A talk and a B.A. thesis. Both Brontë-related: Duas narrativas de O morro dos ventos uivantes: Emily Brontë e William Wylerby Guilherme Machado Araujo
Anais Do Xi Seminário Internacionalliteratura E Cultura, 03 a 07 de junho de 2024 - São Cristóvão/SE, pp 487-497
Este trabalho consiste numa análise comparativa entre o romance O morro dos ventos uivantes (1847), de Emily Brontë, e sua adaptação cinematográfica homônima (1939), de William Wyler. A bibliografia utilizada para a análise do romance é Gancho (2002). A análise do filme baseia-se em Bazin (2018), Gaudreault e Jost (2009) e Hutcheon (2013). A partir das análises estruturais das obras, traçar-se-ão semelhanças e diferenças entre elas e apontar-se-ão possíveis consequências delas advindas. Rebirth of Bertha Mason in Wide Sargasso Sea: rereading Jane Eyre in the light of postcolonial feminismby Tanjila Azad B.A. Thesis, Department of English and Humanities, BRAC University, 2025
The thesis intends to explore the evolving dynamics of feminist literature by examining how colonial histories eventually reform into postcolonial feminist voices. By investigating Jean Rhys’s reclamation of Bertha Mason or Antoinette Cosway, the underrepresented paranoid character in Jane Eyre, this research examines how Rhys creates a multidimensional figure of Antoinette in Wide Sargasso Sea through a postcolonial lens. This paper also looks into Rhys’ contrapuntal reading of Bertha or Antoinette, reclaiming her white Creole identity, unveiling the colonial oppression contributing to the broader discourse of postcolonial feminism (Said, Culture & Imperialism). Contrapuntal reading, a term introduced by postcolonial theorist Edward Said in his work Culture & Imperialism, is a critical approach that analyses texts from two or more perspectives present in colonial literature. “In practical terms, “contrapuntal reading” as I have called it, means reading a text with an understanding of what is involved when an author shows, for instance, that a colonial sugar plantation is seen as important to the process of maintaining a particular style of life in England” (Said 66). The study investigates how Rhys’s Wide Sargasso Sea can be read contrapuntally to Brontë’s Jane Eyre, in which the author presents the position of a coloured woman in Victorian literature. The central focus of this paper will be on Rhys’s Wide Sargasso Sea, redefining the character of Bertha in a different light from Brontë’s Jane Eyre and exploring how Rhys reads Brontë from an alternative angle. Through literary exegesis and a contrapuntal reading of Wide Sargasso Sea, this paper analyses how each novel sheds light on the other within the context of the current postcolonial feminist scholarship.
A contributor to Her Campus discusses 'How the ‘Wuthering Heights’ Trailer Is Falling Short of Audience Expectations': Some fans of the trailer argue that criticism of the film’s sensuality represents the recent resurgence of purity culture and conservatism. However, romanticizing the elite without addressing the issues that come with strict social classes is likely more conservative than disagreeing with oddly placed sexual scenes. However, we can only learn so much from a two-minute trailer. (Rebekah Harold) Brit + Co shares 'The 16 Most Binge-Worthy Books To Read This Cozy Season' including Wide Sargasso Sea by Jean Rhys This is a gorgeous literary take on what it means to be an outsider in the Western world. Written by Jean Rhys in 1966, it remains a beloved classic to this day due to its rich writing, Caribbean pride, and lovely prose. It’s one of my absolute favorites, and I’d go so far as to recommend everything by author Jean Rhys, who’s just as talented (dare I say more so) than Sylvia Plath, yet is far less known by modern society. Her books are actually what got me into reading, and now I’m the ultimate bookworm all these years later. (Bre Avery)
Mashable shares lots of pictures from the Most Wuthering Heights Day Ever around the globe.
A new historical fiction about the Brontë story gets published today:
by Stephanie Cowell Regal House Publishing ISBN: 9781646036240 September 16, 2025
In 1846 Yorkshire, the Brontë sisters—Charlotte, Anne, and Emily—navigate precarious lives marked by heartbreak and struggle. Charlotte faces rejection from the man she loves, while their blind father and troubled brother add to their burdens. Despite their immense talent, no one will publish their poetry or novels. Amidst this turmoil, Emily encounters a charming shepherd during her solitary walks on the moors, yet he remains unseen by anyone else. After Emily’s untimely death, Charlotte—now a successful author with Jane Eyre—stumbles upon hidden letters and a mysterious map. As she stands on the brink of her own marriage, Charlotte is determined to uncover the truth about her sister’s secret relationship. The Man in the Stone Cottage is a poignant exploration of sisterly bonds and the complexities of perception, asking whether what feels real to one person can truly be real to another.
Several reviews are available, most of them quite positive: Toby A. Smith, Pickled Limes, Library Journal, Layered Pages, A Shropshire Reader...
