tag:blogger.com,1999:blog-43525811497365764242024-02-07T18:06:04.067+00:00Re-Visioning the Brontës ConferenceReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.comBlogger18125tag:blogger.com,1999:blog-4352581149736576424.post-87052816161250139332013-02-02T13:36:00.001+00:002013-02-02T13:36:43.595+00:00Conference Photos!Thanks again to our speakers and to everyone that helped to make the conference possible. A special mention must go to our three volunteers on the day, Sarah, Rosa (our photographer) and Sarah.<br />
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-32664424751650270792013-01-23T17:35:00.001+00:002013-01-23T17:35:35.277+00:00Preview: Brontë Manuscripts<div dir="ltr" style="text-align: left;" trbidi="on">
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As part of the Re-Visioning the Brontës conference, Sarah Prescott of the Leeds University Special Collections will be presenting on the role of the Brontë Manuscripts in constructing and deconstructing the Brontës' mythologies. In anticipation of her paper, we have been given exclusive access to this short letter from Branwell Brontë to a friend, where he jokingly describes 'the best epitaph ever written'.</div>
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<i><i>Dear Sir,</i></i></div>
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<i><i>I only enclose the accompanying fragment, which is so soiled I would have transcribed it if I had the heart to exert myself, in order to get from you as to whether, when finished, it would be worth sending to some respectable period-ical like Blackwood's Magazine.</i></i></div>
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<i><i>I trust you got safely home from rough Haworth and am,</i></i></div>
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<i>Dear Sir, </i></div>
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<i>Yours most sincerely, </i></div>
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<i>P.B.Brontë</i></div>
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[P.S.] <i>The best epitaph ever written - it is carved on a rude cross in Spain over a murdered traveller, and simply means "Poor Fellow!"</i></div>
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-29393617175370080122013-01-17T17:20:00.002+00:002013-01-18T10:31:02.454+00:00 The Past is a Brontë Country?<div dir="ltr" style="text-align: left;" trbidi="on">
How the past is conserved and interpreted in the modern day is exceedingly important to how we understand it in the present. In modern Britain, literary legacies are held in high esteem by many and are known around the world. The mythologies that have emerged around writers such as Dickens, Blake, and of course the Brontës, continue to influence regional and national identities, as well as contemporary tourism.<br />
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'Brontë Country' is an recently rebranded area of North Yorkshire including towns, moors, landmarks, and the famous family home now known as the <a href="http://www.bronte.org.uk/">Brontë Parsonage Museum</a>. Unsurprisingly, the majority of tourism in the area focuses on its role as setting and influence for stories such as Wuthering Heights, The Tenant of Wildfell Hall, and Jane Eyre. Through themed walks, the local tourist board invites Brontë fans to retrace the imagined wanderings of the famous family. Regular special events celebrate the region through its notable past inhabitants.<br />
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Although these ancient landscapes have histories far beyond the Victorian era, framing their relevance through instantly recognisable stories provides the area with a 'unique selling point' that people can associate with. It also allows an intriguing unification of fact with fiction, and art with nature, that many find appealing and worthy of contemplation. Drawing in these audiences certainly helps local economies and safeguards the Brontës' place in history, but it also raises questions about the implications of the 'heritage industry' and its strategies.<br />
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Tourism is a hugely influential in the 're-visioning' of the past today. The need to find a delicate balance between entertainment and education is a central concern of many modern tourist destinations. Acting as the 'headquarters' of Brontë Country, the Brontë Parsonage Museum plays a key role in both the creation and maintenance of the region's cultural heritage. They face the unique challenge of conserving the past whilst making it accessible and understandable to present day audiences. Although, as with any museum, this can cause conflicts when considering what stories are remembered and what stories are forgotten, the Parsonage also offer the potential for creative 're-tellings' that provide much more than just a history lesson for their audiences.<br />
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<a href="http://www.bronte.org.uk/index.php?option=com_content&task=view&id=154&Itemid=206"><img border="0" height="320" src="http://bront-45657-001.dsvr.co.uk/images/stories/sublackwell_resize.jpg" width="213" /></a></div>
