Monday, May 21, 2018

Jane Eyre in Salisbury

On Monday, May 21, 2018 at 12:37 am by M. in ,    No comments

Opening today, May 21, in Salisbury, UK:
Jane Eyre
Adapted by Polly Teale.
Directed by Tamsin Jacson
Original music composed by Rupert Egerton-Smith
Salisbury Studio Theatre
Performance dates 21st -26th May

Polly Teale’s adaptation of the classic tale of a beleaguered governess is anything but staid and boring. Created in 1997 for Shared Experience Theatre, the show uses rich text and language combined with movement and music to convey the passionate inner selves that are concealed behind the public personas of the roles. The principle premise of this text is that inside sensible, moral Jane exists a passionate, sensual and rebellious woman, fighting to be free of the constraints of Victorian society. The ‘madwoman in the attic’ Bertha, represents this side of Jane’s character. Just as when you read a novel you can get inside the skin and thoughts of the characters, so in this adaptation, the audience can see the invisible world of emotion and imagination which results in a very visual and engaging performance (or so we hope!……)
Further information in Salisbury Journal.

Sunday, May 20, 2018

South China Morning Post discusses why China loves Jane Eyre:
Why China loves Jane Eyre, whether as a feminist manifesto, a history of colonialism or just a simple children’s bedtime story
Charlotte Brontë’s classic 1847 novel Jane Eyre was first published in Chinese as an abridged version in 1925. But it was the secret dubbing of the 1970 film during the Cultural Revolution where its story in China really started.
ane Eyre is huge in China – some say the novel is even more popular there than in its home country of England.
The novel, written by Charlotte Brontë in 1847, has been translated into Chinese multiple times and released in bilingual, illustrated, abridged and simplified editions, as pocket books and e-books, and as children’s bedtime stories.
The book is taught in Chinese schools and has been adapted into a long-running stage play and a Chinese opera. There is even manga inspired by governesses from the book, such as the novel’s eponymous main character, that are popular on the mainland and especially in Hong Kong.
Last month, Brontë’s original hand-written manuscript went on show in Shanghai. The exhibition – which also included other treasures of English literature such as personal letters by T.S. Eliot and D.H. Lawrence, a draft of Charles Dickens’ Pickwick Papers and another of Percy Bysshe Shelley’s sonnet to Lord Byron – drew 20,000 visitors in a month. The show was part of a three-year programme by the British Library to foster dialogue and connections between China and the UK.
“We would like to enrich and expand our collaboration with China,” says Jamie Andrews, head of culture and learning at the British Library. “Our British collection is known and enjoyed there, and museums and libraries are opening up. There’s a huge demand for exhibitions and partnerships.”
Andrews says their team thought very carefully about which artefacts to put on show at the Shanghai Library.
“The Jane Eyre manuscript is often among the five most popular artefacts for British visitors, but we were also aware that Jane Eyre has a strong pull for Chinese audiences,” he says.
So what makes Jane Eyre so appealing in China?
Shouhua Qi, English professor at Western Connecticut State University and co-editor of the book The Brontë Sisters in Other Wor(l)ds, says the story really begins with the television film of the novel directed by Delbert Mann. Starring Susannah York and George C. Scott, it was released in the UK in 1970.
“The film was dubbed secretly into Chinese in 1975 during the Cultural Revolution by the storied Shanghai Film Dubbing Studio and was finally screened publicly in 1979,” Qi says. “At this time, China was opening to the outside world, and all things Western were gushing in. A renaissance of learning was sweeping the country, with a frenzied reading of books, both Chinese and Western classics, that had been banned during the Cultural Revolution.” (Read more) (Victoria Burrows)
The Sunday Express reviews the Northern Ballet's performances of Jane Eyre in London:
Maybe the subject fits very well into Northern Ballet’s homelands but Marston’s telling is enveloped in the heavy-handed insistence on the unfairness of life for the female of the species. Danced to a commissioned Philip Feeney score, the work is in two doom-laden acts set amid Patrick Kinmouth’s scenery of middle class respectability.
For a change the male corps de ballet changes the set as the action moves between the drawing room, church and moors. And this is where the evening is partly rescued. (...)
Marston has enthusiastically entered Bronte’s world but unfortunately has taken it all too seriously. (Jeffery Taylor)
Darragh McManus in The Irish Independent is enjoying Rachel Joyce's dramatization of Wuthering Heights in BBC Radio 4:
Finally, on a much lighter note, this incorrigible old romantic has been mightily enjoying the adaptation of Wuthering Heights on 15 Minute Drama (BBC Radio 4, Mon-Fri 7.45pm). It continues next week, and Rachel Joyce's adaptation captures the essence of the novel: in all its overwrought, operatic, sepulchral (and faintly ridiculous) glory.
Great stuff, both as a reminder of Emily Brontë's Gothic classic, and as a listening pleasure in its own right.
Brighouse Echo reports the publication of a posthumous novel by Ian M. Emberson:
Moving to Todmorden after meeting his wife-to-be Catherine in 1988, Brontë Society life member Ian’s published works include several volumes of poetry, novel-in-verse Pirouette of Earth, Pilgrims From Loneliness, which is a literary criticism of Charlotte Brontë still sold in the Haworth Parsonage bookshop, the e-book The Zig-Zag Path and evocative autobiographical Yorkshire Lives And Landscapes.
The Arts Desk reviews a Tesla coils show by Robbie Thomson at the Brighton Festival which happens to be at The Spire (based in St. Mark's Chapel):
 From 1849, for a century-and-a-half, this venue was a church and attached school, its claim to fame a dismissive mention in Jane Eyre. But this evening the stained glass windows are blacked out, blocking the evening sun. In the centre of the old building is a Faraday cage beside which, on a raised podium, Thomson is ready at his various laptops. (Thomas H. Green)
Erm... according to The Spire website, the 'dismissive mention' is no mention at all:
The construction of the church was completed in 1849 by Henry Venn Elliott, the first incumbent of St Mary’s, Rock Gardens , and Founder of St Mary’s Hall, a school for the daughters of poor clergy. His school in Brighton was inspired by the Clergy Daughters’ School in Casterton, run by his friend, Rev. W Carus Wilson, which had impressed Henry Venn when he visited. Charlotte Brontë described the school – not very flatteringly – in ‘Jane Eyre’. However, Henry Venn must have seen a very different school for he ‘offered up a little prayer that the Brighton School might receive a similar blessing’.
Albany Herald interviews the artist Heather Ashberry:
“In the era that the Brontë sisters wrote, women always used pen names for their work,” Ashberry said. “‘Beatrice Wormwood’ is my ‘pen name,’ so to speak. Beatrice was a popular name during that era, and ‘wormwood’ is part of that bohemian deal.” (Carlton Fletcher)
Yesterday's royal wedding has also a Brontë echo in Time Magazine:
And it wasn’t just the working classes where the father wasn’t involved in the walk. [George Monger in Marriage Customs of the World] also provides many examples (including Charlotte Brontë) of women being given away by some other relative, sometimes a woman, when her father objected or was not available. (Lily Rothman)
The Nassau Guardian talks about the film Sorry, Not Sorry by Alberta Whittle:
