Academic literature on the topic '1816-1855 Jane Eyre'

Este trabalho visa analisar e comparar os paratextos da obra Wide Sargasso Sea e da sua tradução brasileira feita por Léa Viveiros de Castro, a fim de refletir como estes corroboram ou não para a elucidação do romance de Charlotte Brontë, bem como o papel desses paratextos no direcionamento da leitura da obra. Wide Sargasso Sea (1966) é um romance da escritora dominicana Jean Rhys (1890-1979), conhecido pela inter e hipertextualidade (GENETTE, 1997) que estabelece com o romance colonial do século XIX, Jane Eyre (1847), da escritora Charlotte Brontë (1816-1855), e por possibilitar discussões em áreas de estudos pós-coloniais e feministas. A tradução brasileira foi publicada em 2012, pela editora Rocco. A análise apresentada neste trabalho se embasa no conceito de paratexto cunhado e desenvolvido por Gérard Genette (2009). Uma obra literária raramente se apresenta de forma isolada, mas circula acompanhada de várias produções, de ordem verbal ou não. Essas produções são chamadas de paratextos e funcionam como dispositivos que orientam o percurso do/a leitor/a na obra, ajudando-o/a na sua decisão interpretativa.

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This dissertation aims to investigate how the Charlotte Brontë s literary project presents in the novel, Jane Eyre (1847), through female authorship, and, as its transposition into Cinema, the movie version by Cary Joji Fukunaga´s Jane Eyre (2011) occurs. The literary project of the author focuses on the issue of gender and its concern was to give voice to the women of her time. The director´s project for this movie comes from melodrama to the triumph of love search. The purpose of analysis is to understand how the interpretation of this source-novel occurs in the 21st century, with the aim of examining how this story is reread, seeking current interpretive understanding of the novel through the film. Thus, this study will demonstrate the importance of the periodization as proposed by Jameson (1992) for the reading of the novel and its transcreation, according to Campos (2004), considering the relationship between economic s, political, social and aesthetic characteristics of each period, as also teaches Candido (1967). The research was developed through the reading the novel, of the theoretical works about the author as well as the director and analysis of filmic narrative.
Esta dissertação tem por objetivo demonstrar como o projeto literário de Charlotte Brontë se apresenta no romance Jane Eyre (1847), por meio da autoria feminina, como ocorre sua transposição para o Cinema, na versão fílmica, de Cary Joji Fukunaga, Jane Eyre (2011). O projeto literário da autora concentra-se na questão de gênero e sua preocupação foi a de dar voz à mulher de seu tempo. O projeto do diretor para esse filme parte do melodrama para o triunfo da busca pelo amor. O intuito de análise é perceber como ocorre a interpretação desse romance-fonte no século XXI, com o objetivo de analisar como essa história é relida, buscando a compreensão interpretativa desse romance-fonte na atualidade pelo olhar fílmico. Neste âmbito, este estudo demonstrará a importância da periodização conforme proposto por Jameson (1992) para a leitura do romance e de sua transcriação, de acordo com Campos (2004), considerando as relações entre as características econômicas, políticas, sociais e estéticas de cada período, conforme também nos ensina Candido (1967). A pesquisa foi desenvolvida por meio da leitura do romance, de obras teóricas sobre a autora e o diretor e análise da narrativa cinematográfica.

