scholarly journals Intertextualidad: literatura y cine

2021 ◽  
pp. e0015
Author(s):  
Teresa De Lauretis
Keyword(s):  
Jean Rhys ◽  
Manuel Puig ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Wide Sargasso Sea

El presente artículo trata de algunos usos de la intertextualidad entre el cine y la literatura. I Walked with a Zombie (1943) es la segunda de las nueve películas producidas por Val Lewton que dieron forma al género de terror y tuvieron una influencia duradera en el lenguaje cinematográfico. La película, que replantea la clásica novela victoriana Jane Eyre en un escenario caribeño, esboza las fallas del proceso colonizador europeo mucho antes de la llegada de los estudios postcoloniales. La novela parcialmente autobiográfica de Jean Rhys, Wide Sargasso Sea (1966), reformula Jane Eyre desde una perspectiva feminista y poscolonial por medio del punto de vista de «la loca del ático». En la novela El beso de la mujer araña (de Manuel Puig), el cine y las películas, incluida I Walked with a Zombie, constituyen el medio intertextual para la creación del personaje literario y la figura de un amor que no tiene nombre.

Rhys, Jean (1890-1979)

2018 ◽  
Author(s):  
Juliette Taylor-Batty
Keyword(s):  
Short Story ◽  
Postcolonial Studies ◽  
Jean Rhys ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Female Protagonists ◽  
Wide Sargasso Sea ◽  
Story Writer ◽  
Modernist Fiction

Jean Rhys was a Dominican novelist and short-story writer. Her career can be divided into two main periods: her modernist fiction of the 1920s and 1930s, which depicts the bohemian demi-monde in Europe of the time as experienced by vulnerable female protagonists on the margins of respectability, and her later work, which came after a long hiatus with the publication of Wide Sargasso Sea (1966). Wide Sargasso Sea, her best known novel, is a prequel to Charlotte Brontë’s Jane Eyre, and an important text within postcolonial studies.

scholarly journals Wide Sargasso Sea e as cartas de Jean Rhys: dessacralizando o discurso colonial

2021 ◽  
pp. 239-267
Author(s):  
Naylane Matos
Keyword(s):  
Charlotte Bronte ◽  
Jean Rhys ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Wide Sargasso Sea

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.

scholarly journals The Erasure Of A Mad And An Infamous Mother In Jean Rhys’s Wide Sargasso Sea

2014 ◽  
Vol 9 (1) ◽  
pp. 23-35
Author(s):  
Mirza Muhammad Zubair Baig
Keyword(s):  
Jean Rhys ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Wide Sargasso Sea

The character of Bertha Mason has been stereotyped as a “madwoman in the attic” in Charlotte Bronte’s novel “Jane Eyre (1847).” Jean Rhys in her novel “Wide Sargasso Sea (1966),” has tried to re-inscribe her character as Antoinette by analyzing how the imperialist and patriarchal forces led a woman from the wide world of Sargasso Sea to the attic of Thornfield Hall England. My contention to this corrective process of rewriting as rerighting is that, in an effort to authenticate Antoinette’s character, this writing has othered Annette, Antoinette’s mother, and has, in return, created another madwoman who has been left unattended in the plot that should have written back to the canon instead of furthering canonical images.

scholarly journals All the madwomen in the attic: alienation and culture shock in Jamaica Kincaid’s See Now Then = Todas las locas del ático: alienación y shock cultural en See Now Then, de Jamaica Kincaid

2018 ◽  
pp. 279
Author(s):  
María Alonso Alonso
Keyword(s):  
Charlotte Bronte ◽  
English Literature ◽  
Culture Shock ◽  
Jean Rhys ◽  
Jamaica Kincaid ◽  
Theoretical Framework ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Wide Sargasso Sea

