福柯式解读《简·爱》与《藻海无边》中的疯女人形象  

A Foucaultian Interpretation of the Madwoman Image in Jane Eyre and Wide Sargasso Sea

作　　者：黄庆辉 HUANG Qinghui(Foreign Languages College,Minjiang University,Fuzhou,Fujian 350108,China)

机构地区：[1]闽江学院外国语学院,福建福州350108

出　　处：《闽江学院学报》2019年第1期40-45,共6页Journal of Minjiang University

摘　　要：相比《简·爱》里简的高大英国女性形象,阁楼里的疯女人伯莎·梅森则被塑造成被言说的他者形象。简·里斯不满伯莎被他者,在她的代表作《藻海无边》里重置了话语权,使其女主人公安托瓦内特成为权力的积极参与者,向代表欧洲权力中心的罗切斯特发起了挑战;同时,里斯运用多声部的叙事策略和多元的话语使权力中心化转向权力非中心化。里斯对权力的娴熟运作使安托瓦内特逐渐觉醒,并最终成功地颠覆了他者形象,实现了自我的重塑。Compared with the towering,glorious English woman image,Jane in Jane Eyre,the madwoman in the attic,Bertha Mason,is depicted as otherness.Jean Rhys is discontent with Bertha’s otherness image in it.In her masterpiece,Wide Sargasso Sea,Rhys endows her heroine Antoinette(hereinafter referred to as Ann)with the power of discourse which enables her to be actively involved in the production of power.Ann challenged the European power center represented by Rochester(hereinafter referred to as Ro).Furthermore,with the multi-voiced narrative technique and the multi-discourses,Jean Rhys converts the power centralization to the power decentralization.With Rhys’skillful operation of power,Ann has gradually come to achieve her self-consciousness and finally subverted the otherness image and fulfilled the selfness reconstruction.

关 键 词：《简·爱》 《藻海无边》 权力 他者 话语 微观权力学说 

分 类 号：I106[文学—世界文学]