Thanks, in part, to critical studies like Sandra Gilbert & Susan Gubar's The Madwoman in the Attic and Patricia Beer's Reader, I Married Him, Jane Eyre by Charlotte Bronte has come to be regarded as the standard feminist text; that is, when someone wants to demonstrate a particular principle of feminist criticism or a traditionally feminine concern, she generally points to Jane Eyre. As critics like Gilbert and Gubar have shown us, Bronte's novel is not merely a Gothic romance; it reveals a feminine consciousness struggling to assert itself within the nineteenth-century patriarchal social and religious structures. Jane Eyre, therefore, would naturally lend itself to a critical study based on the concerns of feminist spirituality, especially the notion of women's communities and reflections of a feminine divinity. I propose a critical study of Jane Eyre, like the one Carol Christ conducted on the works of Kate Chopin, Margaret Atwood, Doris Lessing, Adrienne Rich and Ntozake Shange in Diving Deep and Surfacing: Women Writers on a Spiritual Quest, in which Christ examines spiritual awakening of a female consciousness in the writings of these five authors.Though Jane Eyre, seems at first glance to work within a standard Christian, or patriarchal, religious structure, there are elements of a feminine divinity, even an attempt to re-create (as Mary Daly would say) God so that He perhaps more closely resembles the early, androgynous Hebrew Yaweh: Iahu-Anat, or Ashtoreth (Diane Stein, The Women's Spirituality Book, Llewellyn Publications, 1987, pp. 78). Jane Eyre asks guidance from the Moon, who in turn addresses her as "daughter'; then too, she clearly rejects the Christian Church, as evidenced by her highly symbolic refusal of St. John's proposal of marriage, for instance. However, despite her intuitive recognition of the feminine power and wisdom that is hers to draw upon and her rejection of the institution of patriarchal religion, she does not ultimately, I believe, reject a masculine God, nor does she replace Him with an androgynous God. Yet the aspects of the feminine divinity she discovers and the women's community (the nurturing influence of her cousins Diana and Mary, so named for the archetypal moon and the virgin) in which she finds herself lead lead her to a subconscious acceptance of the feminine divinity within herself.I propose then to trace the development of a feminine divinity in Jane Eyre, which culminates in a rejection of the Church and follows the individuation process of Jane Eyre herself. Completion of this project will requires research into four principal areas:1) Feminist literary criticism on Jane Eyre--in order to familiarize myself with the feminine and feminist significance of such a reflection, and possibly place Jane traditions it falls into and those, like Gilbert & Gubar's, that center on it and also to determine to what extent the notion of a feminine divinity has been recognized in the novel.2) Archetypal psychology and criticism--strictly concerning the process of individuation and manifestations of the Goddess and those figures associated with Her; for example, near the end of the novel Mr. Rochester is compared to Vulcan and I would like to pursue to what extent he can be seen in light of a Hephesties/Demeter syzygy.3) Jane Eyre criticism that discusses the spiritual or religious aspects of the novel--since Jane Eyre has obvious religious implications, spiritual issues have not been ignored by the critics (I am most eager to read Elisabeth Jay's The Religion of the Heart: Anglican Evangelicalism and the Nineteenth Century Novel, for instance); however, my previous research has not unearthed a feminist spirituality critical approach to Jane Eyre.4) Issues of women's spirituality--particularly those concerning communities of women, Goddess worship and ritual behavior, and images and symbols of the Goddess. Such research will allow me to determine to what extent a sense of a feminine divinity is reflected in Jane Eyre, come to a conclusion about the meaning and Eyre into a tradition of women writers on a spiritual Research in community management of the severely mentally ill has been scarce. Two primary components of community care in particular need evaluation,residential arrangements and styles of "case management." The purpose of this study was to evaluate the interaction of two types of residential arrangements (single- and double-occupancy) and two types of case management ("assertive" and "limited") in a 2 X 2 design. Participants were individuals with a severe mental illness served by CMHS, Inc. Individuals were matched on DSM-III-R diagnoses and sex: 8 had roommates and received assertive case management, 5 had roommates and limited case management, 5 lived alone and received assertive case management, and 5 lived alone with limited case management. Data were obtained from three independent sources: (1) each client was interviewed using the Denver Community Mental Health Questionnaire (DCMHQ) and the Inventory of Socially Supportive Behaviors (ISSB) on four separate occasions over three consecutive months; (2) frequency of client contact with family members over the same time interval was tracked by case managers; and (3) concurrent attendance in day treatment sessions, diagnosis, number of previous hospitalizations, and approximate number of months of previous hospitalization were obtained from community mental health center records. DCMHQ scores for acute symptoms and interpersonal conflict were combined into an index called problems, while ISSB scores measured social support received. Monthly followups for. three consecutive months were used to obtain stable estimates of problems and support. Significant positive correlations were found between family involvement and problems, family involvement and residential arrangements, social support and problems, group attendance percentage and age, problems and social support, and a marginal relationship between residence and social support. Statistically significant negative correlations were found between case management and problems, social support and number of previous hospitalizations, group attendance percentage and problems, and residence and age. In multiple regression involving all predictors, the variables other than roommating and case management, (i.e., average family involvement, number of previous hospitalizations, program attendance, and age, considered together) predicted both problems reported and support received, while as second and third steps in the regression analysis case management and residence did not significantly predict problems or social support. In other words, once chronicity (i.e., number of previous hospitalizations), family contact, age, and group attendance were controlled, case management and residence both vanished as predictors. Future studies should consider these factors, and other aspects of the natural context, when evaluating community interventions for the mentally ill in a more controlled experimental design. With respect to developing new research for community adjustment, recommendations for more controlled studies were made and two new community intervention procedures were described.