Sorry, Not Sorry is coupled with seminal film Handsworth Songs, which is a painful yet revelatory documentary of British civility and colonial “savagery” or incivility. This is a theme that resounds throughout E.M Forster’s “A Passage To India” (1924) and Charlotte Brontë’s “Jane Eyre” (1847), later re-penned (but really reconstructed from before the story unfolded) by Jean Rhys in “Wide Sargasso Sea” (1966). So much can be said about the un-civilizing of the savage as seen, but when the other story is told, as Rhys does, we see context. (Ian Bethell-Bennett)
Melissa Broder chooses Wide Sargasso Sea as one of her favourite stories of sand and sea in The Week:
This is the luscious prelude to Jane Eyre, in which "Bertha," Mr. Rochester's madwoman in the attic, tells the story of her Jamaican history and relocation to England. It's all gaslight, love potion, and candles before the fire.
Página 12 (Argentina) interviews Laura Ramos, author of Infernales. La hermandad Brontë, a new biography of the Brontës just published in Argentina:
Le llevó casi diez años escribirlo y tres viajes a Haworth, inglaterra, el lugar de los hechos. Allí transcurrió en gran parte la historia que cuenta Laura Ramos en Infernales: la hermandad Brontë. Es la historia de las hermanas Charlotte, Emily, Anne y el rescate de la figura de Branwell, el hermano mayor. Pero Infernales es también una investigación que busca cuestionar el mito romántico para dejar al descubierto a las mujeres reales y la construcción de una identidad: la de las tres hermanas que provenientes de una familia pobre y alejada de los grandes centro culturales se convirtieron en escritoras profesionales avanzadas a su época. (...)
El mito Brontë, entonces. Una familia maldita en el páramo de Yorkshire: el padre excéntrico y violento, el hermano borracho y poeta frustrado, la pobre Charlotte, la salvaje y desdichada Emily, Anne que nunca pudo ser feliz. Las jóvenes que inventaron mundos góticos y convulsos y apasionados sin casi haber salido de su casa. Este mito, famoso y poco disputado por la imaginación popular, fue creado a cuatro manos por Charlotte Brontë y su biógrafa y amiga, Elizabeth Gaskell,también novelista. Gaskell, en su Vida de Charlotte Brontë de 1857 –publicada apenas dos años después de la muerte de la autora de Jane Eyre– sigue los deseos de su biografiada ocultando los aspectos más controversiales de la familia, las mezquindades y las contradicciones, y enalteciendo el mito romántico. Laura Ramos viajó a Haworth, el pueblo de los Brontë, bajo el influjo de la biografía de Gaskell. “Yo me devoré todo el mito, con lágrimas, totalmente poseída. Lloraba frente al sofá donde murió Emily: ahora sé que murió en su cama. Casi todas las biografías tempranas de los Brontë están escritas desde la primera persona, desde la pasión, y muchas son ilegibles por eso: querés saber y no se puede, solo está la emoción. Es que la lectura biográfica suele empezar por Gaskell y su biografía, que es política y sigue los deseos de Charlotte.” (...)
Infernales es, entonces, el viaje que va desde el mito romántico hasta las mujeres reales y el destino inesperado del hermano, a partir de investigaciones recientes, en su mayor parte no traducidas. “Mi libro está escrito para gente hispanoparlante, para nosotros”, dice Ramos. “No es de crítica, no es académico, no analiza en profundidad la obra. Es como una novela, solo que todo lo que se dice está documentado. Es para que lo leamos los que leímos Jane Eyre en la colección amarilla de Robin Hood y decíamos Carlota Brontë. Y para que otros lectores descubran a estas mujeres cuyas vidas rivalizan con sus novelas”. (Read more) (Mariana Enriquez) (Translation)
A library's 35th anniversary library is celebrated in La Depeche:
Du coup, avec son employée Valérie, Nicole a commencé de recevoir les «incontournables» de ses clients qui ont pris place dans la vitrine. On y trouve des grands classiques bien entendu «Cent ans de solitude» ou «La nuit et le silence» ou «Jane Eyre» mais aussi des choses étonnantes comme un «Psion» ou la BD «Le diable des rochers». (Place Pélisson) (Translation)
Alessandria News (in Italian) interviews the author Rafella Romagnolo:
Fra i tanti testi che la Romagnolo ama ha scelto per noi cinque libri che hanno contribuito alla sua formazione: “Jane Eyre” di Charlotte Brontë, “Il Conte di Montecristo” di Alexandre Dumas, “L'amore ai tempi del colera” di Gabriel Garcia Marquez, “Una questione privata” di Beppe Fenoglio. E, a sorpresa, la saga di Harry Potter. Con “Jane Eyre” della Brontë siamo nell'Ottocento inglese, a colpire la Romagnolo oltre la forza del personaggio è la tecnica descrittiva: “in quel tempo non c'era il cinema e le minuziose descrizioni, ormai in disuso, servivano a creare una tela su cui proiettare le immagini facendoti vedere ciò che leggevi. Oltre alla Brontë, anche le opere di Dickens hanno la stessa forza narrativa”. (Translation)
El Diario Vasco (Spain) talks about El bosque sabe tu nombre by Alaitz Leceaga:
'El bosque sabe tu nombre' es lo que la editora Carmen Romero, enamorada de esta historia de amor y pasión, venganza y miedo, mujeres fuertes y grandes momentos históricos -desde la década de los 20 del siglo pasado hasta la Segunda Guerra Mundial- llama «un clásico que se podría haber escrito hace veinte años o que podría escribirse dentro de diez». Hace referencia a una voz narrativa que conecta con 'Cumbres borrascosas', 'La casa de los espíritus', 'Rebeca', por no citar las de García Márquez. Leceaga (1982) lo reconoce: «Yo era la típica niña que estaba siempre leyendo y he escrito la novela que me hubiera gustado leer». (Elena Sierra) (Translation)
An alert in Ravenna, Italy:
Alle 17 “Vite che sono la tua” in cui Paolo Di Paolo, scrittore e firma di Repubblica parlerà racconterà il fascino dei personaggi letterari da Tom Sawyer al giovane Holden, da Jane Eyre a Raskòl'nikov partendo dal suo ultimo libro edito da Laterza. Di Paolo dialogherà con Nicoletta Bacco. (Ravenna Notizie) (Translation)
Click Americana apparently thinks that 'Emily Brontë ringlets' is a 60s thing.  Minha Velha Estante (in Portuguese) reviews the Jane Eyre Manga adaptation. My Jane Eyre continues exploring copies of Jane Eyre in libraries.
1:37 am by M. in    No comments
Some recent Brontë-related scholar research all around the world:
Moral Value in Charlotte Bronte's Novel Jane Eyre
Elya Susana
Master's Program, Faculty of Letters, Islamic University of North Sumatra, Medan, Indonesia
KnE Social Sciences & Humanities | The 1st Annual International Conference on Language and Literature (AICLL) | pages: 287–294, 2018

This research is intended to describe the moral values based on the protagonist of the novel Jane Eyrewritten by Charlotte Brontë. The objectives of this research are to describe the moral values, referring to a person who is determined to follow a meaningful life patiently following moral values in his life without the fear of getting judged and hence standing out in the crowd. The researcher uses a descriptive qualitative method in this research applying content analysis proposed by Sugiyono (2017). The theory applied in this research is adopted from Hurlock (1997). The primary data were derived from a document or record containing first hand information or original data on the topic. The data were collected from libraries and therefore this research also applied library research.The findings indicate that the protagonist could practice the three kinds of moral values; namely patience, sincerity and responsibility,which may also be followed by anyone.
"There is always the other side": An analysis of the female representation of Bertha Mason and Antoinette Cosway in Jane Eyre and Vasto Mar de Sargaços
Vanessa Gomes Alves de Oliveira
XIII Week of Extension, Research and Post-Graduation - SEPesq
University Center Ritter dos Reis, 2017
Major Syntactic Changes between the Nineteenth & the Twentieth Centuries as Exemplified in Charlotte Brontë's Jane Eyre & Kingsley Amis's Lucky Jim
by Yamamah Nazar Talib Al-Years