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By understanding 'legacy' as an ongoing process, museums, collections and archives play an central role in furthering research, reflections and finding new audiences in the twenty-first century. At the Brontë Parsonage Museum, a <a href="http://www.bronte.org.uk/index.php?option=com_content&task=view&id=154&Itemid=206">Contemporary Arts Programme</a> builds upon the Brontë story through collaborations and commissions, whilst supporting the region's contemporary creatives. Through strategies such as this, the identity of 'Brontë Country' can be expanded to incorporate peripheral histories and new experiences. Importantly, however, the Brontë family remain centre stage.<br />
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Acting in association with the Brontë Parsonage Museum, 'Re-visioning the Brontës' will continue the important task of understanding not only the Brontë family's place in the past, but also the implications of their place in the present. The updated conference schedule can be found <a href="http://revisioningthebrontes.blogspot.co.uk/2013/01/final-conference-timetable.html">here</a>.<br />
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-17575670044990404902013-01-16T19:31:00.003+00:002013-01-24T11:23:27.160+00:00Final Conference Timetable<div dir="ltr" style="text-align: left;" trbidi="on">
Please note the amended times:<br />
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<b>29 January 2013 - Re-visioning the Brontës Conference Programme</b><br />
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9:30-10:00 - <em>Registration, coffee </em>(Stanley & Audrey Burton Gallery, University of Leeds)<br />
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9:50-10:00 -<b> 'Air on Brontë Moor' </b>(Wilson & Warner)<br />
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10:00-10:10 - <b>Welcome and Introduction</b>, Nick Cass, Conference Organiser, School of Fine Art, History of Art and Cultural Studies<br />
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10:10-10:25 - <b>'Keynote' Welcome</b>, Jane Sellars, Curator of Art, Mercer Art Gallery, Harrogate<br />
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10:25-10:50 - <b>'Southern Flight: Brontëan Migrations in Kate Chopin’s At Fault'</b>, Dr Carl Plasa, Cardiff University<br />
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10:50-11:15 - <b>'Righting the Life of the Mind: The Significance of Psychological Discourse in the Brontës' Interwar Afterlives'</b>, Amber Pouliot, University of Leeds<br />
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11:15-11:35 - <b>'The Brontës, Materiality, and Resonance: Three Ways of Looking'</b>, Aislinn Hunter, University of Edinburgh<br />
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11:35-11.50 - <b>Introduction to the Brontë manuscripts in Special Collections (University of Leeds)</b>, Sarah Prescott, Literary Archivist<br />
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11:50-12:10 - <b>Discussion</b><br />
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12:10-12:15 - <b>'Air on Brontë Moor'</b> (Wilson & Warner)<br />
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12:15-13:15 - <i>Lunch break</i><br />
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13:15-13:20 - <b>'Air on Brontë Moor'</b> (Wilson & Warner)<br />
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13:20-13:45 - <b>'"…like a new picture introduced to the gallery of memory": Re-Visioning Jane Eyre through Paula Rego'</b>, Dr Sarah Wootton, Durham University<br />
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13:45-14:10 - <b>'Charlotte's Dress'</b>, Lisa Sheppy, Contemporary Artist<br />
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14:10-14:45 - <b>Dr Richard Brown (University of Leeds) in conversation with Professor Blake Morrison (Goldsmiths, University of London) on Morrison's play We Are Three Sisters</b><br />
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14:45-15:05 - <i>Coffee</i><br />
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15:05-15:30 - <b>'Listening Out: the Soundtracks and Film Scores of Wuthering Heights'</b>, Dr Jenny Bavidge, University of Cambridge<br />
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15:30-15:55 - <b>'Wuthering Heights in Japan: the film Arashi ga Oka (1988, dir. Yoshishige Yoshida)'</b>, María Seijo-Richart, University of A Coruña<br />
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15:55-16:40 - <b>Roundtable discussion</b> chaired by Adam Strickson (Teaching Fellow in Creative Writing, University of Leeds), Sarah Fermi (Writer and Trustee, Brontë Society), Simon Warner (Artist and Photographer) and Jenna Holmes (Arts Officer, Brontë Parsonage Museum)<br />
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16:40-16:50 - <b>Discussion</b><br />
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16:50-17:00 - <b>Closing Remarks</b>, Ann Sumner (Director, Brontë Society)<br />
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17:00-17:30 - Visit to the exhibitions 'Visions of Angria' and ‘Wildness Between Lines’, followed by a wine reception at Leeds College of Art.</div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-91891570632645344992013-01-14T15:34:00.002+00:002013-01-14T15:35:26.912+00:00Rogue by Name, Rogue by Nature?<div dir="ltr" style="text-align: left;" trbidi="on">
