【摘要】 19世纪英国作家勃朗特的小说《简·爱》为了塑造简的高大形象而将来自加勒比海的罗切斯特夫人作为他者进行了再现,出生于加勒比海的作家里斯的《藻海无边》则从阁楼上的疯女人的角度重写了《简·爱》这一经典文本,将《简爱》中的他者再现为自我。本文认为《藻海无边》中安托瓦内特的自我是通过将来自帝国中心的罗切斯特先生和殖民地的有色人种再现为他者而建立起来的。本文通过分析这两部小说中的他者再现来探讨再现的复杂性并且深究再现与权力的关系。指出《藻海无边》既对《简·爱》的帝国叙事进行了颠覆,也与之产生了共谋并强化了帝国叙事。更多还原

【Abstract】 The 19th century English writer Bronte represents Mrs. Rochester who comes from the Caribbean colony as "the other" for the glorification of her heroine in Jane Eyre. The Caribbean writer Rhys’ Wide Sargasso Sea rewrites the English classic from the perspective of the madwoman in the attic, representing her as "self" rather than "the other". This paper argues that Antoinette’s "self" in Wide Sargasso Sea is constructed at the price of representing Mr. Rochester from the center of the empire and the colored people in the colony as "the other". Based on the analysis of the representations of "the other" in the two novels, this paper explores the complexity of representation and the relationship between representation and power. The paper concludes that Wide Sargasso Sea on the one hand subverts the colonial discourse of Jane Eyre, on the other hand, collaborates with and strengthens its imperial narrative.更多还原