jean eyre

Independence,Brave and Perseverance张言齐英语112班2011015449 Jean Eyre is a famous novel in British literature history,which is wrote by Charlotte Bronte.In the novel we can see a independent women who persue the freedom and true love,she sets a very good example for all women in the world .When reading the novel ,we can easily find many quantities Jean Eyre has.At the frist place ,Jean Eyre is always keeping the patience although she is laughed at and discriminated against by her aunt .but ,when her precious self-esteem is challenged by others, she chose to combat without any hesitation.Secondly ,we also can know she is brave and never compromise to the fate .when she study in the boarding school ,she dare to tell her good friend Hellen“if he used the whip to hit me, I shall take it from his hand, and to break it.”Meanwhile, what point moves me is the love .Jean insists on pursue personal happiness no meter what happens around her. She does not give up to pursuit the happiness because of her position, her love is purity and loyalty , she is in love with Rochester just because he can treat others as equals,their love is based on the equality .she hates the discrimination and class.Finally,Jane is very calm whether happy or sad, we have to admire that she does not lost any passion and surprise of life, Jane can chose to cancel the wedding scene and accept a huge secret behind her husband, she is determined to choose to leave . But, when the Mr Rochester becomes blind and physical disability after a fire, she immediately return and accompany him. She devotes a lot to their love.In our modern society,a number of young girls prefer to make their efforts to beauty their appearance rather than inside,even they want to find a good job and to get a high salary without any working,while,there are many others who seize any opportunities to improve their ability and try to become independence ,we are not hard to judge who can accepted by the society.only in this way can we have a happy life .。

上海市2024年高中春考英语试卷选择题：1. Who wrote the novel "1984"?A) George OrwellB) Aldous HuxleyC) Ray BradburyD) William Golding2. Which of these characters does NOT belong in "The Catcher in the Rye"?A) Holden CaulfieldB) Jay GatsbyC) Phoebe CaulfieldD) Mr. Antolini3. In the novel "To Kill a Mockingbird," who is the lawyer defending Tom Robinson?A) Atticus FinchB) Bob EwellC) Boo RadleyD) Scout Finch4. Who is the author of the play "The Crucible"?A) Arthur MillerB) Tennessee WilliamsC) Eugene O'NeillD) Lorraine Hansberry5. In John Steinbeck's novel "Of Mice and Men," who is mentally disabled and dreams of owning rabbits?A) GeorgeB) LennieC) SlimD) Curley6. Which author is known for the novel "Beloved"?A) Toni MorrisonB) Alice WalkerC) Zora Neale HurstonD) Maya Angelou7. "One Hundred Years of Solitude" is a novel written by which author?A) Gabriel García MárquezB) Isabel AllendeC) Julio CortázarD) Mario Vargas Llosa8. Who wrote the novel "Catch-22"?A) Joseph HellerB) Kurt VonnegutC) Philip RothD) Tom Wolfe9. The character Humbert Humbert is from which controversial novel?A) LolitaB) Naked LunchC) Tropic of CancerD) Portnoy's Complaint10. Which author is known for the novel "The Bell Jar"?A) Sylvia PlathB) Virginia WoolfC) Daphne du MaurierD) Harper Lee填空题：1. The author of "Brave New World" is Aldous _____.2. The French existentialist philosopher who wrote "Nausea" is Jean-Paul _____.3. The novel "The Color Purple" was written by Alice _____.4. The title character of "Don Quixote" is a Spanish _____.5. "Jane Eyre" was written by Charlotte _____.6. The playwright known for "A Raisin in the Sun" is Lorraine _____.7. The epic poem "Paradise Lost" was penned by John _____.8. Shakespeare's play "The Tempest" features the character _______.9. The novel "The Road" was written by Cormac _____.10. The protagonist of "The Sound and the Fury" is named _____ Compson.。

《简爱》论文英文参考文献《简爱》论文英文参考文献文章类型：参考文献英文参考文献本文是一篇参考文献，在文档中需要多次引用同一文献时，在第一次引用此文献时需要制作尾注，再次引用此文献时点“插入|交叉引用”，“引用类型”选“尾注”，引用内容为“尾注编号（带格式）”，然后选择相应的文献，插入即可。

