women in ice skating. Where the judges and the audiences in the novel expect a “waif”, a delicate woman ready to please the crowds, Kat is fiery, refusing to be cowed into submission. “Cathy in Wuthering Heights is really pushing back [against expectations of women] and Kat is also struggling with that. She’s very competitive, she’s very ambitious and you have to be that to be a successful athlete—but in skating you’re supposed to be pretty, well-mannered and polite.” One character observes: “Olympic athletes, female ones especially, are expected to follow a certain script... Kat Shaw shredded that script and set it on fire.” (Katie Fraser)
Week after week, George and I continued our explorations, not just in Lancashire but across the vast wilderness of Northern England. The Lake District, with its majestic peaks like Helvellyn and the precarious Striding Edge, became our playground. The raw, windswept beauty of Snowdonia in Wales, the Yorkshire Dales, and Brontë Country all held their unique challenges and charm. In these wild places, the mind often wandered to the dark, brooding presence of Heathcliff in “Wuthering Heights.” Like him, I felt connected to the elemental forces of nature—stormy skies, howling winds, and the rugged terrain. (Philip George)
We must not forget about the novelists. In Jane Eyre, Charlotte Brontë has a few words to say about the smile: "but the smile expired" and "coin one of your wild, shy, provoking smiles." Those who have developed the art of smiling realize that a loving smile can expire, or can be provocative and wild, or can even be seductively shy. So, recipients of a smile beware. (Pierre Eau Claire)
Though he doesn’t specifically recall Skipton, he says he “loves” Yorkshire, mentioning the Brontë graves in Haworth (he is a fan of Wuthering Heights) and his happy memories playing with Yorkshireman Adrian Portas, of Spear of Destiny. (Will Abbott)
In this video, we explore the remarkable life of Mary Taylor, one of Charlotte Brontë's closest friends and a true trailblazer for women's independence. From challenging societal norms to leading the first all-woman team to climb Mont Blanc at 57, Mary was a feminist icon ahead of her time. Discover how she influenced Charlotte Brontë’s life and writing and learn more about her extraordinary legacy.
Introduction: Charlotte Brontë and Material Culture
pp 257-263 Author: Deborah Wynne
A Cabinet of Curiosities: The Apostles Cabinet in Charlotte Brontë’s Jane Eyre
pp. 264-280 Author: Sara L. Pearson
Abstract:
The Apostles cabinetis one of the most recognisable objects that Charlotte Brontë encountered in life and subsequently represented in fiction. Two years before the publication of Jane Eyre (1847), Brontë had visited Hathersage in Derbyshire and had seen the Apostles cabinet in situ; the object clearly remained embedded in her memory. Although the Brontë Parsonage Museum purchased the Apostles cabinet in 1935, no one has yet identified the individual apostles depicted on it, or deeply considered the cabinet’s imaginative recreation in Brontë’s novel. This article will present previously unknown information about the Apostles cabinet, including the fact that eleven of the cabinet’s twelve portraits are modelled on engravings by Cornelis van Caukercken produced circa 1650–1660, which in turn were based on a series of paintings by Anthony Van Dyck created circa 1615–1620. Understanding the cabinet as a material object will enable an investigation of several curious aspects of Brontë’s imaginative transformation of it. I will argue that the fictional cabinet in Jane Eyre serves multiple literary purposes: to enhance the Gothic setting; to contribute to Brontë’s subtle characterisation of Mr Rochester as Catholic; and to evoke the themes of redemption, healing, sin, and betrayal that pervade the novel.
The ‘personal museum’: Letters as Relic Collection in Charlotte Brontë’s Villette
pp 281-292 Author: Shelby Steele
Abstract
This paper contributes to the existing scholarship on letters as material culture and relic culture in the nineteenth century and in Charlotte Brontë’s Villette (1853). In the novel, Lucy collects and preserves letters from absent loved ones to maintain a sense of connection to others in a life that she seems destined to live alone. In this article, I argue that her letters serve as relics of her past relationships and dead love as she desperately clings to tangible objects that bind her to other people. While scholars have concentrated on letters in Villette as material symbols of the corporeal body and romantic love, I argue that Lucy’s letters form a collection that acts as a substitute for personal relationships. To borrow a term from Deborah Lutz, I assert that Lucy’s collection of letters function as a ‘personal museum’ of relics of dead love, which she carefully collects to preserve past relationships.
