（英语语言文学专业论文）《藻海无边》主题的后殖民解读.pdf

vi 摘 要 摘 要 简里斯被誉为二十世纪英国最杰出的小说家之一。 此殊荣的获得主要是得益于一九六六年她的小说藻海无边的问世。 藻海无边主要展示给读者的是白克里奥尔姑娘安托瓦内特怎样由一个单纯无辜的女孩走向疯癫的经历。它被称为简爱的前篇，但绝不是简单的续写。 作者里斯以自己白克里奥尔人的出生和在西印度群岛的生活经历为蓝本，以十九世纪奴隶制废除后的西印度群岛为时代背景，打破简爱的阶级局限性，真实地还原了安托瓦内特及其他西印度“属下”的生存状态。本论文力图以后殖民主义为理论依据，完整地诠释后殖民语境下西印度群岛中纷繁复杂的种族对抗，父权压迫等社会矛盾这一主题。 作为一种文学批评理论，后殖民主义理论主要关注的就是宗主国和前殖民地之间关系的话语。后殖民主义否认一切主导叙述，认为一切主导叙述都是欧洲中心主义的，因此批判欧洲中心主义是后殖民主义的基本任务。在藻海无边中，里斯打破了单一的主导叙述模式，每一部分都安排不同的叙述者，给予“属下”们发出自己声音的机会，从而这种声音构成一种强有力的后殖民抵抗话语。 小说不仅描述了以安托瓦内特为主的克里奥尔人及黑人的痛苦人生，随着人们的反殖民意识逐渐苏醒并日益加强，罗切斯特这个父权和殖民权力的代言人也没有逃脱他的悲剧命运。 本文从三个方面对藻海无边进行后殖民解读。第一章揭示了欧洲中心话语。英国白人在优越论的种族主义思想作祟下，自恃为优等民族；而西印度群岛人由于多年遭受的殖民压迫，无论是从殖民者的刻板印象还是本族人的自卑心理，都被认为是劣等民族。第二章从种族歧视、父权压迫及亲情背叛三方面阐释了欧洲中心论主宰的社会现实中 “属下” 们的生存状况。第三章是 “属下” 对欧洲中心论的颠覆事实。从两个方面进行论述，即非暴力反抗和暴力斗争。通过这三章的论述，本论文试图得出如下结论：后殖民时期的欧洲中心论是导致男女主人公悲剧人生的社会根源。 这种意识形态的左右只能助长对立和仇恨的滋生，最终导致两败俱伤。所以只有肃清种族歧视、文化霸权和精神垄断， 倡导一种交流对话和多元共生文化话语权力观， 消除民族之间的不平等和对峙，才能实现世界不同民族文化的互相融合和共享文明资源，最终走向全球和平。 关键词关键词：欧洲中心论 种族主义 父权 背叛 颠覆 iv abstract jane rhys is honored as one of the most distinguished british novelists in the twentieth century. the acquisition of this distinction is mainly due to the publication of her novel wide sargasso sea in 1966. the novel wide sargasso sea mainly displays to the readers the story how the white creole girl antoinette develops from a simple, innocent girl to a mad woman. it is known as the prequel of jane eyre, but it is by no means a sequel of it. with her own life experience as a white creole and her experience living in west indies as a blueprint, setting the abolition of slavery in west indies in the nineteenth century as the background of the times, rhys breaks the class limitation embodied in jane eyre, restores antoinette and other west indians a real state of survival as the west indian subalterns. this paper seeks to set post-colonialism as a theoretical basis, make a complete interpretation of the complicated ethnic confrontation, patriarchal oppression and other social conflicts happened under the post-colonial context. as a multi-cultural theory, post-colonialism mainly concerns the cultural discourse power relations between the sovereign state and the colony as well as racism, cultural imperialism, national culture, cultural identity and other new problems. post-colonialism denies all the master-narrative, believing it is the dominant eurocentric narrative, so the criticism of euro-centralism is the basic task of post-colonialism. in wide sargasso sea, rhys breaks the single master-narrative mode, arranges different narrators in each part, gives subalterns the opportunity to voice their own sound, thus the sound constitutes a powerful post-colonial resistance discourse. the novel describes not only the suffering of antoinette and other creoles and blacks, but rochester, the spoken-man of the patriarchal and colonial system can not escape his tragic fate. this thesis attempts to take post-colonial reading to wide sargasso sea from three aspects. chapter one reveals the post-colonial discourse. the white british have been long obsessed with the aura of superiority that is from the complex of national identity and the complex of national culture. while because of years of colonial oppression, west indians are vconsidered inferiors thats not only seared by the colonists but conceived in their own heart of hearts. chapter two interprets the living condition of the subalterns under the social reality dominated by the eurocentric notion from racial discrimination, patriarchal oppression and parental betrayal aspects. chapter three deals with the fact of eurocentric subversion by discussing from two aspects, namely, non-violent resistance and violent revolution. through the discussion of the three chapters, this thesis has attempted to draw the following conclusion: in the post-colonial period, euro-centric discourse is the social root that leads to the tragic life of the hero and heroine. dominated by this ideology, only the breeding of antagonism and hatred can be indulged, culminating in both sides lose. therefore, only by eliminating racial discrimination, cultural hegemony and spiritual monopoly, promoting a symbiotic exchange of dialogue and multi-cultural discourse of power, and dispelling the inequality and confrontation between peoples, can the mutual integration of the worlds different cultures and sharing of civilization resources be achieved and eventually heads for global peace. key words: euro-centralism racialism patriarchy betrayal subversion iii 学位论文原创性声明 学位论文原创性声明 本人所提交的学位论文 藻海无边主题的后殖民解读 ，是在导师的 指导下，独立进行研究工作所取得的原创性成果。