{"title":"Women, Poetry and the Voice of a Nation","authors":"Xiuchun Zhang","doi":"10.1093/cww/vpac013","DOIUrl":"https://doi.org/10.1093/cww/vpac013","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-04-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49646069","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Introduction: Angela Carter and Japan—A Global Perspective","authors":"Crofts Charlotte, Ikoma Natsumi","doi":"10.1093/cww/vpac027","DOIUrl":"https://doi.org/10.1093/cww/vpac027","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42120596","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article outlines the development of a feature-length screenplay adaptation of Angela Carter’s short story “Flesh and the Mirror,” situating it within a critical discussion of her metaleptic narrative strategies and the challenges of translating them to the screen. The screenplay incorporates Carter’s Japanese short stories and journalism, which are said to be her most autobiographical writings. The article explores Carter’s attitude to life writing and highlights the dangers of a straightforward biographical adaptation, contextualizing her Japanese writings within her wider engagement with Japanese literature and the I-novel. It demonstrates how the screenplay aims to emulate Carter’s playful experimentation with narrative form, overlapping metaphors of magic mirrors, puppetry, theater, and film sets, attempting a delicate balancing act of transposing Carter’s “literary gymnastics” to the silver screen.
{"title":"Through the “Magic Mirror”: Adapting Angela Carter’s Japanese Writings for the Silver Screen","authors":"C. Crofts","doi":"10.1093/cww/vpad001","DOIUrl":"https://doi.org/10.1093/cww/vpad001","url":null,"abstract":"\u0000 This article outlines the development of a feature-length screenplay adaptation of Angela Carter’s short story “Flesh and the Mirror,” situating it within a critical discussion of her metaleptic narrative strategies and the challenges of translating them to the screen. The screenplay incorporates Carter’s Japanese short stories and journalism, which are said to be her most autobiographical writings. The article explores Carter’s attitude to life writing and highlights the dangers of a straightforward biographical adaptation, contextualizing her Japanese writings within her wider engagement with Japanese literature and the I-novel. It demonstrates how the screenplay aims to emulate Carter’s playful experimentation with narrative form, overlapping metaphors of magic mirrors, puppetry, theater, and film sets, attempting a delicate balancing act of transposing Carter’s “literary gymnastics” to the silver screen.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48354032","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Angela Carter’s experiences in Japan molded her post-Japan writing: she became more preoccupied with the nature of reality and the status of the subject, which operates for her like Roland Barthes’s empty sign, whose sole reality is its appearance. Carter sought a new model of writing too, which she found partly in bunraku. This paper analyzes the role of bunraku in triggering Carter’s overlapping narrative and ontological frames. That metaleptic turn enables her to disclose the constructedness of the subject in general and the gendered subject in particular. In “The Loves of Lady Purple” and “Flesh and the Mirror,” Carter draws on bunraku for a system of representation that metatextually discloses itself as an aesthetic construction and of its subjects as discursive productions of subjectivity.
{"title":"Angela Carter’s Metaleptic Turn: The Possibilities of “a Mutation, of a Revolution in the Propriety of the Symbolic Systems”","authors":"Karima Thomas","doi":"10.1093/cww/vpac025","DOIUrl":"https://doi.org/10.1093/cww/vpac025","url":null,"abstract":"\u0000 Angela Carter’s experiences in Japan molded her post-Japan writing: she became more preoccupied with the nature of reality and the status of the subject, which operates for her like Roland Barthes’s empty sign, whose sole reality is its appearance. Carter sought a new model of writing too, which she found partly in bunraku. This paper analyzes the role of bunraku in triggering Carter’s overlapping narrative and ontological frames. That metaleptic turn enables her to disclose the constructedness of the subject in general and the gendered subject in particular. In “The Loves of Lady Purple” and “Flesh and the Mirror,” Carter draws on bunraku for a system of representation that metatextually discloses itself as an aesthetic construction and of its subjects as discursive productions of subjectivity.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41748320","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Translation plays a central role as a creative method in Angela Carter’s Fireworks (1974). The collection of stories showcases Carter’s multilingual musings on the word hanabi by opening with “A Souvenir of Japan,” which records a brief moment of bliss during the Japanese summer festival, captured in the image of the “morning glories of the night.” It then builds on its literary and cultural resonances in English, French, and Japanese to form a variegated bouquet of stories linked by the flower motif that gives the collection its aesthetic identity. Infused by Carter’s experience of Japan and memories of Baudelaire, Buñuel, and Bashō, Fireworks exemplifies Carter’s translational poetics as a mode of writing blossoming across intertwined languages, cultures, and art forms.
{"title":"“Morning Glories of the Night”: Angela Carter’s Translational Poetics in Fireworks","authors":"Martine Hennard Dutheil de la Rochère","doi":"10.1093/cww/vpac022","DOIUrl":"https://doi.org/10.1093/cww/vpac022","url":null,"abstract":"\u0000 Translation plays a central role as a creative method in Angela Carter’s Fireworks (1974). The collection of stories showcases Carter’s multilingual musings on the word hanabi by opening with “A Souvenir of Japan,” which records a brief moment of bliss during the Japanese summer festival, captured in the image of the “morning glories of the night.” It then builds on its literary and cultural resonances in English, French, and Japanese to form a variegated bouquet of stories linked by the flower motif that gives the collection its aesthetic identity. Infused by Carter’s experience of Japan and memories of Baudelaire, Buñuel, and Bashō, Fireworks exemplifies Carter’s translational poetics as a mode of writing blossoming across intertwined languages, cultures, and art forms.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46431289","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper discusses the echo of modern Japanese literature in Angela Carter’s The Infernal Desire Machines of Doctor Hoffman (1972), which was written in Tokyo and Chiba, paying particular attention to four of the most influential authors in this intertextual novel: Junichiro Tanizaki, Ryunosuke Akutagawa, Yasunari Kawabata, and Yukio Mishima. Significantly, as well as being innovators of Japanese fiction, these writers were also great reinterpreters of Western literary legacies, who constructed their own original styles by absorbing both Japanese and non-Japanese literary traditions. The article, therefore, explores how Carter reencountered Western literary legacies through reading modern Japanese literature in order to clarify her feminist and political responses to the reinterpretation of the European and American canon by authors from the Far East.
{"title":"Angela Carter and Modern Japanese Fiction: Her Reencounter with Western Literary Legacies","authors":"Yutaka Okuhata","doi":"10.1093/cww/vpac019","DOIUrl":"https://doi.org/10.1093/cww/vpac019","url":null,"abstract":"\u0000 This paper discusses the echo of modern Japanese literature in Angela Carter’s The Infernal Desire Machines of Doctor Hoffman (1972), which was written in Tokyo and Chiba, paying particular attention to four of the most influential authors in this intertextual novel: Junichiro Tanizaki, Ryunosuke Akutagawa, Yasunari Kawabata, and Yukio Mishima. Significantly, as well as being innovators of Japanese fiction, these writers were also great reinterpreters of Western literary legacies, who constructed their own original styles by absorbing both Japanese and non-Japanese literary traditions. The article, therefore, explores how Carter reencountered Western literary legacies through reading modern Japanese literature in order to clarify her feminist and political responses to the reinterpretation of the European and American canon by authors from the Far East.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48351684","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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