 East University, Jordania, 2017

This study focuses on one of the most important aspects of language change which is syntactic change. This has been done by examining two literary works belonging to two different centuries. The first one is a nineteenth century novel Jane Eyre by Charlotte Brontë , and the second is a twentieth century novel Lucky Jim by Kingsley Amis. The study adopted a descriptive and analytical methodology, i.e, content analysis, of two texts to identify diachronic change in syntax between these two novels. The researcher used selected dialogues by characters in the two novels as data (by randomization process) to achieve the objectives of the study. The findings obtained show that there are changes in some grammatical structures and word orders use. Most of these changes are innovative, i.e, coming into use like for example, the expression has got which is used as semimodal, idioms and phrasal verbs, and the structure of the present perfect progressive. All these changes, as well as other ones, occurred in Lucky Jimprocess) to achieve the objectives of the study. The findings obtained show that there are changes in some grammatical structures and word orders use. Most of these changes are innovative, i.e, coming into use like for example, the expression has got which is used as semimodal, idioms and phrasal verbs, and the structure of the present perfect progressive. All these changes, as well as other ones, occurred in Lucky Jim, but not inJane Eyre. Another kind of change resulted in some structures getting out of use whichare used in Jane Eyre, but not or are used in Jane Eyre, but not or are reduced in Lucky Jim. For example the use of the auxiliary verb is instead of have with an intransitive verb to express present perfect, and some constructions are used mostly in the sample of Jane Eyre, but are reduced so much in the sample of Lucky Jim like ( must +be+ v. infinitive).

Saturday, May 19, 2018

The Telegraph & Argus highlights one of the Brontë Parsonage celebrations this summer. Its 90th anniversary:
The 90th birthday of the Brontë Parsonage Museum will kick off this year’s summer festival weekend by the Brontë Society.
Leading Brontë figures Ann Dinsdale and Jane Sellers will be at a special event to discuss the Haworth museum ‘then and now’.
Ann is the museum’s principal curator while Jane, currently Curator of Cultural Services at Harrogate Borough Council, is a former director of the Brontë Society.
At an event in the nearby West Lane Baptist Centre on June 8 at 3pm, the pair will discuss Haworth in the 1920s and the museum’s journey since then.
The Parsonage opened to the public for the first time on August 4, 1928 to cater for the stream of pilgrims who had been visiting Haworth for the previous 75 years. At last, enthusiasts were able to look round the very rooms in which the Brontë family had lived, written and worked.
The Brontë Society was founded in 1893 to organise a permanent home for the sisters’ manuscripts, letters and personal belongings.
The first museum opened in 1895 above the Yorkshire Penny Bank on Haworth Main Street. By the following summer 10,000 visitors had passed through.
In 1928 the Church put up for sale Haworth Parsonage at a price of £3000, and it was bought by Sir James Roberts, a Haworth-born wool merchant and lifetime Brontë Society member, who handed the Society the deeds. (Jim Seton)
Another Brontë Parsonage upcoming event is the exhibition Wings of Desire exhibition. Keighley News reports:
Literature fans can take flight with Emily Brontë this spring and summer in a special exhibition in Haworth.
Wings of Desire has been inspired by an injured hawk nursed back to health in the mid-19th-century by the writer of Wuthering Heights.
Artist Kate Whiteford took Emily’s merlin hawk, Nero, as the starting point for an innovative project bringing together film, poetry, music and paintings.
Kate is renowned for “monumental” land art which combines art and archaeology to transform sites that have included remote Hebridean islands, the hills above Nairobi and inner-city Coventry.
The centrepiece of Wings of Desire is a film featuring footage of birds of prey in flight, the local landscape, and a birds-eye view of the flight to Top Withins.
The soundtrack includes Chloe Pirrie, who played Emily in 2016 Brontë biopic To Walk Invisible, reading from Emily’s poem The Caged Bird, and music from folk group The Unthanks.
The film can be seen in the Brontë Parsonage Museum, where there will also be Kate’s framed watercolour pictures inspired by Aerial Archaeology photographs of the Yorkshire Dales.
Kate describes Wings of Desire as a meditation on the links between the hawk and Emily.
“The film brings you close to the animal, and close to Emily. When you see a hawk close-up it’s such a privilege. Emily will have needed to handle her bird.
“The film is another way of understanding Emily as a person. It’s to change our perception of Emily as a writer closeted in the parsonage – she ran free on the moors.
Caged Bird is about longing for liberty, free of your chains – it’s just one of Emily’s poems touch on the idea of escape and freedom and flying. life.
“There’s a stunning painting by Emily of the hawk. She was a very gifted artist – the observation in the painting had to come from life.”
SMJ Falconry will be at the Brontë Parsonage Museum on Sunday May 27 from 10am to 4pm with birds of prey displays and handling.
On weekdays in the half-term holidays there will be birds of prey-themed family activities from 10am to 5.30pm, including short guided walks, museum trails and ‘hands on history’ sessions. Flights of Fancy is a children’s craft session on Wednesday May 30, from 11am to 4pm. (Jim Seton)
More upcoming events in Keighley News:
History and Heathcliff will keep visitors happy during the Brontë Society’s summer festival weekend.
History Wardrobe will present an evening of enlightenment during their Gothic for Girls presentation on June 8.
The audience will be taken back to the 18th century to explore the origins of Gothic novels, highlighting the Gothic elements of the works of Emily and Charlotte Brontë.
The presenters will then move forward through the centuries to examine how the Gothic tradition has influenced literature, fashion and culture, right up to the present day.
The presentation will feature a fabulous array of original costumes and accessories, as well as readings from well-loved writers.
The following morning Carol Dyhouse will deliver the annual Brontë Society lecture on the subject ‘The Eccentricities of Women’s Fantasy... and Heathcliff’.
Charlotte Brontë described her sister, Emily’s characters in Wuthering Heights as full of “perverted passion and passionate perversity”.
Carol will ask how and why Heathcliff continues to be pictured as a hero of romance when his author explicitly warned against this.
She will widen her enquiry to consider why woman’s fantasy has often been seen as eccentric, unsettling, pathological or perverse. (Jim Seton)
Opera Wire and L'Est Républicain announce that Bernard Herrmann's Wuthering Heights will be included in the next season of the Opéra de Lorraine in Nancy, France:
 Layla Claire and John Chest star in Bernard Hermann’s “Les Hauts de Hurlevent.” The opera will be directed by Orpha Phelan and conducted by Jacques Lacombe.
Performance Dates: May 2-9, 2019 (Francisco Salazar)
The Wonderful World of Dance reviews the Northern Ballet performances of Jane Eyre:
 Cathy Marston’s contemporary ballet hybrid choreography adds depth to the heart wrenching love story. Each movement has a twist on the classical ballet steps, the traditional is combined with contemporary, creating distinct shapes and a unique physical expression of the inner torment of the characters.
Marston’s pours a lot onto one stage, scenes are filled with the entire cast in multi-layered drama in this retelling of the love story told through lyrical and emotional pas de deux with the early feminist Jane and her distressed Mr Rochester.
It’s wonderful to see a female choreographer bringing the story of a strong female lead to the stage, with a unique choreographic language that received a huge applause from the audience. (Wonderful Team)
KPC (Kendallville) News reports on a recent concert by the Heidelberg choir. The author of the article loved particularly the Andrea Ramsay setting of Emily Brontë's No Coward Soul is Mine. With bonus fake Brontë news:
I See the Heaven’s Glories Shine” is beautiful piece written by Emily Brontë, a Victorian poet. Emily and her two sisters, Anne and Charlotte, published this poem in 1846 in a collection of their poems. Because women did not publish poetry then, it was titled “The Poems of Currer, Ellis and Acton Bell.” The sisters actually paid for the printing of the book. In all, they only sold two copies. They sent one off to William Wordsworth, but he never wrote back. They also sent one off to Emily Dickinson. It is said this piece by Emily was read at Dickinson’s funeral, upon her request. Now, all these years later, a touring choir from Ohio sings the words as if they have been stamped upon their hearts. At the end of the piece, Vicki leans over to me and says, “Emily would have liked that.” I smile. (Lou Ann Homan)
Obviously, the sisters never sent any copy of their book to Emily Dickinson. Not the least because she was sixteen when the book was published.