Department of English

O objetivo desta dissertação é apresentar uma leitura de O Morro dos Ventos Uivantes (1847), de Emily Brontë, e de Jane Eyre (1847), de Charlotte Brontë, com foco nas convenções góticas contidas nas duas obras e observando as maneiras como tais convenções interferem nos movimentos das duas protagonistas, Catherine e Jane, cada uma lutando para se adaptar ao seu espaço e, ao mesmo tempo, para realizar seus anseios. Apesar de as duas obras serem estruturalmente diferentes uma da outra, ambas compartilham uma atmosfera gótica intensa, bem como uma consequente densidade psicológica que influencia a disposição mental das duas protagonistas. A leitura dos dois romances foi conduzida com a finalidade de explorar as relações encontradas entre os aspectos estruturais, sociais e psicológicos envolvidos, ressaltando os elementos góticos que representam os desafios que Catherine e Jane são forçadas a enfrentar. A obra The Coherence of Gothic Conventions (1986), da crítica literária Eve Kosofsky Sedgwick, é utilizada para identificar e contextualizar a capacidade que as imagens góticas têm de traduzir o peso imposto pelas convenções sociais sobre o processo natural de crescimento das duas protagonistas. Considerando que esse peso é consideravelmente ampliado pelas práticas sociais ligadas a questões de gênero, foi explorado o conceito de Gótico Feminino, como apresentado pela Professora Carol Margaret Davison. Especial atenção é reservada para as imagens relacionadas com espaço – o espaço psicológico necessário para o crescimento emocional das protagonistas; e o espaço físico, que determina onde e como elas devem se movimentar. Aqui o suporte teórico é oferecido pelas poéticas dos elementos primitivos, de Gaston Bachelard, para análise do corpo de imagens apresentadas nos dois romances. A conclusão comenta as soluções encontradas por Catherine Earnshaw e Jane Eyre para abrir caminho e superar os obstáculos que se lhes apresentam; e também ressalta o quanto as convenções góticas conseguem revelar sobre a estrutura social que elas representam.
This thesis consists of a reading of Emily Brontë‘s Wuthering Heights (1847) and Charlotte Brontë‘s, Jane Eyre (1847), focusing on the body of Gothic conventions they hold, and the ways in which such conventions interfere with the movements of the two female protagonists, Catherine and Jane, each struggling to fit into their space, while trying to accomplish their desires. Although the two works are structurally different in several ways, they share an intense Gothic atmosphere and its consequent psychological density, which influences the mental frame of the two protagonists. In order to explore the relations among the structural, social and psychological aspects involved, a reading of the novels has been conducted, focusing on the presence of Gothic elements that stand for the challenges Catherine and Jane are bound to face. Literary critic Eve Kosofsky Sedgwick‘s work The Coherence of Gothic Conventions (1986) is used to identify and contextualise the capacity of Gothic imagery to reveal the weight of social conventions upon the natural process of growth of the two protagonists. Inasmuch as the pressure becomes intensified by the rules of gender settlements, the concept of Female Gothic is explored, as presented by Professor Carol Margaret Davison. Particular attention is paid to the imagery related to space – psychological space for the protagonists to grow emotionally, and physical space, as determinant of where and how they must move. Here the theoretical support is offered by Gaston Bachelard‘s poetics of the primitive elements, unveiling the body of images presented in the two novels. The conclusion indicates the solutions found by Catherine Earnshaw and by Jane Eyre to find their way and overcome the obstacles they meet; with comments on how revealing Gothic imagery is of the social conventions it represents.

