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Journal articles on the topic 'Jean Rhys'

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Published: 4 June 2021
Last updated: 28 January 2023

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1

Smith, Angela, and Coral Ann Howells. "Jean Rhys." Yearbook of English Studies 24 (1994): 341. http://dx.doi.org/10.2307/3507945.

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2

Seay, Joan, Carole Angier, and Arnold E. Davidson. "Jean Rhys." Tulsa Studies in Women's Literature 5, no. 2 (1986): 324. http://dx.doi.org/10.2307/464008.

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3

Chase, K., and Arnold E. Davidson. "Jean Rhys." World Literature Today 60, no. 3 (1986): 476. http://dx.doi.org/10.2307/40142312.

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4

Oliver, Sophie. "Fashion in Jean Rhys/Jean Rhys in Fashion." Modernist Cultures 11, no. 3 (November 2016): 312–30. http://dx.doi.org/10.3366/mod.2016.0143.

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This article proposes a reciprocal relationship between Jean Rhys's interwar fiction and the mass media that popularised her work in the 1960s and 1970s. Surveying the signs that Rhys and her writing had become fashionable – for example, press reviews and profiles, including in colour supplements and fashion magazines (even her own shoot), along with television adaptations of the work she wrote or set in the 1930s – the piece discusses how her postwar ‘readers’ interpreted this literature of an earlier period in a way that made sense of their own era. It argues that this use of the past to understand the contemporary moment follows the logic of fashion's cyclical temporality, and that it was prefigured in the fashion-conscious, modernist short stories of Rhys's first publication, The Left Bank (1927). The article ultimately suggests that Rhys's work was subject to fashion, an eventuality that it had always envisaged.
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5

Athill, Diana. "‘Editing Jean Rhys’." Women: A Cultural Review 23, no. 4 (December 2012): 401–7. http://dx.doi.org/10.1080/09574042.2012.743355.

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6

O'Toole, Mary, Jean Rhys, Francis Wyndham, Diana Melly, and Elgin W. Mellown. "The Letters of Jean Rhys." Tulsa Studies in Women's Literature 4, no. 1 (1985): 144. http://dx.doi.org/10.2307/463812.

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7

Thomas, Sue. "Jean Rhys Remembering the "Riot"." Anthurium A Caribbean Studies Journal 10, no. 1 (April 24, 2013): 6. http://dx.doi.org/10.33596/anth.223.

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8

Lequenne, Michel. "Une grande méconnue : Jean Rhys." Cahiers du féminisme 43, no. 1 (1987): 32–1. http://dx.doi.org/10.3406/cafem.1987.3718.

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9

Lopoukhine, Juliana, Frédéric Regard, and Kerry-Jane Wallart. "Introduction: Jean Rhys: Writing Precariously." Women: A Cultural Review 31, no. 2 (April 2, 2020): 131–37. http://dx.doi.org/10.1080/09574042.2020.1779435.

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10

Sagar, Aparajita, and Carole Angier. "Jean Rhys: Life and Work." World Literature Today 66, no. 3 (1992): 521. http://dx.doi.org/10.2307/40148470.

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11

HEMMERECHTS, K. "'Wilde Saragossa Sea' van Jean Rhys." Spiegel der Letteren 29, no. 1 (January 1, 1987): 69–78. http://dx.doi.org/10.2143/sdl.29.1.2014508.

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12

O’Shea, Johanna. "Jean Rhys: Twenty-First-Century Approaches." Contemporary Women's Writing 11, no. 1 (November 19, 2016): 129–31. http://dx.doi.org/10.1093/cww/vpw032.

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13

Harris, Maggie. "Coffee with Jean Rhys; Not Home." Wasafiri 34, no. 1 (January 2, 2019): 50–51. http://dx.doi.org/10.1080/02690055.2019.1540336.

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14

Thomas, Sue. "Jean Rhys Writing White Creole Childhoods." a/b: Auto/Biography Studies 19, no. 1-2 (January 2004): 203–21. http://dx.doi.org/10.1080/08989575.2004.10815329.

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15

Gildersleeve, Jessica. "‘Ropes of stories’: Jean Rhys, Vivienne Cleven and Melissa Lucashenko." Queensland Review 22, no. 1 (May 7, 2015): 75–84. http://dx.doi.org/10.1017/qre.2015.7.

