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Journal articles on the topic 'Jean Rhys'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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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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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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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 (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 und

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5

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

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6

Ibarra Cordero, Andrés. "Divided Self in Jean Rhys’ Voyage in the Dark." English Studies in Latin America: A Journal of Cultural and Literary Criticism, no. 4 (June 22, 2023): 1–11. http://dx.doi.org/10.7764/esla.61907.

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This paper discusses the problems of identity, time and place in Jean Rhys’ 1934 novel, Voyage in the Dark. It analyses Rhys’ aesthetics concerns in the creation of a subjective construction of the imperial metropole and the colonial space. In doing, this paper suggests how Rhys builds a bridge between contemporary modernist narrative techniques and a preceding Post-colonial perspective. The constant juxtaposition of time and place makes of Rhys’ protagonist, Anna Morgan, an elusive self. By means of this fragmented self, the author aims to reformulate colonial power relations and raise crucia

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7

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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8

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

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9

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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10

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

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11

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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12

Milligan, Jennifer E. "Jean Rhys: The French Connection?" Miscelánea: A Journal of English and American Studies 20 (December 31, 1999): 277–94. https://doi.org/10.26754/ojs_misc/mj.199911255.

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This essay examines Rhys's relationship with France as evinced in her autobiographical works and early fiction. It analyses the way in which Rhys, adopting a position of self-imposed artistic marginality and social isolation, refuses to endorse popular utopian visions of Paris as an all-embracing, alternative aesthetic homeland and a realm of erotic liberation. Paris instead becomes synonymous with maternal, not sexual, love. This offers a sense of resolution and closure for Rhys on a personal level (she connects metonymically with her own estranged mother); but her particular representation o

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13

Stanley, Rachael. "Kissing Statues: Eroticism and Satire in the Short Stories of Jean Rhys." Modernism/modernity 31, no. 2 (2024): 337–56. https://doi.org/10.1353/mod.2024.a947735.

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abstract: Within the short stories of Jean Rhys we can observe her attempting to find a means to write the erotic by using descriptions of the visual arts as a way to explore female desire and sexuality. In these moments of engagement with the visual arts, Rhys finds a way to subvert the supposed "neutrality" of ekphrasis and satirize male depictions of the female body and female desire. Working alongside this satirical intent to critique male artistic practice, we witness Rhys adopting prototypical modernist techniques but using them to describe moments of eroticism. Fragmentation, ellipsis,

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14

Thomas, Sue. "Vulnerability in Jean Rhys's Late Gerontography." MFS Modern Fiction Studies 71, no. 1 (2025): 139–54. https://doi.org/10.1353/mfs.2025.a958570.

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Abstract: Jean Rhys wrote journalism and short fiction about old age in her mid- to late-eighties. In the stories "Rapunzel, Rapunzel," "Who Knows What's Up in the Attic?," and "Sleep It Off Lady," Rhys limns vulnerability through intertextual registers and the subtle orchestration of tropes of weather in and weathering of old age and figures of the stranger. I reinvigorate scholarly study of these stories by contextualizing Rhys's hitherto unexamined journalism and drawing on concepts and critical vocabularies from social gerontology and vulnerability studies.

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15

Renjith, Sreelakshmi. "Pleasure of Pain: Interrogating the Concept of Masochism in Jean Rhys’ Novels." Netsol: New Trends in Social and Liberal Sciences 8, no. 2 (2023): 1–9. http://dx.doi.org/10.24819/netsol2023.8.

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The novels of Jean Rhys (1890-1979), published in the 1900s, championed a new corpus of feminist writing, with emphasis laid on the trials and tribulations of twentieth-century women. The psychological trauma experienced by women because of contemporary social codes, forms the prime concern of Rhys, presenting a unique way of tackling gender issues. This article explores the masochistic tendencies that constantly overshadow Rhys’ works in the context of female characters’ relishing their bleak, morbid life. Through a detailed analysis of her novels Quartet (1928) and Good Morning, Midnight (19

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16

Gildersleeve, Jessica. "‘Ropes of stories’: Jean Rhys, Vivienne Cleven and Melissa Lucashenko." Queensland Review 22, no. 1 (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

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17

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

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18

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

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19

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

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20

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

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21

Nadal-Ruiz, Alejandro. "Caribbean Landscape and the Construction of Creole Consciousness in Jean Rhys’s Wide Sargasso Sea." Roczniki Humanistyczne 68, no. 11 (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 p

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22

Borthakur, Harshita. "Reading Oppression and Repression in Jean Rhys' Wide Sargasso Sea." International Journal of English Literature and Social Sciences 8, no. 3 (2023): 233–37. http://dx.doi.org/10.22161/ijels.83.38.

