Thesis (M.A.)--University of Hong Kong, 1994. / Cover title. Includes bibliographical references (leaf 47-48). Also available in print.

Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 33-35). Also available in print.

Thesis (M.A.)--University of Hong Kong, 2005.

Submitted by Roberth Novaes (roberth.novaes@live.com) on 2018-07-13T21:23:16Z No. of bitstreams: 1 A_TESE_CD ROM.pdf: 2091761 bytes, checksum: 9035c3e0ad7dfa1f478928b83d2353d4 (MD5) / Approved for entry into archive by Setor de Periódicos (per_macedocosta@ufba.br) on 2018-07-19T21:07:06Z (GMT) No. of bitstreams: 1 A_TESE_CD ROM.pdf: 2091761 bytes, checksum: 9035c3e0ad7dfa1f478928b83d2353d4 (MD5) / Made available in DSpace on 2018-07-19T21:07:06Z (GMT). No. of bitstreams: 1 A_TESE_CD ROM.pdf: 2091761 bytes, checksum: 9035c3e0ad7dfa1f478928b83d2353d4 (MD5) / Este trabalho, que se insere na categoria de pesquisa bibliográfica e estudo analítico, propõe uma incursão por diferentes formas de exílio nas narrativas ficcionais da escritora dominicana Jean Rhys (1890-1979), sejam elas determinadas pelos movimentos e processos de colonização, pela condição feminina ou pela alienação e comodificação no mundo moderno. O enfoque dado à experiência de exílio nestes textos envolve a investigação de uma variedade de espaços, tais como o espaço pessoal da memória, a experiência feminina de espaços nos grandes centros metropolitanos, os espaços marcados pela história do imperialismo, ou ainda o próprio espaço do texto. O estudo tem como objetivo refletir sobre o papel fundamental ocupado pelas figurações de espaço e construções de lugar nas narrativas ficcionais de Jean Rhys, e identificar de que forma as experiências de exílio e errância das protagonistas são determinadas pela precariedade da sua identidade como sujeito feminino colonial. Wide Sargasso Sea, publicado no Brasil sob o título de Vasto Mar de Sargaços, ocupa uma posição central neste trabalho, que também faz uma leitura do jogo intertextual entre este romance de Rhys e Jane Eyre, de Charlotte Brontë. O trabalho inclui o diálogo com outros textos de Rhys, como os romances Quartet, After Leaving Mr Mackenzie, Voyage in the Dark e especialmente Good morning, midnight, os contos “I used to live here once”, “Let them call it jazz”, “Temps perdi”, “The day they burned the books”, “Again the Antilles”, o poema “Obeah night” (publicado em Letters 1931 – 1966), e textos autobiográficos. A pesquisa apoia-se em teorias, conceitos e reflexões que levam em consideração as implicações políticas, ideológicas e históricas dos espaços, e concentra-se em autores que dedicam especial atenção às consequências políticas e simbólicas das conquistas geográficas pelo imperialismo. Ganham relevo o trabalho de escritores que privilegiam o espaço caribenho em seus textos ficcionais e ensaios críticos (Benitez-Rojo, Glissant, Harris, Walcott). Destacamse também os autores que oferecem instrumentos para abordar as questões relacionadas à espacialidade por enfoques diversos (Bakhtin, Benjamin, Carter, De Certeau, Foucault, Lefebvre, Massey), através do enfoque da crítica pós-colonialista (Ashcroft, Bhabha, Carter, Fanon, Griffiths, Hall, Said, Spivak, Tiffin), e da crítica pós-estruturalista (Derrida, Deleuze, Foucault e Guattari). A pesquisa revelou que as figurações de espaço na ficção de Rhys permitem um mapeamento da experiência subjetiva, dando acesso a cartografias alternativas que desafiam as construções ideológicas eurocêntricas e a visão imperialista e patriarcal, propagadas tanto pelo discurso colonial, quanto por discursos literários e cartográficos hegemônicos. Além disso, o estudo concluiu que a polifonia e a opacidade que caracterizam o Caribe ficcional de Rhys e os espaços marginais dos seus textos constroem uma história espacial que, começando e terminando na linguagem, tem o poder de subversão da dimensão poética, capaz de denunciar os limites do discurso lógico e coerente da História. As estratégias narrativas de Rhys trazem à tona as incertezas materiais do tempo e do espaço vividos, histórias de estradas, ruínas, pegadas, trilhas, traços, vestígios de espaços. / This dissertation investigates different forms of exile in the fictional narratives of Dominican writer Jean Rhys (1890-1979), whether determined by the movements and processes of colonization, by the feminine condition or by alienation and commodification in the modern world. The focus given to the experience of exile in these texts involves the investigation of a variety of spaces, such as the personal space of memory, the feminine experience of spaces in the great metropolitan centers, the spaces marked by the history of imperialism, or even the space of the text itself. The study aims to reflect on the fundamental role played by space figurations and place constructions in the fictional narratives of Jean Rhys, and to identify how the protagonists’ experiences of exile and wandering are determined by the precariousness of their identity as a colonial female subject. Wide Sargasso Sea, published in Brazil under the title of Vasto Mar de Sargaços, occupies a central position in this work, which also makes a reading of the intertextual exchanges between Rhys’s novel and Jane Eyre by Charlotte Brontë. This work establishes a dialogue with other texts by Rhys, such as the novels Quartet, After Leaving Mr Mackenzie, Voyage in the Dark, and especially Good morning, midnight, the short stories “I used to live here once”, “Let them call it jazz”, “Temps perdi”, “The day they burned the books”, “Again the Antilles”, the poem “Obeah night” (published in Letters 1931 - 1966), and autobiographical writings. The research is based on theories, concepts and reflections that take into account the political, ideological and historical implications of the spaces, and it focuses on authors who pay special attention to the political and symbolic consequences of the geographical conquests by imperialism. The work of writers who privilege the Caribbean space in their fictional texts and critical essays (Benitez- Rojo, Glissant, Harris, Walcott) are also investigated. This dissertation also examines the works of authors who address post-structuralist criticism (Derrida, Deleuze, Foucault, and Guattari) and spatiality issues either through various approaches (Bakhtin, Benjamin, Carter, De Certeau, Foucault, Lefebvre, Massey) or through postcolonialism (Ashcroft, Bhabha, Carter, Fanon, Griffiths, Hall, Said, Spivak, Tiffin). This research reveals that the figurations of space in Rhys’s fiction allow a mapping of the subjective experience, giving access to alternative cartographies that challenge Eurocentric ideological constructions and the imperialist and patriarchal vision propagated by colonial discourse and by hegemonic literary and cartographic discourses. In addition, the study concludes that the polyphony and opacity that characterize Rhys’s fictional Caribbean and the marginal spaces of her texts construct a spatial history that, beginning and ending in language, has the power of subversion of the poetic dimension, capable of denouncing the limits of the logical and coherent discourse of History. Rhys's narrative strategies bring to light the material uncertainties of lived time and space, histories of roads, ruins, footprints, trails, traces, vestiges of spaces.

