Nadal Ruiz, Alejandro
Arizti Martín, Bárbara María (dir.)
Universidad de Zaragoza,
2024
Resumen: La presente tesis explora la representación del trauma en las cuatro novelas modernistas de Jean Rhys. La dimensión autobiográfica de estas obras suscita el debate de si las convenciones del género autobiográfico, que tradicionalmente ha abogado por una fuerte adhesión a la verosimilitud, pueden ser un impedimento a la hora de narrar una experiencia traumática. Por lo tanto, el principal objetivo de este estudio es examinar el cuestionamiento por parte de Rhys de algunos límites clave del género para articular sus experiencias traumáticas a través del testimonio. Para ello, se analizan sus novelas de entreguerras como ejemplos tempranos de un género híbrido que Leigh Gilmore (2001) denomina «casos límite». Tomando como punto de partida la teoría de Gilmore, esta tesis analiza las cuatro novelas modernistas de Rhys como historias de trauma que ponen en duda dos límites clave de la autobiografía, a saber, la frontera entre ficción y verdad factual y, sobre todo, el llamado límite de la representatividad. Se evidencia que Rhys narra dos tipos principales de experiencias traumáticas¿puntual e insidiosa eludiendo las exigencias de la verosimilitud autobiográfica, y esto lo consigue entretejiendo sus circunstancias personales con las de sus heroínas. Se ha observado que dicha empresa da paso a un testimonio de trauma convincente que es fundamentalmente dialógico, lo que resulta clave para desenmarañar el carácter representativo de estas narraciones en tanto en cuanto abordan el pesar de ciertos grupos sociales desvalidos, a saber: los inmigrantes establecidos en el Reino Unido procedentes de las colonias del Imperio Británico, las mujeres desprovistas que dependían de los hombres económica y emocionalmente y, a mayor escala, el grupo denominado underdog.
Resumen (otro idioma): This dissertation explores the representation of trauma in Jean Rhys s four modernist novels. The self-representational quality of these works triggers debate on whether the hard-and-fast conventions of autobiography, which has traditionally advocated a strong adherence to truthfulness, may hinder a successful articulation of trauma. Therefore, the main goal of this study is to examine how Rhys navigates and challenges some key limits of the genre to give voice to traumatic experiences via testimony. For this enterprise, her interwar novels are analysed as early examples of a hybrid genre which Leigh Gilmore (2001) has termed `limit-case autobiography. Following Gilmores model, Rhys s modernist novels are read as trauma narratives that test two key limits in autobiography, namely the boundary between factual accuracy and invention, and, more interestingly, that of representativeness. It is revealed that Rhys manages to articulate trauma both event-based and insidious by eluding the restrictive demand for factual accuracy, and she does so by intermingling her personal circumstances with those of her heroines. This gives way to a compelling testimony that is by nature dialogic, and such a connective interplay is key to making these narratives representative of certain destitute social groups, namely UK-based immigrants coming from the colonies of the British Empire, debased women who depended on men both economically and emotionally, and, on a larger scale, helpless people that fall into the category of the `underdog.
Resumen (otro idioma): This dissertation explores the representation of trauma in Jean Rhys s four modernist novels. The self-representational quality of these works triggers debate on whether the hard-and-fast conventions of autobiography, which has traditionally advocated a strong adherence to truthfulness, may hinder a successful articulation of trauma. Therefore, the main goal of this study is to examine how Rhys navigates and challenges some key limits of the genre to give voice to traumatic experiences via testimony. For this enterprise, her interwar novels are analysed as early examples of a hybrid genre which Leigh Gilmore (2001) has termed `limit-case autobiography. Following Gilmores model, Rhys s modernist novels are read as trauma narratives that test two key limits in autobiography, namely the boundary between factual accuracy and invention, and, more interestingly, that of representativeness. It is revealed that Rhys manages to articulate trauma both event-based and insidious by eluding the restrictive demand for factual accuracy, and she does so by intermingling her personal circumstances with those of her heroines. This gives way to a compelling testimony that is by nature dialogic, and such a connective interplay is key to making these narratives representative of certain destitute social groups, namely UK-based immigrants coming from the colonies of the British Empire, debased women who depended on men both economically and emotionally, and, on a larger scale, helpless people that fall into the category of the `underdog.
Pal. clave: filología
Titulación: Programa de Doctorado en Estudios Ingleses
Plan(es): Plan 478
Área de conocimiento: Artes y Humanidades
Nota: Presentado: 25 03 2024
Nota: Tesis-Univ. Zaragoza, , 2024
Aportación del TFG/M a la Sostenibilidad: Garantizar una vida saludable y promover el bienestar para todos y todas en todas las edades. Alcanzar la igualdad entre los géneros y empoderar a todas las mujeres y niñas. Reducir las desigualdades entre países y dentro de ellos.
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