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Jane Eyre, the most applauded novel by the English writer Charlotte Brontë, has been investigated by the literary critics from the last decades from many different perspectives, due to the complex and unsettling quality of this classic formation novel (bildungsroman). Among the most visible critical tendencies, we can emphasize the feminist reading of this Brontë‟s narrative, which, in the 1970‟s, meaningfully contributed to the insertion of this work in the canon of the western feminine writing. Nevertheless, more recently, some authors have been inclined to study the religiosity of the novel, connecting this issue with other elements of the narrative, without presenting, however, a deeper reflection about the manifestations of sacredness in the novel. We believe that these manifestations are mainly linked to the modern notion of subjectivity, a concept which was improved and exalted by the romantic movement, an influential aesthetic movement, originated and developed during the decades preceding the publication of Brontë‟s novel. Therefore, the present thesis aims at promoting an interpretation of Jane Eyre from the sacred perspective, related to the romantic notion of subjectivity, and also to the concept of drama, which permeates the protagonist‟s formation process. In this process, the opposition social / natural symbolically corresponds to the opposition profane / sacred. Society and nature are the places where the heroine transits, experiencing conflicts and sufferings, which are indispensable for her formation process and for the maturation of her character. We attempt to demonstrate, thus, that although the protagonist‟s formation trajectory marked by dramatic events occurs in the direction of a preparation to the practical, profane and social world, this trajectory does not prescind of a symbolical relation with sacredness, which is mainly expressed through the mystical relation established between the subjectivity and nature. In this way, we hope our research contributes to the interdisciplinary literary studies, generally, and to the critical studies of this important novel by Charlotte Brontë, more specifically.
Jane Eyre, o mais aclamado romance da escritora inglesa Charlotte Brontë, tem sido investigado pela crítica literária das últimas décadas sob as mais diversas perspectivas, devido ao caráter complexo e inquietante desse clássico romance de formação (bildungsroman). Dentre as tendências críticas mais visíveis, destaca-se a leitura feminista dessa narrativa de Brontë, que, na década de 1970, contribuiu, significativamente, para a inserção dessa obra no cânone da escrita feminina ocidental. No entanto, mais recentemente, alguns autores têm se voltado para a temática da religiosidade do romance, relacionando essa questão a outros elementos da narrativa, sem apresentar, contudo, uma reflexão mais profunda acerca das manifestações do sagrado no romance. Acreditamos que essas manifestações estão vinculadas, principalmente, à noção moderna de subjetividade, conceito aprimorado e exaltado pelo Romantismo, influente movimento estético, originado e desenvolvido nas décadas anteriores à publicação do romance de Brontë. Assim, a presente tese tenciona promover uma interpretação de Jane Eyre pelo viés da sacralidade, atrelada à noção romântica de subjetividade, e também ao conceito de dramaticidade, o qual permeia o processo de formação da protagonista. Neste, a oposição social / natural corresponde, simbolicamente, à oposição profano / sagrado, sendo a sociedade e a natureza os domínios por onde a heroína transita, vivenciando conflitos e sofrimentos, imprescindíveis para a sua experiência formativa e para a maturação de seu caráter. Procuramos demonstrar, assim, que, apesar de a trajetória formativa da protagonista, pontuada por eventos dramáticos, ocorrer no sentido da preparação para o mundo prático, profano e social, esse percurso não prescinde da relação simbólica com a sacralidade, que se manifesta, principalmente, por meio da relação mística estabelecida entre a subjetividade e a natureza. Desse modo, esperamos que a nossa pesquisa contribua para os estudos literários interdisciplinares, de modo geral, e para o arcabouço crítico desse importante romance de Charlotte Brontë, mais especificamente.

