Angela Carter的形而上学转向:“符号系统礼仪革命的突变”的可能性

IF 0.2 3区 文学 0 LITERATURE Contemporary Womens Writing Pub Date : 2023-02-23 DOI:10.1093/cww/vpac025
Karima Thomas
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引用次数: 0

摘要

安吉拉·卡特在日本的经历塑造了她的后日本写作:她变得更加专注于现实的本质和主题的地位,这对她来说就像罗兰·巴特的空洞标志,其唯一的现实是它的外表。卡特也在寻找一种新的写作模式,她在本乐库找到了这种模式的一部分。本文分析了本乐库在触发卡特重叠叙事和本体论框架中的作用。这种元感觉的转向使她能够揭示主体的结构性,尤其是性别主体。在《紫色女士的爱》和《肉与镜》中,卡特借鉴了bunraku的表现体系,该体系在元文本中揭示了自己是一种美学建构,并将其主体作为主体性的话语产物。
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Angela Carter’s Metaleptic Turn: The Possibilities of “a Mutation, of a Revolution in the Propriety of the Symbolic Systems”
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.
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