简爱论文英文参考文献一：[1]谭炯。

An Analysis of the Feminism in Jane Eyre[J]. 读与写（教育教学刊），2014,11（07）：6.[2]王琳，卢芳，李思萌。

Strict Social Hierarchy in Victorian Age--The background of Jane Eyre[J]. 科技展望，2014,（17）：237.[3]赵艳梅。

An Interpretation of Jane Eyre's Feeling of Inferiority at Gateshead in Jane Eyre[J]. 海外英语，2015,（04）：237-239+250.[4]刘佳，JU Jing. The Reflection of Modern Females' Prominent Qualities in Jane Eyre[J]. 海外英语，2015,（06）：173-174.[5]吴娟娟。

“There is Always The Other Side”: Deconstruction of English Identity and Masculinity--Intertextuality between Wide Sargasso Sea and Jane Eyre[J]. 海外英语，2015,（09）：187-189.[6]吴学进，符章琼。

A Unity of Contradictions-An Analysis of Jane Eyre's Character[J]. 海外英语，2012,（03）：214-215+222.[7]张哲。

英美姓名小常识一位名叫Robert Blake的先生，听到有人问他：What's your name?他可回答：My name is Robert Blake．也可以回答：My name is Robert．或者, My name is Blake．为什么问name这一个问题会有三种回答呢?原来name一词在英语里既可以当“姓名”讲，也可以作“姓”或“名”解。

英美人姓和名的排列顺序和中国人的姓名相反，是名在前，姓在后，如Robert Blake这个人，就是姓Blake，名叫Robert。

但是在人名辞典、图片目录、索引以及某些表格中，是姓在前名在后，但在姓后面有一逗号，例如：Washington, George；Darwin，Charles Robert等。

英美人的“名”，因为在姓名中排列在前，所以英语叫first name(第一名)，英国人也称之为Christian name，美国人常把它口L{做given name，即“教名”，是信仰基督教、天主教的婴孩在受洗入教时所起的名字，如英国作家Hardy的教名是Thomas，英国作家Dickens 的教名是Charles。

还有些人的名是“双名”，即在教名和姓之间还有一个名，这第二个名字英语叫做middle name (中间名)，一般是以和孩子关系密切的父系或母系的人名字命名的，如英国博物学家、进化论创立者Charles Robert Darwin，曾获得1959年诺贝尔和平奖的英国政治家和作家Philip John Noel-Baker就各有中间名Robert和John。

在交际场合一般不用中间名。

在签名时，中间名一般用缩写形式，教名可以缩写，也可以不缩写，如：Charles R. Darwin，或C．R．Darwin。

英美人的姓，英语叫family name，surname，或last name，当然也是用来表明所属家族的。

英美人也有“双姓”的。

jane eyre人物简介英语《简;爱》是部脍炙人口的作品，那么你了解里面人物的个性吗?下面由为你提供的jane eyre人物简介，希望大家喜欢。

jane eyre人物简介(一)Jane Eyre The orphaned protagonist of the story. When the novel begins, she is an isolated, powerless ten-year-old living with an aunt and cousins who dislike her. As the novel progresses, she grows in strength. She distinguishes herself at Lowood School because of her hard work and strong intellectual abilities. As a governess at Thornfield, she learns of the pleasures and pains of love through her relationship with Edward Rochester. After being deceived by him, she goes to Marsh End, where she regains her spiritual focus and discovers her own strength when she rejects St. John River’s marriage proposal. By novel’s end she has become a powerful, independent woman, blissfully married to the man she loves, Rochester.jane eyre人物简介(二)Edward Fairfax Rochester Jane’s lover; a dark, passionate, brooding man. A traditional romantic hero,Rochester has lived a troubled wife. Married to an insane Creole woman, Bertha Mason, Rochester sought solace for several years in the arms of mistresses. Finally, he seeks to purify his life and wants Jane Eyre, the innocent governess he has hired to teach his foster daughter, Adèle Varens, to become his wife. The wedding falls through when she learns of the existence of his wife. As penance for his transgressions, he is punished by the loss of an eye and a hand when Bertha sets fire to Thornfield. He finally gains happiness at the novel’s end when he is reunited with Jane.jane eyre人物简介(三)Sarah Reed Jane’s unpleasant aunt, who raises her until she is ten years old. Despite Jane’s attempts at reconciliation before her aunt’s death, her aunt refuses to relent. She dies unloved by her children and unrepentant of her mistreatment of Jane.John Reed Jane’s nasty and spoiled cousin, responsible for Jane’s banishment to the red-room. Addicted to drinking and gambling, John supposedly commits suicide at the age of twenty-three when his mother is no longer willing or able to pay his debts.。