The Defying Expectations Exhibition at the Brontë Parsonage Museum: A Reflection on Contemporary Curatorial Practices
pp. 293-312 Author: Holly Kirby
Abstract:
This article reflects on the curatorial practices in the Brontë Parsonage Museum’s 2022 Defying Expectations costume exhibition, to assess its strengths and weaknesses and to identify opportunities for similar exhibitions to be launched and improved upon in the future. The Defying Expectations exhibition included interactive art installations, recreations and illustrative reconstructions alongside traditional display methods, and this article evaluates the effectiveness of such a blended approach. Written from the perspective of a museum professional, the article considers how the exhibition developed contemporary curatorial practices and its legacy. Drawing on heritage studies and curatorship, the article juxtaposes information gleaned from literary analysis with an assessment of material culture. It assesses the exhibition’s aim of reinterpreting Brontë’s reputation as choosing plain and practical clothing by foregrounding her interest in colourful and multicultural textiles, which raises questions of individual, local and national identity as well as regarding the effects of colonisation.
Critical Decades: Textiles and Material Culture in Jane Eyre and Three Recent Adaptations
pp. 313-329 Author: Kate Faber Oestreich
Abstract:
This paper discusses the social commentary of textile production as revealed in Charlotte Brontë’s Jane Eyre (1847) and three recent adaptations. First, I focus on Rosamond Oliver’s deceptively offhand allusion to the Luddite riots of 1812 to argue that Brontë sets her novel in the 1810s during the upheavals impacting the textile industries of the East Midlands, Yorkshire and the North West regions. This setting coupled with textual allusions to early nineteenth-century fashions are used to connect the female characters’ dress in Jane Eyre to local and global labour issues, colonialism and the transatlantic slave trade. I then turn to the visual representation of textiles in the intermedial adaptations of Jane Eyre by Robert Young, Susanna White and Cary Fukunaga, which by visually highlighting the material culture of the 1830s and 1840s, move Brontë’s narrative from the late Georgian to the early Victorian era. These adaptations overwrite the novel’s allusions to early nineteenth-century debates on industrialisation, colonialism and human enslavement in order to privilege its mid-nineteenth-century feminist critique of British marriage laws.
‘The bit of bread, the draught of coffee’: Food Imagery in Jane Eyre
pp. 330-340 Author: Jian Choe
Abstract:
Charlotte Brontë’s Jane Eyre (1847) foregrounds the subject of food, depicting the material culture of mid-Victorian society. The text is rife with alimentary imagery and metaphors. Each section of the novel explores different aspects of food, hunger and privation, drawing upon food motifs in varying degrees to map out the heroine’s development into a moral agent. In general, food discourse tends to elucidate the major themes of the novel: childhood trauma; identity formation; education and discipline; love, marriage and sexuality. The novel thus suggests that the issue of food is associated with a wide range of human experience. It engages the reader to critically reappraise food and its consumption, seemingly a banal practice of everyday life, which resonates with material, symbolic and socio-cultural significance.Reading-While-Walking: Books and Material Culture in Jane Eyre (1847) and Milkman (2018)
pp. 341-356 Author: Marcela Santos Brigida
Abstract:
As with many Victorian novels, Charlotte Brontë’s Jane Eyre (1847) reflects and thematises society’s obsession with material culture. This article investigates the contrasting ways in which books are appraised in Jane Eyre, arguing that patriarchal authority and its imposed vigilance over female bodies appear to be connected to the ways in which its characters engage with books. To unpack this argument, I propose a close reading of the novel’s opening scene, in which John Reed confiscates Thomas Bewick’s A History of British Birds (1797–1804) from Jane Eyre and reclaims it as his own. Further, I propose an analysis of the intertextual relationship between Jane Eyre and Anna Burns’s Milkman (2018), a contemporary novel that posits the book as a contested object in the public space. In both novels, the protagonist/narrator finds in storytelling a way to circumvent the barriers placed over their access to books in early life.Establishing Lucy’s Self: Reading Bretton Things in Villette
pp. 357-369 Author: Tian Keyuan
Abstract:
In Charlotte Brontë’s Villette (1853), the Bildungsroman of Lucy Snowe is woven into her experience of the material culture in Villette where she is frequently rendered impotent by things. In the chapter ‘Auld Lang Syne’, Lucy’s confusion over things reaches a climax with the presence of ‘Bretton things’. These objects from the Bretton house in England first appear at the opening and then turn up again at La Terrasse in Labassecour. Although such objects initially shatter Lucy’s consciousness, they play an important role in her journey towards self-establishment. Contrary to scholarly perspectives that suggest Lucy’s selfhood is fragmented and lost amid the reappeared Bretton things, this paper argues that these objects enable Lucy to confront her suppressed passions and desires. Through her exploration, Lucy gradually moves beyond her dependence on the Bretton things and people and succeeds in adjusting the understatedness of British materiality with the materiality of Villette. This paper aims to reveal how Lucy’s relationship with the materiality of objects empowers her to face life’s adversities. As Lucy narrates her story, she demonstrates a profound understanding of how to live among the shadows of death, with objects becoming the tangible threads that connect the past, present and future.Book Reviews
The Invention of Charlotte Brontë: Her Last Years and the Scandal That Made Herpp 370-372 Author: Lydia Craigpp. 372-374 Author: Sara L. Pearson
Prismatic Jane Eyre: Close-Reading a World Novel Across Languagespp. 377-378 Author: Carolyne Van Der Meer
Virginia Woolf and the Lives, Works and Afterlives of the Brontës
pp 378-379 Author: Graham WatsonCall for Papers
A must-watch for literature lovers of all ages, The Read returns this November with a new series of performance readings from more iconic British novels, including Wuthering Heights, The Strange Case of Dr Je
kyll and Mr Hyde, Nineteen Eighty-Four and A Christmas Carol. (...)In December (...) Bradford born actor, Vinette Robinson (Boiling Point), gives a spellbinding performance as the narrator of Wuthering Heights. One of Brontë’s most loved novels Wuthering Heights stands as a timeless classic set against the haunting backdrop of the Yorkshire moors. Seen through the eyes of housekeeper Nelly Dean, at the heart of the novel beats the intense and destructive love between Heathcliff and Catherine Earnshaw, whose passionate connection weaves a dark and tumultuous tale of revenge, obsession and the brutal forces of nature. Part filmed in Bradford, to coincide with next year’s Bradford 2025 UK city of Culture.Vinette Robinson says: “This was actually my first encounter with Wuthering Heights. I was immediately drawn to the complicated and unflinching character of Cathy and her relationships; she is such a force of nature, she lives her life fiercely and passionately with all its complexities and compromises. The emotional landscape of those relationships feels just as recognisable now as it did when it was written and it was such a thrill to bring that to life. And of course I’m a Yorkshire lass, so I was very proud to read something so steeped in the place I was born and raised.”
Heathcliff (Ralph Fiennes)Long before he took on the role of Harry Potter’s nemesis, Ralph Fiennes set hearts pounding as he embodied Bronte’s embittered anti-hero, Heathcliff from Emily Brontë's Wuthering Heights. No woman in her right mind would ever want to be joined in matrimony to this obsessive, vindictive man. However, that same woman may temporarily slip out of her right mind upon espying Fiennes’ take on this tragic character. According to IMDb, Fiennes was so committed to staying true to Heathcliff that he insisted on banging his head against a tree for a scene, exactly like his literary counterpart. So committed was he that he ended up drawing blood, not that that stopped him. Whilst we do not at all endorse such questionable behaviour, it is difficult not to swoon before that tortured face and those haunted eyes. (Urooba Rasool)
Home of the famous Brontë sisters, as you walk down Main Street, the heart of this chocolate-box village, you can't help but feel like you've stepped back in time as this area full of character. At this time of the year, Haworth also brings that extra bit of magic, with pumpkins, autumnal foliage and spooky animatronics decorating the village. (...)Across the road, you'll also find The Treehouse Bar and Kitchen, a buzzing aesthetic bar with pizzas, hand pulled ales and lagers and live sports. A main attraction in Haworth is the Brontë Parsonage Museum, the former family home turned museum.Maintained by the Brontë Society in honour of the Brontë sisters – Charlotte, Emily and Ann - this is a must-visit for literary lovers. In the gift shop, you can find their works and souvenirs, as well as other items in shops around the village. (Jess Molyneux)
2. Kate Bush had a hit song inspired by which 19th-century novel?a Jane Eyreb Pride and Prejudicec A Tale of Two Citiesd Wuthering Height
Emma Rice’s critically acclaimed production of Wuthering Heights will play an exclusive and limited season in Sydney in 2025. A co-production with Wise Children, the National Theatre, Bristol Old Vic and York Theatre Royal, this adaptation of Emily Brontë’s classic will open at the Ros Packer Theatre from January 31, 2025, for a strictly limited time. (...)This very limited Australian season will mark the commencement of a South East Asian Tour for the production which will see the British company including many of the original London cast members returning to their roles.Australian producer Liza McLean Director, Kay & McLean Productions:I have always admired Emma’s groundbreaking work in the theatre, Wuthering Heights has already toured to great acclaim in the UK and USA. It’s a dream come true to have the opportunity to present this extraordinary production to Australian audiences as the premiere season of the 2025 South East Asian Tour.
