http://hdl.handle.net/10366/163520 2026-04-18T09:08:22Z 2026-04-18T09:08:22Z Sánchez Cabrera, Alejandro http://hdl.handle.net/10366/170847 2026-04-08T00:00:48Z 2025-12-31T00:00:00Z

[EN] This article introduces neoaustenism as a metamodern-feminist sensibility rooted in Jane Austen’s fiction and paradigmatically articulated today through Taylor Swift’s songwriting. While other metamodern-rooted discourses such as neoromanticism revive a largely male genealogy of longing and melancholy, neoaustenism retrieves a specifically feminine grammar of irony, self-reflexivity, and relational ethics. Grounded in affect theory and the ethics of care, the concept reframes vulnerability as a shared resource that turns personal wounds into collective agency. The article first situates neoaustenism within metamodern oscillation and the affective turn. It then traces a gendered genealogy of sentiment from Austen’s heroines to Swift’s layered lyrical voices, showing through close reading how Swift’s songwriting translates Austenian irony and care into pop rituals that foster horizontal communities through reflective nostalgia, audience co-authorship, and embodied practices. Finally, this article argues that neoaustenism holds potential beyond Swift and offers a critical horizon for (re)imagining feminine identity and resilience in neoliberal culture, thus inviting further interdisciplinary inquiry.

2025-12-31T00:00:00Z Bortham-Puyal, Miriam http://hdl.handle.net/10366/170795 2026-03-26T01:00:55Z 2025-01-01T00:00:00Z

[EN] This article provides an overview of the concept of 'ethics of care' and its use in the different contributions of the special issue.

2025-01-01T00:00:00Z Borham Puyal, Miriam http://hdl.handle.net/10366/170770 2026-03-25T01:01:16Z 2025-01-01T00:00:00Z

[EN] This article explores Austen's reception and heritage, and why she is still relevant today.

2025-01-01T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/170040 2026-02-26T01:02:30Z 2020-05-07T00:00:00Z

This article examines how the figure of the outsider, embodied by Heathcliff, transgresses social, affective, and spatial boundaries in Emily Brontë’s Wuthering Heights (1847) and Michael Stewart’s neo-Victorian adaptation Ill Will: The Untold Story of Heathcliff (2018). Drawing on affect theory and spatial theory, the study argues that Heathcliff’s pain functions as a source of affective agency, enabling him to resist marginalisation and assert his identity. In Wuthering Heights, Heathcliff’s suffering—caused by racial, social, and emotional exclusion—leads him to embrace an outsider identity and disrupt the social order through acts of hostility and revenge. His orientation toward pain becomes both a form of self-definition and a means of challenging the artificial boundaries imposed on him. In contrast, Ill Will reinterprets Heathcliff’s experience by granting him narrative voice and exploring his journey to uncover his origins, emphasising his sense of displacement, unhomeness, and identity struggle. Although he initially seeks to escape his pain, he ultimately recognises it as central to his identity and agency. The article concludes that both texts portray the outsider’s transgression of boundaries as driven by affective experience, particularly pain, which destabilises social divisions and exposes the oppressive structures that produce exclusion. Through this comparative analysis, the essay highlights how neo-Victorian fiction revisits and expands the emotional and social complexities of canonical literary outsiders.

2020-05-07T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/169983 2026-02-25T01:01:08Z 2023-06-01T00:00:00Z

Justin Kurzel's Macbeth (2015) reflects the religious intertextuality that permeates cultural debates about gender underlying Shakespeare's text. The aim of this article is to determine the extent to which Kurzel's cinematic text challenges or conforms to medieval and early modern gender construals in its attempt to allegedly rewrite and redeem Lady Macbeth by articulating hegemonic Christian and Pagan discourses on womanhood, femininity and (dis)embodiment. In this context, Julian of Norwich's theology, especially her conception of ‘divine motherhood’ and sin, is key to assess the film's concern with atoning Lady Macbeth for her transgressions through its depiction of her haunting motherhood, which is presented as the origin of her grief and guilt as well as her road to penitence and redemption.

2023-06-01T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/169981 2026-02-25T01:01:08Z 2021-03-26T00:00:00Z

William Oldroyd’s Lady Macbeth (2016) presents a recognisable Brontëan cinematic language that invites comparison between its protagonist, Katherine Lester, and Emily Brontë’s Catherine Earnshaw from Wuthering Heights (1847). Whilst Earnshaw’s self-deprivation mirrors her struggle for a disembodied self that transcends her gendered body, Oldroyd’s Katherine uses her appetite to colonise her household and preserve herself. These attempts at grasping agency in order to sustain the self are ignited by their necessity to palliate what they perceive as sickly bodies, tainted by gender and class: one in detriment to the body, and the other in its favour. In envisioning Katherine Lester as Catherine Earnshaw’s neo-Victorian double, this article sets out to revision the second’s diseased body as a politicizing force that disrupts the dynamics of power in Wuthering Heights through the commentary that Katherine’s own process of sustenance provides on the Brontë body.