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Annette and Antoinette were unwelcomed by all. They “were not in their (the white people’s) ranks” and “The Jamaican ladies never approved” (Rhys 3) of them. As Creoles, they had no root. Being of colour and not belonging to the prevalent binary structure, they never fit in. Neither the whites accepted nor the blacks. Throughout they were mistreated and suffered in the hands of both. While Charlotte Bronte's Jane Eyre (1847) represents the unfit monster in Bertha, Jean Rhys' Wide Sargasso Sea (1966) re-presents the story leading to Bertha's present state. The journey from innocence to madness

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23

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

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24

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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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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26

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

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27

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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28

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

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29

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 (2020): 173–86. http://dx.doi.org/10.1080/09574042.2020.1779442.

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30

Imamova, Gulrukh Latifovna, and Samiya Alisher qizi Arabboyeva. ""EXAGGERATED REALITIES: THE FUNCTION OF HYPERBOLE IN JEAN RHYS'S "WIDE SARGASSO SEA" AS A REFLECTION OF COLONIAL TENSIONS AND PSYCHOLOGICAL TURMOIL"." JOURNAL OF INTERNATIONAL SCIENTIFIC RESEARCH 2, no. 2 (2025): 323–26. https://doi.org/10.5281/zenodo.14706585.

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De Souza Pinto, Gabriela. "ANTOINETTE COSWAY OU BERTHA MASON." Revista Decifrar 6, no. 11 (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

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32

Qurbonova N. R. and Khamdamova M. "Character Sketch Of Wide Sargasso Sea." American Journal of Science and Learning for Development 3, no. 1 (2024): 1–3. http://dx.doi.org/10.51699/ajsld.v3i1.3267.

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Wide Sargasso Sea is a novel by Dominican British author Jean Rhys. It is a story of Antoinette Cosway and her descent into madness at the hands of the cold-hearted and money-hungry Mr. Rochester. It was first published in 1966 and the novel is divided into three parts. Adapted from Charlotte Bronte’s “Jane Eyre” Rhys wrote Wide Sargasso Sea in an attempt to explain Brote’s character, Berth Mason, the violently insane wife of Edward Rochester who was isolated from the rest of the world and locked in a third-floor room[1]. In this novel, Rhys illustrates the emotional trauma, Sexual repression,

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33

Nenkovska, Lora. "За книгата: Надежда Радулова. Палимпсести в литературния модернизъм. Хилда Дулитъл, Джийн Рис, Марина Цветаева". Colloquia Comparativa Litterarum 11 (2025): 195–97. https://doi.org/10.60056/ccl.2025.11.195-197.

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За книгата: Надежда Радулова. Палимпсести в литературния модернизъм. Хилда Дулитъл, Джийн Рис, Марина Цветаева. София, ВС Пъблишинг, 2024, 240 с. [Nadejda Radulova. Palimpsests in Literary Modernism. Hilda Doolittle, Jean Rhys, Marina Tsvetaeva, Sofia, VS Publishing, 2024].

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34

Goenaga Conde, Beatriz María. "“La isla en peso”. Espacio literario e intertextualidad en Wide Sargasso Sea, de Jean Rhys." ÍSTMICA. Revista de la Facultad de Filosofía y Letras 1, no. 33 (2023): 11–39. http://dx.doi.org/10.15359//istmica.33.2.

