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Angela Carter's (de)philosophising of Western thoughtYeandle, Heidi January 2014 (has links)
What do Plato, Jean-Jacques Rousseau, Thomas Hobbes, Rene Descartes, John Locke, David Hume, Ludwig Wittgenstein, Gilbert Ryle, Immanuel Kant, and the Marquis de Sade have in common? Spanning centuries and - when it comes to Plato - millennia, they are key figures of Western philosophy who have discussed ideas of reality, knowledge, existence, the state of nature, and morality, ideas which are central to Angela Carter's novels. In this thesis, I position Carter as a (de)philosophiser, and argue that she deconstructs the pivotal theories of Western philosophy, while also philosophising on the same concepts, contributing a female voice to this overwhelmingly androcentric discipline. In doing so, I contribute the first in- depth discussion of Carter's philosophical intertextuality to Carter criticism, going beyond Carter's explicit references that, to date, have been acknowledged by Carter scholars; although this is an original topic, the originality of my argument is boosted by my references t) the archival material that comprises the Angela Carter Papers Collection. The thesis is structured according to Carter's engagement with the range of Western thinkers aforementioned, focusing on Plato's impact on Heroes and Villains (1969), The infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve (1977) in Chapter One, while Chapter Two is dedicated to Carter's analysis of Hobbes and Rousseau's arguments in Heroes and Villains. In Chapter Three I discuss Descartes (in relation to Doctor Hoffman), Locke (vis-a-vis Shadow Dance, 1966, New Eve, and Nights at the Circus, 1984), and Hume, with reference to Several Perceptions (1968) and Love (written 1969, published 1971). Wittgenstein and Ryle's impact on Doctor Hoffman and Carter's time in Japan are examined in Chapter Four. The fifth and final chapter concentrates on Carter and moral philosophy, paying particular attention to Kant and Sade and discussing Shadow Dance, Several Perceptions, and Love, as well as Doctor Hoffman and The Sadeian Woman (1979).
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Critical fictions/fictional critiques : Angela Carter and decadent iconographies of woman. / Angela Carter and decadent iconographies of woman.Tonkin, Margaret Kathleen January 2007 (has links)
Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / This thesis examines conflicting claims made about the fiction of British feminist writer Angela Carter." --p. iii. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1280849 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007
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Critical fictions/fictional critiques : Angela Carter and decadent iconographies of woman. / Angela Carter and decadent iconographies of woman.Tonkin, Margaret Kathleen January 2007 (has links)
Title page, table of contents and abstract only. The complete thesis in print form is available from the University of Adelaide Library. / This thesis examines conflicting claims made about the fiction of British feminist writer Angela Carter." --p. iii. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1280849 / Thesis (Ph.D.) -- University of Adelaide, School of Humanities, 2007
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Journey towards the (m)other : myth, origins and the daughter's desires in the fiction of Angela CarterJennings, Hope January 2007 (has links)
This study examines Angela Carter’s demythologising of origin myths and will investigate the extent to which her fictions offer viable alternatives that allow for productive representations of women and gender relations outside patriarchal paradigms. In the first half of the thesis (Chapters 1-3), I will primarily focus on how several of Carter’s earlier texts deconstruct existing mythical spaces, particularly the biblical creation story in Genesis. The Genesis myth is central to socio-historical constructions of gendered identities, and in itself, central to Carter’s imagination. She repeatedly returns to this myth in her challenging of the ways in which patriarchal narratives construct violent relations between self and other, specifically where ‘woman’ is situated as the repressed other of male desires and fears. Alongside her demythologising of Genesis, Carter deconstructs Freudian myths of sexual maturation, exposing where these also set up a relationship of antagonism or enmity between the sexes. Although Chapter One will explore how Carter attempts to revise these origin myths from a positive stance, Two and Three will focus on the inherent difficulties faced by the female subject in her struggle against patriarchal myths and their violent oppression of female autonomy. The second half of the thesis (Chapters 4-6) will shift to an investigation of how Carter’s later texts set up both possibilities and challenges for women when attempting to construct their own narratives of origin. Through her problematising of matriarchal myths and feminist fantasies of self-creation, Carter emphasises the need for confronting limitations rather than celebrating transgressions as entirely liberating. The thesis will conclude, however, with an examination of where Carter’s own attempts at remythologising opens up an alternative space, or ‘elsewhere’, of feminine desires that allows for a refiguring of the female subject as well as more reciprocal relations between the sexes.