“In all my past life, I have done nothing either great or good.” These were among the final words spoken by Branwell Brontë as he lay on his death bed, his body ravaged by chronic bronchitis, drink and opium, at the tragically young age of thirty one. His brutal reflection contains an element of truth. Branwell failed as a portrait painter; was dismissed from his work as a railway clerk for missing a discrepancy in finances; fired from his job as a tutor for falling in love with the employer’s wife and was forced to return to the family home in his late twenties a penniless, broken addict. However, as The Stanley & Audrey Burton Gallery’s ‘Visions of Angria’ exhibition illustrates, Branwell’s juvenilia is proof that he achieved something quite remarkable in his short life.<br />
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Born on 26 June 1817, Patrick Branwell Brontë was the fourth child and only son of Maria Branwell and Patrick Brontë. Following the death of his two sisters at the Clergy Daughters’ School in Cowan Bridge, Branwell was tutored at home by his Aunt Branwell and his father, a Cambridge graduate. It was a combination of this education with a heavy bias towards the classics, the Tory politics chronicled in <em>Blackwood’s Magazine</em> and a gift of a box of toy soldiers on 5 June 1826 that inspired Branwell, along with his sisters, Charlotte, Emily and Anne to create and write about their own imaginary world.<br />
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Each sibling selected a toy soldier and named him after someone featured in Blackwood’s Magazine. Branwell’s was initially called Bonaparte or Bony but this character was later reincarnated as Sneaky, then Rogue, then Lord Elrington, then finally his alter ego, Alexander Percy or Northangerland. The Brontë children invented a background story for their soldiers, ‘History of the Young Men’, which Branwell wrote down, and they used the west coast of Africa for the setting of their various fictitious cities and states.Critics believe the ruthless Alexander Percy was based on Milton’s Lucifer, Lord Byron’s Conrad and Walter Scott’s Richard Varney and claim that ‘The Life of Alexander Percy’, Branwell’s ongoing biography of this charismatic character, is Branwell’s best work. Branwell was also proud of his creation as he used the pseudonym ‘Northangerland’ when he was the first Brontë to have a poem published in the <em>Halifax Guardian</em> in 1841.<br />
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Yet, while there are some similarities between the personality of his fictional anti-hero and Branwell’s own passionate, increasingly melancholic and atheistic nature, the latter was not as roguish as Percy. Indeed, it could be argued that Branwell’s greatest crime was that he did not fulfil his early potential.<br />
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By Sarah Butler (Stanley & Audrey Burton Gallery)</div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-67065815698705258492012-12-15T11:43:00.000+00:002012-12-15T11:43:00.907+00:00Three is the Magic Number<div class="MsoPlainText" style="margin: 0cm 0cm 0pt;">
<span style="font-family: inherit;">Saturday 5 November 2011 was a particularly memorable Bonfire Night for me, not because the neighbours had a firework display of Disney-like proportions (instead of the usual damp squib of a selection from ASDA) but because I trundled off to the delightful Lawrence Batley theatre in Huddersfield to see Blake Morrison’s play ‘We Are Three Sisters.’ <o:p></o:p></span></div>
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<span style="font-family: inherit;">I am a fan of both Chekhov and the Brontës so I was intrigued to discover how Morrison had used the Russian playwright’s ‘Three Sisters’ as a template for his own interpretation of the ‘Brontë Myth’. Indeed, there are many parallels between Chekhov’s masterpiece and the Brontës’ upbringing. Chekhov’s play revolves around three sisters living in a remote, rural town who yearn for change. In ‘We Are Three Sisters,’ Charlotte, Emily and Anne spend their days in Haworth, longing to travel to London. Like Masha, Olga and Irina, the Brontë sisters also have a roguish brother with addiction problems and a tendency to fall for unsuitable women. Both families have a loyal old maid and are visited by various local figures eager to woo the women. <o:p></o:p></span></div>
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<span style="font-family: inherit;">However, as the renowned Brontë biographer, Juliet Barker, wrote in her blog, the play is “far more Brontë than Chekhov.”<span style="mso-spacerun: yes;"> </span>Although there were some clever references to Chekhov’s script, for example, the Brontës cry “London! London! London!” instead of the Prosorovs’ triadic structure; “Moscow! Moscow! Moscow!”, most of the dialogue was a subtle fusion of the Brontës own words taken from their letters, diaries, poems and novels delivered in earthy Yorkshire accents. Neither did Morrison shatter the traditional perception of the Brontës’ personalities. Charlotte was portrayed as strong and ambitious, Emily was passionate and ethereal, Anne was gentle but socially aware and Branwell was the much-loved, talented yet tormented brother.<span style="mso-spacerun: yes;"> </span>All four of the actors put in solid, if a little earnest, performances. Duggie Brown was a wonderfully laconic Patrick Brontë and comic relief was provided in the doughty form of ‘Tabby.’ <o:p></o:p></span></div>
