Rhys treats the two central characters, Antoinette and the Man, differently in their naming. She gives Antoinette her "real" name while denying the Man any name at all. This mirrors Bronte's treatment of Bertha in Jane Eyre and is part of Rhys' critique of English imperialism. By denying the Man a name, Rhys suggests he represents English colonialism and its fear of the unfamiliar. She exercises authorial power over her characters' identities, reversing the power dynamic of Jane Eyre by giving Antoinette an identity while showing the Man has no right to his own name.
presenting Harold Pinter's Masterpiece: Mountain Language
By Haleh Esmailian Jan2016
Dedicated to my Kurdish Friends who are the Best of the Men I have ever known
presenting Harold Pinter's Masterpiece: Mountain Language
By Haleh Esmailian Jan2016
Dedicated to my Kurdish Friends who are the Best of the Men I have ever known
Revolution 2020: Love, Corruption, Ambition is a 2011 novel by Chetan Bhagat. Its story is concerned with a love triangle, corruption and a journey of self-discovery. R2020 has addressed the issue of how private coaching institutions exploit aspiring engineering students and how parents put their lifetime's earnings on stake for these classes so that their children can crack engineering exams and change the fortune of the family. While a handful accomplish their dreams, others sink into disaster.[1] The book is available as an Audiobook on Amazon.[2]
The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the 2002 Godhra train burning and Kashmir insurgency.[3] Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service.[4] The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.
The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the 2002 Godhra train burning and Kashmir insurgency.[3] Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service.[4] The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.
Revolution 2020: Love, Corruption, Ambition is a 2011 novel by Chetan Bhagat. Its story is concerned with a love triangle, corruption and a journey of self-discovery. R2020 has addressed the issue of how private coaching institutions exploit aspiring engineering students and how parents put their lifetime's earnings on stake for these classes so that their children can crack engineering exams and change the fortune of the family. While a handful accomplish their dreams, others sink into disaster.[1] The book is available as an Audiobook on Amazon.[2]
The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the 2002 Godhra train burning and Kashmir insurgency.[3] Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service.[4] The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.
The novel weaves together the stories of people navigating some of the darkest and most violent episodes of modern Indian history, from land reform that dispossessed poor farmers to the 2002 Godhra train burning and Kashmir insurgency.[3] Roy's characters run the gamut of Indian society and include an intersex woman (hijra), a rebellious architect, and her landlord who is a supervisor in the intelligence service.[4] The narrative spans across decades and locations, but primarily takes place in Delhi and Kashmir.
Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Biological screening of herbal drugs: Introduction and Need for
Phyto-Pharmacological Screening, New Strategies for evaluating
Natural Products, In vitro evaluation techniques for Antioxidants, Antimicrobial and Anticancer drugs. In vivo evaluation techniques
for Anti-inflammatory, Antiulcer, Anticancer, Wound healing, Antidiabetic, Hepatoprotective, Cardio protective, Diuretics and
Antifertility, Toxicity studies as per OECD guidelines
Safalta Digital marketing institute in Noida, provide complete applications that encompass a huge range of virtual advertising and marketing additives, which includes search engine optimization, virtual communication advertising, pay-per-click on marketing, content material advertising, internet analytics, and greater. These university courses are designed for students who possess a comprehensive understanding of virtual marketing strategies and attributes.Safalta Digital Marketing Institute in Noida is a first choice for young individuals or students who are looking to start their careers in the field of digital advertising. The institute gives specialized courses designed and certification.
for beginners, providing thorough training in areas such as SEO, digital communication marketing, and PPC training in Noida. After finishing the program, students receive the certifications recognised by top different universitie, setting a strong foundation for a successful career in digital marketing.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
1. Authorial “Obeah” and Naming in Jean Rhys’ Wide Sargasso Sea
ABSTRACT:
Building on the critical discussion around the importance of naming and mirrors in Wide
Sargasso Sea, the essay focuses on Rhys’ differing treatment of the two central
characters, contrasting Bertha’s “real” name of Antoinette with the Man, who is denied
a name and a human identity, even while giving him a voice and agency. It is argued
that this mirrors Bronte’s treatment of Bertha, and is a component of her critique of
English imperialism. At issue, in part, is a character’s “right” to a name, which the
author/creator reserves for herself, exploring that question through the confusion and
slippage of character names throughout the novel, and instances where characters
question each other’s right to name themselves. Ultimately, the magic or “obeah” of
the novel revolves around the power of language, and in naming/non-naming her
central characters, the author exercises that power, reversing the power dynamic of
Jane Eyre by giving Antoinette identity while making it clear that the Man has no right to
his own name.
