Confessions of the mad wife in Jean Rhys's Wide Sargasso Sea & Assad Fouladkar's Lama Hikyit Maryam. (c2006)

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dc.contributor.author Hodeib, Dana
dc.date.accessioned 2011-11-14T09:14:14Z
dc.date.available 2011-11-14T09:14:14Z
dc.date.copyright 2006 en_US
dc.date.issued 2011-11-14
dc.date.submitted 2006-12-01
dc.identifier.uri http://hdl.handle.net/10725/979
dc.description Includes bibliographical references (leaves 63-65). en_US
dc.description.abstract Confessions of the Mad Wife deals with Jean Rhys's 1966 novel Wide Sargasso Sea and Assad Fouladkar's 2001 feature film Lama Hikyit Maryam. Although the two works are different in many respects, they share a curiously similar plot: a mad woman recounts the events of her miserable life, which caused her downfall and led to her tragic end. Both Wide Sargasso Sea and Lama Hikyit Maryam are stories of cultural and patriarchal conflicts conveyed through the story of the failure of love between a man and a woman. A remarkable aspect of these works is the way complex narrative structure develops these conflicts. In Wide Sargasso Sea the story is narrated by a number of unreliable narrators whose accounts are very often contradictory. In Lama Hikyit Maryam the main story is constantly interrupted and framed by a meta-narrative that is only revealed at the end of the film. The purpose of Confessions of the Mad Wife is to understand how the powerful and disconcerting effects of these works relate to their complex narrative structure, which affects our interpretation of the plot. More specifically, this study examines the role of polyphony and unreliability in Wide Sargasso Sea, and irony and embedded narration in Lama Hikyit Maryam. It emerges that these techniques playa significant role in the thematization of female madness in Wide Sargasso Sea and Lama Hikyit Maryam. Thus the power of Wide Sargasso Sea and Lama Hikyit Maryam lies not in their adherence to a classical story-line of the mad wife that goes back at least to Euripides's Medea but in the significant way these stories are plotted, such that the techniques themselves appear to bear a privileged relation to madness. en_US
dc.language.iso en en_US
dc.subject Rhys, Jean -- Wide Saragasso Sea en_US
dc.subject Fouladkar, Assad -- Lama Hikyit Maryam en_US
dc.subject Rhys, Jean -- Literary style en_US
dc.subject Fouladkar, Assad -- Literary style en_US
dc.subject Narration (Rhetoric) en_US
dc.subject Point of view (Literature) en_US
dc.title Confessions of the mad wife in Jean Rhys's Wide Sargasso Sea & Assad Fouladkar's Lama Hikyit Maryam. (c2006) en_US
dc.type Thesis en_US
dc.term.submitted Fall en_US
dc.author.degree MA in Comparative Literature en_US
dc.author.school Arts and Sciences en_US
dc.author.idnumber 199805770 en_US
dc.author.commembers Dr. Latif Zeitouni
dc.author.commembers Dr. Dima Dabbous-Sensenig
dc.author.woa OA en_US
dc.description.physdesc 1 bound copy: vii, 65 leaves; 30 cm. available at RNL. en_US
dc.author.division Comparative Literature en_US
dc.author.advisor Dr. Kenneth Seigneurie
dc.identifier.doi https://doi.org/10.26756/th.2006.59 en_US
dc.publisher.institution Lebanese American University en_US

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