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Female body, subjectivity and identity in Jasmine, The handmaid's tale and Nights at the circus. / Female body, subjectivity & identity in Jasmine, The handmaid's tale & Nights at the circusJanuary 2006 (has links)
Yuen Siu Fung. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2006. / Includes bibliographical references (leaves 157-162). / Abstracts in English and Chinese. / Chapter Chapter One: --- Re-imagining Female Subjectivity beyond Bodily Inscriptions --- p.1 / Chapter Chapter Two: --- Cultural Body and Female Agency: The Transformation of Identity in Jasmine --- p.21 / Chapter Chapter Three: --- Woman and Unwoman: Reconstructing Subjectivity in The Handmaids Tale --- p.64 / Chapter Chapter Four: --- Beyond Bodily Defined Identity: Per/Re-forming Man/Woman Relationship in Nights at the Circus --- p.114 / Chapter Chapter Five: --- "In Search of Fulfilment, Satisfaction and Development" --- p.150 / Bibliography --- p.157
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A caravana dos prodígios: maravilhas, figuras grotescas e freaks na obra “Noites no Circo” de Angela CarterYago, Daniel Françoli 22 March 2017 (has links)
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Previous issue date: 2017-03-22 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This dissertation aims to make a genealogy of the process of conversion of prodigious and wonderful figures of the past in monstrous and aberrative figures in the West. In order to do so, we accomplished three stages of our itinerary: the paradigm of the Greco-Roman and medieval world of wonders, the birth of the grotesque aesthetic in the light of the modern civilizational process and the disciplinary era of the bodies, moment of therapy and hospitalization of the so-called monsters. In a second moment of our research, we aimed to comprehend the look that women literature concedes to these prodigies in an attempt to synthesize their uses in a critical relation to the patriarchy. The process of disenchantment of the stranger as a facet of this genealogy intersects with aspects of the advent of modern patriarchy, especially in what it refers to the ways of treating its alteritary figures. Recently, such intersection made monsters, freaks, prodigies and marvels described in the women's literature occupy more potent and positive places, often metaphorical, to expose and re-signify various aspects of the female condition. We focused on Angela Carter and, more specifically, her oeuvre from 1984, Nights on the Circus, because her characters demonstrate dynamics of an inverse process to the abjection of the stranger: instead of being disenchanted, they were figures that re-enchanted the world by means of a reappropriation of its prodigiousness / Esta dissertação objetivou fazer uma genealogia do processo de conversão das figuras prodigiosas e maravilhosas do passado em figuras monstruosas e aberrativas no Ocidente. Para tanto, cumpriu três etapas em seu itinerário: o paradigma do mundo de maravilhas greco-romano e medieval, o nascimento da estética do grotesco à luz do processo civilizatório moderno e a era disciplinar dos corpos, momento auge da teratologia e da hospitalização dos chamados monstros. Em um segundo momento de nossa pesquisa, também objetivamos compreender o olhar da literatura de mulheres para essas figuras prodigiosas em uma tentativa de sintetizar seus usos em relação a uma crítica do ideário patriarcal. O processo de desencantamento do estranho como faceta desta genealogia intersecciona com aspectos de surgimento do patriarcado moderno, em especial no que se refere a uma forma de tratamento de suas figuras alteritárias. Tal cruzamento fez com que mais recentemente monstros, freaks, prodígios e maravilhas descritos na literatura de mulheres ocupassem funções potentes e positivas, e frequentemente metafóricas, para a exposição e ressignificação de diversos aspectos da condição feminina. Por fim, nos focamos na autora Angela Carter e, mais especificamente, em sua obra Noites no Circo, de 1984, por compreendermos que suas personagens demonstram dinâmicas de um processo inverso à pejoração do estranho: ao invés de desencantadas, são figuras que reencantam o mundo por meio de uma reapropriação de sua prodigiosidade
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Identidades em movimento: a representação feminina e as relações de gênero na obra de Angela CarterRodrigues, Talita Annunciato [UNESP] 17 July 2015 (has links) (PDF)
