This article examines Carter’s portrayal of the intersections of race, gender, and nationalism through imagery drawn from the nationalist tales Momotaro (Peach Boy) and through figuration of the lion and the unicorn in her writing during and after staying in Japan. Analyzing Miss Z and Fireworks, we argue that Carter’s depictions of fantastical creatures reveal a proto-intersectional awareness of complex power interconnections between race and gender, specifically in relation to ideas of whiteness and masochism. Like her contemporary Taeko Kono, Carter critiques men’s masochism and theorizes a type of feminine masochism. Carter grows in awareness of both racial politics (whiteness) and masochism in Japanese culture and attempts to grasp the “essence of the other’s otherness” therein. In doing so, she conceptualizes intersectional power relations of gender and race.
{"title":"Dis-Oriented Desires and Angela Carter’s Intersectionality: Nationalism, Masochism, and the Search for “the Other’s Otherness”","authors":"Nozomi Uematsu, A. Barai","doi":"10.1093/cww/vpac024","DOIUrl":"https://doi.org/10.1093/cww/vpac024","url":null,"abstract":"\u0000 This article examines Carter’s portrayal of the intersections of race, gender, and nationalism through imagery drawn from the nationalist tales Momotaro (Peach Boy) and through figuration of the lion and the unicorn in her writing during and after staying in Japan. Analyzing Miss Z and Fireworks, we argue that Carter’s depictions of fantastical creatures reveal a proto-intersectional awareness of complex power interconnections between race and gender, specifically in relation to ideas of whiteness and masochism. Like her contemporary Taeko Kono, Carter critiques men’s masochism and theorizes a type of feminine masochism. Carter grows in awareness of both racial politics (whiteness) and masochism in Japanese culture and attempts to grasp the “essence of the other’s otherness” therein. In doing so, she conceptualizes intersectional power relations of gender and race.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42885210","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 essay examines Angela Carter’s private journals and the British Library’s 2000 pages of letters from her time in Japan to explore Carter’s evolving thinking about the intersections between race, gender, power, and sexuality, from casual expressions of racist stereotypes in the early works through a more radical interrogation of those stereotypes, to a later, more intersectional approach to feminism and race. It explores her uncollected writings for men’s magazines, such as Men Only and Club International, where she describes Japanese attitudes towards sexuality and the practice of irezumi, Japanese tattooing, which she analyzes as an index of a Japanese culture of “repression, narcissism, masochism and superstition” (“Irezumi” 96).
{"title":"“Violated Angels”: Japan, Sadism, and Angela Carter’s Sadistic Orientalism","authors":"Scott A. Dimovitz","doi":"10.1093/cww/vpac023","DOIUrl":"https://doi.org/10.1093/cww/vpac023","url":null,"abstract":"\u0000 This essay examines Angela Carter’s private journals and the British Library’s 2000 pages of letters from her time in Japan to explore Carter’s evolving thinking about the intersections between race, gender, power, and sexuality, from casual expressions of racist stereotypes in the early works through a more radical interrogation of those stereotypes, to a later, more intersectional approach to feminism and race. It explores her uncollected writings for men’s magazines, such as Men Only and Club International, where she describes Japanese attitudes towards sexuality and the practice of irezumi, Japanese tattooing, which she analyzes as an index of a Japanese culture of “repression, narcissism, masochism and superstition” (“Irezumi” 96).","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47070256","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 explores the role of Japanese folktales in Angela Carter’s oeuvre, focusing especially on the figure of the Japanese fox trickster that appears in Fireworks, Love, and The Infernal Desire Machines of Doctor Hoffman. In these works, the shape-shifting body of the East-Asian fox becomes a site of conflict between contrasting categories (male/female, European/Asian, human/animal) and mirrors the process by which the characters are turned into commodified, fictionalized representations of gender and race. The trickster’s ability to shift across the animal–human border also provides Carter with a narrative device to interrogate the cultural boundaries that define both sexuality and humanity (as opposed to bestiality)—a topic that prefigures her critique of patriarchal and anthropocentric hierarchies in The Bloody Chamber.
{"title":"Animal Tricksters from Japanese Folktales in Angela Carter’s Work","authors":"Luciana Cardi","doi":"10.1093/cww/vpac026","DOIUrl":"https://doi.org/10.1093/cww/vpac026","url":null,"abstract":"\u0000 This article explores the role of Japanese folktales in Angela Carter’s oeuvre, focusing especially on the figure of the Japanese fox trickster that appears in Fireworks, Love, and The Infernal Desire Machines of Doctor Hoffman. In these works, the shape-shifting body of the East-Asian fox becomes a site of conflict between contrasting categories (male/female, European/Asian, human/animal) and mirrors the process by which the characters are turned into commodified, fictionalized representations of gender and race. The trickster’s ability to shift across the animal–human border also provides Carter with a narrative device to interrogate the cultural boundaries that define both sexuality and humanity (as opposed to bestiality)—a topic that prefigures her critique of patriarchal and anthropocentric hierarchies in The Bloody Chamber.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48510942","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":"Jennifer Egan, New Sincerity, and the Genre Turn in Contemporary Fiction","authors":"Adam Kelly","doi":"10.1093/CWW/VPAB036","DOIUrl":"https://doi.org/10.1093/CWW/VPAB036","url":null,"abstract":"","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-10-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44863034","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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