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El objetivo fundamental de este artículo está dirigido a valorar las funciones de la intertextualidad en la construcción del espacio insular caribeño en WideSargasso Sea, de la escritora dominiquesa Jean Rhys. Por tal motivo se analizaron las relaciones intertextuales entre Jean Eyre, de Charlotte Brontë, y Wide Sargasso Sea, de Jea Rhys, con énfasis en la isla en tanto espacio literario presentado de manera explícita. Como resultado se pudo constatar que la principal función de la intertextualidad en dicho texto responde a la intención calibanesca y desmitificadora de desmonte de los arquetip

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35

Goenaga Conde, Beatriz M. "“La isla en peso”. Espacio literario e intertextualidad en Wide Sargasso Sea, de Jean Rhys." ÍSTMICA. Revista de la Facultad de Filosofía y Letras 1, no. 33 (2024): 11–39. http://dx.doi.org/10.15359/istmica.33.2.

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El objetivo fundamental de este artículo está dirigido a valorar las funciones de la intertextualidad en la construcción del espacio insular caribeño en WideSargasso Sea, de la escritora dominiquesa Jean Rhys. Por tal motivo se analizaron las relaciones intertextuales entre Jean Eyre, de Charlotte Brontë, y Wide Sargasso Sea, de Jea Rhys, con énfasis en la isla en tanto espacio literario presentado de manera explícita. Como resultado se pudo constatar que la principal función de la intertextualidad en dicho texto responde a la intención calibanesca y desmitificadora de desmonte de los arquetip

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36

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 co

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37

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 (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

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38

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

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39

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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40

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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41

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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42

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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43

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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44

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

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45

Dr., Mir Mahammad Ali. "Reconstructing the Canon, Reimagining Identity: Jean Rhys's Revisionist Narrative in Wide Sargasso Sea." Criterion: An International Journal in English 15, no. 6 (2024): 312–22. https://doi.org/10.5281/zenodo.14605981.

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The paper aims to study the subversions and reinterpretations in Jean Rhys' <em>Wide Sargasso Sea</em>, which serves as a prequel to Charlotte Brontë's celebrated novel, <em>Jane Eyre,</em> using a postmodern perspective. This study delves into analyzing the effects of these subversions on the reassessment of the literary canon. This inquiry involves analyzing Rhys' use of narrative methods, such as irony and intertextuality, to question and subvert the dominant narratives and assumptions in Brontë's work. The paper examines Rhys' deliberate undermining of binary oppositions, explora

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46

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 dec

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47

AL-Hasani, Hayder M. Saadan M. Ridha. "The Victimized Personas in Jean Rhys’s Wide Sargasso Sea and Charlotte Bronte’s Jane Eyre, Feminism Perspectives." Randwick International of Education and Linguistics Science Journal 4, no. 1 (2023): 149–57. http://dx.doi.org/10.47175/rielsj.v4i1.636.

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The Wide Sargasso Sea - (1966). After years of contemplating Charlotte Bronte's Creole madwoman Bertha Mason, Jean Rhys set out to give voice to what is mute in Bronte’s Jane Eyre. Rhys lets Antoinette narrate her tale, revealing the "other side" of Bronte's story: what occurred in the years before and after Mr. Rochester's first marriage in Jamaica. As a twentieth-century West Indian writer, Rhys was able to expose implicit assumptions and ideals in Bronte's writing, such as imperialist England's attitude toward her colonies. The natural environment is a mirror of interior states of being and

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48

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 (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

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49

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 escrito

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50

Patil, Bhagwat C. "Existential Displacement and Postmodernism in Rhys's After Leaving Mr. Mackenzie." Literary Enigma 1, no. 1 (2024): 1–6. https://doi.org/10.5281/zenodo.14975984.

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Abstract:The present research paper examines themes of existential displacement andpostmodernism in Jean Rhys’s After Leaving Mr. Mackenzie, highlighting how the novelnavigates alienation, fragmented identity, and societal estrangement. Through the protagonistJulia Martin’s experiences as an expatriate in Paris, Rhys portrays a woman grappling withself-worth in an indifferent, rapidly changing world. Employing postmodern techniques suchas narrative fragmentation, unreliable narration, and an emphasis on subjective reality, Rhyseffectively destabilizes traditional constructs of iden

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