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000851785.pdf: 1604344 bytes, checksum: 30a3a29a0c65b44c284e4c858bac5ef2 (MD5) / A presente pesquisa tem como objetivo analisar a representação feminina e as relações de gênero na obra da escritora inglesa Angela Carter (1940 - 1992). Voltando-se para diversas formas literárias como mitos, contos de fadas e ficção científica, Carter propõe o questionamento de imagens e histórias presentes em nossa sociedade que formam a base de nossa cultura e da relação entre homens e mulheres. Pode-se observar em suas narrativas uma proposta de reavaliação das experiências femininas, problematizada por meio da trajetória das personagens dentro do universo no qual estão circunscritas. Nos romances de Carter, as personagens são colocadas em papéis que tiveram que assumir, seja de forma livre ou imposta por outras personagens, e a identidade é desmascarada como performance, ou seja, uma série de papéis ou aparências. Assim, defendemos a tese de que, ao negar uma identidade fixa para suas personagens, a autora propõe um constante processo de construção de si, colocando em questão noções como o essencialismo e os valores impostos pelo modelo de sociedade patriarcal. Nesse sentido, consideramos que a identidade feminina e as relações de gêneros são constantemente questionadas e ressignificadas nos romances de Angela Carter. Para tanto, tomamos como base teórica a crítica feminista e os estudos de gênero, vias que se apresentam como formas de se refletir sobre a condição humana no texto literário, na medida em que tornam possível o questionamento das construções sobre feminilidades e masculinidades presentes no extrato social. Inicialmente, apresentamos uma breve investigação sobre a vida e obra de Carter e sua relação com o processo criativo como uma maneira de entender o diálogo entre a atitude crítica da autora e sua ficção. Após situar a escrita carteriana no contexto da literatura de autoria feminina, exploramos como a representação feminina e as... / This research aims to analyze the representation of women and gender relations in the work of British writer Angela Carter (1940 - 1992). Turning to various literary forms such as myths, fairy tales and science fiction, Carter proposes the questioning of images and stories in our society which form the basis of our culture and the relationship between men and women. One can observe in her narratives a proposal for a revaluation of women's experiences, problematized through the characters' journey within the universe in which they are confined. In Carter's novels, the characters are placed in roles that they had to take, either freely or imposed by other characters, and the identity is exposed as performance, or a series of roles or appearances. Therefore, we defend the thesis that, by denying a fixed identity for her characters, the author proposes a constant process of building themselves, questioning notions such as essentialism and the values imposed by the patriarchal model of society. In this sense, we consider that female identity and gender relations are constantly questioned and ressignified in Angela Carter's novels. For this purpose, we take as theoretical basis feminist criticism and gender studies, which present themselves as ways to reflect on human condition in the literary text, questioning the constructions of femininity and masculinity present in the social strata. Initially, this paper presents a brief investigation into Carter's life and work and her relationship with the creative process as a way to understand the dialogue between the author's critical attitude and her fiction. After situating her writing in the context of contemporary female authors, we explore how female representation is developed in Carter's novels in general, passing then to a further analysis comparing two of her narratives: Heroes and Villains (1969) e The Passion of New Eve (1977)
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Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix GuattariOcaña, Karen Isabel. January 1996 (has links)
This thesis constitutes an investigation into contemporary writing--both fictional and philosophical. More specifically, it is a comparative analysis of the work of British novelist Angela Carter, and French philosophers Gilles Deleuze and Felix Guattari, in the light of the concept of synthetic authenticity. It is divided into three chapters, "Becomings", "Events", and "Machines", and each chapter presents the work of both Carter and Deleuze and Guattari, respectively, in light of one of these topics. Chapter Two, however, focuses closely on Angela Carter's first novel, Shadow Dance, as it relates to the concept 'event'. And Chapter Three focuses on Carter's novel The Infernal Desire Machines of Doctor Hoffman, as it relates to and differs from the schizoanalytic notion of desiring machines.
