By Margarete Rubik, Elke Mettinger-Schartmann
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Extra info for A Breath of Fresh Eyre: Intertextual and Intermedial Reworkings of Jane Eyre. (Internationale Forschungen Zur Vergleichenden Literaturwissenschaft)
But, as Kathy Mezei has suggested, more than writing the other story, Rhys is “writing the other into the story – the other who […] is Creole, colonial, female, mad and dead” (68). I would like to end with Morson’s words on how the recognition of alternative ways of seeing unmasks The Future That Has Happened 47 the fallacy of a one-dimensional reality: “If time is open and final truths are chimerical, then we might benefit from a more dialogic approach to alternative values and perspectives held by people unlike ourselves” (Morson 14).
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.
Film versions in particular can be seen to support the persevering concept of Jane Eyre as the fundamental romance, and the fact that there have been so many of them for so long, provides evidence of the impact the story has had on the British cultural consciousness. The novel has been adapted into more than 30 films, beginning with an Italian silent film of 19092, followed by famous versions such as the one with Joan Fontaine and Orson Welles of 1944, as well as popular versions which focussed on the Gothic elements, such as I Walked with a Zombie, directed by Jacques Tourneur in 1943.
A Breath of Fresh Eyre: Intertextual and Intermedial Reworkings of Jane Eyre. (Internationale Forschungen Zur Vergleichenden Literaturwissenschaft) by Margarete Rubik, Elke Mettinger-Schartmann