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Cultural narratives also function as lifelines in the work of another Queensland Indigenous woman writer, Vivienne Cleven. Cleven's novel,Bitin’ Back(2001), begins when Mavis Dooley's son, Nevil, announces that he is no longer Nevil, but the writer Jean Rhys. Although Nevil eventually reveals that he has simply been acting as a woman in order to understand the protagonist of the novel he is writing, his choice of Rhys in particular is significant. Nevil selected Jean Rhys as a signifier of his female role because, he explains:She's my favourite author; she wroteWide Sargasso Sea[1966]. She was ahead of her time; she wrote about society's underdogs; about rejection and the madness of isolation. I know it sounds all crazy to you, Ma, but this is about whoIam . . . [A] lot of people would never understand me and they wouldn't want to. (2001: 184)
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16

Nadal-Ruiz, Alejandro. "Caribbean Landscape and the Construction of Creole Consciousness in Jean Rhys’s Wide Sargasso Sea." Roczniki Humanistyczne 68, no. 11 (December 23, 2020): 195–210. http://dx.doi.org/10.18290/rh206811-12.

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Krajobraz Karaibów i konstrukcja kreolskiej świadomości w Szerokim Morzu Sargasowym Artykuł analizuje powiązanie pomiędzy opisami miejsca a konstrukcją kreolskiej tożsamości w powieści Szerokie Morze Sargasowe autorstwa Jean Rhys (1966). Stawiam tezę, iż kreolska świadomość bohaterki powieści przechodzi ewolucję, której wyrazem jest jej relacja z naturą Dominki. Narratorka oddaje relację pomiędzy miejscem a tożsamością przywołując zdarzenia ze swojej przeszłości; szczególne znaczenie mają tu opisy jej interakcji z krajobrazem Karaibów na różnych etapach jej życia. Analizując powiązanie pomiędzy formacją tożsamości a krajobrazem Karaibów, artykuł ma na celu poszerzenie stanu badań nad procesem odzyskiwania pamięci w prozie Jean Rhys, jednocześnie rzucając nowe światło na kluczową rolę krajobrazu Karaibów w Szerokim Morzu Sargasowym.
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17

Kulkarni, Meenakshi. "Feminism in Jean Rhys Wide Sargasso Sea." Sanshodhan 8, no. 1 (February 1, 2019): 133. http://dx.doi.org/10.53957/sanshodhan/2019/v8i1/142797.

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18

Drăgulănescu, Amalia-Florentina. "Exploring Cultural Identities in Jean Rhys’ Fiction." Symposion 1, no. 2 (2014): 237–39. http://dx.doi.org/10.5840/symposion20141217.

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19

Keller, Gary Francisco. "Exploring Cultural Identities in Jean Rhys’ Fiction." Symposion 1, no. 2 (2014): 241–42. http://dx.doi.org/10.5840/symposion20141218.

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20

Hagley, Carol R. "Ageing in the fiction of Jean Rhys." World Literature Written in English 28, no. 1 (March 1988): 115–25. http://dx.doi.org/10.1080/17449858808589050.

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21

González, Octavio R. "The Narrative Mood of Jean Rhys' Quartet." ariel: A Review of International English Literature 49, no. 1 (2018): 107–41. http://dx.doi.org/10.1353/ari.2018.0004.

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22

Savory, Elaine. "Jean Rhys, Race and Caribbean/English criticism." Wasafiri 14, no. 28 (September 1998): 33–34. http://dx.doi.org/10.1080/02690059808589609.

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23

Reviron-Piégay, Floriane. "Writing Jean Rhys a Life: The Circumvolutions of Transmission Lines in the Memoirs and Biographies of Jean Rhys." Women: A Cultural Review 31, no. 2 (April 2, 2020): 173–86. http://dx.doi.org/10.1080/09574042.2020.1779442.

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24

De Souza Pinto, Gabriela. "ANTOINETTE COSWAY OU BERTHA MASON." Revista Decifrar 6, no. 11 (June 1, 2018): 10. http://dx.doi.org/10.29281/rd.v6i11.4301.