The Times interviews the author Victoria Hislop:
My favourite book
Wuthering Heights by Emily Brontë ignited my love of reading when I was a teenager (it is, after all, about adolescents). I love the way she writes about place and the elements too — it influenced me a lot. It’s almost impossible to believe that this masterpiece was her one and only novel, her first attempt. She was born 200 years ago this July and it still feels fresh — I shall reread it to mark the day.
Jean Rhys in the Wall Street Journal:
She is best known as the author of “Wide Sargasso Sea” (1966), a richly imagined life of Rochester’s insane first wife in “Jane Eyre” that was a forerunner of the now-flourishing genre of novels that spin off from literary classics.
One of her many disciples is Caryl Phillips, whose 2015 novel “The Lost Child” embellishes the boyhood of Heathcliff from “Wuthering Heights.” His latest, “A View of the Empire at Sunset” (Farrar, Straus & Giroux, 324 pages, $27), fictionalizes the life of Rhys herself. Mr. Phillips is, like Rhys, a Caribbean-born writer who moved to England at a young age, and his depiction of her sad circumstances is sympathetic though narrow and often drab. (Sam Sacks)
Los Angeles Times reviews the latest book by William Trevor, Last Stories:
And in "An Idyll in Winter" (my favorite story in the collection), a man leaves his family for a girl he once tutored in the lonely, Brontë-like moors of northern England until he is eventually called home by the suffering of a daughter who may love him too much. (Scott Bradfield)
The Stamford Advocate shows a school with a 'classical' curriculum. A relic of another time:
 “Jane Eyre” in eighth grade. Shakespeare as the spring play. No technology. Latin taught in classrooms. (...)
Alexandra Kimball, who teaches seventh and eighth grade Language Arts at Regina Pacis, said the students, who are now reading “Jane Eyre,” are more than capable of understanding Brontë’s prose about Jane and her relationship with Mr. Rochester.
“The eighth-graders are totally ready for this book,” Kimball said. “They get a lot. Jane starts off at 9 and they’re not much older than 9 and then she’s 18 and they’re not much younger than 18.” (Erin Kayata)
LeftLion interviews the Nottingham poet Jake Wildeman:

Martin Grey: Any particular poets, poems or collections that first got you into poetry?
Jake: In terms of first getting me in it would have to be the Brontës, 'cos I studied them initially in school. I remember their words and I remember constant references to death and misery, it was delightful for young Jake. In terms of a particular collection though, do go and read HP Lovecraft's Fungi From Yuggoth sonnet cycle, it's a beautiful thing.