<p>Este artículo analiza la última novela de Jamaica Kincaid, <em>See Now Then</em>. Después de ofrecer una contextualización y de acuerdo con el marco teórico que articula el análisis, esta aproximación tomará como referencia dos clásicos de la literatura inglesa como son <em>Jane Eyre</em> de Charlotte Brontë y <em>Wide Sargasso Sea</em> de Jean Rhys para explorar cuestiones de alienación y shock cultural a través de la prosa compleja y barroca que caracteriza los trabajos de Kincaid.</p><p class="Default">This article analyses Jamaica Kincaid’s latest novel, <em>See Now Then</em>. After contextualising the text and according to the theoretical framework that structures this analysis, this approach will consider two classics of English literature such as Charlotte Brontë’s <em>Jane Eyre </em>and Jean Rhys’s <em>Wide Sargasso Sea </em>to explore issues of alienation and culture shock through the highly complex and baroque prose that cha­racterises Kincaid’s works.</p>

scholarly journals A Symbolic Reading of Wide Sargasso Sea

2018 ◽  
Vol 8 (9) ◽  
pp. 1221
Author(s):  
Li Luo
Keyword(s):  
West Indies ◽  
Life Experience ◽  
Jean Rhys ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
The Novel ◽  
Wide Sargasso Sea ◽  
Racial Conflicts ◽  
The Times ◽  
Moral Themes

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.

scholarly journals Becoming Jane Eyre

2020 ◽  
pp. 117-127
Author(s):  
Molly Rymer
Keyword(s):  
Jean Rhys ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Wide Sargasso Sea

This article explores the parallels drawn between the characters of Jane Eyre and Bertha Mason in Charlotte Bronte’s 1847 novel Jane Eyre, using Jean Rhys’ 1966 novel Wide Sargasso Sea to further this comparison. I use Sandra M. Gilbert and Susan Gubar’s argument that Bertha is Jane’s double, or other self, to argue that Jane and Bertha both possess a form of androgyny within their characters, Jane’s due to her class and Bertha’s due to her race. I suggest that these forms of androgyny prevent Jane, in particular, from becoming spiritually equal with Mr. Rochester, proposing that, due to their connection as doubles, Jane must be rid of both her own, as well as Bertha’s androgynous shadow, in order to enter into marriage with Rochester as his equal.

scholarly journals Caryl Phillips’s Rewriting of the Canonical Romance as a Genre

Il Tolomeo ◽  
2021 ◽  
Author(s):  
Alessia Polatti
Keyword(s):  
Jean Rhys ◽  
Jane Eyre ◽  
Sargasso Sea ◽  
Fictional Character ◽  
Mansfield Park ◽  
Wuthering Heights ◽  
Wide Sargasso Sea ◽  
Return Journey ◽  
Lost Child

The paper considers Phillips’s rewriting of the canonical nineteenth-century romances in three of his novels – A State of Independence (1986), The Lost Child (2015), and A View of the Empire at Sunset (2018). The three texts resettle the romance genre through the postcolonial concept of ‘home’. In A State of Independence, Phillips rearranges the role of one of Jane Austen’s most orthodox characters, the landowner Sir Thomas Bertram of Mansfield Park (1814), by transposing the Austenian character’s features to his protagonist Bertram Francis, a Caribbean man who comes back to his ancestral homeland after twenty years in Britain. In The Lost Child, chronicling literary-historical events in the present tense by transferring the life of the Brontë family into the protagonists of Wuthering Heights (1847) is for the author one way of calling into question the real sense of literature. It is for this reason that Phillips constructs a cyclic narration around the figure of Branwell Brontë, fictionalised by his sister Emily in the romance protagonist Heathcliff, and mirrored in The Lost Child in the character of Tommy Wilson. In A View of the Empire at Sunset, Phillips definitely overturns the colonial and genre categories by reassessing the in-between life of the Dominican-born writer Jean Rhys through her personal return journey to Dominica: as a result, the author of Wide Sargasso Sea (1966) (an intense rewriting of Jane Eyre) becomes a fictional character, and the literary events of her life sum up the vicissitudes both of the two ‘Bertrams’ – of Mansfield Park and A State of Independence – and the protagonists of Wuthering Heights and The Lost Child.

Sign in / Sign up

Export Citation Format

Share Document