除文中已经注明引用的内容以外，本论文不包含任何其他个人或集体已经发表或撰写过的研究成果。 对本文的研究做出重要贡献的个人和集体，均已在文中标明。 本声明的法律后果由本人承担。 论文作者 （签名） ： 指导教师确认 （签名） ： 年 月 日 年 月 日 学位论文版权使用授权书 学位论文版权使用授权书 本论文作者完全了解河北师范大学有权保留并向国家有关部门或机构送交学位论文的复印件和磁盘，允许论文被查阅和借阅。本人授权河北师范大学 可以将学位论文的全部或部分内容编入有关数据库进行检索， 可以采用影印、 缩印或其它复制手段保存、汇编学位论文。 （保密的学位论文在年解密后适用本授权书） 论文作者（签名） ： 指导教师 （签名） ： 年 月 日 年 月 日 1 introduction jean rhys, originally named ella gwendolen rees williams, was born in roseau, dominica, west india in 1890. her father was welsh and mother was a creole of scottish ancestry. due to this pedigree, rhys lived in a multicultural setting, which exerted great impact on her life and later writings. as a child, rhys loved literature and longed to visit the places she had read about. rhys was lucky, she had the use of his fathers library which met her romantic taste she read a lot of masterpieces in literature as byrons don juan, miltons paradise lost, the heady stories of the brontes, scott and shakespeare. at an early age, she attended the convent school in roseau, where the teacher mother sacred heart who had a passionate love of english literature helped her lay the deep foundation of her literary work. when she was seventeen years old, she was sent by his father to england, where she mainly went to cambridge and the royal academy of dramatic art in london. years later, her father died accidently. without the financial resource, she had to give up her study. in the following years, she lived in england and other european countries as an expatriate until her death in 1979. in order to make a living, she took several jobs but still in the miserable living condition. england was ever the place she longed for, but when she was personally on the scene, she thought it a nightmare. in her works, jean rhys portrays most of the passages that occurred in her life. so rhys fictions are more or less autobiographical. the resentment of a patriarchal society and feelings of displacement which rhys experienced during this period of her life would eventually form some of the most important themes in her works. her collection of stories the left bank and other stories, was published in 1927. afterwards, her first novel postures was published in 1928, which is about the fate of an innocent, helpless woman who is not in control of her own life. after leaving mr. mackenzie, published in 1930, was the story of a girl discarded by her companion who hides her need of love and security in the way of poverty. the same portrayal 2of the rootless, maltreated women appears in voyage in the dark, published in 1934, in another novel published in 1939, good morning, midnight, a modified stream-of consciousness is used by rhys to portray the consciousness of an aging woman. nearly all the heroines in these novels have the experience from happy childhood to misery agedness, from beauty and youth to ugliness and senility. these novels have in common the hopelessness, frustration and isolation of the heroines in the society dominated by man from the beginning to the end. though receiving considerable praise, her early works did not arouse much attention in the literary field and reading public. on account of the outburst of world war ii，her books died out of print and finally she dropped out of the public attention for nearly twenty-seven years. until the 1960s, her literary resurrection occurred with the publication of wide sargasso sea in 1996(the full title wide sargasso sea will be used as wss from now on). in her early life, rhys was agonized by the mad creole wife in charlotte brontes jane eyre. she believes “thats only one side-the english sides kind of matterwhite west indianshave a side and a point of view”.1 in the paris review interview in 1979, rhys expressed her ingrained prejudice over brontes description of rochesters mad creole wife: when i read jane eyre as a child, i thought, why should she think creole women are lunatics and all that? what a shame to make rochesters first wife, bertha, the awful madwoman, and i immediately thought id write the story as it might really have been. she seemed such a poor ghost. i thought id try to write her a life.2 so the novel wss has finally got published. the setting of wss is shifted from the industrial european to the nineteenth-century caribbean landscape. thus one of the most famous prequels in literature comes into the world as a result of such a motive. this novel is considered separate from