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By H. Shachar

Movie and tv variations of vintage literature have held a longstanding attraction for audiences, an attraction that this ebook units out to envision. With a specific specialize in Wuthering Heights , the publication examines diversifications made up of the Nineteen Thirties to the twenty-first century, supplying an knowing of the way they assist form our cultural panorama.

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Extra resources for Cultural Afterlives and Screen Adaptations of Classic Literature: Wuthering Heights and Company

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I asked, struggling, meanwhile, to disengage myself. ‘Catherine Linton’, it replied shiveringly (why did I think of Linton? I had read Earnshaw twenty times for Linton). ’ (Brontë, 1998, p. 20) Catherine’s excessive desire is here materialised as her own form, as a ghost hovering on the outskirts of Wuthering Heights, seeking entrance from the margins. She also names herself as Catherine Linton and Lockwood asks himself why he remembered that particular name. The informed reader, unlike Lockwood, knows that Linton is Catherine’s married name, the name that carries with it overtones of the legitimised realm of marriage.

The union of souls, posited against marriage and the material concerns that Catherine notes are the primary reasons for not being able to marry Heathcliff, is precisely what characterises the discourse of Romantic love. This debt to Romantic notions of love is even more evident when Nelly questions Catherine about the consequent separation from Heathcliff, which she assumes marriage to Edgar would mean. Catherine’s response is that her marriage to Edgar will not separate her from Heathcliff as she tries to explain her feelings for Heathcliff, stating that: I cannot express it; but surely you and every body have a notion that there is, or should be, an existence of yours beyond you.

We cannot be damper, or colder, in the rain than we are here. (Brontë, 1998, p. 17) This passage encapsulates Catherine’s multifaceted position in relation to the discourse of home and sets up the issues which are continually addressed through her. In this passage, Catherine desires escape from the space of the patriarchal home that, under the control of men, has become a prison. While her desire for escape is a sign of her need for freedom, it also represents her desire for a home. Having failed to construct a space of belonging 22 Cultural Afterlives and Screen Adaptations of Classic Literature in the house, Catherine constructs the landscape that surrounds it, ‘the moors’, as a site of refuge from its ‘coldness’.

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