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.

Thesis (Ph. D.)--University of Chicago, Dept. of English Language and Literature, August 1997. / Includes bibliographical references. Also available on the Internet.

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

Thesis (MA)--University of Stellenbosch, 2008. / Bibliography. Also available via the Internet.

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.

Comparative study between Annie John and Wide Sargasso Sea.

<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>