Academic literature on the topic 'Wuthering Heights (Brontë, Emily)'

Emily Brontë retrata la realidad social del siglo XIX y demuestra su conocimiento jurídico en Wuthering Heights (1847). El propósito de este artículo es explicar el principal conflicto social de la novela: Heathcliff se rebela contra la sociedad capitalista y amparándose en el marco de la legalidad vigente logra apropiarse de las propiedades de la novela con el propósito de alcanzar el estatus social del que nunca ha disfrutado. Palabras claves: Trauma, Emily Brontë, Wuthering Heights, legal issues, Heathcliff, conflicto social

Emily Brontë fue una de las pioneras de la época victoriana en la defensa de la lucha de los derechos de la mujer y rompió con las normas del decoro victoriano. A través de sus personajes femeninos Brontë reivindica la independencia de la mujer, en una sociedad patriarcal en la que el marido tenía la custodia de los hijos y la esposa no tenía protección social, legal ni económica.

Figures of speech are imaginative tools in both literature and ordinary communication used for explaining speech beyond its usual usage. Emily Brontë’s Wuthering Heights (1847) – the only novel written by this writer - differs from many other literary works due to its style, its particular use of language and figures of speech. The literary tool and figure of speech we have illustrated in the present paper is the simile. Emily Brontë uses simile as a means both to creatively and purposefully convey her thoughts and ideas to the reader and to impact him/her. The literary analysis shows that the simile is also an excellent device for the author to make an unusual thing seem more familiar or a familiar thing seem more unique. Through simile the reader may imagine vividly the fictive world of Emily Brontë’s Wuthering Heights.

Apresenta-se a tradução inédita em português brasileiro de três poemas da escritora inglesa Emily Brontë (1818-1848). Mundialmente conhecida pelo seu único romance, Wuthering Heights (1847), Brontë deixou cerca de 200 poemas, os quais, entretanto, permaneceram à margem da fortuna crítica da autora, particularmente no Brasil. Considerando-se que a única tradução da poesia de Emily Brontë editada em livro, no Brasil, é a de Lúcio Cardoso — uma seleção de 33 poemas, publicada na década de 1940 pela José Olympio, sob o título de Vento da Noite, hoje editada pela Civilização Brasileira —, com as traduções aqui apresentadas, pretende-se contribuir, conquanto timidamente, para minimizar essa lacuna de mais de 160 poemas nunca vertidos para o português brasileiro.

Résumé Migrations littéraires : Maryse Condé et Emily Brontë — En tant que ré-écriture de Wuthering Heights (1847) d'Emily Brontë, La Migration des coeurs (1995) de Maryse Condé transpose le classique anglais dans un contexte antillais marqué par la violence colonialiste et l'hétérogénéité. Ce procédé de ré-écriture est un procédé de traduction dans le sens large du terme parce que l'improvisation à laquelle se livre Condé maintient un lien métonymique avec l'original tout en fonctionnant de façon indépendante. À son tour, la traduction anglaise du roman de Condé, Windward Heights (1998), suit ces pistes brouillées mais, par manque de stratégies conséquentes de traduction, compromet l'élan créateur de Condé en rapprochant son texte trop près de celui de Brontë. Cette étude montrera que ces mouvements de migration littéraire impliquent que l'écriture s'appuie sur des procédés de traduction et que la ré-écriture maintient une difficile relation métonymique avec l'original en lui rendant hommage tout en le transformant.

Este artigo propõe investigar as diferentes infâncias figuradas nas obras Agnes Grey (1847), de Anne Brontë (1820-1849), Jane Eyre (1847), de Charlotte Brontë e Wuthering Heights (1847), de Emily Brontë (1818-1848). Dado que as irmãs de Haworth viram de perto as opressões trazidas pela Revolução Industrial e, antes disso, as complicações da agricultura capitalista (EAGLETON, 2005a; WILLIAMS, 2011), os entrelaçamentos entre o contexto histórico no qual viveram e a criação ficcional de suas personagens infantis contribui para uma percepção mais refinada das respectivas precariedades (BUTLER, 2019) em jogo. Proponho, assim, que o ato de narrar tais infâncias, marcando-as materialmente quanto às suas distintas precariedades (BUTLER, 2019) expõe um sistema que precisa explorar os vulneráveis para que possa crescer.

Thomas J. Joudrey, “‘Well, we must be for ourselves in the long run’: Selfishness and Sociality in Wuthering Heights” (pp. 165–193) This essay traces a problem that has long dogged criticism of Emily Brontë’s Wuthering Heights (1847): why is a novel concerned with passionate love for others populated by characters who are radically selfish? Brontë, drawing on the Byronic tradition and eschewing contemporary exhortations to self-renunciation, validates selfish desire even at the expense of communal responsibility. In so doing, she is forced to contend with the possibility that selfishness risks disabling sociality and marooning the self in shame, isolation, or solipsism. Brontë shows, however, that selfishness and sociality are symbiotically implicated, in that selfishness acts as a precondition of robust sociality. After a series of failures—represented in Lockwood’s shame-saturated retreat into childish sociality, Heathcliff and Catherine’s self-destroying soul fusion, and Linton Heathcliff’s masturbatory selfishness—Brontë ultimately locates a brokered compromise between selfishness and sociality in the relationship of Cathy and Hareton. By maintaining their respective boundaries of self and yet making them selectively permeable, the two demonstrate that susceptibility to interpersonal exchange proves vital to fostering their autonomy as discrete selves. Wuthering Heights wages battle on two fronts, excoriating the temptation to enclose the self behind impenetrable barriers, but simultaneously denouncing the other extreme that would eradicate all difference through metaphysical soul-fusion. Brontë posits instead that mature selfhood can only be yielded by a posture of openness to external influences, even as the coherence of the self must be fortified against appropriation by those influences.

A radical identification predicated on unlikeness: this is how Leo Bersani understands the singular mode of desiring that Emily Brontë invents in her incomparable novel. With Catherine and Heathcliff, Wuthering Heights offers new “forms of being,” untethered to the world (of society, of romance, of realism). For Bersani, Catherine and Heathcliff exist more on the order of gravitational forces than characters in any conventional novelistic sense. This essay explores Bersani’s provocative treatment of Wuthering Heights with a particular focus on his practice of reading, one that “extracts” distinctive and “devouring” forces of desire and as yet unrealized forms of being from a novel far removed from the dominant modes of narrative realism. Bersani’s reading of Brontë—first published in 1976 and his only excursion into British Romanticism—prompts a thought experiment: to imagine a Bersani limit-place Romanticism, quite unlike any available version, a Romanticism of “unqualified negativity” and “aspiring openness” with an eye and an ear to unknown pleasures.