Pub Date : 2023-03-21DOI: 10.1080/14748932.2023.2189380
C. Van der Meer
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Pub Date : 2023-03-20DOI: 10.1080/14748932.2023.2167530
Li Min
Abstract From 1949 to 1966, the period from the founding of the People’s Republic of China to the beginning of the Cultural Revolution, the discourse system that advocated class oppression and class contradiction dominated the fields of Chinese ideology and culture. Concurrently, on the other hand, the relations between China and the Soviet Union experienced changes from ‘close friends’ to ‘enemies’. The reading and criticism of Wuthering Heights (1847), a work from the Western world, became closely related to this mainstream discourse and the Sino-Soviet relations. The political manipulation of culture (literature included) has long been an important perspective of the Chinese cultural studies of this period, which can find a good example in the reading and criticism of Wuthering Heights.
{"title":"Sino-Soviet Relations under Class Discourse: Reading and Criticism of Wuthering Heights in China (1949–1966)","authors":"Li Min","doi":"10.1080/14748932.2023.2167530","DOIUrl":"https://doi.org/10.1080/14748932.2023.2167530","url":null,"abstract":"Abstract From 1949 to 1966, the period from the founding of the People’s Republic of China to the beginning of the Cultural Revolution, the discourse system that advocated class oppression and class contradiction dominated the fields of Chinese ideology and culture. Concurrently, on the other hand, the relations between China and the Soviet Union experienced changes from ‘close friends’ to ‘enemies’. The reading and criticism of Wuthering Heights (1847), a work from the Western world, became closely related to this mainstream discourse and the Sino-Soviet relations. The political manipulation of culture (literature included) has long been an important perspective of the Chinese cultural studies of this period, which can find a good example in the reading and criticism of Wuthering Heights.","PeriodicalId":42344,"journal":{"name":"Bronte Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-03-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59903931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-16DOI: 10.1080/14748932.2022.2151732
Jian Choe
Abstract This article examines Marie Laurencin’s illustrations for Les Soeurs Brontë: Filles du Vent, René Crevel’s booklet of 1930. In five colour lithographs, she brought up to date Brontë portraiture, re-envisioning the sisters as icons of modern urban femininity. The print set can be considered Laurencin’s pictorial narratives on the sisters. It signifies the artist’s revisionist approach to the myth of the Brontës as elemental Romantic geniuses in rural Yorkshire. Laurencin’s exquisite, peculiarly feminized rendition of the sisters displaces them from their usual cult status, alluding to their potential interests and aspirations as ordinary women at a quotidian level. The evanescent, pastel-tinted images unsettle prevailing perceptions of the sisters, evoking the fundamental contingencies of the Brontë iconography. This body of graphic works claims a unique niche within the Brontë portrait canon.
摘要本文考察了Marie Laurencin为RenéCrevel 1930年的小册子《Les Soeurs Brontë：Filles du Vent》绘制的插图。在五种颜色的石版画中，她提出了最新的勃朗特肖像画，将姐妹俩重新想象成现代城市女性气质的象征。这套版画可以被认为是劳伦斯对这对姐妹的叙述。它象征着艺术家对布朗特夫妇作为约克郡乡村浪漫主义天才的神话的修正主义态度。劳伦斯对这对姐妹的细腻、独特的女性化演绎使她们摆脱了通常的崇拜地位，暗指她们作为日常生活中的普通女性的潜在兴趣和抱负。这些转瞬即逝的粉彩图像扰乱了人们对这对姐妹的普遍看法，唤起了勃朗特图像学的基本偶然性。这套平面作品在勃朗特肖像经典中占据了独特的地位。
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Pub Date : 2023-02-10DOI: 10.1080/14748932.2022.2121631
G. Tytler
Abstract One of the interesting things about Wuthering Heights (1847) is the extent to which books play their part both structurally and thematically. Thus, as well as underlining the marked social differences between the two main households depicted, they help to enlighten us on the mentality of some of the central figures. Notable in this respect are the ways in which the second Catherine (Cathy) uses her love of books to establish her social superiority, especially in her relationship with Hareton, which for a time makes her appear an unpleasant person. Cathy’s bibliophily, moreover, stands in stark contrast with the more or less negative attitudes harboured towards books both by the first Catherine and by Heathcliff. This contrast has, in fact, induced some critics to regard their distaste for books as a positive feature, and to see Cathy’s attempt to teach Hareton to read as a deplorable clipping of his wings. After tracing the multiple ways in which books illuminate the characters of Wuthering Heights and their relationships, this article concludes that, although the novel’s most admired protagonists are notable book-haters, the bibliophile Cathy emerges in the end as a fully sympathetic character.