《藻海无边》与《简.爱》中的女权主义思想【摘要】《藻海无边》是一部被普遍视为《简.爱》的姐妹篇的小说。

本文分析了《简.爱》中的疯女人伯莎这个英属殖民地土人和白人殖民者的混血儿备受歧视和压迫，最终走向毁灭的一生。

将这一角色和简.爱相对比，对两本书中所拥有的强烈的女权主义思想进行了分析与比较，揭示了新时代女权主义的特点。

【关键词】女权主义；工业时代；后现代主义多米尼加作家珍.瑞斯在1966年创作了被视作夏洛蒂.勃朗特在1847年所著著名小说《简.爱》姐妹篇的《藻海无边》。

该书以简.爱中的疯女人伯莎（在本文中名为安托瓦耐特）为主角展开叙述。

在简.爱中，夏洛蒂.勃朗特并没有对这一角色花费太多笔墨。

而《藻海无边》讲述的则是该角色之前的来龙去脉，对她从童年到自尽的痛苦一生展开了详尽的叙述。

既然《藻海无边》讲述的是《简.爱》中的人物以前的故事，两书之间就必然有着很多的联系与共同点。

例如，两位主角的童年都在困苦中度过，缺乏爱与照顾，都失去了人生中的第一位好朋友。

此外，她们两个都追求独立，在宗教学校长大，被当地高等阶层鄙视，等等。

当然，两者之间最重要的联系在于她们都嫁给了罗切斯特先生为妻。

另一个贯穿两书全书的共同现象是：两位主角都在不断地做着抗争，与压迫，与偏见，专制，以男性为主导的社会所做的抗争。

简言之，作为女性，两书的作者都表达了女性追求进一步解放的呼声。

也就是说，两本书都是典型的女权主义之作。

由于两书的作者生长于不同的时间和地点，因此她们在书中所表达的女权主义思想也非常不同。

作为一位工业时代的女性先锋楷模，简爱被赋予了坚强的性格。

她对于代表了男性主导社会的表兄约翰的暴行敢于进行直面的抗争。

而她在后来的生活中也因此尝到了胜利的甜头。

她对自己在社会中的地位非常自信，敢于去追求爱与被爱。

当我们转向安托瓦耐特时，情况则大相径庭。

与《简.爱》不同，《藻海无边》有着明显的阴暗色调。

这本书以安托瓦耐特一家唯一的朋友之死作为开始。

双重“他者”的自我认同——从后殖民女性主义视角解读《藻海无边》赵　洋内容提要：本文拟从后殖民女性主义视角解读吉恩・瑞斯的代表作《藻海无边》，深入探究克里奥尔姑娘安托瓦内特所受到的双重压迫以及她为了自我认同所做的努力。

在后殖民语境下，女主人公安托瓦内特成为了双重“他者”：克里奥尔身份使她处于居间地带，既难以被白人认同，也不能被黑人认同；另一方面，父权统治下的女性也遭受到男性的压迫。

