By Heidi Yeandle
This booklet reveals Carter’s deconstruction of the male-dominated self-discipline of Western inspiration. Revealing the large philosophical examine that underpins Carter’s intertextual paintings, this ebook deals new readings of her fiction with regards to quite a number philosophical texts and concepts. by means of re-examining Carter’s writing near to the archived choice of her notes that has lately develop into on hand on the British Library, Angela Carter and Western Philosophy places ahead new interpretations of Carter’s writing practices. With chapters interpreting her allusions to Plato, Hobbes and Rousseau, Descartes, Locke and Hume, Wittgenstein and Ryle, in addition to Kant and Sade, this ebook illuminates Carter’s engagement with assorted components of Western suggestion, and discusses how this shapes her portrayal of fact, identification, civilisation, and morality. Angela Carter and Western Philosophy can be of curiosity to researchers, academics, and scholars engaged on modern women’s writing, philosophy and literature, and intertextual literary practices.
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Additional info for Angela Carter and Western Philosophy
However, while Carter depicts an oppositional battle between Hobbes and Rousseau’s discussions of the state of nature here, I argue that in Heroes and Villains she blurs the theories of the two thinkers, focusing on their similarities as well as the differences. While Carter explicitly signals her engagement with Rousseau in the novel, with his name cropping up a number of times in Heroes and Villains, Hobbes is never directly named in the text. Specific references to Rousseau are clear at the beginning of the novel when Marianne contemplates the possibility of her father going blind.
Her reading of Hobbes and Rousseau is central to this aspect of the novel as well. As Carter told Les Bedford, ‘I read Hobbes as background for it [Heroes and Villains]—the savage man, the natural man3—and Rousseau is also in it. ). However, while Carter depicts an oppositional battle between Hobbes and Rousseau’s discussions of the state of nature here, I argue that in Heroes and Villains she blurs the theories of the two thinkers, focusing on their similarities as well as the differences. While Carter explicitly signals her engagement with Rousseau in the novel, with his name cropping up a number of times in Heroes and Villains, Hobbes is never directly named in the text.
While Eve(lyn) hints that Tristessa’s appearance—particularly her gendered appearance—cannot be trusted, saying ‘Tristessa. Enigma. Illusion. Woman? ’ (2), Eve(lyn) recognises that s/ he was attracted to Tristessa because she belongs to the realm of fantasy: ‘I only loved her because she was not of this world’ (4). The film reel therefore makes Tristessa an embodiment of Plato’s shadow show, but its deterioration is symbolic of Tristessa’s illusory, flickering reality. Carter states that she created Tristessa ‘in order to say some quite specific things about the cultural production of femininity […] there is quite a careful and elaborate discussion of femininity as a commodity, of Hollywood producing illusions as tangible commodities’ (Haffenden ‘Magical Mannerist’ 36).
Angela Carter and Western Philosophy by Heidi Yeandle