her former ones for not only does it expose the racial, sexual and economic discrimination and oppression to the subalterns, but also gives voice to brontes mad woman in the attic. in probing into antoinettes identity, rhys clarifies the problems of colonization, gender relations and racial issues by her counter-discourse. in this sense，wss is regarded as the most rebellious version of the time and is the subversion of the nineteenth 3century british imperialism. the publication of wss reflects the culmination of rhys literary works. immediate attention of critical world was drawn to rhys, she received high praise. she won the prestigious w. h. smith award and heinemann award, and even was invited to buckingham palace by the queen to receive the prestigious council of great britain award for writers. a. alvarez hailed her as “the best living english novelist”3 in the new york times and she was also recognized as one of the major caribbean writers. wss itself has drawn much attention as well since its publication. in her three womens texts and a critique of imperialism, spivak, the famous post-colonial theorists extends that “outside of the reach of the european novelistic tradition, the most powerful indication is wide sargasso sea.”4 she recommended that on the basis of cherishing the memory of the lost past, wss gives a new understanding of imperialism, critics must turn to the empire doctrine of governance. thomas f. staley was the first critic who researched into the disparate narrative techniques used in wss and he committed to rhys female aesthetic and figured her heroine as a negative victim. helen nebeker was the first feminist critic to rhysworks, he dedicated himself to the study of female images in her novels. he accentuated purport of womens experience portrayed in the novel, but she overlooked rhys colonial identity and made no clear feminist methodology. teresa f. oconnor stated that rhys works are of west indian style and so he paid much attention to the west indian compositions in the works and combined the colonial version of alienation with the motif of sexuality. kenneth ramchand regarded wss as a novel that exposed the historical trauma the white creoles suffered even in the after-emancipation caribbean society. ramchand remarked that wss, as the white creole novel conveyed a “terrified consciousness” in which the white colonists confronted a potential crisis from the hostility of the liberated ex-colonies. savi believes that the text had a profound dialogue in gender, ethnic, racial and class positions. janett, martin further claims that the spirituality of african center provided the main character in the works “alternative epistemology,”5 annette gilson, however, insisted that the african center for european identity is always in her text, even though it has been manifested in the existence of nothingness. in recent years, jean rhys and her wss have aroused the concern of critics in china. 4they explore the issue from different angles of the text. there are basically three ways to explain the significance of the novels themes: post-colonial, feminist and symbolic significance. zhangfa is the main representative analyzes the text from the post-colonial perspective. he prefers to identify the novel as a european experience overseas and about other issues related to oppression and the oppressed nations. in his essay “post-colonial theory: from said to spivak and homi baba”, zhangfa analyzed antoines embarrassment faced by her identity problem. antoine has been considered continue to have been trampled among the whites and blacks, and does not realize her own identity. in the end, she compares himself to “other” and committes suicide. li yuanyuan, yu pu compared the two works wide sargasso sea and jane eyre that was also considered feminist writings, but they did not mention the cinderella of the prototype. the symbolic study of the text is very relevant, but they are mainly rewritten, or even the translation of western critics study. rui lurong studied some of the images of the novel to show its artistic value and sociology significance. zhang feng exerted himself to the debate that whether the “subalterns” were able to articulate themselves, and finally declared in his paper that the west indian “subalterns” could speak for themselves in various ways with multiple voices. liu ying and liu xuming argued the construction and deconstruction of subjectivity status of the hero rochester .he wanted to control