O presente trabalho explora a interdisciplinaridade ao analisar as heroínas de Jane Eyre de Charlotte Brontë e Pride and Prejudice de Jane Austen, bem como suas respectivas recriações em adaptações para o cinema e para a televisão. Evidenciando as retomadas dos romances para as mídias cinematográfica e televisiva, a pesquisa perpassou o olhar por filmes e seriados de 1934 a 2011, porém o estudo faz um recorte e analisa dois filmes e duas minisséries, entre outras, que recriam as personagens principais, tendo em vista a proximidade temporal das produções e o gosto pessoal da investigadora desta pesquisa. As protagonistas Jane Eyre e Elizabeth Bennet constituem-se em figuras femininas e literárias marcantes que continuam a viver no imaginário tanto do público leitor quanto do espectador, bem como são fontes de estudos da academia e de fruição em geral, reunindo interessados e admiradores sem restrições. Desta forma, o foco repousa nos romances, na minissérie Jane Eyre, de 2006, da diretora Susanna White; no filme homônimo, de 2011, do diretor Cary Fukunaga; na minissérie Pride and Prejudice, de 1995, de Simon Lang; e no filme de 2005, sob a direção de Joe Wright. Esta investigação lança um olhar, em um primeiro momento, ao interesse dirigido à busca dos textos das autoras como material para adaptações, focando as protagonistas como o cerne de tais retomadas. Além disso, neste trabalho investigativo, se realiza uma leitura crítica particular dos romances, dos filmes e dos seriados. Não se buscam tanto os pontos de contato e de afastamento entre as heroínas e suas respectivas recriações ou entre as mídias envolvidas quanto se procuram os elementos denotadores dos efeitos na leitora e na espectadora personificadas na autora da pesquisa em relação às construções das personagens principais, bem como no que concerne às suas recriações em imagens na cultura ocidental do século XX e XXI. Na tentativa de iluminar com maior profundidade a permanência das heroínas por meio das narrativas tanto literárias quanto fílmicas e televisivas ao longo do tempo, o presente exame se debruça sobre a relação entre leitor e romance, bem como entre espectador, filme e seriado. A abordagem focaliza, desta forma, na esteira do pensamento de Iser, que se baseou nos postulados de Ingarden; a questão dos espaços vazios. A projeção do preenchimento dos vazios do texto dialoga, diretamente, com a mídia fílmica, visto que o espectador, entendido como ser ativo, necessita, também, contrabalançar possíveis lacunas. Num segundo momento, o estudo se dirige propriamente à caracterização e à apreensão do que compõe Jane Eyre e Elizabeth Bennet, tanto as personagens dos romances quanto as recriações nos filmes e nas minisséries componentes do corpus desta pesquisa. Ao almejar a compreensão das nuances que formam as personalidades das heroínas, o que é determinante em suas ações, a análise contempla elementos que representam papéis marcantes para se conhecer as particularidades componentes das protagonistas. Em terceiro lugar, o enfoque passa a ser o contexto, em suas variadas acepções, tais como social, comportamental e, mesmo, geográfico, a serviço do entendimento de quem são essas heroínas, tendo em vista que o espaço que as envolve é crucial na revelação do que as torna ímpares. Contando com excertos e fragmentos retirados das seis narrativas, examina-se as facetas de comportamento que as autoras imprimem em seus textos para se possam distinguir os recursos que os diretores utilizam, juntamente com suas equipes, nas recriações, na cultura ocidental, das protagonistas dentro de cenários que as marcam em cada uma das narrativas. Assim, busca-se a essência do que as tornam referenciais para leitores e espectadores.