2021-03-26T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/169980 2026-02-24T07:56:32Z 2025-01-17T00:00:00Z

This article discusses the extent to which the television series Taboo (2017 –) can be considered a (neo-)Brontëan text due to its (re-)appropriation of Brontëan discourses, specifically those connected to Emily Brontë’s Wuthering Heights (1847), Charlotte Brontë’s Jane Eyre (1847), as well as to Jean Rhys’ neo-Victorian rewriting of the latter, Wide Sargasso Sea (1966). The series appears to do so in order to delve deeper into the problematics of fictionalising nineteenth-century conceptions of “the wild” that replicate stereotypes of the British colonial past and its violence. That is, this work analyses how Taboo seems to question the particular power structures that are responsible for that violence through its rewriting and revising of distinctively Brontëan characters and tropes such as Heathcliff, the “madwoman in the attic,” and the “hilltop lovers” motif, which attests to the politicising and neo-Victorian potential of the above-mentioned narratives.

2025-01-17T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/169978 2026-02-24T01:01:30Z 2025-12-01T00:00:00Z

Guillermo del Toro’s Crimson Peak (2015) could be considered a neo-Victorian adaptation that reimagines Brontëan narratives, particularly Jane Eyre (1847) and Wuthering Heights (1847), alongside Daphne du Maurier’s Rebecca (1938)—which is, in many ways, a rewriting of Jane Eyre. As a twenty-first-century Gothic film, Crimson Peak engages with a recognizable Brontëan cinematic language—characterized by motifs such as the isolated manor, the hilltop lovers, the incest taboo, the question of female identity, and the heroine’s confrontation with hidden horrors, especially with the murder plot typical of the Bluebeard tale—all of which contribute to critique the patriarchal, capitalist, and colonialist structures that materially and psychologically dispossess the characters inhabiting these fictions. Despite its contemporary context, the present analysis questions whether del Toro’s film critically reconfigures its literary predecessors’ ambiguous yet incisive interrogation of these structures of power or instead simplifies and aestheticizes their tensions, ultimately reinforcing rather than subverting their problematic discourses.

2025-12-01T00:00:00Z Borham Puyal, Miriam http://hdl.handle.net/10366/164707 2025-04-11T00:01:40Z 2024-01-01T00:00:00Z

The present article compares two coeval authors, Daniel Defoe (1660-1731) and Jane Barker (1652–1732), who stand on opposite sides of the political and religious spectrum, to analyse the ways in which they engage with popular prostitute stories in Moll Flanders (1722) and the Patch-Work narratives (1723, 1726), respectively. This contribution, then, offers novel insights into these writers’ work, exploring the ways in which Defoe rewrites this form of popular fiction to conform to his middle-class fantasy of personal development, and how Barker responds both to Defoe’s tales of prostitute ascent and the general taste for this fiction from her own ideological perspective. It will also expose their similarities, as they construct composite literary bodies of many different prostitute narratives, and emphasize the need to understand the novel as an assemblage of voices, genres and sociomaterial aspects.

2024-01-01T00:00:00Z Borham Puyal, Miriam http://hdl.handle.net/10366/164702 2025-04-11T00:01:35Z 2024-01-01T00:00:00Z

Este volumen analiza la creación literaria de las mujeres durante el largo siglo XIX y su legado contemporáneo, que evidencia las sólidas redes de conocimiento y creación que se establecen entre las escritoras, incluso rompiendo la barrera temporal con los siglos XX y XXI, con la finalidad de establecer diálogos a través del tiempo que sigan haciendo avanzar la agenda feminista. La obra responde, por tanto, al objetivo principal de demostrar que estas mujeres narraron para reivindicar cambios sociales más allá incluso de su derecho al voto y que, al hacerlo, construyeron genealogías literarias en femenino que siguen respondiendo a momentos de cambio y crisis.

2024-01-01T00:00:00Z Borham Puyal, Miriam Martín Martín, Juan Manuel http://hdl.handle.net/10366/164699 2026-02-18T09:39:01Z 2024-01-01T00:00:00Z

El objetivo de esta sección monográfica es analizar la compleja, y a menudo contradictoria, representación de la figura materna o de la experiencia de la maternidad en diversos formatos. La diferenciación conceptual entre la maternidad (motherhood) y su práctica (mothering) ha permitido diferenciar entre un referente frecuentemente opresor y otro con un enorme potencial liberador que, además, permite establecer vínculos entre las propias mujeres. La experiencia de las madres es muy diversa y corresponde tanto a estereotipos como a visiones alternativas que divergen de estos. La maternidad a tiempo completo de la Edad Moderna otorga poder a la madre, pero al tiempo justifica la regulación de su actividad. Esto determina que se considere “malas” madres a aquellas que no se circunscriben a lo socialmente establecido. En el marco de este debate, la literatura puede convertirse en un instrumento de transformación social, en tanto en cuanto represente elementos novedosos, divergentes o rupturistas. Así se pone de manifiesto en las obras que analiza esta sección monográfica al que este artículo sirve de introducción y que han sido escritas por autoras de geografías y épocas diversas.