The Shields Gazette lists some of the new plants set to be unveiled at the RHS Chelsea Flower Show. Including:
Rosa Emily Brontë (Ausearnshaw): Soft pink blooms with a subtle apricot hue. The central petals deepen to rich apricot and surround a button eye which unfurls a cluster of deep-set stamens. The fragrance is strong. From David Austin Roses. (Mandy Watson)
Culture Whisper adds
Then there’s the Rosa Emily Brontë (‘Ausearnshaw’), which took its name after the Brontë Society asked rose breeder David Austin to name the rose to celebrate the bicentenary of the birth of the esteemed novelist Emily Brontë. Its distinctive blooms are soft pink with a subtle apricot hue, while its central petals deepen to rich apricot. The rose’s fragrance is said to be strong with delicious hints of lemon and grapefruit. (Holly O'Mahony)
 The Daily Star (Pakistan) publishes an eulogy of Professor Serajul Islam Choudhoury:
He never took attendance, but no one ever missed his class. We would all sit quietly, waiting for our Dickens man (he was also our Jane Austen man, the Brontë man, and Tolstoy man, for he was the one who introduced us to the glorious world of the Novel). (Fayeza Hasanat)
Hindustan Times (India) interviews the author Sudha Menon:
Sundays and holidays for Menon meant sitting on the old, beaten sofa in her drawing room, reading American or Russian classics, dad’s collection of PG Wodehouse or Sherlock Holmes. At the age of 10, she was already reading books such as Harper Lee’s To Kill A Mockingbird, AJ Cronin’s The Citadel, Emily Brontë’s Wuthering Heights, Boris Pasternak’s Doctor Zhivago, Émile Zola’s L’Assommoir (The Dram Shop) and Tolstoy’s Anna Karenina. “My baby steps towards becoming an author were taken all those years ago when I would get lost in the worlds created by the authors I read,” says Menon. (Anjaly Setty)
Le Journal de la Philo (in French) on France Culture:
Simone de Beauvoir a écrit Le 2ème sexe, et parce que vient de sortir le livre : Etats de la femme, l’identité féminine dans la fiction occidentale, de Nathalie Heinich, je vais vous parler aujourd’hui, de la « seconde ».
La seconde, c’est cette figure que l’on trouve beaucoup dans les romans et films du XVIIIème à aujourd’hui : c’est la maîtresse, la 2nde épouse ou compagne, la jeune fille à marier, la vieille fille… bref, la 2nde, ce sont toutes ces femmes qui ne sont pas, pas encore ou plus, la 1ère, la seule et l’unique.
Dans son livre qui n’est ni un plaidoyer féministe ni un commentaire littéraire, mais revendique une « neutralité axiologique » qu’on imagine donc aussi bien politique qu’esthétique, Nathalie Heinich part de l’héroïne de Charlotte Brontë, Jane Eyre. Soit celle qui expérimente tous les états de la 2nde, je cite, « de la jeune fille qu’elle est à la vieille fille qu’elle s’apprête à être, puis à celui de maîtresse qu’elle refuse, et enfin, à celui de 2nde épouse auquel elle finit par consentir ».
Si Jane Eyre est exemplaire de cette figure de la 2nde, on pourrait presque dire pourtant que la seconde, c’est un peu toutes les femmes… car qui n’a jamais été seconde ou secondé ? Et comme le dit Simone de Beauvoir, la femme, toujours déterminée face à l’homme, c’est aussi le 2ème sexe, l’autre sexe. D’où ma question, aujourd’hui, de 2nde à 2ème, et inversement, les femmes sont-elles des éternelles numéro 2 ? (Géraldine Mosna-Savoye) (Translation)
Digischool's cultural selection (in French) for the week includes:
Les hauts de Hurlevent d'Emily Brontë
C'est le seul roman d'Emily Brontë, elle l'a écrit alors qu'elle avait moins de 30 ans. Il a été publié en 1847, un an avant sa mort. C'est la soeur de Charlotte Brontë, auteure de Jane Eyre. C'est une femme qui a rarement quitté sa campagne du nord de l'Angleterre, elle avait peu d'amis et était peu sociable. Ce manque d'expérience et de connaissance de la vie ne l'a pas empêché d'écrire un roman fort, plein de sentiments extrêmes, mais qui traite aussi d'hyprocrisie, de classes sociales, de moralité et de sexisme. Cependant, Les hauts de Hurlevent, c'est avant tout une grande histoire d'amour (un peu torturée comme on va le voir): un jour, Mr Earnshaw, un aristocrate anglais, ramène d'un voyage à Londres un enfant bohémien orphelin, qu'il rebaptise Heathcliff. Il l'élève comme un de ses enfants et le préfère même à Hindley, son fils ainé. Heathcliff est très proche de Catherine, la soeur de Hindley, et ils tombent amoureux. Mr Ernshaw meurt, Hindley devient maitre du domaine, réduit Heathcliff à l'état de domestique et le martyrise. Catherine, même si elle l'aime, pense qu'elle déchoirait de son statut si elle épousait un domestique. Elle  se marie donc avec Edgar Linton, un grand propriétaire. Le coeur brisé, Heathcliff s'enfuit en Amérique. Il revient des années plus tard, riche à millions, et va exercer sa vengeance sur Catherine et sa descendance. C'est une histoire d'une grande noirceur, un amour qui aboutit finalement à la folie. Cette oeuvre est un classique de la littérature britannique à découvrir ou à re-découvrir. (Axel Djoussou) (Translation
Le Temps (Switzerland) reviews the novels by Elodie Glerum:
Sous l’humour affleure la peur: soit nous ne valons rien, soit nous sommes voués très tôt à péricliter. Le temps des voyages Erasmus n’est qu’un «répit» de quelques mois, avant d’entrer dans un âge adulte et une vie «active» perçus par les personnages comme terriblement aliénants. A l’âge des réseaux sociaux, on noue aucun contact réel: «on se contente de passer» et les personnes qui nous entourent ont l’air de zombies. Pourtant, de petits miracles restent possibles: la rencontre entre un jeune homme et une femme passionnés par la littérature, et l’œuvre des sœurs Brontë… (Julien Burri) (Translation)
La Vanguardia (Spain) presents a new author Alaitz Leceaga:
Alaitz Leceaga, nacida en 1982, supo desde siempre que sería escritora y no esconde que ha pasado muchas horas de su vida encerrada en su habitación degustando historias de todo tipo, aunque se siente deudora de obras como "Cumbres borrascosas", "Rebeca" o "La casa de los espíritus". (Irene Dalmases) (Translation)
Todo Noticias (Argentina) reviews Lady Macbeth:
Basada no en Shakespeare, sino en una novela rusa, Lady Macbeth de Mtsensk, y ubicada en una Inglaterra antigua y rural, esta es la muy intensa historia de pasión y sangre de una mujer joven, sometida e infeliz, que hará todo por vivir su romance con un empleado de la casa. Sí, remite a la historia de amor prohibido entre clases de Cumbres Borrascosas, en el clima ominoso de una gran casa decadente en medio de los campos nublados. (Mariana Mactas) (Translation)
The same film is also reviewed in Otros Cines:
Lo primero que recordé al comenzar Lady Macbeth no fue ninguna de las tragedias shakespeareanas sino la versión de Cumbres borrascosas que hace unos años dirigió Andrea Arnold. Si bien la película de William Oldroyd no tiene el radical y casi excesivo control audiovisual que tenía aquella propuesta, hay en la puesta en escena –seca, austera, realista, nunca teñida de falso prestigio académico o literario– muchas conexiones. (Diego Lerer) (Translation)
Le Soir (Belgique) interviews the author Guillaume Musso:
A 11 ans, j'ai lu Les hauts de Hurlevent d'Emily Brontë, un roman gothique ettourmenté, et j'avais l'impression d'être dans les pensées les plus intimes d'une jeune femme. (Jean-Claude Vantroyen) (Translation)
The Yorkshire Post interviews the poet Ben Myers, author of Heathcliff Adrift, who most appropriately has a dog named Heathcliff (Cliff for short).  A note-filled copy of Jane Eyre on My Jane Eyre. The Brussels Brontë Blog discusses the 'true cause of death of Martha Taylor'.
Among the Haworth 1940s weekend activities, a Brontë-related one:
Haworth 1940s Weekend: Devotion
1946 film screening
Brontë Parsonage Museum
May 19th 2018 02:00pm

The Golden Age of Hollywood produced some classic Brontë adaptations. As Haworth remembers the 1940s, call in at the Museum for the chance to see Devotion. Often forgotten, this retelling of the Brontës’ life story features Olivia de Havilland, Ida Lupino and Paul Henreid, and has been described as ‘better as cinema than history’. Come along and test that theory!

Free with admission to the Museum.
1:56 am by M. in , ,    No comments
Selene Chilla and Serena Di Battista are the blogmasters of The Sisters' Room and the authors of a new book, E Sognai di Cime Tempestose, which is presented today, March 19, in Rome:
E Sognai di Cime Tempestose
Viaggio nei luoghi del romanzo di Emily Brontë
Selene Chilla e Serena Di Battista
Alcheringa Edizioni

L'obiettivo delle autrici di questo libro è quello di accompagnare il lettore attraverso i luoghi dell'Inghilterra che hanno ispirato Emily Brontë nella stesura del suo famoso Cime Tempestose.
Frutto dell'esperienza diretta sul posto, dei contatti con gli abitanti del luogo, delle ricerche effettuate con il supporto di esperti e del materiale a disposizione dei membri della Brontë Society, il testo introduce Emily Brontë raccontandone la storia e il particolare attaccamento allo Yorkshire e alla brughiera. La scrittrice aveva un legame viscerale con la terra in cui era nata, e l'ispirazione che traeva dalla natura circostante era vitale ai fini del suo processo creativo.
Le autrici vanno dunque alla ricerca di coincidenze e differenze tra la geografia del romanzo come architettata da Emily, e quella reale dei luoghi che l’hanno ispirata, raccontandoci il ruolo allegorico della brughiera, fino ad accompagnare il lettore all'interno di quegli edifici che hanno, secondo la tradizione, dato vita alle case degli Earnshaw e dei Linton: Ponden Hall e Top Withens.
The presentation of the book will take place today, May 19:
Presentazione del libro E sognai di Cime Tempestose
May 19, 17.00
Libreria Tra le Righe
Viale Gorizia 29, 00198 Rome, Italy

Cari lettori, siamo molto contente ed emozionate, e vi invitiamo tutti alla presentazione del nostro libro E sognai di Cime Tempestose- Viaggio nei luoghi del romanzo di Emily Brontë.
Sarà presente Lina Anielli di Alcheringa, la nostra editrice, e possibilmente in collegamento Skype la professoressa Maddalena De Leo, rappresentante della Sezione Italiana della Brontë Society, che ha curato l'introduzione al libro.
Insieme alle libraie Valentina, Paola e Tiziana, se vorrete, vi porteremo con noi in un viaggio che parte dalle pagine dell'unico romanzo di Emily Brontë e si spinge fino alle meravigliose brughiere dello Yorkshire occidentale, passando per antiche dimore, rupi scoscese e paesaggi incredibili.
L'evento è gratuito, vi aspettiamo!
I primi 10 che arriveranno in libreria potranno avere, se acquistano un libro, un particolarissimo souvenir direttamente dalla brughiera di Emily: un rametto di erica in fiore confezionato e utilizzabile come segnalibro.
Chiunque volesse venire a incontrarci e conoscerci può richiedere una copia con dedica.
Speriamo di vedervi in tanti!