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Este artigo tem como objetivo investigar a hipótese de que Wide Sargasso Sea constituia um autêntico representante dos efeitos das teorias pós-coloniais para a representação identitária mais favorável e empoderada de personagens que tiveram suas histórias invisibilizadas e suas vozes silenciadas, pelos escritos ficcionais previamente produzidos ou, mesmo, pelos contextos sociais em que estariam ficcionalmente inseridas. Para tanto, aqui propomos a discussão de alguns importante pressupostos teóricos pós-coloniais, que servirão de base para a análise da personagem Antoinette Cosway, presente na obra em questão de Jean Rhys. Partindo do aporte teórico pós-colonial, a análise aqui desenvolvida conclui que a personagem Antoinette Cosway e a reescritura realizada por Jean Rhys podem ser consideradas como efetiva representação de uma das histórias e identidades colonizadas previamente apagadas e silenciadas pelo discurso imperialista.
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25

Athanassakis, Yanoula. "The Anxiety of Racialized Sexuality in Jean Rhys." Anthurium A Caribbean Studies Journal 13, no. 2 (December 22, 2016): 7. http://dx.doi.org/10.33596/anth.319.

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26

Amy de la Bretèque, Pauline. "Poétique de créolisation dans l’œuvre de Jean Rhys." Revue de littérature comparée 366, no. 2 (2018): 217. http://dx.doi.org/10.3917/rlc.366.0217.

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27

Colesworthy. "Jean Rhys and the Fiction of Failed Reciprocity." Journal of Modern Literature 37, no. 2 (2014): 92. http://dx.doi.org/10.2979/jmodelite.37.2.92.

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28

Voicu, Cristina-Georgiana. "Cognitive and Identitarian Aspects in Jean Rhys’ Fiction." Symposion 1, no. 2 (2014): 157–63. http://dx.doi.org/10.5840/symposion20141212.

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29

O'Connor, Teresa F. "Jean Rhys, Paul Theroux, and the Imperial Road." Twentieth Century Literature 38, no. 4 (1992): 404. http://dx.doi.org/10.2307/441783.

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30

Borinsky, Alicia. "Jean Rhys: Poses of a Woman as Guest." Poetics Today 6, no. 1/2 (1985): 229. http://dx.doi.org/10.2307/1772131.

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31

Loendorf, Harald. "Two Tunes: Jean Rhys' Voyage in the Dark." Caribbean Quarterly 46, no. 1 (March 2000): 24–36. http://dx.doi.org/10.1080/00086495.2000.11672106.

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32

Garcia, Rosalia Angelita Neumann, and Mariana Lessa de Oliveira. "Intertextualidade, narradores e outras vozes em Wide Sargasso Sea, de Jean Rhys." Letras, no. 53 (December 22, 2016): 215. http://dx.doi.org/10.5902/2176148525091.

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O romance Wide Sargasso Sea, de Jean Rhys, é geralmente considerado uma resposta pós-colonial à obra Jane Eyre, de Charlotte Brontë. Embora ambos os romances apresentem conexões intertextuais, a estrutura narrativa de Rhys distancia sua obra da narrativa de Brontë, mas também a complementa. Assim, é o objetivo deste artigo estudar o nível de intertextualidade presente em Wide Sargasso Sea em comparação a Jane Eyre, além de apresentar análises sobre os tipos de narrador e focalização observados nas três unidades narrativas distintas da obra por meio de teorias sobre narradores homodiegéticos com base em Bal e Nieragden.
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33

Dzhumaylo, Olga А., and Tatiana S. Matiunina. "SKETCHES OF PARIS: “THE LEFT BANK AND OTHER STORIES” BY JEAN RHYS." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 7, no. 2 (June 1, 2022): 120–33. http://dx.doi.org/10.18522/2415-8852-2022-2-120-133.

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The paper discusses the debut collection “The Left Bank and Other Stories” (1927) by Jean Rhys, the classic of modernist literature, which has not yet been published in Russian. The focus is on the specifics of artistic representation of Paris in a number of short stories/sketches of Rhys. Based on the reconstruction of the biographical context, the point is made on the writer’s selectivity of urban topography, aiming at deconstruction of the image of Parisian chic, especially the ideas shared by representatives of the bohemians who settled in Paris in the 1920s. A series of sketches can also be considered as an exercise in a minor form, allowing to gain confidence in working on larger canvases, the autobiographical novels Quartet (1929), Good Morning, Midnight (1939), united by common topoi of Paris. In the poetics of the texts by Rhys, elements of impressionistic art (representation of the momentary impression, subjectivity of view, attention to the color palette, etc.) and modernist writing (weakened eventfulness, attention to detail, incompleteness, epiphany, montage, narration in the form of “central consciousness”, leitmotives, etc.) are combined. Rhys introduces an element of irony over schematized pattern of images of Paris, creating a system of leitmotives united by the theme of disillusionment, the impenetrability of the inner world of a free artist (including a woman of an artistic temperament), and a city free from any normativity. In addition, the use of intertext is noted as a tool that makes it possible to introduce a new meaning into a sketch on a “given” topic.
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34

Matos, Naylane. "Wide Sargasso Sea e as cartas de Jean Rhys: dessacralizando o discurso colonial." Via Atlântica, no. 39 (September 20, 2021): 239–67. http://dx.doi.org/10.11606/va.i39.181173.