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<span style="font-family: inherit;">Jessica Worrall’s set design was also deeply evocative and in many ways, was enhanced by the intimate setting of the Lawrence Batley Theatre.<span style="mso-spacerun: yes;"> </span>The dimly lit stage filled with heavy furniture induced a sense of cosiness verging on claustrophobia.<span style="mso-spacerun: yes;"> </span>To convey how doom, death and wild nature were constant presences in the family’s life, gravestones framed the stage and the soundtrack comprised the unrelenting howling of the wind and Emily’s hacking cough. <o:p></o:p></span></div>
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<span style="font-family: inherit;">All in all, ‘We Are Three Sisters’ was not as “nuts”<span style="mso-spacerun: yes;"> </span>as Morrison first feared it would be. There was a certain reliance on poetic licence concerning some biographical events and Russian and English Literature purists may have found the melding of the two plays a stretch too far for the imagination. However, for me, Chekhov’s zesty drama breathed new life into the familiar story of Acton, Ellis and Currer Bell and proved that when it comes to innovative dramatic productions, three really is the magic number. </span></div>
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<span style="font-family: inherit;">By Sarah Butler (Stanley & Audrey Burton Gallery)</span></div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-2362148744740538362012-12-14T15:19:00.002+00:002012-12-14T15:19:57.024+00:00The Madwoman in the Attic?<div dir="ltr" style="text-align: left;" trbidi="on">
Bertha Rochester of Charlotte Brontë's Jane Eyre is commonly recognised as the archetypal 'madwoman in the attic'. Although multiple feminist re-readings have recognised her as the condemned expression of unconventional femininity, treatments of Bertha in adaptations of Jane Eyre has frequently struggled to meet the challenge of this complex character.<br />
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In the past, it was easier to lay the blame at the doorstep of society's taboos concerning polite femininity for failures to address Bertha's outrage. Take, for example, an early Hollywood adaptation of Jane Eyre, where Bertha appears perfectly civilised despite her husband's imminent wedding to another bride.</div>
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In 2006, a BBC mini-series took the daring approach of providing Bertha Mason with an empathetic backstory. By giving insight into Bertha's own love story, alongside the relationship of Jane and Mr Rochester, viewers were asked to question who is really the victim in this love triangle? The following fan video illustrates some of the subtleties in this interpretation.</div>
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The most recent film adaptation of Jane Eyre, released in 2011, captured the difficultly of portraying Bertha by expressing her predominantly in disembodied noises. Below is a central exchange between Bertha and Jane, where we see Bertha is aware of her husband's plans for a second marriage. However, this particular scene was removed in a last minute edit, reiterating the challenge of expressing Bertha's role in modern adaptations of Jane Eyre.</div>
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Is Bertha a dangerous woman, or an unfortunate victim of her society? Does the struggle some have with her character give an insight into contemporary taboos concerning manic behaviour? What can the various depictions of Bertha in adaptations and re-imaginings of Jane Eyre tell us about the changing role of women, and the social impact of mental illness?</div>
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Re-visioning the Brontës will take place at the University of Leeds on 29th January 2013.</div>
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-460604002521416432012-12-10T19:50:00.001+00:002012-12-10T19:52:32.522+00:00Conference a Sell Out!<div dir="ltr" style="text-align: left;" trbidi="on">
Places on the conference are now fully booked but if you've not been able to reserve yours, you can still sign up to the waiting list via Eventbrite: <a href="http://bronterevision.eventbrite.co.uk/">http://bronterevision.eventbrite.co.uk/</a>.</div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-78361080942663301882012-12-07T17:15:00.001+00:002012-12-08T13:32:32.155+00:00Preview: Wildness Between Lines<div dir="ltr" style="text-align: left;" trbidi="on">
Wildness Between Lines<br />
An exhibition of work inspired by the Brontës.<br />
<br />
Opening:<br />
14 December 2012 - 2 February 2013<br />
Monday - Saturday 10am - 4pm<br />
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Preview: <br />
Thursday 13th December 5 - 7pm<br />
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Leeds College of Art<br />
Blenheim Walk<br />
Leeds<br />
LS2 9AQ<br />
<br />
Click <a href="http://revisioningthebrontes.blogspot.co.uk/2012/12/preview-wildness-between-lines.html">here</a> to see some of the artworks that will be on display.</div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-90093573265790869972012-12-06T11:27:00.001+00:002012-12-07T13:29:33.166+00:00Write like the Brontës! - Workshop at Leeds Central LibraryFor those of you interested in learning about how Brontës created their miniature books, join award-winning writer Char March for this fun and fast-paced writing workshop on <b>Saturday 8 December 2-4pm, Exhibition space, Central Library, Leeds</b>. <br />
<br />
