Please use this identifier to cite or link to this item: http://hdl.handle.net/11455/6809
標題: From Wild to Wide:Jean Rhys's Wild Sargasso Sea
從狂野到寬遠:論珍瑞絲的野莽海
作者: 林逸萍
Lin, Yi-ping
關鍵字: ambivalence;含混;identity;feminism;colonialism;post-colonialism;身份;女性主義;殖民主義;後殖民主義
出版社: 外國語文學系研究所
摘要: 
珍‧瑞絲的《野莽海》(Jean Rhys's Wild Sargasso Sea)是一部充滿"含
混"(ambivalence)
的小說。在這部小說中,外顯的"含混"存在於女主角安多娜(Antionette)
的身份游移中,而
內隱的"含混"則存在於作者珍‧瑞絲變換的寫作策略中。這篇論文的主要
目的是用女性主義
與後殖民論述得的觀點去檢視這些存在於小說內容或結構上的寒含混狀態
。這篇論文共分成
四章。依照論文的寫作傳統,第一章和第四章分別是"簡介"和"結論"。在第四章中,除了
總結之外,還討論了這本小說的書名《野莽海》的意義。第二章討論的是
安多娜曖昧身份的
問題。有著白人的雙親卻被黑人奶媽撫養長大,安多娜是一個白人但一心想要變成黑人。
在她白人的外表下有顆黑人的心,安多娜是一個心靈上的混血兒(spiritual mulatto)。但
就像大多數被排拒的混血兒一樣,安多娜也是不容於兩邊的。她只有游盪在曖昧不明的地
帶,黑白交界的灰色邊界。安多娜不屬於任何一邊。在這一章中,"既不是/也不是"
(neither/nor)這個片語重覆地被使用,因為安多娜既不是白人也不是黑人,既不是個殖民
者也不是個被殖民者。除此之外,瑞絲筆下所呈現的安多娜既不是傳統父權會中的"天使"
的角色(angel in the house)也不是"瘋女人"的原型(the monstrous madwoman)。第三章
討論到作者珍瑞絲寫作手法的問題。瑞絲個人的特殊經驗--在西印度群島的童年和英國的
成年生活--使得她的小說可同時呈現出矛盾混雜的面向。從這中界點"野莽海"放眼望去,
我們可以在瑞絲的小說中瞭解帝國主義的英國和被殖民統治的西印度群島這兩個截然不同
的世界。瑞絲的寫作手法很少採用固定的觀點,反之,其觀點多半是游移不定的。因此,
這本小說可說是同時呈現出兩個不同世界似是而非的多元視野,這視野包
含了反父權(anti-
patriarchy)和反白人女性主義(anti-white feminism),以及殖民主義(colonialism)和後
殖民主義(post-colonialism)等不同觀點。我因而用"既是/也是"(both/and)這片語作為第
三章的標題。不管是在女性主義或後殖民的論述中,"打破沈默"(breaking the silence)
和"重建歷史"(reconstructing the history)是兩個重要的策略。因為對夏洛特.勃朗蒂
的小說《簡愛》(Charlotte Bronte's Jane Eyre)有所反動,珍瑞絲不只打破瘋女人柏莎
/安多娜在簡愛中的沈默,還在野莽海中重建這瘋女人的歷史。從狂野中的(破壞)到寬遠的
(建構),珍瑞絲告訴我們另一個不同於英國版本的故事。

Jean Rhys's Wild Sargasso Sea is a novel full of ambivalence. The manifest amb
ivalence exists in the heroine Antoinette's uncertain identity;the latent ambiv
alence exists in the author Jean Rhys's changeable writing strategies.The purp
ose of this thesis is to examine these ambivalent situations existing both in
content and in structure, which will be approached in terms of feminist and pos
t-colonialist theory. This thesis is divided into four parts. Following the co
nventions of thesis-writing, Chapter One and Chapter Four are designed to be "
Introduction" and "Conclusion." In Chapter One, I summarize Rhys's background
and the stories of some of her novels. In Chapter Four, the meaning of the tit
le "Wild Sargasso Sea" is discussed.The issue of Antinette's ambiguous iden
tity is the major concern of Chapter Two. Born by white parents and nursed by
a black nanny, Antionette is a white but she wants to be a black.She is a whi
te witrh a black mind; she is a spiritual mulatto. Like most detested mulattoe
s, Antionette is also ostracized by both sides. So she stands on the water shed
, the grey zone between black and white, the in-betweenness. She belongs to ne
ither side. In this chapter, the phrase "neither/nor" appears repeatedly for An
tionette's identity is neither a white nor a black, neither a colonizer nor a
colonized. At the same time, Rhys's defines Antionette as neither an angel nor
a monster in the patriarchal society. Chapter Three isconcerned with Rhys's w
riting strategies and techniques. Rhys's special experience--West Indian child
hood and English adulthood make her novel simultaneously present ambivalent per
spectives. Seeing from the in-between zone "Wild Sargasso Sea,"
we understand bo
th the imperialist England and the colonizedWest Indies. Rhys's writing strate
gies are never fixed but always shifting. As a result, the novel Wild Sargas
so Sea presents the paradoxical vision of two different worlds at once--both
anti-patriarchy and anti-white feminism, both colonialism and post-colonialism.
I therefore use the phrase "both/and" as thetitle of Chapter Three. Both in f
eminist and post-colonialist discourse, "breaking the silence" and "reconstruc
ting the history" are the prime tactics.Reacting against Charlotte Bronte's Ja
ne Eyre, Rhys not only breaks down Bertha /Antionette's silence in Jane Eyre
but also reconstructs the madwoman's history in Wide Sargasso Sea. From wild
(breaking) to wide (reconstructing), Jean Rhys tells the story of the other si
de, which is different from Bronte's version.
URI: http://hdl.handle.net/11455/6809
Appears in Collections:外國語文學系所

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