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O objetivo deste trabalho é analisar quão contextual é o processo de escrita de mulheres, em especial, o do texto literário, tomando como objeto as cartas de registro da produção do romance feminista pós-colonial Wide Sargasso Sea, da escritora Jean Rhys. Por meio das cartas de Rhys, abordamos os fatores que envolveram a produção da obra, desde o conflito da autora diante da representação da personagem crioula louca no romance inglês, Jane Eyre (1847), da escritora canônica Charlotte Brontë, às estratégias para validação da sua obra na Inglaterra. Tomamos como referência perspectivas pós e decoloniais para análise dos aspectos elencados nas cartas e suscitados pelo texto literário.
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35

Streip, Katharine. ""Just a Cerebrale": Jean Rhys, Women's Humor, and Ressentiment." Representations 45, no. 1 (January 1994): 117–44. http://dx.doi.org/10.1525/rep.1994.45.1.99p0214d.

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36

Streip, Katharine. ""Just a Cérébrale": Jean Rhys, Women's Humor, and Ressentiment." Representations 45 (January 1, 1994): 117–44. http://dx.doi.org/10.2307/2928605.

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37

박윤기. "Sexual Implicature in Wide Sargasso Sea of Jean Rhys." Studies in English Language & Literature 35, no. 1 (February 2009): 73–89. http://dx.doi.org/10.21559/aellk.2009.35.1.004.

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38

Carr, Helen. "'Intemperate and Unchaste': Jean Rhys and Caribbean Creole Identity." Women: A Cultural Review 14, no. 1 (January 2003): 38–62. http://dx.doi.org/10.1080/0957404032000081692.

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39

Brathwaite, Kamau. "Days & Nights or Jean Rhys & Cynthia Wilson." Wasafiri 11, no. 22 (September 1995): 79–81. http://dx.doi.org/10.1080/02690059508589467.

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40

Chacón-Castellanos, Aida. "Género y antiimperialismo en Ancho Mar de los Sargazos de Jean Rhys." Temas de Nuestra América. Revista de Estudios Latinoaméricanos 31, no. 58 (April 8, 2016): 173. http://dx.doi.org/10.15359/tdna.31-58.10.

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Concuerdo con Maricruz Castro (2009), quien señala que género es un concepto mediante el cual quedan manifiestas las construcciones culturales alrededor de la mujer y de lo femenino, así como también del hombre y lo masculino. Considero que la autora Jean Rhys puede brindar una visión de primera mano sobre el tema no solamente de lo femenino sino también del prejuicio racial y el discurso imperialista a partir del cual se construye la identidad del otro. Fundo mi acercamiento en <em>Wide Sargasso Sea</em>, <em>Ancho mar de los Sargazos</em>, de Rhys. La construcción de la figura femenina, ligada a la locura y el prejuicio racial, desde el punto de vista imperialista, son elementos que la autora trata de desvincular desde su muy particular narrativa.
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41

Buksdorf, Daniela. "La reescritura como herramienta de respuesta literaria." LA PALABRA, no. 27 (November 25, 2015): 95. http://dx.doi.org/10.19053/01218530.3997.

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En este artículo se presenta la reescritura como un ejercicio de respuesta y/o reivindicación, a partir del estudio y análisis de dos reescrituras - Una tempestad, de Aimé Césaire y Ancho mar de los Sargazos, de Jean Rhys- que tienen como hipotexto obras canónicas cuyo origen se encuentra en el Imperio Inglés. Césaire toma como texto de origen La tempestad de William Shakespeare, mientras que Rhys trabaja desde la novela victoriana Jane Eyre, de Charlotte Brontë. El objetivo de este artículo es identificar las respuestas a dichas obras canónicas, modificando el discurso presente en los escritos estudiados. Para esto, se revisarán los conceptos de canon y reescritura, se analizarán los textos reescritos desde su base canónica y se compararán ejes centrales de las novelas y tratamiento de personajes y contexto, para así detectar las cercanías y lejanías de las obras con los textos canónicos y poder identificar los discursos perseguidos por los autores de las reescrituras. Palabras clave: reescritura, canon, hegemonía, margen, Shakespeare, Césaire, Brontë, Rhys.
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42

Matos, Naylane Araújo. "A tradução brasileira de Wide Sargasso Sea, de Jean Rhys." Revista Letras Raras 7, no. 2 (September 29, 2018): 87–109. http://dx.doi.org/10.35572/rlr.v7i2.1140.