Char will explain how and why the Brontë sisters wrote their tiny little books in miniature writing, and give you lots of inspiration for writing your very own little book of secrets, which you can take away afterwards. Come for the full two-hours, or just drop by for 20 mins. Families welcome – as well as all the adults out there dying to write in really tiny writing! To book your free place, call Enquiry Express on 0113 2476016.<br />
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This workshop will run as part of the Writing Britain: Leeds exhibition (4 December 2012 - 30 January 2013), which celebrates the use of the Yorkshire landscape in literature. For further information, please visit:<br />
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<b><a href="http://www.visitleeds.co.uk/thedms.aspx?dms=13&feature=1001&venue=2192070">http://www.visitleeds.co.uk/thedms.aspx?dms=13&feature=1001&venue=2192070</a></b>ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-39283438671833360882012-12-04T07:51:00.001+00:002012-12-07T17:03:02.010+00:00Wildness Between Lines<div dir="ltr" style="text-align: left;" trbidi="on">
The exhibition Wildness Between Lines acts as an inspiration to the ideas shared at the Re-Visioning the Brontës conference. Taking place at Leeds College of Art, this display will provide visitors with the chance to encounter a range of art works by emerging and established artists who have responded creatively to the lasting influence of the Brontës and their work. Here, we are pleased to present a preview of works included in the show.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbpg6oyEviA62zukkFknImqFUP14iTaJDbj4yazX3QHKKbWsHZTeE32QpNjN7RxFrg_JnafTq5spR9y3IPUvyz07-_uWr26GIOrPrFaX2VvdffB2_cLjBuMb8XzptLl8r1oADeByNdr4/s1600/Catherine+Bertola.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCbpg6oyEviA62zukkFknImqFUP14iTaJDbj4yazX3QHKKbWsHZTeE32QpNjN7RxFrg_JnafTq5spR9y3IPUvyz07-_uWr26GIOrPrFaX2VvdffB2_cLjBuMb8XzptLl8r1oADeByNdr4/s400/Catherine+Bertola.jpg" width="296" /></a></div>
Catherine Bertola<br />
<i>Residual hauntings</i><br />
2011<br />
Triptych of photographic prints<br />
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Photo: Simon Warner<br />
Courtesy the artist, Workplace Gallery and Galerie M+R Fricke<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkrT1-dEhgKkR50Wnz8ySres20zdSUrvhJbwYsbG6mOWrKBlf5mNAMn_Fw_PJarwSJxrnCblT4z4i8xVVr2zqT4cdYCCR6kI8yCpagFLXbI3zBI-u8mZhm88IQZHfhVTscf7x_YO6NX5E/s1600/Rebecca+Chesney.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="275" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkrT1-dEhgKkR50Wnz8ySres20zdSUrvhJbwYsbG6mOWrKBlf5mNAMn_Fw_PJarwSJxrnCblT4z4i8xVVr2zqT4cdYCCR6kI8yCpagFLXbI3zBI-u8mZhm88IQZHfhVTscf7x_YO6NX5E/s400/Rebecca+Chesney.jpg" width="400" /></a></div>
Rebecca Chesney<br />
<i>A sorrowful sight i saw; dark night coming down
prematurely, and sky and hills, mingled in one bitter whirl of wind and
suffocating snow.</i><br />
Pencil on graph paper 2012.<br />
Photo: Courtesy the artist<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSOytH6i_YQcdzyzps5hqmtTHnsTh0Sau8wFQpxSPaXmn1tIgUH7RBysh_GO1HPupYKvi4OCZcNAie8-UdARkyEGfgwBwvfm7UfGvwEHkid6pGRxmxDdhlNJN2k9nr8PVAZpOH2vDWJiU/s1600/Su+Blackwell.JPG" imageanchor="1" style="clear: left; display: inline !important; margin-bottom: 1em; margin-right: 1em; text-align: center;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSOytH6i_YQcdzyzps5hqmtTHnsTh0Sau8wFQpxSPaXmn1tIgUH7RBysh_GO1HPupYKvi4OCZcNAie8-UdARkyEGfgwBwvfm7UfGvwEHkid6pGRxmxDdhlNJN2k9nr8PVAZpOH2vDWJiU/s400/Su+Blackwell.JPG" width="400" /></a><br />
Su Blackwell<br />
<i>Gondal (Haworth Church)</i><br />
2010<br />
Photo: Courtesy the artist<br />
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An opportunity to experience this exhibition with accompanying wine reception will directly follow the closing of the
conference on January 29th 2013. To book your free place, please visit <a href="http://bronterevision.eventbrite.co.uk/">http://bronterevision.eventbrite.co.uk</a>.</div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-62235750396406961112012-12-03T06:47:00.000+00:002012-12-07T17:16:08.552+00:00Conference Abstracts Now Available To View Online<div dir="ltr" style="text-align: left;" trbidi="on">
Re-Visioning the Brontës will take place on January 29th 2013 at the University of Leeds. To book your free place, please visit <a href="http://bronterevision.eventbrite.co.uk/">http://bronterevision.eventbrite.co.uk/.</a><br />
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The day will include a series of papers examining multiple adaptations and interpretations of the Brontës' lives and works, alongside a specialist presentation on the Brontë Manuscript collection, and discussions between leading academics and writers on the various creative contributions to the Brontë legacy that have emerged since their first publications.<br />
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The selected abstracts are now available to view through Google Drive:<br />
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<a href="https://docs.google.com/folder/d/0B5JngjcTR2kXaHRKY2plemg5UXc/edit">https://docs.google.com/folder/d/0B5JngjcTR2kXaHRKY2plemg5UXc/edit</a><br />
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Many thanks to our speakers for allowing us to provide online access to their proposals.</div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-88767094151402378532012-11-28T15:59:00.002+00:002012-11-28T15:59:37.986+00:00Brontë Sisters Power Dolls!<div dir="ltr" style="text-align: left;" trbidi="on">
