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《简·爱》中的伯莎·梅森是一个带有野蛮属性的疯子,《藻海无边》中的安托万内特是一曲殖民主义的悲歌。本文通过形象学和后殖民理论,分析“阁楼上的疯女人”在两部作品中不同形象的形成原因。
Bertha Mason in Jane Eyre is a lunatic with brutal attributes and Antoinette in The Edge of the Sea is a song of colonial anarchy. This paper analyzes the reasons for the formation of different images in the two works by “Mad Woman in the Attic” through the theories of image and postcolonialism.