The present study examines the prose texts written by Jean Rhys (1890–1979), a British woman writer of modernist literature. It is based on the perusal of several short stories, among others: “In the Rue de l’Arrivée”, “A Night”, “La Grosse Fifi ”; “Outside the Machine”, “The Lotus”, “Till September, Petronella”, and “Let Them Call It Jazz” which were included in two collections of her fi ction – “The Left Bank and Other Stories” (1927) and “Tigers are Better-Looking” (1968). The purpose of the paper is to analyze the author’s concept of lonely, alienated, vulnerable and defenseless female individuals which forms the core of her artistic imagination. The scientifi c research uses gynocritics as its methodological background. According to the theory of its critic E. Showalter, it was possible to identify four models of woman writing having been realized in Jean Rhys’s short prose: a) psychoanalytic; b) biological; c) linguistic and d) cultural. The psychoanalytic model of Rhys’s fi ction is viewed in the context of both the emotional and conscious worlds of an alienated female identity. The woman protagonist being rejected by a hostile society, becomes a stranger and outcast. The feelings of deep loneliness, pain, fear, and loss, intertwined with the death wish and with resistance, determine the constants of female existence. An important aspect of woman personality is the dimension of female friendship and solidarity. The biological model of short prose by J. Rhys is explored through the concept of female corporeality. The corporeal vulnerability of women protagonists is shown as a form of the fragility of their inner world. An unattractive woman image created by the author manifests the psychological uncertainty and brittleness of female characters. And a metaphor of the looking glass as a refl ection of their appearance reveals the concept of the female Self as a loss which varies from the loss of a woman’s youth to the loss of feminine identity or its splitting. The linguistic model of Rhys’s short stories testifi es to the bipolar artistic world of the writer, which is demonstrated at the confrontation between French and British cultures with the signs of laconism, subtext, and silence as the main features of her writing manner. Meanwhile, the cultural model of J. Rhys’s prose is read through the prism of the intertextual discourse of literature, music and painting. Key words: loneliness, fear, suff ering, alienation, hostility, corporeality, vulnerability.
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