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Here at Re-visioning the Brontës HQ, we'd love to get our hands on these awesome Brontë action figures. Unfortunately, the toys depicted in this advertisement by Phil Lord and Chris Miller aren't actually in production. Still, along with making us chuckle, this action packed approach to the sisters' literary legacy gives us some food for thought concerning how the Brontës may be marketed to future generations.<br />
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-18161616710067966252012-11-26T13:11:00.000+00:002012-11-26T13:12:09.619+00:00Themes in Wuthering Heights Book Covers<div dir="ltr" style="text-align: left;" trbidi="on">
Locating a single image to covey the complexities of Wuthering Heights is perhaps an impossible task. Yet, the subtle art of book cover design has created many, sometimes surprising, responses to Emily Brontës well known novel. In anticipation of our upcoming conference, we have selected just some of these covers to examine how the book's themes of love, revenge, family, and identity, have been envisioned by publishers over time.<br />
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<u>Cathy</u><br />
The heroine of Wuthering Heights, Catherine Earnshaw, is famously torn between the forces of nature and culture, symbolised in her contrasting love for Heathcliff and Edgar. Several book covers featuring Cathy have attempted to capture the character's torment.<br />
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<a href="http://hauntedhearts.files.wordpress.com/2010/11/wuthering-heights1.jpg?w=254&h=407" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://hauntedhearts.files.wordpress.com/2010/11/wuthering-heights1.jpg?w=254&h=407" width="124" /></a><a href="http://www.publicbookshelf.com/images/wuthering-heights423x630.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://www.publicbookshelf.com/images/wuthering-heights423x630.jpg" width="133" /></a></div>
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<u>Heathcliff</u></div>
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The character of Heathcliff is a profoundly difficult creation to assess. His deep devotion to Cathy is central to the book's narrative of obsession, and eventually drives him to the point of madness. Equally, his charisma, capacity for self-invention, and desire to reap revenge are central to his story. Many of these book covers seem fittingly mysterious in their portrayal of the complicated literary figure. </div>
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<a href="https://www.penguin.com.au/covers/listing/9781846146091.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://www.penguin.com.au/covers/listing/9781846146091.jpg" width="131" /></a> <a href="http://g-ecx.images-amazon.com/images/G/02/ciu/27/4a/0ef6c27a02a0b4ff22176110.L.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://g-ecx.images-amazon.com/images/G/02/ciu/27/4a/0ef6c27a02a0b4ff22176110.L.jpg" width="120" /></a></div>
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<u>Love</u></div>
Cathy famously identifies two versions of love when choosing to marry Edgar over Heathcliff. Although commonly known as a romance novel, the actuality of Wuthering Height's depictions express various dimensions beyond typical romance, from marriages of convenience to dangerous obsession. Perhaps as a result of the mythology that has grown around Cathy and Heathcliff, some book covers seem to overlook the complexity of relationships expressed in the story.<br />
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<a href="http://careysbookproject.files.wordpress.com/2012/07/blogger-wh.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://careysbookproject.files.wordpress.com/2012/07/blogger-wh.jpg" width="124" /></a><a href="http://hauntedhearts.files.wordpress.com/2012/11/wuthering-heights.jpg?w=190&h=300" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://hauntedhearts.files.wordpress.com/2012/11/wuthering-heights.jpg?w=190&h=300" width="127" /></a></div>
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<u>The Moors</u></div>
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The forming of the Yorkshire moors as a character unto itself is widely considered to be one of Emily's most inspired literary techniques. As the deeply atmospheric setting of Wuthering Heights, the wild and unpredictable countryside provides a fitting backdrop to the shifting nature of the character's relationships. The novel's remarkably descriptive landscape continues to provide readers with rich and memorable mental imagery, making it a common choice for book cover designs. </div>
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<a href="http://www.paintinglies.com/wp-content/uploads/2012/01/wuthering_heights.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://www.paintinglies.com/wp-content/uploads/2012/01/wuthering_heights.jpg" width="133" /></a><a href="http://t2.gstatic.com/images?q=tbn:ANd9GcQhVC9160GoiqsJJBnwKK7eOCmgWdg2FJRAE60i9IJ85AedYQixQLWZcc7vXw" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="http://t2.gstatic.com/images?q=tbn:ANd9GcQhVC9160GoiqsJJBnwKK7eOCmgWdg2FJRAE60i9IJ85AedYQixQLWZcc7vXw" width="125" /></a></div>
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If you would like to share your thoughts regarding this post, please do not hesitate to comment below. To register for the Re-visioning the Brontës conference at Leeds University, please visit <span style="font-family: Times, Times New Roman, serif;"><a href="http://bronterevision.eventbrite.co.uk/" style="background-color: white; color: #1155cc;" target="_blank">http://bronterevision.<wbr></wbr>eventbrite.co.uk</a>. </span></div>