KEY WORDS:
Literature, English. Rhys, Jean (1894-1979), Wide Sargasso Sea (1966), Bronte, Charlotte
(1816-1855), Jane Eyre (1847), naming, identity, mirroring, obeah.
Since the publication of Gayatri Spivak’s “Three Women’s Texts and a
Critique of Imperialism” there has been a good bit of writing about the
importance of naming and mirrors in Wide Sargasso Sea,1 centering around the
function of character and place names and their political implications. I’d like to
2. 2
extend that discussion by examining the names/identities of the two main
characters and how the author uses them to aid understanding of the text. Rhys
tells the story of Antoinette’s re-creation as “Bertha” of Jane Eyre, by The
Man/Rochester, but she also denies him his own name, exerting a final meta-
power reserved by the author.
Rhys uses several characters from Jane Eyre, but Antoinette/Bertha and
The Man/Rochester are the only ones she chooses to re-name. In doing so, she
signals that the relationship between these two characters is central to her
commentary on Bronte’s work. Rhys, however, handles their re-naming in
different ways. While giving Bertha a new name, which she posits as her original
and true name, she deliberately withholds a name from her male leading
character. These are powerful acts of re-writing, indicating the specific ways
that she wants to re-cast those characters. Her rejection of Bronte’s name for
the character Bertha tells us that Bronte’s “madwoman in the attic” was not
born that way, she had to be made into Bertha by her contact with The Man and
what he represents.
The Man is a different case, but also relates to her commentary on Jane
Eyre. By denying him a name while acknowledging his narrative centrality, she
effectively reproduces Bronte’s treatment of Bertha. First, he is “Other” to
Antoinette, as Bertha is “Other” to both Jane and Rochester. And ultimately she
doesn’t even become a “real” character – she is a flat, terrifying embodiment of
what is abhorred by Rochester and English society. Compare this to “The Man”
3. 3
relative to Antoinette’s Creole society. His namelessness suggests that he is not
really a character either – he is the embodiment of the English colonial project,
its preoccupation with power, money and control, and its fear of and
unwillingness to try to understand what is alien to it. Bronte’s Bertha has a kind
of power, but it is only negative and destructive, although her exercising of that
power inadvertently benefits the protagonist. The Man’s power is likewise
negative and destructive, although (an important difference) it first benefits the
female protagonist, both sexually and emotionally, and then destroys her. Rhys’
treatment of her “Rochester” character in this similar but mirrored fashion
invites us to look at Bronte’s treatment of Bertha and Rochester differently.
Rhys’ association of naming with power is most evident in the man’s
“violent” attempt to rename Antoinette as Bertha, and I would like to examine
the context in which the first instance of this re-naming occurs. Following her
visit to Christophine, she returns home and lays bare a number of her secrets in
an attempt to engage him emotionally. After she finishes, there is the following
exchange:
After a long time I heard her say as if she were talking to herself, ‘I
have said all I want to say. I have tried to make you understand. But
nothing has changed.’ She laughed.
‘Don’t laugh like that Bertha.’
‘My name is not Bertha; why do you call me Bertha?’
4. 4
‘Because it is a name I’m particularly fond of. I think of you as Bertha.’
(81)
It is her laughter, which he dislikes, that initially provokes this re-naming. Later
in the scene, after he has rejected her verbally but tried to comfort her physically (which
she then rejects), we have this dialogue, after she asks him to come in and say
goodnight to her:
‘Certainly I will, my dear Bertha.’
‘Not Bertha tonight,’ she said.
‘Of course, on this of all nights, you must be Bertha’
‘As you wish,’ she said. (82)
He will do as she asks, but she must “be Bertha” or he won’t engage with her in
any intimate way. In essence, he is personalizing the financial basis of their marriage,
demanding the right to determine her identity in exchange for his intimacy with her.