The present study explores interdisciplinarity by analyzing the heroines of Jane Eyre by Charlotte Brontë and Pride and Prejudice by Jane Austen, as well as their respective recreations in cinema and television adaptations. Evincing the transit of novels to cinema and television media, the study looked at films and series from 1934 to 2011, focusing, however, on two films and two miniseries, among others, that recreate the main characters, in view of the temporal proximity of the productions and the personal taste of the researcher of this study. The protagonists Jane Eyre and Elizabeth Bennet are remarkable literary female figures who continue to live in the minds of both the reader and the spectator, and are sources for academic studies and general enjoyment. Thus, the focus lies on the novels; on the 2006 miniseries Jane Eyre, directed by Susanna White; on the 2011 film with the same title, directed by Cary Fukunaga; on the 1995 miniseries Pride and Prejudice, by Simon Lang; and on the 2005 film, directed by Joe Wright. Firstly, this study focuses on the interest for the works of the authors as materials for adaptations, focusing on the protagonists as the center of such adaptations. Furthermore, a particular critical reading of the novels, the films and the series is carried out, seeking not so much the contact and distance points between the heroines and their respective recreations, or between the media involved, but seeking the elements that show the effects on the reader and spectator, personified here in the author of this research, concerning the constructions of the main characters, as well as with regard to their recreations in images to the western culture of the twentieth and twenty-first centuries. In an attempt to shed light on the permanence of the heroines through both literary and filmic narratives over time, the research looks at the relationship between reader and novel, as well as between spectator and film and series. The approach focuses, therefore, in the light of Iser’s thought, which was based on the postulates of Ingarden, on the issue of blank spaces. The projection of filling in the empty spaces of the text are directly convergent to reading/interpreting filmic media, since the viewer, seen as an active being, also needs to counterbalance possible gaps. Secondly, the study addresses the characterization and the understanding of what comprises Jane Eyre and Elizabeth Bennet in the novels and in the films and miniseries adaptations which are part of the corpus of this research. By trying to understand the nuances that form and individualize the personalities of the heroines, which is decisive in their actions, the analysis includes elements that represent roles that are significant to know the particularities of the protagonists. Thirdly, the focus shifts to the context in its many traits, such as social, behavioral, and even geographical, in order to understand who these heroines are, considering that the space that surrounds them is crucial in the revelation of what makes them unique. Relying on excerpts and fragments taken from the six narratives, the facets of behavior that the authors impress in their texts are examined to distinguish the resources that the directors and their teams use in the recreations, for the contemporary western culture, of the protagonists in the scenarios that mark them in each of the narratives. Thus, the aim is the search for the essence of what makes them an updated reference for readers and spectators.

Un tour d'horizon de l'étendue de la diffusion de Jane Eyre et de Wuthering Heights et de la qualité de leur réception à l'échelle mondiale de 1847 à 1969, une approche de l'imagination et de la sensibilité de leurs auteurs dans le cadre de l'évolution du roman féminin et de la société au début de l'ère victorienne ont été nécessaires pour mieux comprendre leur présence à Madagascar et les éventuelles réactions de leurs lectrices dans cette partie du monde. Il est alors apparu que ceci est fonction des thèmes qui y sont développés. Touchant la femme, ses aspirations amoureuses, ses fonctions, son comportement au sein de la société victorienne, ces thèmes ont été regroupés sous trois rubriques : représentations de la femme, romantisme, idéologies victoriennes. Avant d'analyser leur impact, nous avons étudié les moyens de leur pénétration et le contexte de leur réception en Imerina, mettant en relief les résultats d'une enquête auprès de leur public, l'importance des structures de diffusion, celles de l'enseignement et de la langue française, outil de leur propagation. Cette réceptivité repose sur trois facteurs : - la communauté des évidences : Charlotte et Emily Brontë sont des femmes évoquant des problèmes spécifiquement féminins la communauté de culture liée, d'une part, à des analogies culturelles entre l’Angleterre et l’Imerina et d'autre part, à la venue au 19eme siècle de missionnaires protestants britanniques à Madagascar qui a laissé un impact profond sur les mentalités, entrainant une adhésion aux valeurs victoriennes, véhiculées