但同时，安托瓦内特也在进行着各种反话语实践，如：对男性凝视的回视、被正视的女性身体以及与当地土著的共谋等。

她的自我认同有力地打破了殖民地语境下的主/奴，父权话语下的男/女二元对立思维模式，为之后的女性主义及后殖民反话语实践开辟了道路。

关键词：后殖民女性主义　双重“他者”　自我认同作者简介：赵洋，北京外国语大学英语学院，研究方向为英美文学。

Title: Identifi cation of the Double "Other" —A Postcolonial Feminist Reading of Wide Sargasso SeaAbstract: Wide Sargasso Sea is a 1966 postcolonial novel by Dominica-born British author Jean Rhys. This essay aims at looking into the complexities of the heroin's identity from postcolonial feminist perspectives, with the focus on ① how she is marginalized under both colonial and patriarchal hegemony; ② what resistance strategies are applied in order to regain subjectivity. It is indicated that Antoinette, being a double "other", manages to assert her self-hood through multiple counter discursive strategies, including the returned female gaze, envisaged sex and body, and the combined voices of both black and white Creoles. The heroin's self-assertion powerfully disrupts the repressive essentialism of colonial discourses, paving the way for future feminist and postcolonial counter discursive practices.Key words: postcolonial feminism　double "Other"　self-assertionAuthor:Zhao Yang is from The School of English and Foreign Studies, Beijing Foreign Studies University. Research interests are British and American Literature.Ⅰ. IntroductionWide Sargasso Sea is a 1966 novel by Dominica-born British female writer Jean Rhys. Writing back from Jane Eyre, it revises Charlotte Bronte's story by presenting the life of Rochester's fi rst wife, called Bertha in Jane Eyre and Antoinette in this work, from the time of her youth in Jamaica to her unhappy marriage to Mr. Rochester. Resolving the riddle of madness of the Creole woman, the novel is warmly welcomed by the public and generated remarkably diverse interpretations, concerning about of racial inequality, Creole identification, as well as power relationships between men and women.Current critiques are mainly concentrated on two dimensions: feminist criticism and postcolonial criticism. Feminist theories endeavor to challenge the relegation of women to the margins of male society and reposit them at the center of the literature. For instance, Elizabeth Abel looks into the internal division between the inner self and a mechanicalexternal one, [1]Missy Kubitschek claims that assimilation is invalid as a personal strategy while we need to remain "true to the ancient lights" [2], and Lee Erwin focuses on the relationship between the narrative strategy and female subjectivity.[3] Since the late 70s, Wide Sargasso Sea has become the focus of attention in postcolonial paradigm. Helen Tiffi n maintains that the binary opposition between men and women, West Indies and Britain, reflects the hierarchy of the master and slave, colonizer and colonized.[4] Moreover, Silvia Cappello studies postcolonial discourses in the novel, analyzing the subversion of the imperial privilege of the center in order to give voices to the periphery.[5]Insightful and thought-provoking as those critiques are, neither feminist criticism nor postcoloni al criticism can alone make a comprehensive analysis of Wide Sargasso Sea. In effect, the Creole woman represented by Antoinette is doubly marginalized in the novel, suffering both from oppressive patriarchal and imperial forces. The effort of self-identification is complicated in that the gender problem is interwoven with race and nationality, thus requiring a comprehensive reexamination from postcolonial feminist perspectives. Therefore, this essay aims at looking into the complexities of the heroin's identity and identification efforts from postcolonial feminist perspectives, with the focus on①how she is marginalized under both colonial and patriarchal hegemony; ②what resistance strategies are applied in order to regain subjectivity.II. Theoretical Framework: Postcolonial FeminismFeminism and postcolonialism are two representative discourses of the minority in the western intellect. By the mid-80s, nonetheless, postcolonial feminism has emerged in recognizing that race, ethnicity, class, and nationality functioned as interlocking systems of oppression and formed a "matrix of domination" thereby establishing a new theoretical space between feminist and postcolonial discourses. [6]The most important influence of such combination is the rediscovery of the "Third World Woman" . Western feminists paying attention to white women and post-colonialists mainly targeting at third world men, women from the third world has for a long time been neglected and arbitrarily categorized into a homogeneous entirety without considering the differences of race, class and culture. Mohanty criticizes the western feminists' distorted depiction of the third-world women as "underdevelopment", who are automatically and necessarily defi ned as: religious, family oriented, legal minors, illiterate, domestic and sometimes revolutionary.