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來自「世界盡頭」的女性主義返親:芮絲的《夢迴藻海》

Feminist Revision from "World's End": Jean Rhys's Wide Sargasso Sea

摘要


在勃朗特的《簡愛》中,羅徹斯特的混血妻子柏莎安托妮梅森是一位邊緣化人物,但又對情節至為重要。相較於代表浪漫化女性特質的女主角,她被賦與可怕、鬼魅般的特質。有關她的描述都是經由簡愛和羅徹斯特的觀點來呈現。柏莎沒有自己的聲音,而她在小說中出場的情節僅占數頁篇幅。吉爾伯和庫芭將柏莎視為簡愛的惡魔複合體,而並未留意到小說淡化了帝國主義的主題。相形之下,史碧娃克卻認為,這部小說蘊藏她所稱「帝國主義認知性的暴力」,將柏莎這位殖民主體轉化為「虛構的他者」,並且將簡愛塑造成「女性主義的個人主義女主角」。來自西印度群島的女作家芮絲本身也是白種混血女子。她聽過許多混血富家女被歐裔丈夫掠奪財產並凌虐的悲慘故事。她的《夢迴藻海》是根據一位混血女孩安托妮的真實故事所寫成的小說,目的就是批判《簡愛》。因此,芮絲的小說不僅僅是《簡愛》的前傳。這部小說不但要為柏莎發聲,同時也要為身陷相類似困境的加勒比海女子代言。本文標題援引自艾茉莉的《在〈世界盡頭〉的芮絲》,聚焦於一個女性主義修正論,有別於所謂的「女性主義個人主義。」我對《夢迴藻海》的解讀將會顯示,芮絲的小說堪稱是女性主義返視的作品。而我是援引某些我所稱「殖民主體再中心化」的相關文本,以及意識形態和政治經濟的論述來解讀這部小說。

並列摘要


In Charlotte Brontë's Jane Eyre, Bertha Antoinette Mason, the Creole wife of Edward Rochester, is a marginalized character but necessary to the plot. She is invested with formidable and ghostly qualities in contrast to the heroine as a representative of romanticized femininity. Bertha is presented solely through the eyes of Jane and Rochester. She has no voice of her own, and her appearances in the novel are limited to a few pages. Sandra Gilbert and Susan Gubar view Bertha as Jane's monstrous double and take no notice of the imperialist themes muted in the novel. Gayatri Spivak, by contrast, holds that the novel is informed with what she calls "epistemic violence of imperialism" which transforms Bertha the colonial subject into a "fictive Other" and represents Jane as a "feminist individualist heroine." Jean Rhys, a West Indian woman writer, who is also a white Creole. She has heard about a lot of tragic stories of Creole heiresses being deprived of their wealth and abused by their European husbands. Her Wide Sargasso Sea is a novel intended to critique Bront ë's Jane Eyre, based on a true story of a Creole girl named Antoinette. Rhys's novel, therefore, is not just a prequel to the English canonical work. It speaks out not only for Bertha but for all the other Caribbean women who found themselves in similar plights. I derived the title of this paper, "Feminist Revision from ‘World's End'," from Mary Lou Emery's Jean Rhys at "World's End" to highlight a feminist revision in contrast to the so-called "feminist individualism." My reading of Wide Sargasso Sea will demonstrate that Rhys's novel may be considered a work of feminist revision in terms of certain texts related to what I call "the recentering of the colonial subject" and discourses on ideology and political economy.

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