For more than a century (1847-1969), Jane Eyre and Wuthering heights had been the objects of a world-wide attention as the impressive number of translations, editions, adaptations and critical works concerning those attests. This had led us to examine their most striking features within the context of the feminine novel in England. It then becomes obvious that such a popularity was due to their authors ‘views on women and their social functions, on romanticism (with an emphasis on love) and on Victorianism in so far as the two novels are representative of the trends and ideas of the Victorian era (conservatism, evangelism, sentimentalism, didacticism, prudery). A scrutiny of the way they were introduced in Imerina together with a general portrait of their Malagasy women readers in the 60 help to a better understanding of their impact. These reveal the importance of commercial exchange, literacy, education, translation and that of French language. Our conclusion is that three elements account for their popularity: - first, a community of interests their main subject being the eternal dilemma of women torn apart between their aspirations to more freedom and consideration and their feminine conditions - second, a community of culture: the presence of British protestant missionaries in Imerina in the nineteenth century has left an enduring influence on the minds causing a spontaneous identify

Esta tesis doctoral explora las traducciones de literatura en lengua inglesa producidas en el franquismo todavía comercializándose en la actualidad y analiza el impacto que ejercen en el lector contemporáneo. En particular se ha examinado la versión de Jane Eyre llevada a cabo por Juan G. de Luaces publicada por la editorial Iberia en 1943 y que Espasa Calpe ha sacado al mercado en 2011 en la colección “Austral”. A excepción de exiguas modificaciones estilísticas, las supresiones y los cambios retóricos de la versión de Luaces se mantienen en esta reciente edición, prolongando criterios traductológicos generalizados en la España de posguerra. El análisis comparativo entre la novela de Charlotte Brontë y la traducción ha revelado abundantes supresiones y modificaciones de aspectos relacionados con los roles de género, modelos familiares, religión e intertextualidad. Por otra parte, se han producido alteraciones de aspectos retóricos como el cambio del tiempo verbal, el modo narrativo, los apóstrofes al lector y el heterolingüismo. El análisis ha sido complementado mediante la utilización de una metodología teórica interdisciplinar que aglutina el enfoque cultural y la sociología crítica bourdieusiana en los estudios de traducción junto al examen paratextual y el análisis de la censura. Por una parte, la aproximación a la traducción como una práctica sociocultural ha resultado operativa para ofrecer una investigación más exhaustiva del producto final y también de las posibles causas de las modificaciones llevadas a cabo en la traslación. Por consiguiente, se ha estudiado el contexto histórico en el que influyen condicionantes específicos (poder, ideología, manipulación, intereses nacionales o religión) así como el entramado social en el que funcionan los agentes involucrados en el proceso de traducción (motivaciones personales y profesionales o posición en la estructura jerárquica del “campo”, entre otros). En segundo lugar, el examen de la censura presente en ambos contextos, institucional en el primero y económica en el segundo, junto con otros tipos de “manipulación”, ha servido para proporcionar una dimensión adicional a la interpretación sociocultural. El análisis paratextual se suma a estas perspectivas, ofreciendo información tanto sobre el objeto final y su presentación al público lector como sobre los discursos que circulan a su alrededor, que influirán en su recepción. La exploración de estos elementos ha demostrado la anacronía de esta versión sexagenaria y la distorsión de la obra más reconocida de la autora británica, distinguida con un notable grado de capital simbólico desde mediados del siglo XIX. En línea con el planteamiento bourdieusiano se ha inferido que en la comercialización de Jane Eyre de 2011 el principio heterónomo ha prevalecido a la adecuación del contenido en el contexto actual.
The ongoing production of translations produced during the Franco regime begs the question of what the contemporary reader makes of a text generated over seventy years earlier. The thesis centres on the 1943 translation into Spanish of Charlotte Brontë’s renowned Jane Eyre, the labour of Juan G. de Luaces, who had established a name for himself as a journalist, poet and writer of prose fiction in 1920s and 30s Spain. Following the Civil War, Luaces became the country’s most prolific translator of literary texts from English into Spanish. An analysis has been set up to compare the 1943 translation and 2011 version, which reveals how gender issues, family models, religion, together with other ideological or rhetorical features were modified or suppressed in order to adjust to the regime’s dictates. Both cultural and sociological theories applied to translation have been drawn upon whilst a paratextual assessment together with an examination of the impact of censorship, generated by both self and state, have created an interdisciplinary approach which substantiates the comparative analysis and ultimately accounts for the manipulations in the 1943 version, echoed in the 2011 publication.