Friday, May 18, 2018

The Telegraph and Argus looks forward to the events surrounding Emily Brontë's birthday celebrations, which now include writer Kate Mosse.
Bestselling writer Kate Mosse is joining the existing roster of big names celebrating Emily Brontë’s 200 birthday.
Poet Patience Agbabi, activist and model Lily Cole and musicians The Unthanks are already involved in events this year to mark the bicentennial.
But for the big bash to mark the actual birthday, the Brontë Society has added the writer of novels like Labyrinth.
High-profile figures from literature and contemporary culture will descend on Haworth for a four-day festival in and around the Brontë Parsonage Museum.
Between July 27 and 30 there will be a series of performances, film, walks and new commissions from in the-days leading up to Emily’s actual birthday, Monday, July 30.
Kitty Wright, executive director of the Brontë Society, said: “It’s impossible to say exactly what it is about Emily Brontë that captures the imagination and heart of so many people so long after she lived and died.
“Emily is perhaps the Brontë sibling most associated with the dramatic, bleak and beautiful moorland surrounding their home, and as such her birthday will be marked by guided walks and outdoor sketching workshops as well as poetry performances, literary discussions and free activities for all the family.
“We look forward to sharing Emily’s executive director of the Brontë Society, legacy with international audiences old and new.”
Visit or call 01535 642323 for further information about the July 27-30 events and how to book tickets.
Kate Mosse OBE has curated I Am Heathcliff, a new commission of 16 short stories about the anti-hero of Emily Brontë’s novel Wuthering Heights.
anthology, which re-examining is the unforgettable and polarising character, will be launched in Haworth on July 27.
Poet and performer Patience Agbabi is due to present new work created during her time as 2018 Writer in Residence at the Brontë Parsonage Museum this September.
During the 200th birthday weekend, on July 28, she will be joined by other wordsmiths to respond to themes of the outsider and identity raised in Emily’s writing through readings and performance poetry. The event is entitled. This, That, and ‘The Other’.
Making Your Mark Online is the title of two workshops for burgeoning writers on July 28 and 29, led by Brontë Society Young Ambassador, book blogger, booktuber and Brontë aficionado Lucy Powrie.
Blogging since the age of 12, Lucy will discuss how and why she started writing and why she considers Emily Brontë to be a relevant inspiration for young people today.
Lily Cole, the Brontë Society’s creative partner for 2018, will present the world premiere of her latest film ‘Balls’ on July 29 at the Brontë Parsonage Museum.
The short film will examine the stories of young, unmarried mothers and the babies they gave up to the Foundling Hospital in the 19th century, the inspiration for Emily’s foundling anti-hero Heathcliff.
Cole, with co-writer Stacey Gregg (‘Riviera’, ‘The Innocents’), has taken two personal accounts from the original hospital records and transposed them into the present day.
The resulting film, shot entirely in location in Liverpool, emphasises the dramatic changes seen in women’s rights over the last 200 years. [...]
Marking Emily’s actual birthday will be two events paying pay tribute to the woman and her work, through her own words and those of her devotees.
On July 30, they are entitled Emily Speaks and What Emily Means To Us.
An afternoon of readings offers personal responses to Emily’s independence and self-determination in relation to the broader racial, cultural and social histories of the 19th century.
The day culminates in a celebration with live readings from Lily Cole, Patience Agbabi and a performance from The Unthanks, who themselves will be marking the bicentenary later in 2018 with new, specifically commissioned work. (Jim Seton)
In The Canberra Times, writer Sandra Leigh Price tells about her history with Emily Brontë.
The first time I read Wuthering Heights a whole world opened up to me: the language – the words steeped in weather landscape, the structure an intricate clockwork of intergenerational trauma, and there was Emily Brontë herself – an astute observer of the natural world around her. The book was like a storm-glass in my imagination – large, wondrous and wild. But when I looked for Emily, she was lost. Her creation had eaten her identity, she had become a monster made of moors.
When I made my way to Haworth as a 21-year-old, I had the palpable feeling of having been there before, but I'd only travelled there before in the pages of Emily's book. The Brontë Parsonage Museum felt somehow smaller on the inside than the outside with the children's study no bigger than a linen closet. This was Emily's bedroom as an adult and I imagined her, looking at her stars, thoughts tapping at her mind like the ghost of Cathy tapping at the window.
In the gift shop, I bought a porcelain bust of Emily in a naive attempt to take something of Emily's spirit home with me. But over the years as I revisited the novel and poems, beginning to write myself, I grew haunted by the fact that Emily's life as a writer was made elusive by acts of erasure. Charlotte Brontë blurred the lines between Emily and her creation – reducing her sister to a natural phenomenon, a freak, a force of nature – denying her accomplishment as a writer of astounding force and originality. (Read more)
The Sydney Morning Herald on fashion weeks:
There are times at fashion week when one can reasonably be left wondering, "What were they thinking?"
Luckily for the guests at shows, there is usually a piece of paper on the chairs known as the show notes, which outlines the designer's vision.
Sometimes, they read like an Emily Brontë novel, and other times, more like the musings of an ex at 3am after a bender. (Melissa Singer)
More on fashion as The Hamilton Spectator features Glamour in the Hammer, which 'showcases a broad range of homegrown talent on the runway'.
This year's collection [by The Eye of Faith] takes inspiration from the classic Wuthering Heights, and will feature references to Victorian styles "with a bit more of a rock 'n' roll kind of grunge edge," says Heaton.
"It's very different because we're going to try to have even more romance than usually we've shown previously," says Duarte. "Just more flounciness, more femininity, more … lace and embellishments and beading." (Sheryl Nadler)
Here's a writing tip from The Writing Cooperative:
Wuthering Heights is full of storms crashing and raging across the moors, underscoring the turbulent mood of its main characters. Your signs and seers don’t have to be cataclysmic or quite as intense. Not every storm must rage for a reader to get the effect; sometimes drizzle works just as well.
The Guardian has an article on Tom Wolfe.
There they were in my copy of The New Journalism, his greatest hits: from Radical Chic, the sound of Leonard Bernstein eating a piece of cheese (“mmmmmmmmm”). From the Flak Catchers, phonetically spelled dialect that would give Wuthering Heights a run for its money. (Emma Brockes)
The Guardian picks up the fake story that Charlotte Brontë was a regular visitor at Eshton Hall. However, she was indeed a visitor at Gawthorpe Hall, featured on BBC News.
A Grade I-listed hall that hosted Charlotte Brontë could become a wedding venue to help a council plug a £144m funding gap.
Renting out 17th Century Gawthorpe Hall in Padiham is among proposals by a taskforce set up to generate cash from Lancashire County Council's assets.
The council will also consider building wind and solar farms to raise money.
Other suggestions include turning an outdoor education centre into a luxury hotel.
According to a report due to go before councillors on Friday, the council will face a £144m shortfall in finances by 2021-22 unless it identifies new streams of revenue. [...]
Gawthorpe Hall is owned by the National Trust but operated by Lancashire County Council, which is responsible for its upkeep.
Built between 1600 and 1605, the hall reopened in April 2016 after undergoing £500,000 renovation work.
Jane Eyre author Charlotte Bronte stayed at the property in 1850 and 1855.
Los Angeles Times has published a rare interview with writer Elena Ferrante.
Have you been influenced by women writers (possibly French, like Colette, Duras, etc.)? As a girl, I read all kinds of things, in no particular order, and I didn’t pay attention to the names of the authors — whether they were male or female didn’t interest me. I was enthralled by [the characters] Moll Flanders, by the Marquise de Merteuil, by Elizabeth Bennet, by Jane Eyre, by Anna Karenina, and I didn’t care about the sex of the writer. Later, in the late ’70s, I began to be interested in writing by women. If I stick with French writers, I read almost all of Marguerite Duras. But the book of hers that I’ve spent the most time with, studied most closely, is “The Ravishing of Lol V. Stein”; it’s her most complex book, but the one you can learn the most from. (Didier Jacob)
Seeing Dance reviews Northern Ballet's Jane Eyre.
Clever and interesting choreography, combined with Philip Feeney’s wonderful original score and apt selection of insertions are sufficiently distracting from the inescapable fact that the plot is riddled with as many holes as a leaky colander. Although Charlotte Brontë was 31 when she wrote it, it is more like a teenage novel of sentimental romance, its continuing popularity possibly having more to do with her positioning as a female literary pioneer than any inherent credibility in character or storyline.
Whilst there isn’t much that Dreda Blow can do to undercut Jane’s intrinsic vapidity, she suggests enough inner turmoil, expressed through physicality, to make her eminently watchable, not least because she is provided with four shadowing men who embody her inner demons, dancing in canon as if to stress the repetitive nature of mental anguish running around her head.
Marston provides her with simple yet effective gestures: standing on a chair when punished at home and at school, for instance. There is a sense that her body is in a whirl of protest against her situation, limbs flinging wildly and torso almost thrown at other characters.
Alonso-trained Torres could have been born to play Edward Rochester. He utterly embodies the English aristocratic cad right down to the self-pity when he is blinded after the fire. His Rochester has all the stillness that aristocratic arrogance demands. He prevents Jane from leaving the room by languorously extending a leg as if he is too idle to move and too lofty to touch a mere girl, or rather, he controls how and when he chooses to touch her. Of course, it is much more likely that he would have married Blanche Ingram for her money and status (as he had Bertha) and just had his wicked way by consent or otherwise with Jane, who is after all, only a governess and apparently alone in the world. Torres and Blow do of course execute passionate and dramatic pas de deux with the only fault being that they are a little repetitive and do not carry the narrative along.
Victoria Sibson’s Bertha, whilst not conveying the racial dimension of the character, is a marvellous mad woman in the attic. Her ragged red dress suggests that she has been tearing frantically at her clothing and echoes the flames of her pyromania which, without the unlikely intervention of Jane wandering round in her nightie to douse them, eventually consume both house and Bertha.
Marston sensibly makes Bertha more central to the action than Brontë, enabling her to appear and snatch Jane’s bridal veil away. Whilst not exactly The Wild Sargasso Sea, it does at does at least provide an opportunity to consider Bertha’s point of view.
Ailen Ramos Betancourt is a splendid Grace Poole, her mob cap nodding furiously as she struggles to contain Bertha, collude with Rochester and placate Jane.
Patrick Kinmoth’s set and Alastair Wests’s lighting combine to evoke a sense of place rather than an elaborate setting. The ever-present moor underlines the isolation of both place and characters and the two fires are especially well-imaged. The huge back of the chair reminds of the master of the house even when he is not present and Torres positively owns it as the only piece of furniture on the stage.
Philip Feeney has written another glorious score and inserted works contemporary with the novel to contrast period with the mental turmoil of the characters. The clarinet takes the lead almost as the vice of madness, ably played by Joanne Rozario. Northern Ballet Sinfonia gave an excellent account of the score under the baton of John Pryce-Jones. (Charlotte Kasner)
My Jane Eyre Collection looks at several Jane Eyre illustrations.
12:30 am by M. in    No comments
Some recent Brontë-related dissertations:
Down the Garden Path: The Gardens and Natural Landscapes of Anne and Charlotte Brontë
Segura, Laura S.
University of Louisiana at Lafayette, ProQuest Dissertations Publishing, 2017