[7]Such stereotype reveals that western feminists still harbor strong cultural prejudices towards the third-world women even though they express sympathy for their sufferings.In this respect, postcolonial feminism aims to criticize the white-centricity in western feminism, and to reinterpret the western feminist canons from the postcolonialist point of view. It exposes how the patriarchal society, together with the white mainstream discourse construct the third world women as the "other" and also multiple counter-discursive strategies are applied in order to fi ght for the rights of the third-world women. In Jean Rhys's Wide Sargasso Sea, the interrelations of gender and nationalities begin to be recognized and explored. Antoinette is doubly marginalized in postcolonial patriarchal society, and the complexity of her identity and identification could be interpreted from the perspective of the postcolonial feminism.III. Enigma of the Double "Other": Racial Barrier and Patriarchal DominanceA white Creole girl living in Jamaica, Antoinette is caught between the English imperialist and the black native since she was born. Growing up at the time of post-Emancipation as the descendant of the plantationowners, she suffers her childhood without protection, accepted neither by the black native community for her predecessor's domination of Jamaica, nor the Europeans colonizers for her contaminated black blood in the barbarous land and culture. The melancholy of homelessness is already stated at the beginning of the novel: "They say when trouble comes close ranks, and so the white people did. But we were not in their ranks. The Jamaican ladies had never approved of my mother, 'because she pretty like pretty self' Christophine said." [8] Believing that she belongs to part of the black society, Antoinette is intuitively inclined to bridge the gap between black and white, between enemy and friend. As Spivak points out, Rhys "reinscribes some thematics of Narcissus" in recounting Antoinette's development, [9]among which the most noticeable mirror image is that between Antoinette and Tia the black servant girl. They appear to be intimate friends on the surface, yet their difference and distance are always there and become even clearer after a disagreement, when Antoinette accused her friend of being a "cheating nigger" and Tia called her a "white cockroach"[10]. The fragile connection fails to stand even the smallest test in that the they never truly acknowledge each other deep down in their heart: Tia harbors the hatred for her companion's white skin that resembles the oppressor, and Antoinette unconsciously regard the black as the deceitful and cunning other. The episode best revealing the complex relationship between the white Creole and the black is when Antoinette leaves Coulibri the night it was burn. Both girls are moved at that touching moment in that they suddenly realized they can never be the same. The mirror image is broken because what is refl ected is somehow similar but still different. Discarding the illusion, they are separated in reality by the ideological barriers that are embedded in colonialist discourses of white supremacy.In Wide Sargasso Sea, gender, race and nationality appear to be interlocking systems of oppression. If the doomed friendship with Tia exposes the destructiveness of racial barriers in the colony, Antoinette's relationship with Rochester is both a sexual encounter and the enactment of a colonial which clearly shows the objectification and commodification of women in patriarchal colonial society.As a white Creole woman, Antoinette is under constant male gaze from the white patriarch Rochester, and the beauty of the former is understood as something wild and strange based on western values. Coming from Britain the center to Caribbean the periphery, Rochester has a strong sense of Englishness and is highly influenced by the European culture, prejudices and presumptions about the Creoles. When he and his wife spend their honeymoon on the island, he begins to notice her beautiful appearance as well as her "creolity": "her eyes...are too large and can be disconcerting...Long, sad, dark, alien eyes. Creole of pure English descent she may be, but they are not English or European either."