The GCSE English Literature Specification, studied by 14 -16 year olds across the country, is heavily focused on classic texts, such as Macbeth, An Inspector Calls, and Jane Eyre.However, it has recently come under fire, with critics suggesting it is no longer representative of the interests and challenges faced in modern society. (Adwita Putta)
The Intrusive NarratorOtherwise known as an omniscient narrator, this third-person storyteller is more than just a mere chronicler of events: They also editorialize, providing subjective insight into characters and situations. In Jane Eyre—ostensibly a first-person work—Charlotte Brontë interjects by describing details of a room or foreshadowing events and addressing the reader directly. (Jake Rossen)
Since then it has been in the care of the Trust and a very popular tourist attraction. It has also been used as a filming location for the 1992 film Emily Brontë’s Wuthering Heights starring Ralph Fiennes, the 2009 TV adaptation and was also used to film the 2020 ITV drama Anne Boleyn. (Liana Jacob)
A Romaeuropa Festival il debutto di Cime Tempestose per la regia e la drammaturgia di Martina Badiluzzi. L’epica del romanzo vittoriano trasposta in dialogo sull’eredità emotiva di personaggi immortali eppure, forse, da uccidere. (...)L’operazione di Martina Badiluzzi, in coda a un percorso drammaturgico sul femminile che spesso ha attraversato grandi personaggi e classici letterari per indagare il presente, in questa occasione attinge al romanzo vittoriano per riattraversarne i nuclei salienti tramite la voce dei due personaggi più giovani di questa grande saga familiare ante litteram. L’idea di esplorarne la pesante eredità emotiva è sulla carta efficace e potenzialmente deflagrante, utile a sviscerare gli intricati nodi di una storia di relazioni maledette, tossiche in senso moderno; esaminandone le ricadute da lontano, da un altro tempo, si può forse addirittura smascherare l’epica romantica dell’amore tra Catherine e Heathcliff, mettere una data di scadenza a certe ricorrenti letture dell’opera ormai fuori tempo massimo. (...)È qui che Badiluzzi inserisce la scena più efficace dell’opera, stilisticamente distante dal resto: un momento metateatrale gustoso e ironico che coincide con l’unica invenzione del tutto esterna al romanzo, ovvero l’epica dell’origine, per definizione misteriosissima, di Heathcliff. Ne nasce un gioco scenico immaginifico ed evocativo, che offre a Pozzoli e De Luna un momento di espressione attoriale fin qui non ancora avuto. Ma quello che potrebbe essere anche un riscatto per i personaggi, una presa di parola sulla propria storia, un patto con il passato, manca questa opportunità. A favola finita, i due si ritrovano a ragionare sul proprio destino, nella stessa semi immobilità precedente, richiusi tra le stesse macerie e gli stessi pensieri. Perché siamo venuti in questa casa? Cosa speravamo di trovare?La domanda resta aperta anche quando, con lo sguardo sull’orizzonte, Cathy ed Hareton si congedano da quella casa, da quella storia, senza averla davvero archiviata. (Sabrina Fasanella) (Translation)
Museums & Heritage reports the appointment of Lucy Powrie as its new Chair of the Board of Trustees. Check AnneBrontë.org's special Halloween post.
Knowledge Unlatched - Fordham University PressISBN: 9781531508616October 2024We tend to feel that works of fiction give us special access to lived experience. But how do novels cultivate that feeling? Where exactly does experience reside?The Location of Experience argues that, paradoxically, novels create experience for us not by bringing reality up close, but by engineering environments in which we feel constrained from acting. By excavating the history of the rise of experience as an important category of Victorian intellectual life, this book reveals how experience was surprisingly tied to emotions of remorse and regret for some of the era’s great women novelists: the Brontës, George Eliot, Margaret Oliphant, and Elizabeth Gaskell. It shows how these writers passed ideas about experience—and experiences themselves—among each other.Drawing on intellectual history, psychology, and moral philosophy, The Location of Experience shows that, through manipulating the psychological dimensions of fiction’s formal features, Victorian women novelists produced a philosophical account of experience that rivaled and complemented that of the male philosophers of the period.
