Wide Sargasso Sea (2): Conflicting Perspectives & Memories

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1 Wide Sargasso Sea (2): Conflicting Perspectives & Memories
Rochester, Antoinett, Daniel, Chris- tophine, 含有褪色圖片和文字的圖文框 (中級) 若要複製此投影片上的圖片效果，請執行下列作業： 在 [插入] 索引標籤上，按一下 [影像] 群組中的 [圖片]。 在 [常用] 索引標籤上，按一下 [投影片] 群組中的 [版面配置]，然後按一下 [空白]。 在 [圖片工具] 底下的 [格式] 索引標籤上，按一下 [大小] 群組中的 [大小及位置] 對話方塊啟動器。在 [設定圖片格式] 對話方塊中，將影像大小調整或裁剪成高度為 3，而寬度為 3。若要裁剪圖片，請按一下左窗格的 [裁剪] 然後在 [裁剪位置] 下方的右窗格中，將值輸入至 [高度]、[寬度]、[左] 及 [上] 方塊中。若要調整圖片大小，請按一下左窗格的 [大小]，並在右窗格的 [大小及旋轉] 底下，在 [高度] 及 [寬度] 方塊中輸入數值。 在 [插入圖片] 對話方塊中選取圖片，然後按一下 [插入]。 將複製的圖片移至原始圖片下方的區域。 選取圖片。在 [常用] 索引標籤的 [剪貼簿] 群組中，按一下 [複製] 下方的箭號，然後按一下 [複製]。 選取原始圖片。在 [圖片工具] 底下的 [格式] 索引標籤上，按一下 [調整] 群組中的 [色彩]，然後按一下 [重新著色] 底下的 [灰階] (左起第一列、第二個選項)。 同時也按一下 [調整] 群組中的 [校正]，然後按一下 [圖片校正選項]。在 [設定圖片格式] 對話方塊中，按一下左窗格中的 [圖片校正]，然後在右窗格中執行下列作業： 在 [對比] 方塊中，輸入 -70%。 在 [亮度] 方塊中，輸入 55%。 選取重複的圖片。在 [圖片工具] 底下的 [格式] 索引標籤上之 [大小] 群組中，按一下 [裁剪] 下方的箭號，指向 [裁剪成圖形]，然後按一下 [基本圖形] 底下的 [框架] (左起第二列、第四個選項)。 按一下並拖曳黃色菱形調整控點以增加或減少圖文框寬度。 選取新圖片。在 [圖片工具] 底下的 [格式] 索引標籤上，按一下 [大小] 群組中的 [大小及位置] 對話方塊啟動器。在 [設定圖片格式] 對話方塊中，將影像大小調整或裁剪成高度為 3，而寬度為 3。若要裁剪圖片，請按一下左窗格的 [裁剪] 然後在 [裁剪位置] 下方的右窗格中，將值輸入至 [高度]、[寬度]、[左] 及 [上] 方塊中。 在 [插入圖片] 對話方塊中，選取另一張圖片並按一下 [插入]。 若要調整圖片大小，按一下左邊窗格的 [大小]，然後在右邊窗格的 [大小及旋轉] 底下，將值輸入至 [高度] 和 [寬度] 方塊。 選取新圖片。在 [常用] 索引標籤的 [剪貼簿] 群組中，按一下 [複製] 下方的箭號，然後按一下 [複製]。 按住 SHIFT 並選取兩個圖文框。 在 [常用] 索引標籤的 [繪圖] 群組中按一下 [圖案效果]，然後指向 [模糊]，並按一下 [3-D 選項]。 在 [設定圖片格式] 對話方塊中，按一下左邊窗格的 [立體格式] ，然後在 [模糊] 底下的右邊窗格中執行下列動作： 選取重複的圖片。在 [圖片工具] 底下的 [格式] 索引標籤上之 [大小] 群組中，按一下 [裁剪] 下方的箭號，指向 [裁剪成圖形]，然後按一下 [基本圖形] 底下的 [框架] (左起第二列、第四個選項)。 按一下並拖曳黃色菱形調整控點，讓圖文框寬度和第一個一致。 按一下 [上] 旁的按鈕，然後按一下 [模糊] 底下的 [圓形] (第一列，左邊第一個選項)。 