“疯女人”的真实面貌——《藻海无边》中安托瓦内特的“杂糅”身份解读  

Madwoman s Real Image:An Interpretation of Antoinette s Hybridity in Wide Sargasso Sea

作　　者：林斌楠 王艳萍[2] LIN Binnan;WANG Yanping(School of Foreign Languages,Zhengzhou Sias University,Zhengzhou 451100,China;School of Foreign Languages,Jimei University,Xiamen 361021,China)

机构地区：[1]郑州西亚斯学院外语学院,河南郑州451100 [2]集美大学外国语学院,福建厦门361021

出　　处：《集美大学学报（哲学社会科学版）》2023年第4期85-92,共8页Journal of Jimei University：Philosophy and Social Sciences

基　　金：国家社会科学基金一般项目(21BWW016);教育部人文社科青年研究项目(19YJC752029)。

摘　　要：简·里斯使夏洛蒂·勃朗特《简·爱》中的疯女人伯莎·安托瓦内特走出阁楼,成为《藻海无边》的主人公。安托瓦内特生活在白人文化与黑人文化之间,对白人既崇拜又痛恨,对黑人既排斥又依赖,是里斯的“复影”。借用霍米·巴巴的“杂糅”理论解读安托瓦内特的复杂身份,展现克里奥尔女性的真实面貌,探讨里斯对自己身份的深入思考以及对帝国殖民主义的解构。解读殖民主义时期的“杂糅”身份,不仅仅有利于我们认识历史问题,而且对当下人们普遍存在的文化身份认同焦虑具有启示意义。Jean Rhys lets the madwoman Bertha Antoinette in Charlotte Bronte s Jane Eyre walk out of the attic and become the heroine of Wide Sargasso Sea.Antoinette lives between the white and the black cultures,worshiping and hating the white,rejecting and relying on the black.She is the“double”of Rhys.With the theory of Homi K.Bhabha s hybridity,the paper interprets Antoinette s complex identity,which shows the real image of Creole women.And it explores Rhys deep reflection on her own identity and Rhys deconstruction of the imperial colonialism.Interpreting the hybridity identity of colonial period is not only helpful for our understanding of historical problems,but also gives us inspirations about the prevalent cultural identification anxiety in current era.

关 键 词：简·里斯 《藻海无边》 安托瓦内特 “杂糅” 

分 类 号：I106[文学—世界文学]