1 Transfers of Experience: Brontës, Gaskell, Meynell, Sinclair |Introduction,Experience in Victorian Philosophy,The Brontës and Experience.May Sinclair,A Distributed-Brontë Theory of Experience,Images of HaworthCoda: Little Brontës,
There's no shame in having a little bit of a supernatural crush. Throughout history, ghosts have been portrayed as charismatic and charming, from the stories of Edgar Allen Poe to the Brontë sisters' iconic novels – it's no coincidence both Wuthering Heights and Jane Eyre are haunted. In short, we've been blessed with portrayals of seductive spirits for centuries. (Christopher Luu)
Lucy Powrie, 25, has been a member of the society – which runs the Brontë Parsonage Museum in Haworth – since her teens, and became a young ambassador in 2018.She says: "It is an honour to be appointed chair."As the youngest person to take on the role in the society’s history, I am aware of the significance of being similar in age to Charlotte, Emily and Anne at the time of their groundbreaking publications, a testament to the legacy they have left."I hope to use my tenure to create new opportunities to engage with our current members, and to welcome the next generation of Brontë fans to the society."Rebecca Yorke, director of the Brontë Parsonage Museum, says: "We're all very excited to have Lucy at the helm. I know she will lead the board with insight and thoughtfulness." (Alistair Shand)
8. Margot Robbie & Jacob Elordi - Wuthering HeightsIn the wake of unleashing one of the most talked about pictures of 2023 in Saltburn, it was announced that Emerald Fennell would next be turning her attention to a little story by the name of Wuthering Heights.This iconic tale based on Emily Brontë's novel centres around lovers Catherine Earnshaw and Heathcliff, with it later being revealed that both Barbie's Margot Robbie and Saltburn's Jacob Elordi would be playing the famous roles in this version, respectively.Despite being two of the hottest names in all of Hollywood right now, though, fans of the book aren't all that pleased with the casting and seemingly feel both of these performances are doomed to fail. You see, the 34-year-old Robbie - who is also producing the picture - will be playing a character who is 19 at her eldest in the story, and Elordi (currently 27-years-old) will be taking on the part of a man who ends up being about 40 as the novel reaches its conclusion. This has led some to question if the folks behind the film had even bothered reading the book to begin with.The fact that Elordi's character is also described as "dark-skinned" throughout the novel (via Deadline) has also left many questioning whether continuing the trend of casting white actors as Heathcliff was the right move in 2024.Both Elordi and Robbie are unquestionably top talents on their day, and Fennell will no doubt try to deliver a bold new take on the classic tale. But it's still doubtful either of the stars' performances will be able to convince lovers of the book that this glamorous casting was the correct call.So, when it comes to die-hard Heights fans at least, it feels like these two are being set up to fail here.
Windward HeightsMaryse CondéSoho House, 1999Set in the Caribbean, this is a gripping adaptation of Emily Brontë's Wuthering Heights. Using colonialism as a lens, the book recounts the turbulent tale of Heathcliff and Catherine's love. Against a colourful, lush setting, Condé delves into topics of race, power, and passion. The story combines historical and folkloric themes with an abundance of character complexity to present the original story from a new angle. Condé's work honours Brontë while also pushing readers to think about the nuances of love and yearning in a postcolonial context. (Isra Kabir)
O patois jamaicano: a língua como mecanismo de resistência e constituinte identitário da personagem Christophine em Wide Sargasso Sea
Gabriela de Souza PintoCadernos de Literatura e Diversidade 8, p41 (2024)
Em seu livro A conquista da América (1999), Tzvetan Todorov descreve, com base em cartas e relatos dos primeiros colonizadores, o primeiro contato entre espanhóis e indígenas, assim como o processo de colonização que nesse contato se instaura. Ao tratar de Colombo, especificamente, o autor esclarece que ele faz questão de nomear as coisas, lugares e gentes com que se depara, esclarecendo que, diante daquela terra virgem, é o colonizador quem nomeia e renomeia não porque ignora que tudo aquilo já tem uma nomenclatura na língua do povo que coloniza, mas porque as palavras do outro não lhe interessam. Para o autor, o primeiro contato com as terras descobertas é o de nominação, que passa a ter um caráter declaratório/oficializador de que aquelas terras passam a fazer parte do reino da Espanha, no caso de Colombo. Quando rebatiza o já nomeado, o colonizador ignora, juntamente com o nome anteriormente dado, a história e a identidade cultural do objeto nomeado. A esse fenômeno de nominação, Homi Bhabha (1998) dá o nome de processo pedagógico de nomeação imperialista
Jamaican Patois: Language as a Mechanism of Resistance and Identity Constructor of the Character Christophine in Wide Sargasso Sea
In his book The Conquest of America (1999), Tzvetan Todorov describes, based on letters and accounts from the first colonizers, the first contact between Spaniards and indigenous peoples, as well as the colonization process that was established through this contact. When specifically discussing Columbus, the author clarifies that he insists on naming the things, places, and peoples he encounters, explaining that, faced with that virgin land, it is the colonizer who names and renames not because he ignores that everything already has a nomenclature in the language of the people being colonized, but because the words of the other do not interest him. For the author, the first contact with the discovered lands is that of nomination, which takes on a declaratory/officializing character that those lands become part of the kingdom of Spain, in Columbus's case. When renaming what has already been named, the colonizer ignores, along with the previously given name, the history and cultural identity of the named object. To this phenomenon of nomination, Homi Bhabha (1998) gives the name of pedagogical process of imperialist naming.
Guy Fawkes has a plan, “dark as a flat cap,” Emily Bronte wakes to write at the “Wuthering Hour,” JB Priestley has “a voice like parkin” and the ghost of Betty Boothroyd “calls this shaken land to order” as the James Bond composer John Barry, is “licensed to drill deep into music’s fathomless mine.” [...]Commissioned by Skipton Camerata, 'A Northern Score' blends narration and an original composition to celebrate the remarkable Yorkshire-born individuals, spanning the Middle Ages to the present day, including Guy Fawkes, Emily Brontë and Fred Truman.‘A Northern Score’ premieres at Skipton Town Hall on Friday, November 22 to mark the 20th anniversary of Skipton Camerata. [...]Ian said: “It's a wonderful project. I think of the finished article as 20 steps across the Yorkshire landscape, each step singing with the power of possibility and the joy of creativity. I'm proud of the words I've written for the pieces."