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Pub Date : 2023-02-06DOI: 10.1080/14748932.2022.2148838
Lydia Craig
Abstract Key thematic parallels between Frederic Mansel Reynolds’ controversial Miserrimus: A Tale (1833) and Emily Brontë’s Wuthering Heights (1847) indicate an intertextual connection between these novels in their suggestive portrayal of the Byronic hero as demonic entity. Crafted by Reynolds to explore the realised violent potential of Lord Byron’s heroes, Miserrimus risks becoming inhuman and spiritually damned under the influence of unrestrained passion and revels in committing acts of cruelty. Similarly moulding Heathcliff in the Byronic tradition, Emily takes inspiration from Miserrimus’ demonic violence to add mystery to her character’s all-absorbing desire for revenge. Knowingly, each man faces the prospect of eternal damnation but cannot spiritually recover from the consequences of selfish fury. With Heathcliff’s death, Wuthering Heights eliminates the threat of the violent Byronic hero to restore a more hopeful future prospect, unlike Miserrimus, which concludes only with expressions of misery and regret.
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Pub Date : 2023-02-06DOI: 10.1080/14748932.2022.2147810
G. Tytler
Abstract Of no little significance in Wuthering Heights (1847) is the prominent part played by Gimmerton for various aesthetic purposes both serious and humorous. Thus, for example, whereas the village is referred to here and there for its geographical features and for its usefulness as a centre of commercial, professional and travel facilities, it is also noted for the extent to which its inhabitants are given to malicious gossip and mindless credulity. Especially striking for its structural and poetic functions, on the other hand, is the occasional mention of Gimmerton Kirk, chiefly as pertinent to the presentation of Catherine, Heathcliff and Edgar in their childhood and adulthood. Perhaps the most remarkable thing, however, is the fact that it is only on hearing the word 'Gimmerton’ mentioned while on his way to a quite different destination in the North that Lockwood is prompted to pay his final visit to Wuthering Heights and Thrushcross Grange, thereby ensuring not only the completion of his diary but the very existence of Emily Brontë’s masterpiece.
{"title":"Gimmerton in Wuthering Heights","authors":"G. Tytler","doi":"10.1080/14748932.2022.2147810","DOIUrl":"https://doi.org/10.1080/14748932.2022.2147810","url":null,"abstract":"Abstract Of no little significance in Wuthering Heights (1847) is the prominent part played by Gimmerton for various aesthetic purposes both serious and humorous. Thus, for example, whereas the village is referred to here and there for its geographical features and for its usefulness as a centre of commercial, professional and travel facilities, it is also noted for the extent to which its inhabitants are given to malicious gossip and mindless credulity. Especially striking for its structural and poetic functions, on the other hand, is the occasional mention of Gimmerton Kirk, chiefly as pertinent to the presentation of Catherine, Heathcliff and Edgar in their childhood and adulthood. Perhaps the most remarkable thing, however, is the fact that it is only on hearing the word 'Gimmerton’ mentioned while on his way to a quite different destination in the North that Lockwood is prompted to pay his final visit to Wuthering Heights and Thrushcross Grange, thereby ensuring not only the completion of his diary but the very existence of Emily Brontë’s masterpiece.","PeriodicalId":42344,"journal":{"name":"Bronte Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2023-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59904353","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-02-03DOI: 10.1080/14748932.2022.2121629
G. Tytler
Abstract Nelly Dean has been much discussed down the years for her character, her role as confidante, and her function as the secondary narrator of Wuthering Heights (1847), but comparatively seldom for her presentation as a servant. Yet it is by presenting Nelly from this perspective that Emily Brontë displays her unwonted gift for characterization. Thus, for example, notwithstanding Nelly’s intermittent references to the domestic chores she conscientiously carries out in the two households where she is employed, as well as her remarks on the importance she attaches to being house-proud, we note that, several years after becoming housekeeper of Thrushcross Grange, she reveals certain moral shortcomings that we have only glimpsed during her time of service at the Heights. Conspicuous among such shortcomings are her sundry disloyalties to Edgar Linton as manifest partly through her occasional failure to keep his daughter Cathy under requisite control, but mainly through yielding to the nefarious demands of Heathcliff. Whether Nelly deserves to have successfully reached the apex of her domestic career, as she appears to have done by the end of the narrative, may be deemed an open question.
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Pub Date : 2022-10-02DOI: 10.1080/14748932.2022.2122377
Sara L. Pearson
{"title":"The Sexual Politics of Jane Eyre: Representations of Fear and the Construction of Text in Charlotte Brontë’s Jane Eyre,","authors":"Sara L. Pearson","doi":"10.1080/14748932.2022.2122377","DOIUrl":"https://doi.org/10.1080/14748932.2022.2122377","url":null,"abstract":"","PeriodicalId":42344,"journal":{"name":"Bronte Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"59903487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/14748932.2022.2122380
Patsy Stoneman
{"title":"Jane Eyre in German Lands: The Import of Romance, 1848–1918","authors":"Patsy Stoneman","doi":"10.1080/14748932.2022.2122380","DOIUrl":"https://doi.org/10.1080/14748932.2022.2122380","url":null,"abstract":"","PeriodicalId":42344,"journal":{"name":"Bronte Studies","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49399220","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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