She recognizes the power he is trying to exercise over her through this re-naming. Here
she acquiesces, and it costs her. In their next encounter, she appears in a way that
could describe Bronte’s Bertha:
Her hair hung uncombed and dull into her eyes which were inflamed and
staring, her face was very flushed and looked swollen. Her feet were
bare. (87)
In narration, he refers to her as Antoinette, but again calls her “Bertha.” Her
response articulates her recognition of the ways that he uses language for power:
5. 5
“Bertha is not my name. You are trying to make me into someone else,
calling me by another name. I know, that’s obeah too.” (88)
She hopes, by naming his sorcery (using words to control another is a “magical”
exercise of power) to combat it, but because he is “a stone” (89), he can not/will not
respond. I will return to this point, as it illustrates part of what Rhys is doing by not
naming him.
Antoinette is given other names as well. Daniel, in his letter to the Man calls her
“Antoinetta” (57) and he later picks up on that in his conversation with Christophine
(100) conflating “Antoinette” and “Antoinetta” with “Marionette” and “Marionetta,”
suggesting another facet of the identity he wishes to project onto her – that of a puppet
whose actions are dictated by him. In that same letter, Daniel identifies himself as a
Cosway (Antoinette’s birth surname), but both she and Christophine dispute that.
Christophine says, “He is no Cosway either.” (94) When the Man tells Antoinette he had
a letter from “a man who calls himself Daniel Conway,” she says: “He has no right to
that name…(my emphasis) His real name if he has one, is Daniel Boyd.” (77) The “right”
to a name reflects power, weight, and identity. This question of the “right” to a name
brings us back to the Man.
By the act of non-naming, Rhys invites us to view him not as Bronte’s Rochester,
but as a stand-in or embodiment of English colonialism, especially his fear and hatred of
what he doesn’t understand and his need to control it (in part by naming or re-naming),
and certainly his need for power. Spivak mentions his lack of patronymic, but a further
reading is suggested by the fact that he has no name at all. Although he “wins” his
6. 6
battle for Antoinette’s money and identity, he ultimately flees the islands to return to
England. He recognizes the threat to his sanity and identity (which are closely linked)
that life in the islands holds for him. And in an act of authorial “obeah,” Rhys tells us he
has no “right” to a name. He may have the material wealth and power to destroy
Antoinette, but his own identity is so uncertain (even to himself) that he can’t face and
live in the fluid, dynamic, “sun-filled” world of his wife or release her to make a life
without him. He, therefore, has forfeited his right to a name. Or, put another way, his
need to fix identity through naming ultimately denies him his own. The artist, or author,
wields her mystical power, denying him a name even while giving him his own voice.
Antoinette/Bertha’s final act of destruction and self-assertion might be read as
liberating sacrifice -- Rhys wrote to a friend: “Her End—I want it in a way triumphant!”2 -
- Rhys’ choice to deny him a name tells us that, in the broadest sense, he is truly Other
and less worthy than the deeply flawed but “too-alive” world that has built her own and
Antoinette’s identity. She, as author, has a meta-power that trumps his “obeah” and
positions Bronte’s “madwoman in the attic” as a kind of tragic heroine, with both
characters standing in for important aspects of the cultures they represent. In re-
writing Bronte’s Bertha and Rochester, she now has a story; he doesn’t even have the
“right” to a name.
NOTES:
1. Spivak, Gayatrie, “Three Women’s Texts and a Critique of Imperialism,” Critcal Inquiry,
Vol. 12, No. 1, Autumn, 1985. Other examples include: Erwin, Lee, "’Like in a Looking-
Glass’: History and Narrative in Wide Sargasso Sea”, NOVEL: a Forum on Fiction, Vol. 2,
Number 22, Winter 1989; Fumagalli, Maria, “Names Matter,” Journal of Caribbean
Literatures, Vol. 3, Number 3, Summer, 2003; Rody, Caroline. “Burning Down the
House: The Revisionary Paradigm of Jean Rhys’s Wide Sargasso Sea.” Included in Wide
7. 7
Sargasso Sea. Page numbers for Wide Sargasso Sea refer to: Rhys, Jean. Wide Sargasso
Sea. Norton Critical Edition. New York: W.W. Norton & Co., 1999.
2. Letter to Selma Vaz Dias, 137