the otherness by his imperialism authority, but it ended up with his entire failure. he changyi and ou lin focused on an analysis of the causes which led to the marginal woman, antoinettes bitter life and tragic fate. as a theory of literary criticism, post-colonial criticism has drawn wide attention for long. since the 80s of last century, by the continuous development, the post-colonial criticism has gradually become a far-reaching idea of literary criticism. post-colonial criticism is committed to the culture excavation and criticism of the colonial status quo reflected in the literature in the post-colonial period. it is post-colonial critics who have focused on the task of digging out the colonial discourse of culture revealed secretly in the literary works. as a new theory of literary criticism, post-colonial critical theory has a broad application space, the imperialism has become history, the direct political and military repression implemented on colonies have also distanced themselves from us, but the ideological residue 5of colonial imperialism is still there, the economic and cultural domination by the former sovereign power over the former colonies remains, particularly in the field of culture and ideology. as a multi-cultural theory, post-colonialism mainly concerns the cultural discourse power relations between the sovereign state and the colony as well as racism, cultural imperialism, national culture, cultural identity and other new problems, exposing the substance of the cultural hegemony that imperialism imposes on the third world. post-colonial critical theory can help people in these areas and countries recognize their countrys historical and current status and raise the consciousness of shaking off the political and economical oppression and exploitation from the former metropolitan countries, gaining complete cultural independence. since its birth, post-colonial criticism has been widely applied by many literary critics for various literary works associated with colonialism interpretations. its mature period is symbolized with the publishment of saids orientalism in 1978. as a matter of fact, saids orientalism is said to be a book not about non-western cultures, but about the western representation of these cultures and orientalism inaugurates a new kind of, or to be more precisely, a new perspective toward the study of colonialism, “the creation of a dichotomy between europe and its others, a dichotomy that was central to the creation of european hegemony over other lands.”6 the well-known american post-colonial critic edward said attracted academic attention by his complex identity, rich writing, innovative ideas. said is a palestinian born in jerusalem, he went to school in cairo when he was young and later moved with his parents to lebanon, wandering in europe since then. in 1951, he came to the united states. he lived through adversity, by hard study, he finally got a ph.d. from harvard university (1964), and taught at columbia university department of english as a professor. this unique life experience made said be able to look at the west culture in orient perspective, to face the center power and discourse with the edge discourse, to see the situation of post-colonial culture from the personal situation of exile. this makes his writing have a detailed analysis of all social texts and cultural texts from the social, historical, political, class and ethnicity standpoint. edward saids orientalism research has clear tendencies of ideological analysis and criticism of political power. he sees a clear dichotomy between the sovereign state power 6structure, politics, economy, culture, ideas and the edge countrys political culture. in this confrontation of power and discourse model, the edge country is often only a weak foil of the powerful myth of the sovereign state, and a self-derogatory facing the cultural hegemony . this power politics dummy or fabricate an oriental myth as a show of supreme superiority of their culture. this is a political image that orientalism is set out as a western control over the east. by oriental culture research，the racial discrimination, cultural hegemony and the spiritual monopoly are involved in. in the discourse of orientalism, the orient is always the “other” or subaltern and acts as a image of confrontation with the west, the orient is described by the orientalists as fixed images of the barbaric, backward, authoritarian and corrupt, which is subject to european c