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Variations : influence intertextuality, and Milan Kundera, Jean Rhys, and Tom StoppardBennett, Richard January 1994 (has links)
This thesis is in three chapters. Chapter one is about Harold Bloom's theory of the Anxiety of Influence. Bloom's argument is that literary history is shaped by the anxiety of "strong" poets at their belatedness. I show that he depends upon a subjective interpretation of literary production in order to defend a rigidly traditional canon. / Chapter two deals with theories of intertextuality, principally those of Julia Kristeva and Michael Riffaterre. As alternatives to theories of influence, neither proves satisfactory. Both founder on the contradictory goal to explain all literature, at the expense of recognizing literary diversity. / Chapter three concerns literary variations. These are texts which are deliberately premised on pre-existing texts. I focus on three examples from this class of literary texts which is not satisfactorily dealt with by any of the theories I consider. I pursue a less wide-ranging approach in order to unearth important features of literary variations.
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Diasporic modernisms : displacement and ethnicity in Anzia Yezierska, Zora Neale Hurston and Jean Rhys /Konzett, Delia Caparoso. January 1997 (has links)
Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 1997. / Includes bibliographical references. Also available on the Internet.
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A study of woman colonized /Cunanan, Ma-theresa M. January 1994 (has links)
Thesis (M.A.)--University of Hong Kong, 1994. / Cover title. Includes bibliographical references (leaf 47-48).
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Borrowing identities : a study of identity and ambivalence in four canonical English texts and the literary responses each invokes /Steenkamp, Elzette Lorna. January 2008 (has links)
Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.
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A study of woman colonizedCunanan, Ma-theresa M. January 1994 (has links)
Thesis (M.A.)--University of Hong Kong, 1994. / Cover title. Includes bibliographical references (leaf 47-48). Also available in print.
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Decolonizing fictions the subversion of 19th century realist fiction /Fung, Kit-ting. January 2001 (has links)
Thesis (M.A.)--University of Hong Kong, 2001. / Includes bibliographical references (leaves 33-35). Also available in print.
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Speaking through madness : women writing madness /Chow, Tsz-ying, Connie. January 2005 (has links)
Thesis (M.A.)--University of Hong Kong, 2005.
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CARTOGRAFIAS DO EXÍLIO: ERRÂNCIA E ESPACIALIDADE NA FICÇÃO DA ESCRITORA CARIBENHA JEAN RHYSFreitas, Viviane Ramos January 2017 (has links)
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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.
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Identity Formation and the Emotional Journeys of the Protagonists in Wide Sargasso Sea and Annie JohnSandström, Cecilia January 2014 (has links)
Comparative study between Annie John and Wide Sargasso Sea.
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Electric ModernismHaley Anne Larsen (10667997) 07 May 2021 (has links)
<p>This dissertation traces invocations and theories of electric power in modernist literature by women, showing how four modernist authors—Edith Wharton, Hilda Doolittle (H.D.), Olive Moore, and Jean Rhys—deploy electricity in their fiction and highlight its varied and contradictory cultural meanings. Modernist literature by women leverages the open and strange impressions from the era of what electricity might mean, so that authors might make their own arguments about where artistic impulses originate, how homes would change when they became wired, how modernization would change modernist art forms, or why some social spaces gleam brighter than others. Edith Wharton and Jean Rhys highlight cultural and class system dynamics with their electric metaphors and electrically wired settings, in which they fuse mental states with modern atmospheres. H.D. and Olive Moore explore how women experience artistic inspiration, as either a transcendent space of unlimited possibility for the former, or as proof of the limitations of gender for the latter. </p>
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