Express recommends the 'Top 5 period dramas on Netflix' and one of them is 5. Emily (2022) Before Margot Robbie and Jacob Elordi’s Wuthering Heights hits screens, check out Emily, a haunting portrait of author Emily Brontë herself. Emma Mackey shines in this part-fictionalised drama, which critics called “spectacular” and “spellbinding.” With an 87% Rotten Tomatoes score, it’s gothic brilliance at its finest. (Holly Fleet)
Similarly, Us Magazine recommends '4 Great Movies and Shows' for those already missing Downton Abbey including Jane Eyre (2011) This adaptation of the literary classic stars Mia Wasikowska as the eponymous orphan, who becomes a governess in the household of the wealthy and mysterious Mr. Edward Rochester (Michael Fassbender). Dealing with some of the same themes of class disparity and forbidden love, Jane Eyre takes place in an earlier historical period (the 1810s), but features similarly stunning costume design and melodrama. Wasikowska’s portrayal of Jane’s quiet dignity is pitch-perfect, making this film one of our favorite literary adaptations. (Sophie Hessekiel)
Collider highlights Wuthering Heights 2009 and its Cathy, played by Charlotte Riley. From Yoshishige Yoshida to Kate Bush to Emerald Fennell, Wuthering Heights has inspired adaptations across time, medium, and culture. The central couple, Catherine Earnshaw and Heathcliff, are the heart of the story. Widely regarded as one of the greatest books of all time, it’s no mere romance. Told from the perspective of Nelly, a second generation servant in the Earnshaw household, Wuthering Heights examines gender, class, cycles of abuse, and desire itself. It’s no small thing to put it all on screen. Too often, Catherine – Cathy – is more of a ghost on screen than the Cathy on the page. Where Cathy haunts the narrative of any version, adaptations tend to make her overly light-hearted to prove Heathcliff’s darker nature (Juliette Binoche, Wuthering Heights, 1992) or reduce her to an opaque, aesthetic ideal that moves like a ghost while she’s still alive (Kaya Scodelario, Wuthering Heights, 2011). But PBS Masterpiece Theatre’s Wuthering Heights casts Charlotte Riley in a truly complex portrayal. [...] A crucial part of this is in how it embraces sensuality. The adaptation adds steamier scenes on the moors that are only loosely implied in Brontë’s romantic descriptions, but you’d be hard-pressed to find anyone who would deny that sex is part of the wildness explored in the book’s themes. Most adaptations ignore this. In 1992’s Wuthering Heights, kisses are primarily reserved for Cathy’s deathbed. In Andrea Arnold’s 2011 film, Heathcliff assaults Cathy when they’re still children, a particularly severe interpretation of their relationship and the themes of sadomasochism throughout the novel. Riley and Hardy's chemistry is primarily playful. Even without explicit scenes on the moors, it’s clear these are two people who want to be affectionate with one another. When they are loving, it’s often at Cathy’s initiation. She’s not just there to soothe Heathcliff – she’s hungry for him. Teasing him until he grabs her, taking his hand, pressing into him, tracing his face, this all communicates that she isn’t just comfortable with Heathcliff. She enjoys physically being with him. More than just expanding the moor's representation of wildness, the added sexuality in Giedroyc’s version further solidifies Cathy as Heathcliff’s mirror. She’s as sensual, dark, and doomed as he is, and her recklessness is often demonstrated through these sensual desires. For Cathy and Heathcliff, a sexual connection becomes another way that they reject the gentility of Victorian society and choose one another. In the film, the corrupting nature of class and hierarchy is seen and felt in these physical expressions. Despite literally haunting the narrative, Cathy is alive more than she is dead in PBS Masterpiece Theatre’s Wuthering Heights. It’s a rare adaptation that shows that Wuthering Heights was a hostile environment before Heathcliff ever came along, and even before her father’s death. Instead of making Cathy an unrealistic exception to her family’s dysfunction and an unwilling victim of a one-dimensional revenge scheme by Heathcliff, she is shaped by her family and desperately wants to eschew expectations and join him. Riley’s easy laughter and frenetic shift to Cathy’s heavier emotions makes you truly miss Cathy when she’s gone, which makes Heathcliff more empathetic. In the end, the heartbreak of Wuthering Heights has nothing to do with the toxic tropes of modern dark romance, and everything to do with two people lashing out because lashing out is the only thing in their control. (Miranda Adama)
The Last Mixed Tape podcast makes the case for Kate Bush's Wuthering Heights being 'the greatest adaptation' of the novel. AnneBrontë.org looks at Emily Brontë's last poems. A couple of new Brontë-related scholarly publications:
Karissa Maust, Department of English, Division of Arts and Sciences, Tri-County Technical College, Pendleton, SC 29670, United States. International Journal of English and Literature, Vol.16(2), pp. 12-17, July-September 2025
The literary figure of the governess provides an example of burnout in the Victorian era, though caretakers in this era would not have described what they had experienced as burnout. The answer to this predicament, in today’s terms, is found in the phenomenon of self-care, as well as reliance on sustainable relationships with others. The experiences of Lucy Snowe, as found in Charlotte Brontë’s Villette, shed light on the mental health difficulties that people in caregiving professions have long faced. This article argues that the tragedies Snowe experienced, which were largely inspired by events in Brontë’s own life, illuminate the stresses caregivers faced in Victorian England and the effects of these stressors on the mental health of women in the profession, and how these facts have implications for the mental health of women in caregiving and teaching positions today.
Hasan Efe Girenes, Undergraduate Thesis, Ege University (Turkey), Faculty of Letters, Department of English Language and Literature, 2025
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