By Heidi Yeandle
This ebook finds Carter’s deconstruction of the male-dominated self-discipline of Western notion. Revealing the huge philosophical examine that underpins Carter’s intertextual paintings, this publication deals new readings of her fiction in terms of quite a number philosophical texts and concepts. via re-examining Carter’s writing near to the archived selection of her notes that has lately turn into on hand on the British Library, Angela Carter and Western Philosophy places ahead new interpretations of Carter’s writing practices. With chapters reading her allusions to Plato, Hobbes and Rousseau, Descartes, Locke and Hume, Wittgenstein and Ryle, in addition to Kant and Sade, this e-book illuminates Carter’s engagement with assorted parts of Western concept, and discusses how this shapes her portrayal of fact, identification, civilisation, and morality. Angela Carter and Western Philosophy might be of curiosity to researchers, teachers, and scholars engaged on modern women’s writing, philosophy and literature, and intertextual literary practices.
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Extra resources for Angela Carter and Western Philosophy
S/he recalls that the ‘film stock was old and scratched’ and says that the ‘surfaces that preserved your appearance were already wearing away’ (1). The opening depiction of Tristessa is littered with discussions about her semblance of reality, but this is portrayed via Eve(lyn)’s retrospective perspective—with the knowledge that Tristessa is in fact male. While Eve(lyn) hints that Tristessa’s appearance—particularly her gendered appearance—cannot be trusted, saying ‘Tristessa. Enigma. Illusion.
Likewise, in Philosophy goes to the Movies: An Introduction to Philosophy, Christopher Falzon says that ‘the modern cinema is uncannily reminiscent of Plato’s cave’ because in cinemas, like in the cave, ‘we sit in a darkened space, transfixed by images removed from the real world’ (4). ). While her note suggests uncertainty regarding whether she will depict Mother’s cave in a cinematic way, the fact that Carter recognises a relationship between the cave and the cinema opens up a Platonic reading of the beginning of the novel, when Eve(lyn) watches a film starring Tristessa in a London cinema.
To proceed to C, a prisoner has to be freed in order to see the actual objects rather than just their shadows. Being unchained results in the realisation ‘that what he saw before was an illusion, but that now he is approaching real being and has a truer sight and vision of more real things’ (349)—sight imagery is once again central to Plato’s representation of enlightenment. ‘THE FATHER OF LIES, PLATO’ 33 This transition is not straightforward. Initially, the released prisoner will ‘turn his neck round and walk and look at the light, he will suffer sharp pains; the glare will distress him, and he will be unable to see the realities of which in his former state he had seen the shadows’ (349).