同時在 [設定圖片格式] 對話方塊中，按一下左邊窗格的 [陰影]，然後在右邊窗格中執行下列動作： 在 [上] 旁邊的 [高度] 方塊中輸入 6 pt。 在 [上] 旁邊的 [寬度] 方塊中輸入 6 pt。 在 [距離] 方塊中輸入 18 pt。 在 [模糊] 方塊中輸入 30 pt。 按一下 [預設格式] 旁的按鈕，然後按一下 [外陰影] 底下的 [下方位移] (第一列，左邊第二個選項)。 按住 SHIFT 並選取其中一個圖文框和對應的灰階圖片。 在 [常用] 索引標籤的 [繪圖] 群組中，按一下 [排列]，然後執行下列動作，以便在灰階圖片的上方直接定位圖文框： 指向 [對齊]，然後按一下 [垂直置中]。 指向 [對齊]，然後按一下 [置中對齊]。 指向 [對齊]，然後按一下 [貼齊選取的物件]。 按一下 [群組]。 按住 SHIFT 並選取兩個群組。 在 [常用] 索引標籤的 [繪圖] 群組中，按一下 [排列]，然後指向 [對齊]，再按一下 [垂直置中]。 選取並拖曳每一個群組，以便它們在投影片的所需位置上位於彼此的旁邊。 使用其他圖文框和對應的灰階圖片重複步驟 14。 若要在此投影片上重現文字效果，請執行下列動作： 在文字方塊中輸入文字，選取文字，然後在 [常用] 索引標籤的 [字型] 群組中，從 [字型] 清單選取 [Franklin Gothic Medium Cond]，然後在 [字型大小] 方塊中輸入 [30]。 在 [插入] 索引標籤上，按一下 [文字] 群組中的 [文字方塊]，然後在投影片中拖曳以繪製文字方塊。 在 [常用] 索引標籤的 [段落] 群組中，按一下 [置中]，將投影片上的文字置中。 重複步驟 1 到 5，以建立其他圖文框的文字。 在投影片上拖曳文字方塊，以便將其定位在其中一個圖文框的內部。 在 [繪圖工具] 底下，[格式] 索引標籤的 [文字藝術師樣式] 群組中，按一下 [文字填滿] 旁的箭頭，然後按一下 [佈景主題色彩] 底下的 [白色，背景 1，較深 50%] (第六列，左邊第一個選項)。 若要在此投影片上重現水平線效果，請執行下列動作： 按住 SHIFT，然後在投影片上拖曳，以繪製水平直線。 在 [常用] 索引標籤上，按一下 [繪圖] 群組中的 [圖形]，然後按一下 [線條] 底下的 [線條] (左起第一個選項)。 選取線條。 在 [繪圖工具] 的 [格式] 索引標籤底下，[大小] 群組的 [圖案寬度] 方塊中輸入 10”。 在 [常用] 索引標籤的 [繪圖] 群組右下角，按一下 [設定圖片格式] 對話方塊啟動器。 在 [設定圖片格式] 對話方塊中，按一下左邊窗格的 [線條色彩]，然後在右邊窗格執行下列動作： 選取 [實心線條]。 按一下 [色彩] 旁的按鈕，然後按一下 [佈景主題色彩] 底下的 [白色，背景 1，較深 35%] (左起第五列、第一個選項)。 同時在 [設定圖片格式] 對話方塊中，按一下左邊窗格的 [線條樣式]，然後在右邊窗格的 [寬度] 方塊中輸入 [0.75 pt]。 在 [常用] 索引標籤的 [剪貼簿] 群組中，按一下 [複製] 底下的箭號，然後按一下 [複製]。 按住 SHIFT 並在投影片上選取兩條線條。 在 [常用] 索引標籤的 [繪圖] 群組中，按一下 [排列]，然後按一下 [移到最下層]。 拖曳兩條線，以便將它們定位在圖片和圖文框的後面。 在 [常用] 索引標籤的 [繪圖] 群組中，按一下 [排列]，然後指向 [對齊], ，並執行下列動作： 按一下 [貼齊投影片]。 按一下 [置中對齊]。 在 [設計] 索引標籤的 [背景] 群組中，按一下 [背景樣式] 旁的箭頭，然後按一下 [樣式 5] (第二列，左邊第一個選項)。(注意： 如果此動作是在含有多張投影片的 PowerPoint 簡報中進行，則背景樣式會套用至所有投影片)。 若要複製此投影片的背景，請執行下列作業： Amelie, Baptiste & Sandi…

