作为一位熟悉西印度群岛的白种克里奥尔女性，里斯对夏洛蒂•勃朗特在《简爱》中对克里奥尔人的丑化感到无比愤怒。根据她在西印度群岛的亲身经历以及通过阅读对其历史的了解，里斯创作了《藻海无边》，从克里奥尔疯女人的角度讲述《简爱》这个故事，描写了白种克里奥尔女性的尴尬境地和身份危机。本文主要研究里斯的《藻海无边》和勃朗特的《简爱》之间的互文关系。指导此项研究的理论依据是克里斯蒂娃等语言学家提出的“互文理论” 。本文共分三部分。第一部分介绍《藻海无边》作者里斯的生平和文学创作，回顾评论家对《藻海无边》的研究成果，并且提出本文论点，即对《藻海无边》和《简爱》之间的互文关系进行解读。第二部分是文章的主体部分，由五章组成。第一章简要介绍互文理论的发展，提出《藻海无边》和《简爱》的互文研究主要在“仿拟性互文关系” “延展性互文关系” 和“颠覆性互文关系”三个层面展开。第二章分析《藻海无边》对《简爱》情节、人物、主题、象征等文学要素的继承，阐述二者之间的“仿拟性互文关系” 。第三章研究《藻海无边》如何填补《简爱》中人物的空白人生和情节上的漏洞，阐述二者之间的“延展性互文关系”。第四章对比《藻海无边》和《简爱》在历史背景、叙事方法、人物刻画等方面的不同，阐述二者之间的“颠覆性互文关系” 。第五章简要阐述互文写作手法在后殖民主义文学创作中的应用。第三部分是文章的结论部分。

As a white female Creole who was acquainted with West Indies personally, Rhys was outraged by Charlotte Bronte’s hideous portrait of the Creole lunatic and the all wrong Creole scenes in Jane Eyre and had always thought of writing a book telling the same story from the other side, the side of the lunatic Creole. Based on her personal knowledge of the West Indies and her reading of their history, Rhys spent many years writing this book which was to become Wide Sargasso Sea. It tells how Antoinette is deprived of property and locked up as a madwoman by her English husband. Her madness is the result of a fragmented sense of personal and cultural identity, which is worsened by an arranged marriage to a man who is incompatible with her in character and cultural background. Rhys subverts Bronte’s dehumanization of Bertha by restoring her voice and her past life.This thesis studies the intertextual relations between Rhys’s Wide Sargasso Sea and Bronte’s classic. The modern critical theory of intertextuality will serve as the guideline for the overall work as well as a tool to cut in. It consists of three parts. The first part gives a simple introduction of the life and works of Jean Rhys, and the foregoing critical responses of Wide Sargasso Sea. The second part contains five chapters. Chapter 1 expatiates the theory of intertextuality, within whose framework the investigation of the study will be carried out in three directions: the imitative intertextuality, the derivative intertextuality and the subversive intertextuality. Chapter 2 is devoted to the examination of imitative intertextual elements that exist between Jean Rhys’s Wide Sargasso Sea and Charlotte Bronte’s Jane Eyre, such as plot, characters, themes and symbols. Chapter 3 focuses on derivative intertextuality to find out the extended elements, for example, a character’s past life which can’t literally be found in the hypotext, but can be derived from it based on logical association. Chapter 4 centers on subversive intertextuality to explore what are subverted through examining the differences between the two novels, for instance, the historical setting. Chapter 5 explores the employment of intertextual fiction writing in postcolonial literature. The last part is the conclusion.