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Introduction: picturing Charlotte Brontë – Amber K. Regis and
Deborah Wynne
Part I: Ghostly afterlives: cults, literary tourism and staging
the life
1 The ‘Charlotte’ cult: writing the literary pilgrimage, from
Gaskell to Woolf – Deborah Wynne
2 The path out of Haworth: mobility, migration, and the global in
Charlotte Brontë’s Shirley and the writings of Mary Taylor – Jude
Piesse
3 Brontë countries: nation, gender and place in the literary
landscapes of Haworth and Brussels – Charlotte Mathieson
4 Reading the revenant in Charlotte Brontë’s literary afterlives:
charting the path from the ‘silent country’ to the seance – Amber
Pouliot
5 Charlotte Brontë on stage: 1930s biodrama and the archive/museum
performed – Amber K. Regis
Part II: Textual legacies: influences and adaptations
6 ‘Poetry as I comprehend the word’: Charlotte Brontë’s lyric
afterlife – Anna Barton
7 The legacy of Lucy Snowe: reconfiguring spinsterhood and the
Victorian family in inter-war women’s writing – Emma Liggins
8 Hunger, rebellion and rage: adapting Villette – Benjamin
Poore
9 The ethics of appropriation; or, the ‘mere spectre’ of Jane Eyre:
Emma Tennant’s Thornfield Hall, Jasper Fforde’s The Eyre Affair and
Gail Jones’s Sixty Lights – Alexandra Lewis
10 ‘The insane Creole’: the afterlife of Bertha Mason – Jessica
Cox
11 Jane Eyre’s transmedia lives – Monika Pietrzak-Franger
12 ‘Reader, I [shagged/beat/whipped/f****d/rewrote] him’: the
sexual and financial afterlives of Jane Eyre – Louisa Yates
Appendix: Charlotte Brontë's cultural legacy, 1848–2016 – Kimberley
Braxton
Index
Amber K. Regis is Lecturer in English at the University of
Sheffield
Deborah Wynne is Professor of English at the University of
Chester
‘To remind oneself of just how provisional even the most
"definitive" treatments of Brontë's life and work inevitably turn
out to be, you have only to turn to Charlotte Brontë: legacies and
afterlives, edited by Amber K. Regis and Deborah Wynne. Here you
will find an account of the dizzyingly varied ways in which
scholars and creative practitioners have metabolized Brontë's work
in the decades since her death before returning it to the world,
transformed.’
Kathryn Hughes, TLS January 2018
‘The book begins with a scrupulous and detailed account of actual
and conjectural pictures of Brontë … I cannot think of another
artist whose appearance has received so much attention. What is the
difference between the continuing life of works of art and the
continuing life of an artist? What difference does it make to that
continuing life when the artist is a woman? … Most of the essays in
part 1 focus on the “afterlife” part of this collection, and are
thoughtful, scholarly, and consistently attentive to what it now
means to study a Victorian cult writer in relation to the history
of her reception and to contemporary concerns.’
Janet Gezari, Connecticut College, Victorian Studies, Volume 61,
Number 1, Autumn 2018
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