2 Outline Plot Summary Obeah and its Symbolic Meanings Questions
Narrative voices: Rochester’s narrative vs. Antoinette’s The Climax and its aftermath: Antoinette’s attempt & Rochester’s responses ; Antoinette’s changes (the issue of Names) and Christophine’s Roles Daniel and Amelie: The non-whites’ attempts at social climbing;

3 Plot Summary Part I: Post-emancipation loneliness  marriage to Mr. Mason  the riot  the convent Part II: Rochester’s arrival at Granbois (uncertainties and communication)  the letters (56/95 -; 71/118 ) Antoinette’s attempts to save the marriage (64/108; 76/127) Rochester’s revenge Repetitive Elements: “Dear Father,” “I feel sorry for you,” the cock crowed Major dialogues

4 Plot Summary Part III: Grace Poole’s narrative. Antoinette’s
cold, not know who she is; not England; Richard Mason’s visit; Memory of Sandi and the red dress; The dream Ending

5 Part II: So it was all over…Nothing
Massacre in rain, going to Granbois A’s change of mind exploration & initial communication Daniel’s letter A. going to Christophine for help Part II: So it was all over…Nothing a second letter A talking about the Past; potion R  Amelie A drinking C intervenes R’s monologues as the two leave Part Two 31 ~ Massacre in rain, going to Granbois, the house described Dear Father A cock crowed loudly—on the way to Granbois 34 Dear Father 41 34 Dear Father 45 38 ~ R’s unnatural movement, A’s change of mind recollected 39 ~period of exploration & initial communication: 40 dinner, talk about “dream”; 41 talk about two rats, creatures and feeling young; 41 on Christophine, her clothes and her movement; 41 going to the bathing pool; king crab [Sandi]; about the 4 hermits and Granbois’ history during the day, and at night -- about her wanting to die. Grew to like the place and people, but feel no tenderness for her. Her ideas about England and Europe fixed. ~Daniel’s letter; A against Amelie; R walking alone, sees a stone house; check a dictionary about obeah. ~ Antoinette going to Christophine for help (R calls her Bertha). 60 A cock crowed – when getting the potion from C 66 I am sorry for you 67 ~ Rochester a second letter from D; 67 asked Amelie about D (“I am sorry for you”); 67 meeting Daniel; 67 A explains her past; (R calls her Bertha); 67 R wakes up at night, goes for Amelie (“I am sorry for you”); 67 a letter from Mr. Fraser about C; 67 A’s talk with R (“Don’t drink anymore.”… “that’s obeah, too; you spoilt the place); Christophine intervenes (I hope you satisfy); 67 Writing to the father 67 Amelie: I am sorry for you 69 'Why do you hate me?' 73 Amélie: 'I am sorry for you.' 81 Amélie I am sorry for you 82 Dear Father 97 96 A cock crowed – arranging to leave Spanish town 97 ~Rochester’s monologue: no pity, no love, but still possessing her as a lunatic. ~ A ready to leave; she is silence itself; Rochester: make the best, worst, most of what they have, like pirates; Sandi crying 99 Part Three 104

6 Part II: Conflicting Views presented in
Four major dialogues [before & after the potion episode]– Antoinette with Christophine (65 – 71/107) Rochester with Daniel (74- 76/122) [after] Antoinette with Rochester (76 – 82/127) [after] Rochester with Christophine ( /155) Endings: Rochester’s two interior monologues (98 -/164 ; 100-) –expression of egotism and colonial mentality