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<span style="font-size: xx-small;">We do not own any of these images, but use this selection of book covers for academic purposes only. If there are any issues arising from their publication on this blog please contact bronte.revision@gmail.com.</span></div>
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-50325461838777072062012-11-22T14:59:00.001+00:002012-12-07T13:29:46.366+00:00New Sally Wainwright TV Drama<div dir="ltr" style="text-align: left;" trbidi="on">
Did anyone catch the new BBC1 TV series, <i>Last Tango in Halifax</i>, written by Sally Wainwright on Tuesday night? Sally will be appearing as part of our roundtable discussion at the conference in January.<br />
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Watch the first episode on iplayer now:<br />
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<a href="http://www.bbc.co.uk/iplayer/episode/b01p1q71/Last_Tango_in_Halifax_Episode_1/"><b>http://www.bbc.co.uk/iplayer/episode/b01p1q71/Last_Tango_in_Halifax_Episode_1/</b></a></div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-50762668077004978412012-11-15T11:15:00.002+00:002012-11-15T11:16:36.396+00:00Exhibition Programme<div dir="ltr" style="text-align: left;" trbidi="on">
Re-Visioning the Brontës has been conceived with the intent of supporting two exhibitions to be held in Leeds from December. Each exhibition will uniquely examine the Brontës as a contemporary source of inspiration through the display of new work by artists from several fields. During the associated interdisciplinary conference, we will seek to further address the issues arising from the interpretation and adaptation of the Brontë family and their legacy.<br />
<u><br />Wildness Between Lines</u><br />
<i>Leeds College of Art</i><br />
<i>14th December 2012 - 2nd February 2013</i><br />
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Wuthering Heights, Jane Eyre, The Tenant of Wildfell Hall; these are just some of the works produced by the Brontës which have an enduring and universal appeal. The inspirational legacy of the Brontë family can be seen in a wide variety of contemporary creativity. This exhibition is a special opportunity to see, in one place, the work of emerging and established artists, all of whom cite the Brontës as a source of continuing inspiration for their own creative practice.<br />
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<u>Visions of Angria</u><br />
<i>Stanley and Audrey Burton Gallery, Leeds University</i><br />
<i>7th January - 23rd February 2013</i><br />
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This exhibition<i> </i>highlights rarely seen manuscript material written by the young Branwell Brontë from the Brotherton Library Special Collections which has been 'brought to life' by contemporary interpretation of this material by students from Leeds College of Art's Visual Communications course.<br />
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For further information, including booking details, please contact <a href="mailto:bronte.revision@gmail.com">bronte.revision@gmail.com</a>.<br />
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-40545606161683917562012-11-10T15:02:00.005+00:002012-12-13T10:22:27.453+00:00Conference Programme<span style="font-family: inherit;">We're now pleased to announce the conference programme for Re-Visioning the Brontës (see below). To book your free place, please visit </span><a href="http://bronterevision.eventbrite.co.uk/"><span style="font-family: inherit;">http://bronterevision.eventbrite.co.uk</span></a><br />
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<b><span style="font-family: inherit;">Conference Timetable:</span></b><br />
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<span style="font-family: inherit;">09:30-10:10 - <i>Registration, coffee</i></span></div>
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<span style="font-family: inherit;">10:10-10:20 - <b>Welcome and Introduction</b>, Nick Cass, Conference Organiser, School of Fine Art, History of Art and Cultural Studies</span></div>
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<span style="font-family: inherit;">10:20-10:35 - <b>'Keynote' Welcome</b>, Jane Sellars, Curator of Art, Mercer Art Gallery, Harrogate</span></div>
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<span style="font-family: inherit;">10:35-10:55 - <b>'Southern Flight: Brontëan Migrations in Kate Chopin’s <i>At Fault</i>'</b>, Dr Carl Plasa, Cardiff University</span></div>
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<span style="font-family: inherit;">10:55-11:15 - <b>'Righting the Life of the Mind: The Significance of Psychological Discourse in the Brontës’ Interwar Afterlives'</b>, Amber Pouliot, University of Leeds</span></div>
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<span style="font-family: inherit;">11:25-11:45 - <i>Coffee</i></span></div>
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<span style="font-family: inherit;">11:45-12:05 - <b>'The Brontës, Materiality, and Resonance: Three Ways of Looking'</b>, Aislinn Hunter, University of Edinburgh</span></div>
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<span style="font-family: inherit;">12:05-12:20 - <b>Introduction to the Brontë manuscripts in Special Collections (</b><b>University of Leeds)</b>, Sarah Prescott, Literary Archivist</span></div>