Were Heathcliff to roam the blustery moors around Wuthering Heights today, he might be interrupted by a ping on his cellphone saying something like this: The wind is raging, so power is cheap. It’s a good time to plug in the car.OK. So the 18th-century literary occupants of these windswept hills received no such pings.But Martin and Laura Bradley do. They live in Halifax, an old mill town below the wuthering, or windy, heights of West Yorkshire. And when a squall kicks up, producing a surplus of electricity from wind turbines on the moor, their phones light up with a notification, like one that informed them of a 50 percent discount one Saturday in October. (Somini Sengupta)
Catherine the GhostKathe Koja. CLASH, $16.95 trade paper (142p) ISBN 978-1-960988-29-4A companion to Wuthering Heights much in the way that Wide Sargasso Sea is a companion to Jane Eyre, this brilliant retelling from Koja (Dark Factory) whisks readers to the wild English moors but shifts the focus from romantic relationships to a familial one. The narration alternates between the ghost of Catherine Linton, nee Earnshaw, who longs for Heathcliff and yearns to be let back into her former home, and her daughter, Catherine Linton the younger, who, having never known her mother, is newly widowed and living at Wuthering Heights. Those familiar with Brontë’s original work will recognize this as the novel’s later period, set six months after narrator Nelly first recounts the tale to Heights visitor Lockwood. Koja digs deeper into this period, keeping an admirable constancy to the tone of Brontë’s novel while giving greater voice to the two Cathys and their turbulent mother-daughter relationship. Ghost-Catherine’s sections are surreal, disconsolate depictions of her frustration and desire, while Catherine’s show her to be a capable, self-possessed young woman. Fans of the original will be thoroughly impressed. (Oct.) (Michael Seidlinger)
Vincek KanaMagistrsko delo se ukvarja z analizo dveh slovenskih prevodov (1955 in 1991) romana Jane Eyre avtorice Charlotte Brontë, pri čemer se osredotoča na prevod kulturnospecifičnih elementov ter drugih prvin, ki vplivajo na recepcijo književnega dela, s posebnim ozirom na podomačitvene in potujitvene strategije v kontekstu zgodovinskih okoliščin prevajanja na Slovenskem. Posebna pozornost je namenjena tudi spornim opisom Berthe Mason, ki je ključna književna oseba za razumevanje romana.Analiza je pokazala, da se prevoda večinoma ne poslužujeta skrajnih podomačitvenih ali potujitvenih strategij ter ohranjata primerno ravnovesje. Kulturnospecifične elemente sicer v obeh prevodih najpogosteje prevajajo s postopkom generalizacije, iskanjem približne kulturne ustreznice in pa z direktnim prevodom. V določenih izstopajočih elementih, se Borko in Dolenc (1955) pogosteje nagibata k podomačitvenim rešitvam, Legiša-Velikonja (1991) pa k potujitvenim, kar je v skladu s prevodno situacijo in teoretičnimi prepričanji v času nastanka prevodov. V obeh prevodih se pojavljajo tudi napake oziroma odstopanja od izvirnika, ki pomembno vplivajo na interpretacijo, še posebej v prvem prevodu. Pri prevajanju opisov Berthe Mason analizirana prevoda nista dosledna, a v novejšem pogosteje zaznamo lajšanje kontroverznosti. Izhodiščna hipoteza, da bo novejši prevod z ohranjanjem tujosti odražal večji neposredni stik s ciljno kulturo ter vseboval manj okornosti in odsThe master's thesis focuses on the analysis of two Slovene translations (1955 and 1991) of Charlotte Brontë`s novel Jane Eyre, with a particular emphasis on the translation of culture-specific items and other elements that affect the reception of the literary work. Special attention is given to domestication and foreignization strategies in relation to the history of translation in Slovenia and to the controversial descriptions of Bertha Mason, a key character that influences the interpretation of the novel.
The analysis revealed that, in general, both translations do not employ extreme domestication or foreignization strategies, maintaining an appropriate balance between these two approaches. Culture-specific items are in both versions mostly translated through generalization, by trying to find an approximate cultural equivalent, and through direct translation. However, some domesticating decisions made by Borko and Dolenc (1955) tend to capture the reader`s attention just as much as various foreignizing solutions chosen by Legiša-Velikonja (1991). Both translations also contain errors and deviations that significantly affect the interpretation, especially in the first translation. In translating the descriptions of Bertha Mason, neither translation is consistent, but the newer one more frequently softens controversial aspects. The initial hypothesis that the newer translation (by preserving foreignness) would reflect a greater direct engagement with the target culture and contain fewer deviations is thus confirmed.topanj je tako potrjena.