7 Background: Obeah and Voodoo
In the text (64/107; 86/143)—feared, sign of rage, dismissed or repressed by the police, kept secret by the locals Obeah – a means of connection with Africa; and also native rebellion. --a creolized practice of African religions and Christianity (memory of Africa) For the natives and esp. for the white colonizers – fearful and evil magic For the rebellious slaves: as a means of escape from and rebellion against slavery

8 Zombie and its symbolic meanings
Definitions of zombie (64/107) ghost; transfixed like ghost; the mulatto boy and girl following Antoinette Rochester’s visit to the ruined house 2) symbolic of social and individual alienation Rochester’s feeling after the Obeah night; Antoinette turning into a ghost (Bertha 89/147; 102)  the haunting ghost in Thornfield (111) ”Her ‘real’ death is her subjugation by Rochester—by the colonizer—the long slow process of her reduction to the zombie state chronicled in the novel” (Sandra Drake 200) I did it too. I saw the hate go out of her eyes. I forced it out. And with the hate her beauty. She was only a ghost. A ghost in the grey daylight. (102/170)

9 Narrative voices & Conflicting Perspectives
Part I: Antoinette Part II: “Rochester”  Antoinette “Rochester” Part III: Grace Poole  Antoinette Repetition of “I remember” (23 times) – Antoinette: the riot, going to see her mother; the convent scenes (the mother); Part III Rochester: (not the ceremony) the trip, the father, the nights with A & Amelie

10 Rochester’s Account of the Night
I will always swear that, she need not have done it. When she handed me the glass she was smiling. I remember saying in a voice that was not like my own that it was too light. I remember putting out the candles on the table near the bed and that is all I remember. All I will remember of the night. (82/137) Is it a good idea to use obeah? What other solutions can Antoinette have?

11 Antoinette’s Account (when going to Christophine
“I can remember every second of that morning, if I shut my eyes I can see the deep blue colour of the sky and the mango leaves, the pink and red hibiscus, the yellow handkerchief she wore round her head, tied in the Martinique fashion with the sharp points in front, but now I see everything still, fixed for ever like the colours in a stained-glass window. Only the clouds move. It was wrapped in a leaf, what she had given me, and I felt it cool and smooth against my skin.”

12 Starting Questions: Analysis and Performing the Roles
1) G2: Why does Rhys assign Rochester to be predominant voice in Part II? What does he think about Antoinette and Granbois? G1: How does Antoinette relate to Rochester? G4: The roles of Daniel, Amelie, and the other blacks (e.g. Hilda, Baptiste): what functions do Daniel and Amelie serve in the development of R and A’s relationship? G3: What roles does Christophine play?

13 Starting Questions: Analysis and Performing the Roles
-- Rochester: Why does Rochester feel calm and self-possessed after meeting Daniel? How do we interpret his responses after taking the potion? And the last two monologues? Why is he un-named? -- Antoinette: How does Antoinette look at the past? And the place, Granbois? Is Antoinette wrong in using Christophine’s potion? How is Antoinette affected by Rochester’s revenge? Is she mad? -- Daniel: what does he want? What he mean by saying that there is madness in the Cosways. -- Amelie: “I feel sorry for you.” -- Christophine: What suggestions does she give to Antoinette? Is her obeah helpful? Why can’t she help Antoinette more despite her perceptiveness, her care-taking and obeah power?

14 Rochester’s narrative
Functions: To show different perspectives in order for us to understand the cultural shocks he experiences; To make us understand his personality more. -- R, not a reliable narrator; His duplicity (e.g. several dishonest moments: “not yet” “and yet”; Dear Father Letters –his subordinate position dialogue with A before the climax, with Christophine after it) & His self-centeredness and colonial mentality in the last two monologues

15 Rochester’s narrative vs. Antoinette
Their different memories about the night: [before] Rochester’s (82/137); Antoinette’s – p. 71/ the last time she can appreciate and like the natural scenery. Cock’s symbolic meanings; natural scene signs of betrayals--cock crowing (41/69, 71/118, 97-98/162) [after] Rochester’s – pp. 82/137; /139 (next slide) evasiveness; Self-justification

16 Rochester on Amelie There was a spark of gaiety in her eyes, but when I laughed she put her hand over my mouth apprehensively. I pulled her down beside me and we were both laughing. That is what I remember most about that encounter. She was so gay, so natural and something of this gaiety she must have given to me, for I had not one moment of remorse.