[11] The charisma of such beauty lies in its alienation and difference as a Creole woman, which triggers Rochester's curiosity and superior feelings in that she belongs to "not English or European either". Antoinette is reinvented as a "red-eyed, wild-haired stranger", a mad girl who will "loosen her black hair, and laugh and coax and fl atter"[12]. The stigmatization of female self-indulgence and sexual appetite severs for the global interest of the English empire and the Creole woman must be the object of sustained legislative scrutiny from the white patriarchy by which the relationship of English self and ethic other is established in defending their hegemony.Furthermore, the commodification of women is clearly indicated in the doomed marriages of Antoinette and her mother Annette in which neither is connected with love. Annette loses her mind when her beloved son, Pierre, dies on the night of the Coulibri's destruction. The tragic stemming from her English husband's lack of understanding of the local people, Mason autocraticallyannounced that Annette is crazy and imprisoned her in the country where she was virtually raped by the two black caretakers. The tragedy of Annette preludes the future imprisonment of her daughter, and indicates the hard reality that when women lose their monetary value or beauty, they can be always labeled as mad, then locked away and be discarded. Rochester directly admitted his numbness even before they marry: "when at last I met her I bowed, smiled, kissed her hand, danced with her. I played the part I was expected to play. She never had anything to do with me at all."[13]Ⅳ. Counter-discursive Strategies: Self-Assertion of the Creole WomanIn view of the formation of identity as a "process of identification", Stuart Hall stresses that the formation of identity is "subject to the play of history and the play of difference"[14]. In other words, identity no longer remains stable but is a process of becoming, and thus the borderline between man/ woman, master/slave can be blurred and crossed to break colonial and patriarchy hegemony. Antoinette strives to assert herself in a doubly marginalized position, with multiple counter-discursive strategies including the returned female gaze, the envisaged body and sexuality, and the combined voices of both black and white Creoles.In Wide Sargasso Sea, Jean Rhys writes back to Bronte's Jean Eyre and gives voice to Rochester's mad wife Bertha. The "canonical counter-discourse" suggested by Helen Tiffin gives us an opportunity to hear the other side of the story and to explore the gaps and silences in the founding imperialist novel. As the narrator in Chapter One and Chapter Three, Antoinette returns the male gaze by the female's point of view thereby challenging the English hegemonic vision. One of the most frequently quoted episodes is the description of Coulibri's Edenic grown wild that is seen from Antoinette's perspective:Our garden was large and beautiful as that garden in the Bible—the tree of life grew there. But it had gone wild. The paths were overgrown and a smell of dead flowers mixed with the fresh living smell...It was a bell-shaped mass of white, mauve, deep purples, wonderful to see. The scent was very sweet and strong. I never went near it.[15]In confrontation with Jane Eyre's soothing and romantic English landscape, the garden of Coulibri witnessed by the Creole girl Antoinette is mysterious and seems dangerous. The wildness of the Caribbean landscape displaces the western founding myths and functions as the resisting force from the "other" against the canonical version of the Garden of Eden."Fighting mad to tell her story" as Rhys claims, Antoinette persists in reexamining many of the basic elements in imperial and patriarchal discourses and strives to speak out her own voices. As Rochester attempts to incorporate her into the suppressive English civilization, by reinventing her as "Bertha Mason", she endeavors to keep her subjectivity and refuses to be domesticated in terms of race and gender, retorting that "Bertha is not my name. Y ou are trying to make me into someone else, calling me by another name"[16]. Despite she was at last imprisoned at Thornfi eld Hall, Antoinette once again resumes control of the narrative and her seemingly "natural" incapacity for rational thought is no longer reduced to the concept of essential femaleness, but symbolizes the colonial subject's resistance to masculine rationality and imperial dominance.Moreover, sex and body are always the core concern of postcolonial feminist critiques. According to Judith Butler, body is never a "natural phenomenon" because it is already contaminated by culture. [17] Rejecting to see it as a passive receiver, she argues that the female body can also be active and powerful in resisting patriarchal discourses.In Wide Sargasso Sea , Rochester attemptingto maintain the patriarchal dominance must put his imperial house in order, as Ciolkowski states, "by countering the brazen challenge that is posed by the Creole woman who threatens to carry reproduction outside the domain of the English patriarchal family"[18]. Yet the racial mixing and sexual