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Este artigo tem o objetivo de analisar a tradução brasileira do romance Wide Sargasso Sea (1966), da escritora Jean Rhys, com ênfase na mediação cultural realizada pela tradutora Léa Viveiros de Castro, a partir de questões de gênero e étnico-raciais. Para tanto, a análise embasa-se nas perspectivas de tradução feminista e pós-colonial para cotejo do corpus – composto pelo romance Wide Sargasso Sea e a tradução brasileira Vasto Mar de Sargaços (Rocco, 2012). Os resultados apontam para necessidade urgente de traduções engajadas em transmitir o viés político das obras traduzidas, uma vez que o cotejo apresentado neste trabalho evidencia escolhas de tradução que podem vir a interferir no sentido proposto pelo texto fonte e, em certos casos, operar até mesmo de modo contrário ao que este pretende, atenuando seu potencial feminista pós-colonial.
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43

Wilson, Lucy. "European or Caribbean: Jean Rhys and the Language of Exile." Frontiers: A Journal of Women Studies 10, no. 3 (1989): 68. http://dx.doi.org/10.2307/3346446.

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44

Su, John J. "Territories of the Psyche: the Fiction of Jean Rhys (review)." MFS Modern Fiction Studies 53, no. 1 (2007): 208–10. http://dx.doi.org/10.1353/mfs.2007.0034.

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45

Downes, Sarah. "Jean Rhys, William Orpen and the Frames of Modernist Representation." Women: A Cultural Review 27, no. 3 (July 2, 2016): 280–95. http://dx.doi.org/10.1080/09574042.2016.1276763.

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46

Hanna, Mary, and Albert James Arnold. "L'écriture des anglophones blanches, de Jean Rhys à Pauline Melville." Critique 711-712, no. 8 (2006): 720. http://dx.doi.org/10.3917/criti.711.0720.

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47

İKİZ, SEZER SABRİYE. "Jean Rhys in Karanlıkta Yolculuk Romanında Anna Morgan ın Hikayesi." Journal of International Social Research 9, no. 39 (August 30, 2015): 144. http://dx.doi.org/10.17719/jisr.20153913737.

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48

Linett, Maren. "“New Words, New Everything”: Fragmentation and Trauma in Jean Rhys." Twentieth-Century Literature 51, no. 4 (2005): 437–66. http://dx.doi.org/10.1215/0041462x-2005-1006.

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49

Luo, Li. "A Symbolic Reading of Wide Sargasso Sea." Theory and Practice in Language Studies 8, no. 9 (September 1, 2018): 1221. http://dx.doi.org/10.17507/tpls.0809.17.

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Wide Sargasso Sea is acclaimed as the masterpiece of the British female writer Jean Rhys. In the novel, Rhys reshapes the mad wife of Rochester, Bertha Mason, who is imprisoned in the attic in Jane Eyre. With her own life experience as a white Creole and her experience living in West Indies as a blueprint, setting the abolition of slavery in West Indies in the nineteenth century as the background of the times, Rhys restores Antoinette a real state of survival under colonialism and patriarchy, with a sense of identity loss and confusion. The use of symbolism is one of the most outstanding styles in description. Owing to the use of symbolism, the historical situation of Jamaica under colonialism and patriarchy has been successfully displayed and the abstract moral themes have been vividly conveyed. This paper seeks to set symbolism as a theoretical basis, classify and analyze the symbols in the novel in accordance with their roles in revealing the themes, illustrating a complete interpretation of the complicated racial conflicts and patriarchy oppression in West Indies.
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50

Crozier, Alice. "Rebecca West, and: The Literary Achievement of Rebecca West, and: Jean Rhys, and: Jean Rhys. (review)." MFS Modern Fiction Studies 32, no. 4 (1986): 671–75. http://dx.doi.org/10.1353/mfs.0.0190.

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