JANE EYRE IN THE ORIGINAL TEXT AND ITS SCREENED VERSION.

INTRODUCTION

“Jane Eyre” has long been one of the most popular of all literary classics. Part fairy tale, part Gothic horror, part love story, “Jane Eyre” is the archetypal account of an orphan\'s progress through a confusing and often cruel world.
Though characters like Jane are fictional, the situations they face and the motivations with which they act are given to them by real authors who must be influenced by their own societies. The morality we have identified in these books was a phenomenon of the nineteenth-century middle class. Eventually the recognition of the hypocrisy within Victorian society and the death in 1901 of the Queen with whom the moral regime had been associated brought about its overthrow. In a sense the threat to society which the Victorians saw in liberated sexuality was a real one. The sex roles and class distinctions of the nineteenth century no longer exist; society is less structured and more informal. Perhaps this is one reason their recognition of the threat is of such interest to the twenty-first century reader.
In this work we are going to study theoretical material of such scholars as Stivenson, L., James, H., Chesterton, G.K., Wood, J., Louis, J., Poovey, M., Heilman,R.B., Spivak, G.C., Meyer, S.L. Also we are going to use the works of Stam, R., Raengo, A., Bluestone, G., Nestor, P., Einstein, S., Metz, C., Orr, J., whose theories about the Victorian novels and films are of great value, as they help us to understand the transformation of a novel into a screen adaptation.
It is necessary to tell, that the main aim of our work is the investigation of the original text of Charlotte Bronte’s “Jane Eyre” and its screened version in the aspects of genre, themes
The object of our research is the novel «Jane Eyre» by Charlotte Bronte in the text and the screened version of BBC (2006).
The subject of our research is the differences between the novel «Jane Eyre» and its screened version.
According to the aim of our research the...

CONCLUSION

The Victorian novel naturally shared in the restored prestige of its period. The mid-nineteenth century was the first epoch when prose fiction had reached full parity with the other types of literature in critical esteem, and had surpassed them in popular appeal.
The Victorian novel was a thing entirely Victorian; quite unique and suited to a sort of cosiness in that country and that age. One of the most conspicuous things is that it is the art in which the conquests of woman are quite beyond controversy.
The novel of the nineteenth century was female. Charlotte Bronte occupies a position of major importance in the history of women’s literature. She gave a female voice to fiction, creating a new focus on woman as central shaping consciousness of the novel.
Charlotte Bronte reached the highest romance through the lowest realism. She set out with herself, with her own dingy clothes, and accidentally ugliness, and flat, coarse, provincial household; and forcibly fused all such muddy materials into a spirited fairy-tale.
“Jane Eyre”, Charlotte Bronte’s first published in 1847 novel, was her most successful work and has remained the most popular of her books. The work has a fable-like quality, depicting the personal pilgrimage of a heroine whose struggles for survival and justice are essentially no less relevant for women today than for those who received the novel with excitement in 1847.
The interdisciplinary study of novels and films has tended to run along two sides of a paradox. On one side, novels and films are opposed as “words” and “images”, agreed to be irreducible, untranslatable, a priory entities by most postmode
as well as prior scholars. On the other side, critics propound film’s integral formal, generic, stylistic, narrative, cultural, and historical connections to the novel.
The purpose of the literary film adaptation is less “to illustrate” the story and characters and more to promote the cultural “power of the text”.
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