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008 220426t20211990txu fo d z eng d
020 _a9780292755499
_qPDF
024 7 _a10.7560/711266
_2doi
035 _a(DE-B1597)9780292755499
035 _a(DE-B1597)586942
035 _a(OCoLC)1286807525
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 4 _aPR6035.H96Z64 1990
072 7 _aLIT000000
_2bisacsh
082 0 4 _a823.912
084 _aonline - DeGruyter
100 1 _aEmery, Mary Lou
_eautore
245 1 0 _aJean Rhys at "World's End" :
_bNovels of Colonial and Sexual Exile /
_cMary Lou Emery.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©1990
300 _a1 online resource (235 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContent --
_tAcknowledgments --
_tIntroduction --
_tPart One Masquerades --
_t1. Modernist Crosscurrents --
_t2. Countertexts, Countercommunities --
_tPart Two. Marooned --
_t3. Wide Sargasso Sea: Obeah Nights --
_t4. Voyage in the Dark: Carnival/Consciousness --
_tPart Three. Other Women --
_t5. Voyage in the Dark: The Other Great War --
_t6. Quartet: "Postures," Possession, and Point of View --
_t7. After Leaving Mr. Mackenzie: Repetition and Counterromance --
_t8. Good Morning, Midnight: The Paris Exhibition and the Paradox of Style --
_tConclusion: "World's End and a Beginning" --
_tNotes --
_tSelected Bibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe Caribbean Islands have long been an uneasy meeting place among indigenous peoples, white European colonists, and black slave populations. Tense oppositions in Caribbean culture—colonial vs. native, white vs. black, male conqueror vs. female subject—supply powerful themes and spark complex narrative experiments in the fiction of Dominica-born novelist Jean Rhys. In this pathfinding study, Mary Lou Emery focuses on Rhys's handling of these oppositions, using a Caribbean cultural perspective to replace the mainly European aesthetic, moral, and psychological standards that have served to misread and sometimes devalue Rhys's writing. Emery considers all five Rhys novels, beginning with Wide Sargasso Sea as the most explicitly Caribbean in its setting, in its participation in the culminating decades of a West Indian literary naissance, and most importantly, in its subversive transformation of European concepts of character. From a sociocultural perspective, she argues persuasively that the earlier novels—Voyage in the Dark, Quartet, After Leaving Mr. Mackenzie, and Good Morning, Midnight—should be read as emergent Caribbean fiction, written in tense dialogue with European modernism. Building on this thesis, she reveals how the apparent passivity, masochism, or silence of Rhys's female protagonists results from their doubly marginalized status as women and as subject peoples. Also, she explores how Rhys's women seek out alternative identities in dreamed of, magically realized, or chosen communities. These discoveries offer important insights on literary modernism, Caribbean fiction, and the formation of female identity.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 7 _aLITERARY CRITICISM / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/711266
856 4 0 _uhttps://www.degruyter.com/isbn/9780292755499
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292755499/original
942 _cEB
999 _c188126
_d188126