Victorian culture was constantly engaging with nature and garden imagery. In this thesis, I argue that the literary gardens of Anne and Charlotte Brontë function as a trope that enables an examination of nineteenth-century social concerns; these literary gardens are a natural space that serve as a “middle ground” between the defense of traditional social conventions and the utter disregard of them. In Agnes Grey (1847), Jane Eyre (1847), and The Tenant of Wildfell Hall (1848) the female characters have significant encounters within the gardens and outdoor spaces; Agnes, Jane, and Helen venture into these environments and emerge changed—whether by experiential knowledge or from the temptation of social and moral transgression. In AG, Anne Brontë uses the image of the garden and natural landscapes, in order to explore Agnes’s education within her governessing experience. In JE, the garden functions as a space that appears to offer Jane a reprieve from the Gothic terror of the house, yet it actually extends that influence. The entire estate is a literal boundary point for Jane in her life, but it also represents the metaphorical barrier between Jane and potential social transgression—one that she must navigate because of her romance with Rochester. In Tenant, the house, the garden, and the landscape symbolize Helen’s identity, as the widowed artist Mrs. Graham, an identity that only exists during her time at Wildfell. Helen’s identity as a professional female artist living in a wild landscape accentuates Gilbert’s sexual desire towards her. Anne Brontë critiques Victorian marriage and class expectations through Helen’s final circumvention of social rules. In these novels, the scenes in the gardens and natural landscapes serve as a way for these authors to engage with the complexities of “The Woman Question” through the characterization of the governess and the artist.
Analyzing the Emotional Expressions in Charlotte Brontë’s Jane Eyre
by Eman Nizam Al-Ju’beh
Hebron University, Palestine, 2017

This paper examines and analyzes the emotional expressions in Charlotte Brontë‘s Jane Eyre. The purposes of this study are to examine the common features which influence people‘s behaviors, and to examine the different pragmatic functions of some imperative, declarative, and interrogative sentences in Jane Eyre. Therefore, the study aims to answer the questions: What are the common features that influence people‘s behaviors? What are the pragmatic functions for some declarative, interrogative, and imperative sentences? Thus, this descriptive qualitative study explores the novel to answer these questions. Moreover, the researcher tried to analyze the expressions depending on her reading and analysis of most of the emotional utterances in the novel. Social Psychology is used which is related to CDA. What is shown in this paper is that one‘s personality, wealth, background, social, economic, and politic status impact his/her reactions and utterances. In addition, the researcher used the Speech Act Theory to reveal different pragmatic functions for the same utterance. The researcher found out that a question could be asked not to elicit information but to express gratitude or threat. In the end of the study, the researcher provided pedagogical implications of the novel along with recommendations for researchers and teachers.
Reading Charlotte Bronte Reading
Madhumita Gupta, University of Nebraska, 2018

This essay considers the significance of undirected childhood reading on an author’s mind and the reason some authors reference specific real books in their fiction. I argue that independent reading (as against schooling or formal education), and the direct and indirect references to certain books in Jane Eyre were deliberate, well-thought-out inclusions for specific purposes at different points in the story. When a title pointedly says Jane Eyre: An Autobiography, it is probable that a significant part of the author’s life has seeped into her creation which makes it essential to consider the relevant parts of her life to analyze my claim. To do this, this essay considers the childhood reading in the Brontë family and focuses on some of the Bronte siblings’ favorite readings, which happened to be popular in the Victorian era. It then considers their powerful impact on Charlotte Brontë’s mind. After briefly considering the general attitude towards the reading woman in the era and how the Brontë family was different in that regard, this essay considers the long-lasting impact of Arabian Nights and Thomas Bewick’s The History of British Birds on Jane Eyre. Both books were the Brontë children’s favorite readings and had a significant impact on their writings from the juvenilia to the novels that they wrote as adults. By referring to these books in Jane Eyre Brontë was paying a tribute to the act of reading and to those specific books. While acknowledging that there are always multiple influences on a writer’s mind, I will be considering the impact of Arabian Nights and Bewick’s The History of British Birds as two major influences on Jane Eyre because these issues have not been theorized as much as some other aspects of Brontë’s work. The Eastern link and debt to the Arabian Nights is especially interesting to me as an Indian.

