63 Result(s)
within
British and Irish Literature
Fiction
Gender Studies
Literary History
Chapter
Literature
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Chapter
Mansfield Park: The Condition of England
In Jane Austen and the War of Ideas, Marilyn Butler reads Mansfield Park as an affirmation of Tory politics, yet Butler acknowledges that the novel questions the basic tenants of conservatism: “[Austen] can explo...
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Introduction
This book traces the development of Oscar Wilde’s thoughts and theories about the artistic importance of male same-sex relations and contends that these theories were passed on to Wilfred Owen, who in turn use...
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Shades of Green and Gray: Dual Meanings in Wilde’s Novel
In February of 1892 Wilde asked a number of his friends, including one of the actors, to wear a green carnation to the opening night of Lady Windermere’s Fan. When one of the chosen coterie, Graham Robertson, ask...
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Louisa Stuart Costello’s Life
Costello was born on October 9, 1799, to James Francis Costello, a captain in the 14th Regiment, and Elizabeth Tothridge. There is still some debate about the issue of Costello’s place of birth. Rosemary Mitch...
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Oscar and Sons: The Afterlife of Male Procreation
My previous chapter ended with the image of certain of Wilde’s texts as his misbehaving children: rambunctious little brats who refuse to demonstrate the theories that they are supposed to uphold. In this scen...
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Louisa Stuart Costello and Arthurian Legend
Arthuriana was a consistent and powerful aspect of the medieval revival. With Arthurian chivalric ideals at the heart of the cult of the English gentleman, Arthur became a potent image: the leader who brought p....
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OW/WH/WO: Wilfred Owen as Symbolic Son of Oscar Wilde
To retrace our steps momentarily to Chapter 4, Oscar Wilde had two literal sons. The youngest, Vyvyan, was only nine years old at the time of his father’s criminal conviction. Vyvyan’s autobiography describes ...
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Introduction
Ever since their first publications in the late 1840s, the works of the Brontë sisters (Charlotte, Emily, and Anne) have inspired countless literary adaptations (novels, dramas, short stories), musical works (...
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Rhys’s Haunted Minds: Race, Slavery, the Gothic, and Rewriting Jane Eyre in the Caribbean
A casual reader of Jane Eyre (1847) might see Brontë’s novel as a quintessentially gothic text, taken in by its decaying manor, its vaguely Byronic hero, its dark secrets, its vampiric female villain, and its ref...
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The Melodrama of the Hacienda: Luis Buñuel’s Abismos de pasión as Postcolonial Trans/Plantation
Luis Buñuel’s Mexican film Abismos de pasión is less an “adaptation” of Wuthering Heights than an intercultural reworking of the source material to defamiliarize the original tale’s conflicted melodramatic form. ...
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Michael Berkeley and David Malouf’s Rewriting of Jane Eyre: An Operatic and Literary Palimpsest
English composer Michael Berkeley (born 1948) is the son of Lennox Berkeley (1903–1989), himself a composer of instrumental music and operas including, for instance, A Dinner Engagement (1955) and Ruth (1955–56)....
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No Simple Love: The Literary Fortunes of the Brontë Sisters in Post-Mao, Market-Driven China
The rise of the Brontë sisters’ literary fortune in China began with the public screening of the 1970 TV movie Jane Eyre (dir. Delbert Mann, perf. Susannah York and George C. Scott). The dubbing of the 110-minute...
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On the Migration of Texts: Emily Brontë’s Wuthering Heights, Maryse Condé’s La Migration des coeurs, and Richard Philcox’s Translation of Condé’s Windward Heights
Alice Kaplan reminds twenty-first-century readers of the legal wrangling in French courts over the French translations of the title of Emily Brontë’s Wuthering Heights. As the most familiar of those titles, Les H...
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The Undying Light: Yoshida, Bataille and the Ambivalent Spectrality of Brontë’s Wuthering Heights
Inspired by Yoshishige Yoshida’s claim that his Japanese film version of Wuthering Heights owes as much to Georges Bataille as to Emily Brontë,2 this chapter argues that Arashi-ga-Oka’s3 hybridity still reveals a...
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Conclusion: Elizabeth Barrett Browning and the Reception of Romantic Women’s Hellenism
So wrote Elizabeth Barrett in her prefatory remarks to The Battle of Marathon, the 1,400-line epic she penned at just twelve years old; she was fourteen when her father had it printed in 1820.1 A precocious work,...
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Introduction: From Monumental Fragments to Fragmented Monumentalism
The author of “Sent to a Young Lady” was fed up with modish headwear; that much is obvious. Such weariness was understandable in the 1820s when one simply could not avoid the Grecian vogue that had saturated E...
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Lucy Aikin and the Evolution of Greece “Through Infamy to Fame”
In the spring of 1805, while settled in the quiet borough of Stoke Newington, twenty-three-year-old Lucy Akin was searching for historical perspective. It was a time of national uncertainty: England’s war with...
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Letitia Landon and the Second Thoughts of Romantic Hellenism
Like several of her predecessors and contemporaries, Letitia Elizabeth Landon, writing in the 1820s and 30s, cultivated a lyrical persona on the model of the Ovidian Sappho, through which she fed the public’s ...
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Hellenism and Women’s Print Culture: “The Merit of Brevity”
This advertisement for Socratic childrearing appeared anonymously in the November 1820 installment of the women’s journal, the Court Magazine, or La Belle Assemblée.1 As parenting advice, the invitation to humili...
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Felicia Hemans and the “Exquisite Remains” of Modern Greece
In one of his better-known acts of unacknowledged legislation, Percy Bysshe Shelley decreed that “we are all Greeks.”1 With this proclamation, Shelley encouraged international solidarity with the Greek people’s s...