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<span style="font-family: inherit;">12:30-13:30 - - <i>Lunch break</i></span></div>
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<span style="font-family: inherit;">13:30 -13:50 - <b>'"…like a new picture introduced to the gallery of memory": Re-Visioning Jane Eyre through Paula Rego'</b>, Dr Sarah Wootton, Durham University</span></div>
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<span style="font-family: inherit;">13:50 -14:10<i> - </i><b>'Charlotte's Dress'</b>,<b> </b>Lisa Sheppy, Contemporary Artist</span></div>
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<span style="font-family: inherit;">14:10-14:45 - <b>Dr Richard Brown (University of Leeds) in conversation with Professor Blake Morrison (Goldsmiths, University of London) on Morrison's play <i>We Are Three Sisters</i></b>.</span></div>
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<span style="font-family: inherit;">14:55-15:15 - <i>Coffee</i></span></div>
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<i></i><span style="font-family: inherit;">15:15-15:35 - <b>'Listening Out: the Soundtracks and Film Scores of <i>Wuthering Heights</i>'</b>, Dr Jenny Bavidge, University of Cambridge</span></div>
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<span style="font-family: inherit;">15:35-15:55 - <b>'<i>Wuthering Heights</i> in Japan: the film Arashi ga Oka (1988, dir. Yoshishige Yoshida)'</b>, María Seijo-Richart, University of A Caruña</span></div>
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<span style="font-family: inherit;">16:05-17:00 - <b>Roundtable discussion</b> chaired by Adam Strickson (</span><span style="font-family: inherit;">Teaching Fellow in Creative Writing, University of Leeds), with Sally Wainwright (TV writer and Playwright), Sarah Fermi (Writer and Trustee, Brontë Society), Tiffany Murray (Writer and Senior Lecturer, University of Glamorgan), Simon Warner (Artist and Photographer) and Jenna Holmes (Arts Officer, Brontë Parsonage Museum).</span></div>
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<span style="font-family: inherit;">17:00:-17:30 - Tour of the exhibitions 'Visions of Angria' and ‘Wildness Between the Lines’, followed by a wine reception at Leeds College of Art.</span></div>
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<span style="font-family: inherit;"><i>The conference will also feature excerpts from David Wilson and Simon Warner’s ‘Air on Brontë Moor’, an original suite of music with film accompaniment</i>.</span></div>
ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0tag:blogger.com,1999:blog-4352581149736576424.post-46369104642078661482012-10-17T16:57:00.001+01:002012-11-22T18:27:23.016+00:00Hello and Welcome <div dir="ltr" style="text-align: left;" trbidi="on">
Welcome to the blog of 'Re-Visioning the Brontës', a conference in conjunction with the exhibitions ‘Wildness Between the Lines’ and ‘Visions of Angria’, to be held on Tuesday 29 January 2013 at the University of Leeds. Confirmed speakers include Jane Sellars (Curator of Art, Mercer Art Gallery, Harrogate) and Professor Blake Morrison (Goldsmiths, University of London) in conversation with Dr Richard Brown (University of Leeds).<br />
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Recent adaptations and interpretations of the Brontës’ lives and works through film, art, literature and theatre raise questions about the continuing fascination with these literary figures, as well as highlighting the wider potential for artistic intervention or collaboration between artworks and audiences. Similarly, it is through innovative contemporary arts programmes that organisations like the Brontë Parsonage Museum and the Brontë Society seek to move beyond simple ‘caricatures’ of the family and encourage diverse audience engagement.<br />
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This one day cross-disciplinary conference will explore the recent ‘re-visioning’ of the Brontës through critically examining artistic responses and interpretations of their work. The conference will address ways in which the legacy of the Brontës is exerting an influence in a range of creative fields, and across a variety of media.<br />
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This theme lends itself to a broad field of research and practice. Topics for discussion will include:<br />
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• The Brontës’ influence in contemporary culture</div>
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• Creative adaptations or reinterpretations of the Brontës’ lives and works</div>
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• Curatorial interpretations of the Brontës</div>
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• The myth and legacy of the Brontës</div>
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• Responses to exhibitions of Brontë material</div>
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• Representations of the Brontës in literary biographies<br />
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Please keep checking this blog for updates and posts relating to the conference and associated events.</div>
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ReVisioninghttp://www.blogger.com/profile/10366181836236514359noreply@blogger.com0