A Breath of Fresh Eyre: Intertextual and Intermedial by Margarete Rubik, Elke Mettinger-Schartmann

By Margarete Rubik, Elke Mettinger-Schartmann

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Brontë 251) The weakening of female agency is compounded in the Zeffirelli film. ” I cried. “Wait for me! Oh I will come” (Brontë 420). In this dynamic night scene Jane is in a room together with St. John Rivers, who had just proposed to her. When she hears Rochester calling her name, she breaks free from St. John Rivers and runs into the garden, illustrating her will to take her fate into her own hands: “It was my time to assume ascendancy. My powers were in play and in force” (Brontë 420). Having overcome her paralysis, Brontë’s protagonist is well organised, independent and energetic and leaves no doubt that she is resolved to bring about her romance herself.

1938. London: Virago, 2003. Fforde, Jasper. The Eyre Affair. London: Hodder and Stoughton, 2001. Holtby, Winifred. South Riding. 1936. Glasgow: Fontana, 1974. Rhys, Jean. Wide Sargasso Sea. 1966. Harmondsworth: Penguin, 1983. Winterson, Jeanette. Oranges Are Not the Only Fruit. London: Pandora, 1985. Jane Eyre (UK/F/I 1996, D: Franco Zeffirelli, Sc: Hugh Whitemore and Franco Zeffirelli). Secondary Sources Bachleitner, Norbert. ” The Novel in Anglo-German Context: Cultural Cross-Currents and Affinities.

Details of landscape are represented in different, even idiosyncratic, ways by different characters, and most strikingly so when a narrative is focalized around the two different firstperson accounts. Antoinette’s grasp of landscape is almost always immediate and highly personal. Her description of the garden of her family’s estate very early in the novel is freighted with implication. Our garden was large and beautiful as that garden in the Bible – the tree of life grew there. But it had gone wild.

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