http://hdl.handle.net/10366/163519 2026-05-02T19:30:53Z http://hdl.handle.net/10366/170847 [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 http://hdl.handle.net/10366/170795 [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 http://hdl.handle.net/10366/170794 [ES] En el 2009 Pride, Prejudice and Zombies, coescrito por Jane Austen y Seth Grahame-Smith, se convirtió en un rotundo éxito editorial, y dio lugar a una adaptación cinematográfica, una novela gráfica, un videojuego, e incluso tuvo una precuela y una secuela. Asimismo, fue el origen de un (breve) entusiasmo por los mash-up de clásicos literarios, así como por biografías de personajes históricos relevantes pobladas de monstruos (p.ej. Grave Expectations, Abraham Lincoln: Vampire Hunter). El sampleado de géneros literarios canónicos y populares responde a la naturaleza del mash-up como parodia y subversión de la distinción entre alta y baja literatura, al mismo tiempo que permite explorar el pasado expuesto en estas narrativas desde la perspectiva del presente (Borham-Puyal 2018, 2020). Esta fricción entre géneros y tiempos es, pues, productiva para cuestionar la noción de formas literarias puras, así como para ofrecer un comentario crítico sobre los estereotipos de género, el legado colonial o el racismo inherente que los rastros del pasado presentan en estas narrativas neo-decimonónicas, actualizadas con la introducción del género de aventuras (entendido como la lucha para acabar con monstruos literales y no metafóricos). Con estas consideraciones en mente, este capítulo se propone analizar los mash-up de Pride and Prejudice (1813), Jane Eyre (1847) y Little Women (1869), creadas por tres relevantes mujeres de su época que han pasado a formar parte del canon de la literatura escrita en inglés: Jane Austen, Charlotte Brontë y Louise May Alcott. Esta contribución pretende resaltar, por una parte, cómo la domesticación de la aventura (o viceversa) permite que de esta fricción entre géneros surja un comentario sobre el horror cotidiano de la opresión de la mujer decimonónica. Además, espera resaltar las fórmulas de empoderamiento de las heroínas originales en ambos contextos (el siglo XIX y el XXI), y cómo la introducción de esta “tercera figura”, el monstruo, tiene un impacto en la reescritura del papel de la mujer victoriana. Más aún, explorará las maneras en las que este monstruo literal encarna las formas de opresión basadas no solo en el género, sino también en la clase social, pasadas y presentes. 2025-01-01T00:00:00Z http://hdl.handle.net/10366/170770 [EN] This article explores Austen's reception and heritage, and why she is still relevant today. 2025-01-01T00:00:00Z http://hdl.handle.net/10366/170755 Compared to Shakespeare by Walter Scott, and strongly admired by Lord Byron as one of the few women who would write tragedy, Joanna Baillie was also an acute theatre critic. In fact, she developed in the “Introduction” to her grand dramatic scheme, Plays on the Passions (1798-1812), an analysis of the theatre of her time, together with her notion of “sympathetic curiosity” (Baillie 1851, 2) and psychological exploration. Her drama becomes inscribed thus in the long (Scottish) tradition of moral philosophy, and the theories of affects and passions (Colon 2002, 164, 174; Judson 2006, 50, 64), while it also presents the feminine and domestic world of emotions, sympathy, empathy, family and personal conflicts as the core of human culture, even of its politics, while she gave it visibility on stage (Mellor 1994, 563). In that sense, Baillie herself proclaimed the social and moral role that playwrights held, reaching where historians could not, and educating their audiences (Baillie 1851, 5, 14). The present contribution approaches, first of all, Baillie’s dramatic theory and the reception of her work among the debate on women’s alledged appropriation of the stage, as well as the criticism she received for her unsexed writing. It presents Baillie as the creator of strong female characters that gives presence on stage to women and their plights, at the same time she develops a strong dramatic voice of her own. In addition, this paper will highlight the need to recover Baillie as one of the key voices and pens of her time, who also upheld the notion that ‘the personal is political’ and vindicated women’s visibility and freedom. Then, it discusses a little-known play, The Bride (1828), as a liminal text that is purposedly displaced from English soil, yet also set in what turns out to be an idealized or imagined colonized location, as a means to develop an alternative community in-between time and space, England and Ceylan, Catholism and Protestantism, so as to place a mirror not only to the Cingalese people, as Baillie claimed, but rather to the British population, exposing the colonial failings, the common humanity of peoples exposed by the practice of sympathy, and, in particular, the shared oppression of women within both cultures. Baillie’s play will, therefore, serve to discuss women’s (in)visibility, commodification and identification with the object to be consumed in the context of British Orientalism. In this sense, this controbution will, for the first time, analze the similarities between Baillie’s Bride and Aphra Behn’s Imoida (Oroonoko 1688), as exoticised women stading in-between two worlds and discourses, and how their authors employ these characters to highlight women’s silenced voices and their erased bodies in cultural and social history. 2025-01-01T00:00:00Z http://hdl.handle.net/10366/170347 [ES]El género neovictoriano ha demostrado ser un vehículo literario y audiovisual clave para llenar los vacíos históricos y literarios que dejaron los textos del siglo XIX. Estas obras re-imaginan el pasado desde perspectivas contemporáneas, visibilizando las experiencias de mujeres racializadas que fueron marginadas o silenciadas en las narrativas originales. Este capítulo explora cómo el neovictorianismo contribuye a la recuperación de estas voces, utilizando como caso de estudio el personaje de Georgiana Lambe en la adaptación de Sanditon, quien re-significa las tensiones coloniales, raciales y de género de la Inglaterra de la Regencia. 2026-03-01T00:00:00Z http://hdl.handle.net/10366/170040 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 http://hdl.handle.net/10366/169983 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 http://hdl.handle.net/10366/169981 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 http://hdl.handle.net/10366/169980 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 http://hdl.handle.net/10366/169978 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 http://hdl.handle.net/10366/164730 This chapter explores the little known epistolary exchange between Ezra Pound and Miguel de Unamuno. 2024-01-01T00:00:00Z http://hdl.handle.net/10366/164728 This chapter discusses two neo-Gothic films - Pride and Prejudice and Zombies (2016) and Byzantium (2012) - as well as the novel and the play on which the films are based, tracing these stories’ engagement with masculinity and femininity. Both stories depict women’s continuing struggle with limiting roles and a world of endemic violence against them, while the films also enter highly ambiguous territory by becoming complicit in recreating commodified female characters catering to the male gaze, even as they ostensibly subvert patriarchal oppression. Both films engage with the dangers of hegemonic masculinity and its institutionalization, contest the romantic view of the male monster, and question the role of the hero. Studying how these contemporary reimaginations of classic texts show the eighteenth, nineteenth, and twenty-first centuries in conversation, this chapter provides a nuanced view of the usefulness but also the ambiguity of popular cinematic monster narratives in contributing to the ongoing discourse around gender roles and oppression. 2024-01-01T00:00:00Z http://hdl.handle.net/10366/164707 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 http://hdl.handle.net/10366/164702 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 http://hdl.handle.net/10366/164699 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