“Wuthering Heights” has a special eldritch place in my heart. Unfortunately, the silver screen has never done the novel justice. In light of Emerald Fennell’s upcoming adaptation, I critique earlier film representations of Brontë’s novel, specifically their representations of Heathcliff, and explore the effects of artistic license. [...]In the novel, Heathcliff is described as “dark-skinned” and likened to a “Lascar, or an American or Spanish castaway.” “Lascar” is a term that describes sailors from Southeast Asia or the Indian subcontinent. Most frequently, he is referred to using a common slur for Romani people. While this word has been used to describe anyone perceived as not ethnically English, the more overt physical descriptions Brontë provides of Heathcliff do not conjure up visions of Jacob Elordi. The Earnshaws, much like the Australian actor, are fair-skinned with dark hair and eyes and are presented, in no uncertain terms, as English. All of this compels me to ask: Why didn’t Fennell cast a person of color for the role?The whitewashing of the Heathcliff is not unique to Fennell’s rendition of the novel. The misrepresentation of Heathcliff and of “Wuthering Heights” in cinema, and in the popular imagination, is long-running.The 1939 adaptation of the novel is a far cry across the moors from its source material. Heathcliff is played by the white English Laurence Olivier. Even though the film was well-received, Olivier’s Heathcliff is more stern than impassioned and ruthless. 1939 lacks the zeal and, yes, morbidity necessary to convey the intensity and anguish of Catherine and Heathcliff’s relationship. The entire film works to warp Brontë’s vision into a schmaltzy Tinseltown Romance. But “Wuthering Heights” is not a sugary Hallmark-movie-esque story. In the novel, passion is all-consuming, inflicting psychological and physical distress. Catherine wastes away under its weight. It drives Heathcliff to sadistic monomania. It corrodes the boundaries of selfhood. Brontë asks us a question: Is passion or love inherently unhealthy, obstructive, or transgressive in its rebellion against racial, class and social norms?If the novel is stripped of its thorniness, the points of tension that foster these questions are lost. How can we see the tension between love and racial norms in English society if we continue to see white actors like Olivier and Elordi on the screen?Not all films attempt to sanitize the novel’s brutality, yet even the most faithful of adaptations are flawed. “Emily Brontë’s Wuthering Heights” (1992) works to evoke the novel’s gothic mood and reconstructs much of the plot. Ralph Fiennes is a delightfully disturbed but thoroughly human Heathcliff. The film shows us the character’s subjection to years of physical and verbal abuse, particularly at the hands of an aptly detestable Hindley Earnshaw. The film also captures the intensity of Heathcliff’s and Catherine’s childhood bond. However, because Fiennes is white, the picture ignores what the novel makes clear: the primary motivation behind Heathcliff’s mistreatment is racism. Catherine’s decision to dissolve their childhood bond and marry the white, well-born Edgar Linton is informed by classist and racist norms.So far, only one film adaptation has cast a person of color as Heathcliff. I consider the 2011 version, in which James Howson portrays Heathcliff and Kaya Scodelario portrays Catherine Earnshaw, to be a solid film in its own right but a poor evocation of Brontë. Much of the picture focuses on Heathcliff and Catherine’s childhood development. In contrast to the 1992 iteration, this adaptation makes the racial motivation for Heathcliff’s abuse and rejection apparent. Nonetheless, 2011 overemphasizes the bleakness of the environs and circumstances to the point that the film exists in an awkward tonal space between the sedate and the earthy — in every sense of the word. This tonal trouble neutralizes the passion that, as aforementioned, gives “Wuthering Heights” its impact. 2011 is a fair portrait of desolation and trauma, but it is not Brontë’s portrait.Ultimately, my pedantic critiques gloss over the fundamental questions: Is it even possible for the medium of film to capture “Wuthering Heights,” a novel so ennobled by Brontë’s language, her successful descriptions of the supposedly ineffable and her foresight to create distance between the narrator(s) and the subjects they describe? If it is possible to revive “Wuthering Heights” on the screen, is it necessary?Surprise. I don’t have the answer.What I can say is that it’s worthwhile to consider how differences in media and stylistic choices therein shape our understanding of narratives and themes. Fennell has, undoubtedly, considered the effects of artistic choices in her adaptation at length. And while I think her decision to cast a white actor to play Heathcliff erases much of the profundity of “Wuthering Heights,” I do hope her overall project pleasantly surprises me.“Wuthering Heights” has a certain extraordinary power. It is the kind of story that gets into our bones, that stirs somewhere deep in the consciousness, forcefully surfacing of its own volition, telling us about the very core of ourselves, long after we’ve read it. If we do keep resurrecting this incredible story, please, please, let us ensure that it wakes kindly and not in torment. (Victoria Llanos)
Aged 25, Powrie is the youngest person to lead the board of trustees at the society which was founded in 1893 and runs Brontë Parsonage Museum in Haworth, West Yorkshire.Author of The Paper & Hearts Society series, Powrie is also an online content creator on a popular YouTube channel. She is passionate about neurodivergent inclusion and engaging with young audiences in the arts and heritage sector.Powerie said she was “honoured” to lead the organisation, having been a member since she was a teenager.She said, “As the youngest chair in the Brontë Society’s history, I am aware of the significance of being similar in age to Charlotte, Emily, and Anne at the time of their groundbreaking publications, a testament to the legacy they have left.“I look forward to working further with my fellow members of the Brontë Society board and the team at the Brontë Parsonage Museum.”Rebecca Yorke, director at the Brontë Parsonage Museum, said: “We are all very excited to have Lucy at the helm. Since being Brontë Society Young Ambassador in 2018, she has demonstrated that she cares deeply about highlighting the contemporary relevance of the Brontës and increasing access to their work and their former home, now the Brontë Parsonage Museum.“I know she will lead the board with insight and thoughtfulness and I am very much looking forward to working more closely with her.”