No description available.

Zugl.: Mannheim, Univ., Diss., 2008

Thesis (M.A. )--Memorial University of Newfoundland, 1997. / Restricted until May 1998. Bibliography: leaves 105-114. Also available online.

This thesis considers elements of autobiography and autobiographical fiction in the writings of three female Modernists: Jean Rhys, Gertrude Stein and Djuna Barnes. In chapter 1, after drawing distinctions between male and female autobiographical writing, I discuss key male autobiographical fictions of the Modernist period by D.H. Lawrence, Marcel Proust and James Joyce, and their debt to the nineteenth century literary forms of the Bildungsroman and the Künstlerroman. I relate these texts to key European writers, Andre Gide and Colette, and to works by women based on two separate female Modernist aesthetics: first, the school of "lyrical transcendence"—Dorothy Richardson, Katherine Mansfield and Virginia Woolf—in whose works the self as literary subject dissolves into a renunciatory "female impressionism;" the second group—Rhys, Stein and Barnes--who as late-modernists, offer radically "objectified" self-portraits in fiction which act as critiques and revisions of both male and female Modernist fiction of earlier decades. In chapter 2, I discuss Jean Rhys' objectification of female self-consciousness through her analysis of alienation in two different settings: the Caribbean and the cities of Europe. As an outsider in both situations, Rhys presents an unorthodox counter-vision. In her fictions of the 1930's, she deliberately revises earlier Modernist representations, by both male and female writers, of female self-consciousness. In the process, she offers a simultaneous critique of both social and literary conventions. In chapter 3, I consider Gertrude Stein's career-long experiments with the rendering of consciousness in a variety of literary forms, noting her growing concern throughout the 1920's and 1930's with the role of autobiography in writing. In a close reading of The Autobiography of Alice B. Toklas, I examine Stein's parody and "deconstruction" of the autobiographical form and the Modernist conception of the self based on memory, association and desire. Her witty attack on the conventions of narrative produces a new kind of fictional self-portraiture, drawing heavily on the visual arts to create new prose forms as well as to dismantle old ones. Chapter 4 focuses on Djuna Barnes' metaphorical representations of the self in prose fiction, which re-interpret the Modernist notion of the self, by means of an androgynous fictional poetics. In her American and European fictions she extends the notion of the work of art as a formal, self-referential and self-contained "world" by subverting it with the use of a late-modern, "high camp" imagery to create new types of narrative structure. These women's major works, appearing in the 1930's, mark a second wave of Modernism, which revises and in certain ways subverts the first. Hence, these are studies in "late Modernism" and in my conclusion I will consider the distinguishing features of this transitional period, the 1930's, and the questions it provokes about the idea of periodization in general. / Arts, Faculty of / English, Department of / Graduate

Th. univ.--Litt.--Paris 8, 1978. / Bibliogr. p. 701-723.

“In Between Places” is a study in literary geography at the end of empire. It begins from the premise that decolonization itself is a question of place and the relationship of people to places. From this premise, the dissertation explores the narrative techniques that emerge from this moment of historical transformation, in which decolonization was inevitable but not yet fully achieved. The formal elements of decolonial fiction—an emphasis on the individual transformation of place, the incorporation of narrative settings both temporary and fragile—express the ways that spatial relations were central to the political aims of late colonial and early postcolonial writers from across the globe and who express a range of complicated cultural politics. This dissertation begins with an introduction that situates British decolonial fiction in terms of theories of space and place, the transition between modernism and postcolonialism, and current critical debates surrounding forms of anticolonial critique in the twentieth century. In the subsequent four chapters, the dissertation provides case studies of the narrative fiction of Jean Rhys, V. S. Naipaul, George Lamming, and Doris Lessing. Combining formal analysis, archival research, and literary and political history, this dissertation reconstructs the ways that colonial and postcolonial subjects respond to the places they inhabit—at the level of the room, the house, and the city. To tell this story, the chapters move from the abstract space of geopolitics to different sites within urban environments and domestic households. “In Between Places” explains how place functions aesthetically and politically; how Caribbean, African, and English sites were physically marked by colonialism; and how midcentury writers of decolonization used literary setting to resist myths of imperial belonging as well as to uphold them.