Thursday, May 17, 2018

Thursday, May 17, 2018 10:55 am by Cristina in , , , , ,    No comments
The Independent gives 4 stars out of 5 to Northern Ballet's Jane Eyre as seen at Sadler’s Wells, London.
Northern Ballet, which has always focused on narrative works, has recently taken a bolder and more varied approach to the stories it tells. Marston’s Jane Eyre moves seamlessly from naturalistic gesture into dance and back again. Like its heroine, it has a stubborn sense of identity.
Screen adaptations of Charlotte Brontë’s novel usually focus on the heroine’s romance with Rochester, just as ballet storytelling tends to head straight for the passionate pas de deux. Marston delivers an intense central relationship, but grounds it in the rest of Jane’s story. Characteristically, the final duet ends with Jane stepping forward into the spotlight, her own woman. [...]
As the orphaned Jane, Brooks-Daw lies stiff on the ground, feet flexed and fists clenched, imagining but also rejecting death. She braces herself against the taunts of her cousins, before being swept off to Lowood School by Mlindi Kulashe’s charismatic but oppressive headmaster. As the other pupils sit hunched on their stools, writing in regimented unison, Jane and her friend Helen Burns stand precariously on theirs, both exposed and defiant.
Patrick Kinmouth’s stylised setting frames the action in bleak moorland colours, while a corps of men both change the scenery and surround Jane, a tide she keeps having to fight against. Philip Feeney’s score incorporates music by Fanny and Felix Mendelssohn, alongside Schubert, with darker modern music sweeping over the 19th century melodies at moments of crisis.
Blow’s Jane feels an immediate but conflicted connection with Javier Torres’ charismatic Rochester. Slouched in his armchair, he stretches out a foot to bar her way, imperious but interested. Their duets are full of reversals, a complex power dynamic. One fluid move sees Jane swung up around his shoulders, but ends with Rochester stretched over her thighs.
Even at their cuddliest, in the duet that leads up to the wedding, they’re combative as well as besotted, while Victoria Sibson’s threatening Bertha Mason sidles ever closer.
It’s a vivid performance from the whole company, from the impassioned Blow and Torres to a sharp gallery of supporting roles. (Zoë Anderson)
The Upcoming also gives it 4 stars out of 5.
Jane’s time at Lowood – a charity school for girls – embodies the synchronicity of ballet fittingly, with the dancers slamming their grey slates one by one in rhythmic formation. The chorus of male dancers, aptly named ‘D-Men’, represent Jane’s demons and inner conflicts as they crowd around her. The lead’s clean, swift arabesques and angst-ridden allongé depict her character’s unsettled life with depth and intensity. During these scenes, the older Jane, (Dreda Blow) is behind a screen, still noticeable to the audience.
Kinmonth’s sparse set design and modest costumes reflect Brontë’s novel fittingly, ensuring dancers are seen clearly without scattered props. The protagonist’s friendship with Helen Burns is brief (Kiara Flavin), the closeness poignant, her death as sad as in the novel. With the appearance of Byronic Edward Rochester (Javier Torres), there exists an instant onstage chemistry between him and Jane. His surliness is striking as he stretches out his leg in a pointe, keeping Miss Eyre in his company a little longer. When he arrives after horse riding, an accidental drop of the harness by a member of the chorus is mostly unnoticeable, and quickly corrected, the passing of gear around the chorus cleverly visualised. Blow’s Jane has similar characteristics to Brooks-Daw’s, but her desires intensify with Rochester, unable to keep away from him.
Many of the characters are well cast; alongside the lead couple, the smug Blanche Ingram (Abigail Prudames), the sprightly Adele Varens (Rachael Gillespie) – Jane’s student and Rochester’s ward – and the intimidating performance of Bertha Mason by Victoria Sibson, particularly during the fire scenes, her character given a new sensual representation as she grabs Jane’s wedding veil and entangles it between her legs. St John (Sean Bates) is a tedious character in comparison to the other protagonists, but Carston’s loyalty to the novel doesn’t go amiss, and both parts of the show enthral in their depiction of the heroine’s life.
Feeney’s musical compositions truly lift the piece into more than a dance performance, transcending mediums with Kinmonth’s muted costumes and Carston’s entrancing choreography, the sequences projecting Jane’s story to the forefront, alongside the romantic love story. It is a challenge to translate a beloved 400-page novel into ballet, but the production successfully captures the essence at the core of this classic tale as we see Jane come into her own, stepping away from Rochester in the final scene, facing the audience, strong and determined to find her own path in life. (Selina Begum)
BookRiot is giving away 100 advanced copies of My Plain Jane by Cynthia Hand, Brodi Ashton, and Jodi Meadows (open to U.S. residents only).
A comedic and entirely (but not really) faithful retelling of Jane Eyre!
Jane has endured years of hardship and misery, and is ready to embark on a new life as a governess at Thornfield Hall.
Charlotte is an aspiring novelist. (Yes, she’s that Charlotte.) And she’s determined to capture her friend Jane’s story even if it means worming her way into the most epic ghost hunt this side of Wuthering Heights.
And Alexander, ghost hunter extraordinaire, is about to discover something very disturbing going on at a little place called Thornfield…
Reader, there will be murder. Mayhem. And of course, romance. Prepare for an adventure of Gothic proportions, in which all is not as it seems, and a certain Mr. Rochester is hiding more than skeletons in his closets. (María Cristina García Lynch)
This columnist from The Courier-Tribune can't stand lists of books you should read and has an alternative suggestion:
It would be better to have smaller groupings, with books of a certain type together. For instance, all the Victorian novels thrown together in a selection of about 10? Holmes and Watson, “Dr. Jekyll and Mr. Hyde,” “Dracula” and Dorian Grey all go nicely together in the Whitechapel mists.
Throw the Great White Whale in with a pinch of Twain and “Leaves of Grass” for an American treat. If you wish to spend some time wandering the villas and estates of Georgian England, how about Austen, The Brontë sisters (Charlotte, Ann and Emily) and “Alice in Wonderland”? (Dave Bare)
The Atlantic discusses the class divide and nannies.
The ad is written in flawless, 21st-century business-speak, but what it is really seeking is a governess—that exquisitely contradictory figure in Victorian literature who is both indistinguishable in all outward respects from the upper class and yet emphatically not a member of it. Nanny’s best bet for moving up in the world is probably to follow the example of Jane Eyre and run off with the lord (or lady) of the manor. (Matthew Stewart)
Wine Searcher on wine aficionados playing expert critics.
It's nice to have other peoples' opinions, but if my local book club was doing Wuthering Heights, I'd duct-tape them all up to listen to just 10 minutes of a university professor who'd dedicated his life to the works of the Brontë sisters. (Oliver Styles)
My Jane Eyre Collection examines the information provided by an ex-library copy of the novel.
Finally, the Museum and Heritage Awards took place last night. The Brontë Parsonage Museum shop was nominated under the 'Best Shop turnover less than £500k' and ended up among the Highly Commended. Well done!