Wuthering Heights, by Emily BrontëThis is my all time favorite book! Mirroring its inhabitants, the hauntingly beautiful — and sometimes just haunting — estates of Wuthering Heights and Thrushcross Grange are closed-off, unwelcoming and miserable. In this entirely separate world, apart from civilization and respectable society, Brontë’s characters flourish as the worst possible versions of themselves. This is a book about hatred, sadness, jealousy and revenge: the perfect gothic backdrop for a night in. (Yana Mulani)
Exploring the Gothic Hero and the Cursed Desire in Emily Brontë's Wuthering Heights
Mishaal Harb Mkhailef
Iklīl for Humanities Studies Volume 5, Issue 3 ج2, Pages 1431-1456 (2024)
This research explores the Gothic elements in Emily Brontë's Wuthering Heights, focusing on the antihero Heathcliff's quest for revenge against his love, Cathy Earnshaw. We set the Gothic novels originating in the 18th century, emphasize moral ambiguity and villain-heroes, blurring the lines between good and evil. They often employ violence, terror, and the supernatural, creating suspense and questioning religious beliefs. Wuthering Heights is a Gothic tale, with Mr. Lockwood as the protagonist. We focus on the elements in Wuthering Heights, The house's dark exterior and pugnacious interior create a vampire-like atmosphere, possibly due to Heathcliff's brutal treatment. The supernatural presence in Catherine's room adds mystery and intrigue. In the concluding section The research examines the occurrences of Catherine's ghost and their influence on Heathcliff, leading to his resignation and ultimately his death. The study of Gothic novel features in Wuthering Heights is a vast topic that deserves more attention.
His Oscar-nomination plaques for Wuthering Heights, Marathon Man and Sleuth are also being offered, along with rare photographs and Plowright’s Golden Globe awards for best supporting actress for her role in the film Enchanted April and the television movie Stalin. (Dalya Alberge)
For all our generational and cultural differences, certain values and struggles still ring true. They strike a resonant chord that echoes into the present, even if our current social consciousness claims to have moved on from such archaic ideas. When Jane Eyre suppresses her passion to preserve her integrity, we can’t help but marvel at her strength of character — even as we live in a culture that would probably criticize her for “caving” to the oppressive social constructs of her day. (Pauline Kim)
Haworth, in Yorkshire is known for its literary history - the village was home to the Brontë sisters who produced several famous novels such as Jane Eyre and Wuthering Heights.After a video by Tik Tik [sic] user @amyloves.xo in which she described Haworth as “a perfect autumnal day out in October" went viral, many are flocking to the village to view just how special it is for themselves.The village is currently decorated for autumn - and tourists who want to experience this atmosphere will need to head to Haworth before winter comes.If you decide to take a trip, start off by visiting Main Street where there are a range of independent cafes, old fashioned sweet shops and other boutique stores. As you walk along the cobbled stress, you’ll be able to see the rolling green hills which surround the area. [...]While you’re in the area, you should also visit the Brontë Parsonage Museum, one of Haworth's most popular tourist attractions.One visitor on Tripadvisor said: “We visited this great little museum in quaint Haworth. Wonderfully laid out original parsonage where the famous Brontë family lived. It cleverly takes you through the property and the story of the talented Brontë family, very informative, inspirational and also very sad. The staff are friendly and helpful. It really is worth a stop here if you are in the area.” (Alycia McNamara)
