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Twentieth-Century Literature (2012) 58 (3): 462–494.
Published: 01 September 2012
...-Emancipation Jamaican setting of Wide Sargasso Sea as one of despair subverts a conventional, progressive conception of history: that the end of slavery marked a triumph of good- will over vicious greed and a spiritual and ethical advance for mankind. In the novel, the locus of despondency is Antoinette...
Twentieth-Century Literature (2020) 66 (1): 37–58.
Published: 01 March 2020
... to articulate; and to be in love is a sublimation that makes each lover infinite, like worlds, like gods, as Douglas wrote to Antoinette in his Oxford years. What makes a photograph like a dead man, or like a bird with a message? Kendall (2009 : 148) emphasizes the photographic in Douglas’s work, persuasively...
Twentieth-Century Literature (2005) 51 (4): 437–466.
Published: 01 December 2005
... shared by other Rhys characters. In one of the dreams in Wide Sargasso Sea, for example, Antoinette follows a man whose face is “black with hatred” through a forest: “I follow him, sick with fear but I make no effort to save myself; if anyone were to try to save me, I would refuse. This must...
Twentieth-Century Literature (2003) 49 (1): 123–130.
Published: 01 March 2003
... Antoinette bound for the guillotine in a tumbril” Jazz Age 120).There is Genevieve Ormonde in the same story, “who regularly made the rounds of dances, house-par- ties, and football games at Princeton,Yale, Williams, and Cornell” (103). 127 Michael Hollington More interesting still, perhaps...
Twentieth-Century Literature (2020) 66 (1): 103–124.
Published: 01 March 2020
... to describe the Austrian response to its own involvement in the atrocities committed during World War II was obviously not lost on Bachmann. The next scene I would like to discuss takes place outside of Vienna, where our narrator has gone to spend a few days with friends, Atti and Antoinette, who live...
Twentieth-Century Literature (2009) 55 (4): 597–617.
Published: 01 December 2009
... laborer, “a boy,” Lurie thinks: “Petrus speaks the word with real amusement. Once he was a boy, now he is no longer. Now he can play at being one, as Marie Antoinette could play at being a milkmaid” (152). For Lurie the bonds of kin—“my” people as opposed to “your” people12...
Twentieth-Century Literature (2018) 64 (2): 161–190.
Published: 01 June 2018
... of the subaltern and has resulted in two main approaches. Gayatri Chakravorty Spivak argues that the local black Creole perspective in Rhys’s novel, including that of the black obeah woman, Christophine, is inaudible because it is mediated and narrated by a white Creole protagonist, Antoinette Cosway: it “cannot...
Twentieth-Century Literature (2000) 46 (3): 285–310.
Published: 01 September 2000
...: New Is land, 1997. Tom Murphy: The Politics of Magic. Rev. ed. Dublin: New Island, 1994. Quinn, Antoinette. “Cathleen ni Houlihan Writes Back: Maud Gonne and Irish National Theater.” Bradley and Valiulis 39-59. Rhys, Jean. Wide Sargasso Sea. 1966. New York: Norton, 1982. Roche, Anthony...
Twentieth-Century Literature (2014) 60 (4): 481–512.
Published: 01 December 2014
.... Pietermaritzburg: U of Natal P, 2001. 183–227. Chrisman, Laura. “Beyond Black Atlantic and Postcolonial Studies: The South African Differences of Sol Plaatje and Peter Abrahams.”Postcolonial Studies and Beyond. Ed. Ania Loomba, Suvir Kaul, Matti Bunzl, Antoinette Burton, and Jed...