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.

威廉·奥尔德罗伊德（William Oldroyd）的《麦克白夫人》（Lady Macbeth，2016）提出了一种可识别的布隆泰电影语言，邀请其主角凯瑟琳·莱斯特（Katherine Lester）与艾米丽·勃朗泰（EmilyBrontë）的《呼啸山庄》中的凯瑟琳·恩肖（Catherine Earnshaw ）（1847）进行比较。恩肖的自我剥夺反映了她为超越肉体的无肉身而奋斗的斗争，而奥尔德罗伊德的凯瑟琳则利用自己的食欲进行殖民她的家人，保护自己。这些企图抓住身体以维持自我的尝试因其有必要消除由性别和阶级所困扰的他们认为病态的身体而被点燃：一种对身体有害，而另一种对身体有利。在将凯瑟琳·莱斯特（Katherine Lester）设想为凯瑟琳·恩肖（Catherine Earnshaw）的新维多利亚时代双重形象时，本文着眼于通过评论凯瑟琳自己对布伦特（Brontë）身体的养护过程来破坏第二个患病身体，使其成为破坏伍瑟灵高地权力动态的政治化力量。