Thesis (M.A.)--University of North Carolina at Greensboro, 2005. / Title from PDF title page screen. Advisor: Christian Moraru; submitted to the Dept. of English. Includes bibliographical references (p. 25-26, p. 49-50).

This project is a literature-focused investigation of age-related discourse in the Modernist texts of James Joyce, Jean Rhys, and George Orwell. This study locates anxiety about ageing as a consistent trope of Modernist literature in reaction to the shifting and uncertain landscape of the period. Despite the meaningful differences in perspective, gender, nationality, and chronological placement of these authors within the spectrum of the Modernist period, each foregrounds age anxiety as a central theme and tension in their works. Incorporating dread around ageing in distinct manners, these authors expose the irreconcilable disconnect between a cultural call for newness and the inevitable ageing of the authors themselves. This study highlights the largely unexamined motif of age anxiety in the work of Modernism’s most esteemed and compelling authors.

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<p>Uppsatsens syfte är att visa hur Jean Rhys i sin roman <em>Sargassohavet</em> ifrågasätter de narrativa strategier och diskurser som avgör vilka romanpersoner och perspektiv som får komma till uttryck. Rhys gör detta bland annat genom att placera en icke-västerländsk kvinna, som dessutom påstås vara galen, i protagonistens position. På så vis legitimeras romanpersonens perspektiv och detta är ett sätt att låta den Andras röst få komma till uttryck, från det fria subjektets position.</p><p>Rhys lyfter också fram att det alltid finns fler än en sida av en berättelse. Den mångstämmighet som kännetecknar romanen visar att en berättelse kan framföras från flera olika perspektiv; genom att utrymme ges åt flera röster försvåras en reducerande läsart av romanpersonerna. Romanens polyfoni är också ett sätt att belysa de olika positionerna i de konflikter som strukturerar romanen, exempelvis konflikten mellan det västerländska och det icke-västerländska, mellan kvinnor och män och mellan rationalitet och fantasi.</p> / <p>The aim of this thesis is to show how Jean Rhys in her novel <em>Wide Sargasso Sea</em> questions the narrative strategies and the discourses that decide which characters are allowed to speak. Rhys does this by placing a non-western woman, who is also allegedly insane, in the position of the protagonist. By doing so, this perspective is legitimized and it is a strategy that lets the voice of the Other be expressed.</p><p>Rhys also emphasizes the existence of multiple versions of a story. The polyphony that characterizes the novel shows that a story can be told from different points of view. By letting several voices be heard, a reductive reading of the characters is prevented. The polyphony in the novel is also a way of bringing out the different positions in the conflicts that structure the novel, for example the conflict between the western and the non-western, between women and men and between rationality and fantasy.</p>

University of Macau / Faculty of Social Sciences and Humanities / Department of English

Uppsatsens syfte är att visa hur Jean Rhys i sin roman Sargassohavet ifrågasätter de narrativa strategier och diskurser som avgör vilka romanpersoner och perspektiv som får komma till uttryck. Rhys gör detta bland annat genom att placera en icke-västerländsk kvinna, som dessutom påstås vara galen, i protagonistens position. På så vis legitimeras romanpersonens perspektiv och detta är ett sätt att låta den Andras röst få komma till uttryck, från det fria subjektets position. Rhys lyfter också fram att det alltid finns fler än en sida av en berättelse. Den mångstämmighet som kännetecknar romanen visar att en berättelse kan framföras från flera olika perspektiv; genom att utrymme ges åt flera röster försvåras en reducerande läsart av romanpersonerna. Romanens polyfoni är också ett sätt att belysa de olika positionerna i de konflikter som strukturerar romanen, exempelvis konflikten mellan det västerländska och det icke-västerländska, mellan kvinnor och män och mellan rationalitet och fantasi. / The aim of this thesis is to show how Jean Rhys in her novel Wide Sargasso Sea questions the narrative strategies and the discourses that decide which characters are allowed to speak. Rhys does this by placing a non-western woman, who is also allegedly insane, in the position of the protagonist. By doing so, this perspective is legitimized and it is a strategy that lets the voice of the Other be expressed. Rhys also emphasizes the existence of multiple versions of a story. The polyphony that characterizes the novel shows that a story can be told from different points of view. By letting several voices be heard, a reductive reading of the characters is prevented. The polyphony in the novel is also a way of bringing out the different positions in the conflicts that structure the novel, for example the conflict between the western and the non-western, between women and men and between rationality and fantasy.

Thesis (doctoral)--l'Université de Paris VIII, 1978. / Includes bibliographical references (p. 701-723).

The purpose of this essay is to look into how Jean Rhys describes the complexity of colonialism in the Caribbean and how it affected the colonized people and the European colonizers. Her novel Wide Sargasso Sea is considered to be a re-writing of Jane Eyre, but it also demonstrates social rankings and racial groupings in the colonial society. She does not only describe Mr. Rochester’s first wife, she also depicts the forbidden love story between Antoinette and her “coloured” cousin Sandi. The analysis will have a postcolonial approach by using postcolonial theory and concepts, for example, Said’s concept about the Other, Fanon’s ideas about the psychological effects on the oppressed and Bhabha’s theory about colonial mimicry.

The aim of this dissertation is to study postmodern British Female Gothic fiction in terms of its abject representations of female desire which subvert the patriarchal definition of female sexuality as repressed and female identity as the object of desire. The study analyzes texts from postmodern Female Gothic fiction which are feminist rewritings of the traditional Gothic narratives. The conventional Gothic plot is based on the Oedipal development of identity which excludes the (m)other and deprives the female from autonomous subjectivity. The feminist rewritings of the conventional Gothic plot have a subversive aim to recast the Oedipal identity formation and they embrace the (m)other figure in order to blur the strict boundaries between the subject and the object. Besides, these rewritings aim to destroy the image of the victimized heroine within the imprisoning conventional Gothic structures and transgress the cultural, social and sexual definitions of women constructed by patriarchal sexual politics. The study bases its analyses on Jean Rhys&rsquo / s Wide Sargasso Sea, Angela Carter&rsquo / s The Bloody Chamber and Other Stories, and Emma Donoghue&rsquo / s Kissing the Witch: Old Tales in New Skins as examples in which patriarchal definition of the female desire as passive is destroyed and the female desire as active is promoted by the adoption of abject representations, which challenge the strictly constructed hierarchical relationships between men and women. Basing its argument on Julia Kristeva&rsquo / s psychoanalytical theories, which re-vision the traditional psychoanalytical theories, this study puts forward that by the emergence of postmodernism, which has overtly provided a ground for the marginalized discourses to get into dialogue with the oppressive ones, the abject representations of female desire have gained a positive characteristic that can liberate female body from the control and authority of the male-dominated ideology. Thus, one can chronologically follow the positive development of abject representations of female sexuality in Rhys&rsquo / s, Carter&rsquo / s and Donoghue&rsquo / s works which promote a liberation for the Gothic heroines from patriarchal psychoanalytical identity development, which render female desire active and female body expressive, which rehistoricize female sexuality from a feminist lens and which call for a new world order built upon an egalitarian basis that destroys hierarchically constructed gender roles. As a result, postmodern British Female Gothic Fiction is proved to be offering a utopian ideal of an egalitarian society, but although utopian and radical, not an impossible one to be realized.

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