relationships between black and white are commonly seen in Wide Sargasso Sea, advertising a contamination of the pure English blood that would inevitably cause the "degeneracy". Rochester expresses his horror of when comparing his wife Antoinette to the half-caste servant girl, Amelie—"For a moment she looked very much like Amelie. Perhaps they are related, I thought. It's possible, it's even probable in this damned place"[19].Antoinette's hybrid female body—half black, half white—severely threatens the integrated British identity of Rochester, who constantly worries about being "poisoned"—a metaphoric dissolution of the binary opposition between self and other. After having sex with Antoinette, he was disturbed with terror by the bodily pollution by the "bad blood". Different from western feminists who emphasize sex liberation of women, postcolonial feminism nonetheless stresses on the right to have sex and be the "mother". Antoinette's sexual encounter with Rochester can be viewed as a radical rebellion against the postcolonial patriarchal discourse that regulates the hierarchic rights of motherhood. The terrain of colonial difference is blurred as Rochester discloses the identifi cation and disidentifi cation between the English white man and the colonial "half-caste", and he could not reject the fact of contamination hard as he tried to "vomit".Cultural hybridity, as Bhabha suggests, can function as both repressive and subversive forces since it represents an ambivalent space that is not necessarily the resolution of a confl ict between two cultures but an area of tension.[20] Situated in the liminal space belonging to neither white nor black, Antoinette is also endowed with an opportunity of dynamic cultural interaction thereby to assert her self-hood. In spite of the failed complete identification with the black natives, the condition of suffering from the same kind of domination helps the black and white Creoles to form combined resisting voices, though temporary and unstable it might be, against the postcolonial patriarchal hegemony.Christophine, originally a wedding gift to Annette, is practically a mother-like fi gure to Antoinette. She is different from other women in Antoinette's eyes: "she was much blacker—blue-black with a thin face and straight features. She wore a black dress, heavy gold earrings and a yellow handkerchief... She had a quiet voice and a quiet laugh."[21] Treating her as her equal, Antoinette greatly trusts and relies on Christophine for her purposes. It is also Christophine the obeah woman that Antoinette turns to when not knowing how to solve the problem with her husband. As a native, female, individual self, Christophine accuses Rochester's maltreatment of Antoinette as she fails to defend for herself. Her speech is so powerful as to repress that of Rochester and manages to reduce the English imperialist's discourse to a mere echoing, acknowledging with the grudging respects that "she is a fighter, I had to admit". The alliance between the black and white Creoles helps Antoinette to defy the dominance of discriminatory discourse thereby to assert her self-hood.V. ConclusionTo conclude, the Creole woman represented by Antoinette is doubly marginalized in Wide Sargasso Sea. On one hand, she can identify with neither white community nor black natives because of the racial barrier; on the other, women under patriarchal discourses are objectified and commodified in postcolonial patriarchy society. Nonetheless, Antoinette, being the double "other", strives to assert her selfhood through multiple counter discursive strategies, including the returned female gaze, the envisaged body and sexuality, and the combined voices of both black and white Creoles. The heroin's self-identification efforts powerfully disrupt the repressive dualism and essentialism of colonial and patriarchal discourses, thereby paving the way for future feminist and postcolonial counter discursive practices.【Works Cited】[1] Abel, Elizabeth. "Women and Schizophrenia: The Fiction of Jean Rhys". Contemporary Literature 20.1979(2), pp. 155-177.[2] Kubitschek, Missy. "Charting the Empty Spaces of Jean Rhys's Wide Sargasso Sea". A Journal of Women Studies, 1987, 9(2), pp. 23-28. [3] Erwin, Lee. "'Like in a Looking-Glass': History and Narrative in Wide Sargasso Sea". A Forum on Fiction 22, 1989(2), pp. 143-158.[4] Tiffin, Helen. "Mirror and Mask: Colonial Motifs in the Novels of Jean Rhys". World Literature Written in English 17, 1978, pp. 328-341.[5] Cappello, Silvia. "Postcolonial Discourse in Wide Sargasso Sea". Journal of Caribbean Literatures 6, 2009(1), pp. 47-54.[6] Mardorssian, Carine. "Double [De]colonization and the Feminist Criticism of Wide Sargasso Sea". 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