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A reescrita irônica de Angela Carter: O quarto do Barba-Azul / Angela Carter's ironic rewriting: O quarto do Barba-AzulMonte, Carlos Eduardo [UNESP] 30 April 2014 (has links) (PDF)
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000805737.pdf: 1021604 bytes, checksum: 3fa1c6c1fc91491e57f0b4b57d6d41f6 (MD5) / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / O presente trabalho tem como escopo uma análise do conto contemporâneo de Angela Carter. Como ponto de partida, fizemos uma abordagem sobre algumas noções que permeiam a produção artística a partir da década de 60, do século passado, para, então, no capítulo primeiro, traçarmos alguns lineamentos sobre o conto como forma literária, observando os contextos em que Charles Perrault e Angela Carter produziram seus textos. Procuramos demonstrar características fundamentais não apenas destes autores, mas como a tipologia do conto, historicamente, pouco a pouco contribuiu para especificidade e sedimentação do gênero tal como o conhecemos hoje. Assim, classificações e formas de analisar seus procedimentos narrativos e discursivos permearam essa primeira parte de nosso estudo, quando nos deparamos com autores como Poe, Tchekhov, Maupassant, Joyce, Borges, Cortázar e Barth, entre outros. O segundo capítulo pretende melhor descrever uma nova abordagem da produção artística, pelo viés da pós-modernidade, quando elementos como saturação cultural, decadência, perda da energia, secundariedade e posterioridade, entre outros, canalizam para um novo ânimo produtivo, como observam teóricos como Moser, Jameson ou Lyotard, a quem recorremos, entre outros. A análise dessa descrição social permitiu-nos, como desdobramento do mesmo capítulo, chegar a algumas formas de arte que se sedimentam nesse novo contexto, fortalecendo tendências e vanguardas, tal como o feminismo, movimento a que se liga nossa autora. Interessa-nos, em particular, o atual conceito de paródia, conforme Linda Hutcheon, cujo texto, Uma teoria da paródia (1985), tornase arcabouço fundamental em nosso trabalho. Tendo definido estes conceitos, destacando a relevância do uso da ironia para o trabalho da reescrita, partimos para o capítulo fundamental, em que o texto paradigmático de Charles Perrault, O Barba-Azul é compara ... / Our goal with this research was constructed on an analysis of Angela Carter’s contemporary tales. From the bottom line we introduced an approach about some notions of her artistic productions-starting from the 60s of last century-for us to be able, in the first chapter, to start speculating about those tales, based on their literary forms, observing the contexts in which Charles Perrault and Angela Carter produced their texts. We expected to demonstrate fundamental characteristics, not only about these writers, but according to those tales' typology, constructed historically, step by step that contributed to gender’s specificity and fragmentation as we may live it, nowadays. This way, categorizations and forms to analyse some procedures used in narrative and discursive composition, surrounds this first part of our work, just when it allows us to mention Poe, Tchekhov, Maupassant, Joyce, Borges, Cortázar and Barth, among many others. The second chapter, intended to describe a new approach to the artistic production from a postmodern perspective when some elements as cultural satiety; decadence; loss of energy; secondariness and posteriority (surrounded by other possibilities), can point us to a new productive direction, as some researchers as Moser; Jameson and Lyotard (that represent a source for us) could have observed. The analysis of this social description allowed us in the development to reach some other forms of art, that compose all this new environment, reinforcing some tendencies and vanguards as feministic movement linked to the author. We were interested, particularly, in current parody’s concept, according to Linda Hutcheon, whose text: Uma teoria da paródia (1985), turned to a bases to this research. Due to these concepts, focusing to the relevance of irony, used to rewrite jobs, we keep on to reach our goal in the fundamental chapter, in which paradigmatic text is Charles Perrault’s: O Barba-Azul is compared ...
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Synthetic authenticity : the work of Angela Carter, Gilles Deleuze and Félix GuattariOcaña, Karen Isabel 08 1900 (has links)
No description available.
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