17 Antoinette’s seek for C’s help
Cannot leave Rochester no money; (p 66) has to go to England; (66-67) Afraid; Still wants love (though just for a moment, with external help, in a act of “foolishness”) Try to blind herself to reality p. 70; Rochester still cold and possessive (the use of “Bertha”) after her confession.

18 Rochester’s Responses to Obeah
Physical discomfort & Self-Preservation; “Zombified” pp ; The ruined house; Amélie; R’s possessiveness & self-centeredness : Calling Antoinette “my wife” (85); The dialogue with Christophine self-pity 99; decides her life for her ( “my lunatic” 99) Hatred of her and the place, which reveals that he can never understand their treasures and secrets. (next slide)

19 Rochester’s Responses (2)
Rochester’s interior monologue 98 - ; 100 – hatred and emptiness inside (83), (102-3); recurrence of C’s and D’s words who is madder? Self-fulfilling prophecy (1) – Hates the place. Leaves as soon as possible, but his own actions, actually, drive him away from Dominica People around Rochester and change their attitudes toward him after this one-nigh- stand with Améle, e.g. Baptiste (85), R feels everything as “hostile” (90)

20 Rochester’s Responses (3)
Self-fulfilling prophecy (2) the “English house” p. 98 Wait for her to become a memory, a lie 103.

21 Antoinette’s changes Antoinette’s change of identity:
physically transformed (87; 89) name “That’s obeah too” (88) Sense of displacement: before – pp. 53; 78 after – p. 88 No justice – p. 88

22 Names & Identity: Christophine’s , Daniel’s & Antoinette’s
name and identity--the African belief & British tradition (88) Christophine’s name – p. 86 Daniel Cosway--Esau (73) ( sb. cheated out of his birthright) / Is he a Cosway—Daniel Boyd? (77, 94)—the importance of claiming the family name Antoinette p. 31 bury to keep her name  Bertha (68, 81, 88, 106-7)  Marionette (90, 92, 103)- puppet  doll

23 Christophine’s rescue and withdrawal
Her sage advice: To leave him;  impossible for A To talk to him;  useless to R Her cure (p. 93) not completely effective because she is beke; undone by R Her offer p. 95  hurts R’s male ego Rochester’s threat of getting the police

24 Christophine’s Role: A review
For Antoinette A surrogate mother giving Antoinette advice, Taking care of her: singing her to sleep; kiss her (90)– a human touch that softens A, who has been rejected by everyone else—see the “sun” in Antoinette; A model of self-independence for Antoinette Antoinette  Christophine: still afraid of her; cannot get rid of the racial stereotypes internalized by the white people—calling C “damned black devil from Hell” (81)

25 Christophine’s Role: A review (2)
The native talks back: judging R (92)--No longer a mimicking parrot (cf Annette’s parrot Coco) strong mental power, which forces Rochester to repeat her words—a reversal of the colonizer/ colonized role in which the colonized is mimicking the master’s metropolitan language and discourse A site of alternative power—an obeah woman

26 Daniel and Amelie Similarities:
Both wanting to do social climbing; both hurt Rochester’s male ego; both wants money from Rochester. Differences: Daniel– flattering(58), “educated” unlike the blacks (74); in hatred pp. 73 –74; misrepresenting the Cosway family; Amelie – uses her own body in order to leave the island and marry a rich man (the boy who wants to follow R to England )

27 Notes: The Critics on Christophine (1)
Spivak on imperialism: “Christophine is tangential to this narrative. She cannot be contained by a novel which rewrites a canonical English text within the European novelist tradition in the interest of the white Creole rather than the native.” (p.246)

28 The Critics on Christophine (1)
Parry on Spivak: “what Spivak’s strategy of reading necessarily blots out is Christophine’s inscription as the native, female, individual Self who defies the demands of the discriminatory discourses impinging on her person.” (p.248)