2024-01-01T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/164684 2025-04-30T20:44:29Z 2025-01-30T00:00:00Z

El capítulo explora la figura de la "Nueva Mujer", surgida a finales del siglo XIX como símbolo de emancipación femenina, y cómo esta sigue generando miedo y rechazo en la actualidad. A través de una mirada politemporal, el análisis conecta los discursos patriarcales del pasado con ficciones contemporáneas que los cuestionan y resignifican. Se analizan obras como Rebecca (1938) de Daphne du Maurier—considerada una reescritura de Jane Eyre—y La señora March (2022) de Virginia Feito, para mostrar cómo estas narrativas dialogan con arquetipos femeninos transgresores y revelan la persistente vigilancia y control sobre los cuerpos e identidades de las mujeres. El capítulo concluye que aún tememos a la "Nueva Mujer", en tanto encarna una amenaza a las estructuras patriarcales, e invita a una revisión crítica de esta figura desde una perspectiva más inclusiva y decolonial.

2025-01-30T00:00:00Z Bernabéu Lorenzo, Marta http://hdl.handle.net/10366/164683 2025-04-30T20:44:29Z 2025-02-05T00:00:00Z

El presente artículo tratará de cubrir las principales consideraciones sobre la representación de la maternidad en las novelas brontëanas más reproducidas culturalmente, como son Jane Eyre (1847) de Charlotte Brontë, Wuthering Heights (1847) de Emily Brontë y, en menor medida, The Tenant of Wildfell Hall (1848) de Anne Brontë y Villette (1853) de Charlotte Brontë, a la par que algunas de sus re–escrituras o adaptaciones. Se prestará especial atención a Wuthering Heights (Cumbres Borrascosas) y sus reproducciones culturales debido a su potencial para profundizar en traumas generacionales y vínculos matrilineales físicamente ausentes, así como a su influencia en la memoria popular a través de adaptaciones, ya sean fieles o “clásicas”, de las novelas o aquellas imaginaciones que utilizan un lenguaje característicamente brontëano para abordar algunos de los temas presentes en la narrativa mencionada. Así, el objetivo principal de esta discusión es rastrear el potencial afectivo del vínculo madre–hija en las narrativas de las Brontë para proporcionar un marco de referencia desde el cual explorar cómo la ficción neo-victoriana – en este caso, Wide Sargasso Sea (1966) de Jean Rhys, Ill Will: The Untold Story of Heathcliff (2018) de Michael Stewart, Lady Macbeth (2016) de William Oldroyd y la serie de televisión Taboo (2017) de Kristoffer Nyholm y Anders Engström – ha reimaginado estas relaciones y su legado afectivo en la memoria cultural.

2025-02-05T00:00:00Z Gutiérrez Ricondo, Andrea http://hdl.handle.net/10366/164605 2025-04-30T20:44:29Z 2024-01-01T00:00:00Z

Este capítulo defiende que, manipulando el discurso histórico con el fin de atender a una mayor representación racial de la Inglaterra del siglo XIX, Queen Charlotte restringe el legado histórico y cultural de la reina Carlota, al tiempo que desatiende la historia compartida de la comunidad afro-inglesa del siglo XIX. En especial, maquillando la realidad socio-histórica de la mujer de color durante la época Georgiana, la novela Queen Charlotte tiende a fomentar una representación escasamente veraz de estas mujeres durante el largo siglo XIX.

2024-01-01T00:00:00Z Korbel, Marta http://hdl.handle.net/10366/164503 2025-04-30T20:44:29Z 2023-08-22T00:00:00Z

Speculative fiction is a particularly relevant genre at the moment when, apart from the troubling global impact of late-modern phenomena, the ongoing pandemic and the 2022 Russo-Ukrainian War have raised universal concern. This paper conducts a comparative analysis of two novels which describe a postapocalyptic world after a deadly plague and a nuclear conflict, respectively: Margaret Atwood’s Oryx and Crake (2004 [2003]) and Dmitry Glukhovsky’s Metro 2033 (2010 [2005]). It approaches the texts as critiques of late-modern neoliberal capitalism, employing the theory by Zygmunt Bauman, Ulrich Beck and Mark Fisher. Additionally, it scrutinises the representation of the neoliberal subject in Atwood’s book and utilises Svetlana Boym’s reflection on nostalgia in post-Soviet Russia to comment on Glukhovsky’s work. Lastly, it examines the posthuman alternative the two authors present for the deeply flawed human social orders.

2023-08-22T00:00:00Z