Cette thèse analyse les notions dialectiques incarnées dans Jane Eyre et dans Wuthering Heights afin d’éclairer les phénomènes dialectiques littéraires, sociopolitiques, et/ou subjectifs présents dans les deux romans. Le mot “dialectique,” approprié dans cette recherche, porte au moins trois connotations: étymologique, marxiste et kristévane. D’abord, la perspective dialectique est appelée à analyser les formes littéraires rivales, le romantisme rémanent et le victorianisme dominant, qui convergent vers la grande ligne de démarcation poétique dans les deux romans. Puis, en faisant référence au concept de l’interpellation et à la notion des “Deux Nations” qui caractérise la société victorienne, cette thèse s’engage dans une interprétation dialectique sur l’interaction entre le sujet et l’idéologie dominante afin d’explorer comment les idéologies du « getting on » et du « self-help » à l’ère victorienne influencent les vies de la famille Brontë, comment les deux romancières reflètent ces valeurs sociopolitiques dominantes dans leurs créations de Jane Eyre et de Heathcliff, et comment les sœurs Brontë dépeignent la lutte et le pèlerinage à travers lesquels le héros et l’héroïne transcendent le fossé social qui reste posé entre les deux nations. Finalement, fondée sur l’héréthique de Julia Kristeva, cette thèse enquête sur l’identification Heathcliff-Catherine en l’interprétant comme une autre éthique de subjectivité. Globalement, la thèse met en lumière trois niveaux remarquables de significations dialectiques des palimpsestes brontëens en dévoilant la profondeur de leur art
This doctoral thesis analyzes the dialectic notions incarnated in Jane Eyre and Wuthering Heights so as to shed light on the literary, sociopolitical, and/or subjective dialectic phenomena epitomized in the two novels. The word “dialectic,” appropriated in this research, carries at least three connotations: etymological, Marxist and Kristevan. At first, the dialectic perspective is drawn on to analyze the rival literary forms, the residual Romanticism and the dominant Victorianism, that converge at the great divide of poetics in the two novels in a similar yet subtly different manner. Then, referring to the concept of interpellation and the notion of the “Two Nations” that so well characterizes the Victorian society, the thesis engages in a dialectic interpretation of the interaction between the subject and the dominant ideology of his/her time with an aim to explore how the “getting on” and “self-help” ideologies of the Victorian age influence the lives of the Brontë family, how Charlotte and Emily Brontë reflect the dominant sociopolitical values in the creation of Jane Eyre and Heathcliff, and how the Brontë sisters depict the struggle and pilgrimage through which their hero and heroine transcend the social chasm that lies between the Two Nations. At last, based on the herethics of Julia Kristeva, this dissertation probes into the Heathcliff-Catherine identification and interprets it as an otherwise ethics of subjectivity. Altogether, the thesis scrapes three significant layers of the Brontëan palimpsests of dialectic significations and lays bare the profundity of their art

This thesis is a study of the presentation of the orphan child in eighteenth and early nineteenth century English literature, and focuses on William Blake's Songs of Innocence and Experience, Charlotte Bronte's Jane Eyre, and Emily Bronte's Wuthering Heights. It is concerned with assessing the extent to which the orphan children in each of the works are liberated from familial and social constraints and structures and to what end. Chapter One examines the major thematic concern of the extent to which the motif of the orphan child represents a wronged innocent, and whether this symbol can also, or alternatively, be presented as a revolutionary force that challenges society's status quo in Blake's Songs of Innocence and Experience. Chapter Two considers the significance of the child "lost" and "found", which forms the explicit subject of six of Blake's Songs of Innocence and Experience and explores the treatment of these conditions, and their differences and consequences for the children concerned. Chapter Three focuses on Charlotte Bronte's depiction of the orphan in Jane Eyre, which presents two models of the orphan child: the protagonist Jane, and Helen Burns. The chapter examines these two models and their responses to orphan-hood in a hostile world where orphans are mistreated by family and society alike. Chapter Four determines whether the orphan constitutes a subversive threat to the family in Emily Bronte's Wuthering Heights and also explores the notion that, although orphan-hood often entails liberation from adult guardians, it also comprises vulnerability and exposure. The thesis concludes by considering the extent to which orphan-hood can involve a form of liberation from the confines of social structures, and what this liberation constitutes for each of the three authors.