Portal de Periódicos da CAPES

Moor Loving

2019; Springer International Publishing; Linguagem: Inglês

10.1007/978-3-030-03877-9_4

2634-6346

Susan Pyke,

Geographies of human-animal interactions

Emily Brontë’s Wuthering Heights (1847) celebrates the vitality of humans and other species alike, through emplaced dream writing that emphasises the co-affective relations between Cathy, Heathcliff and the moor. This moor love operates outside hierarchical differentiations, breaking open the triangulations that tie women and men into limited self-reflecting desires. Some adaptations of Brontë’s novel also offer inclusive and entangled topographies, depicting weathering winds and ebbs and flows of water that typify the generative allowance of less restrictive relations between humans and other animals. In particular, Anne Carson’s poem “The Glass Essay” (1997) amplifies this emplacement through the Canadian moor. In Jane Urquhart’s novel Changing Heaven (1989) and Andrea Arnold’s film Wuthering Heights (2011) mimetic rivalry is put aside by an agential wind. In Kate Bush’s music video “Wuthering Heights” (1978) and Luis Buñuel’s Abismos de Pasión (1954) habitat is given visual emphasis, placing the human body in spatial context. Together these texts offer a coalition of affective ecolects shaped by entrainments in time and place.