Abstract My project here is to discuss the extent of Rhys's permeability to the voices of ‘others’, especially when it comes to quoting, inserting, using, or elaborating her own writing with a recourse to the literary authority of other writers. The postcolonial concept of ‘writing back’ obliterates the process of actual writing to the profit of the Western-constructed idea of an accusatory pattern in the literary agendas of authors from former Empires. As critical as Rhys might have been of European colonialism, a limitation of her work to a gesture of ‘writing back’ amounts to denying the polyphony orchestrated by the writer, thereby blurring any form of aesthetic purpose per se. Therefore, in an attempt to avoid a strictly postcolonial discourse, my article studies the wide scope of examples of intertextuality in Jean Rhys's short fiction (mainly in the short stories ‘Let Them Call It Jazz’, ‘Hunger’, ‘La Grosse Fifi’, ‘Invitation to the Dance’ and ‘Temps Perdi’), in relation to the very notions of authority—both the author's, and her peers’. What is more, ‘others’ are present in her writing under the form of absent voices piercing through the fabric of the text, which results in a failure to locate the main source of authority. I shall enquire into the notion of failure as writing and reading aesthetics, rather than a simple literary motif.

中文翻译：

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他人的声音：让·里斯短篇小说中的互文性和作者在场

摘要 我在这里的项目是讨论里斯对“他人”声音的渗透程度，特别是在引用、插入、使用或阐述她自己的作品时，求助于其他作家的文学权威。“回写”的后殖民概念抹杀了实际写作的过程，以从前帝国作家的文学议程中西方建构的一种指责模式的想法中获益。尽管里斯可能对欧洲殖民主义持批评态度，但将她的作品限制为“回写”的姿态等于否认作者精心编排的复调，从而模糊了任何形式的审美目的本身。因此，为了避免严格的后殖民话语，我的文章研究了让·里斯 (Jean Rhys) 中广泛的互文性例子。s 短篇小说（主要是在短篇小说“让他们称之为爵士乐”、“饥饿”、“La Grosse Fifi”、“舞会邀请”和“Temps Perdi”中），关于权威的概念——两者都是作者和她的同龄人。更重要的是，“他者”以缺席声音的形式出现在她的作品中，穿透了文本的结构，导致无法找到主要的权威来源。我将探讨作为写作和阅读美学的失败概念，而不是一个简单的文学主题。“他者”以缺席声音的形式出现在她的作品中，穿透了文本的结构，导致无法找到主要的权威来源。我将探讨作为写作和阅读美学的失败概念，而不是一个简单的文学主题。“他者”以缺席声音的形式出现在她的作品中，穿透了文本的结构，导致无法找到主要的权威来源。我将探讨作为写作和阅读美学的失败概念，而不是一个简单的文学主题。