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We’re All Translators Now
par Esther Allen,
publié le 15/11/2013
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As our language ceases to dominate cyberspace (our share of the Web has fallen to about 27%), we English speakers are hesitantly stepping out of our monolingual sphere and evincing renewed interest in foreign tongues. Language learning websites like Livemocha and Matador Network seem to crop up like mushrooms, Rosetta Stone is a publicly traded company whose stock is up 41% year to date, and last year’s top-rated YouTube video — remember? —was in Korean (with a few repetitions of “hey sexy lady” thrown in for nostalgia’s sake).
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Across the ‘Wide Sargasso Sea’: Jean Rhys’s Revision of Charlotte Brontë’s Eurocentric Gothic
par Sylvie Maurel,
publié le 20/03/2008
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In this article, Sylvie Maurel analyses the Gothic destabilizing machinery at work in Jean Rhys’s "Wide Sargasso Sea". The first Gothic element the author looks at is the demonic agency that haunts the novel. Colonial history lingers in Rhys’s world and accounts for some of the strange and unexpected phenomena that occur on the island. Actually, the narrative is under the double influence of a past set in an actual history of slavery and a future already written in the story of "Jane Eyre". Rhys’s characters have an uncanny prescience of what lies ahead and a sense that they cannot evade repetition. The motif of witchcraft is another element that links "WSS" to the Gothic. The motif goes beyond a picturesque reference to the West Indian context and functions as a metaphor of the relationship between language and power. Christophine’s witchcraft and Rochester’s Eurocentric discourse are two similar attempts at transforming the world through language. The power of language is also reflected in the way the novel constantly brings together multiple voices and conflicting views which seem to hide a secret rather than reveal a final truth. Rochester can only feel the presence of such a secret and risks delirium as he tries to get a grip on something that constantly eludes him.
