Rereading Exoticism: Race, Gender, and Intersectionality in Angela Carter

我的博士项目将揭示卡特的女权主义和种族政治研究异国情调的建设，在她的写作。最近对卡特奖学金的复兴已经解决了互文性和跨学科的可能性，如索尼娅·安德马尔和劳伦斯菲利普斯的安吉拉·卡特：新的批评阅读（2012）和玛丽穆尔维·罗伯茨的安吉拉·卡特的艺术（2019），但批评者没有考虑卡特不断发展的种族政治。因此，我的研究将通过借鉴女权主义和种族研究中的交叉性理论来纠正这种严重的忽视。本文旨在通过对卡特文学异国主义建构的分析，对卡特关于身份的原型交叉思想给予应有的肯定。第一章首先关注卡特在《Nothing Sacred》（1982年）和《Shaking a Leg》（1997年）以及大英图书馆档案中收集的文章中对日本文化的评论。卡特的异国情调如何反映她的斗争，以了解交叉性的身份，特别是在欧洲中心的女权主义背景下？一方面，她的写作重申了对异国情调的他者的欲望和权力的帝国幻想。另一方面，她在日本的岁月迫使她面对东方的现实。本章认为，卡特的异国情调包括三个阶段，在此期间，卡特在传统的东方主义版本的他者和她的不稳定的个人经验是“他者的他者”（克罗夫特87）之间撕裂。第二章通过当代视觉理论的透镜和丽莎洛的《批判地形：法国和英国的东方主义》（1991）分析了卡特的《焰火》（1974）。烟花呈现了卡特如何感知他者的缓慢过渡过程。通过关注在日本的存在与再现之间的复杂关系，以及凝视与反凝视之间的复杂关系，本章考察了卡特对欧洲“唯我论的傲慢”（79）的最终幻灭，特别是其通过东方主义凝视将再现客观化的帝国主义企业。第一章3采用帕特里夏·希尔·柯林斯的交叉性理论来研究异国情调的女性气质如何揭示卡特早期作品《魔法玩具店》（1967年）和日本作品《霍夫曼博士的地狱欲望机器》（1972年）中权力关系（父权制和帝国主义）之间的交叉点。这一章挑战了将卡特的异国情调解读为帝国项目以客观化种族他者的过度简单化。相反，它提出了一个异国情调的女性作为一个富有成效的比喻，开辟了替代阅读分析。4考虑了卡特如何在哥特式和超现实主义的一般背景下重新发明异国情调，允许赋予异国情调的他者权力（例如，《新夏娃的激情》中的黑人妓女莱拉（Leilah）。从卡特的《主人》和《新夏娃的激情》（1977）到《血腥的房间》（1979）和《黑色的维纳斯》（1985），卡特对异国情调的运用询问了从有色人种到人与动物杂交的各种类别的他者。它展示了异国情调的他者如何讽刺地利用东方主义者关于危险的和动物化的女性气质的信仰来实现自我解放，最终挑战环环相扣的从属系统（男性中心主义，欧洲中心主义，这个项目不仅有助于卡特作品中种族政治的有限学术研究，而且也有助于其他研究种族和种族主义的学者。通过从“跨文化”的角度强调交叉性，实现性别平等。分析卡特的建设异国情调作为一个不断发展的项目，避免了整体化，并开辟了妇女的写作，体裁和文学异国情调之间的关系的讨论。它扩大了从20世纪60年代至80年代在一个充满活力的交叉批评话语的背景下重温文本的关键利益。

My PhD project will shed light on Carter's feminist and racial politics by examining the construction of exoticism in her writing. The recent revival on Carter scholarship has addressed intertextual and interdisciplinary possibilities, as in Sonya Andermahr and Lawrence Phillips' Angela Carter: New Critical Readings (2012) and Marie Mulvey Roberts' The Arts of Angela Carter (2019), yet critics have failed to consider Carter's evolving racial politics. Hence, my research will act as a corrective to this critical neglect by drawing on theories of intersectionality in feminist and race studies. It aims to give due recognition to Carter's proto-intersectional thoughts on identity by focusing on her evolving construction of literary exoticism.Chapt. 1 begins by focusing on Carter's comments on Japanese culture in the essays collected in Nothing Sacred (1982) and Shaking a Leg (1997), as well as in the British Library archives. How does Carter's exoticism reflect her struggle to understand intersectionality within identity, especially when set against a Eurocentric feminist context? On the one hand, her writing reasserts an imperial fantasy of desire and power towards the exoticized other. On the other hand, her years in Japan forced her to confront the reality of the Orient. This chapter maintains that Carter's exoticism consists of three stages, during which Carter is torn between the traditional Orientalist version of the other and her destabilizing personal experience of being "the other of the other" (Croft 87).Chapt. 2 analyses Carter's The Fireworks (1974) through the lens of contemporary visual theory and Lisa Lowe's Critical Terrains: French & British Orientalisms (1991). The Fireworks presents a slow transitional process of how Carter perceives otherness. By focusing on the complex nexus between presence and representation, and between gaze and countergaze in Japan, the chapter examines Carter's eventual disillusionment at European "solipsistic arrogance" (79), particularly its imperialist enterprise of objectifying representation through an orientalist gaze. Chapt. 3 employs Patricia Hill Collins' theorisation of intersectionality to examine how exoticized femininity uncovers intersections among power relations (patriarchal and imperial) in Carter's early work The Magic Toyshop (1967) and those written in Japan such as The Infernal Desire Machines of Dr Hoffman (1972). This chapter challenges the oversimplification that reads Carter's exoticism as an imperial project to objectify the racial other. Instead, it presents an analysis of exoticized femininity as a productive trope that opens up alternative readings.Chapt. 4 considers how Carter's reinvention of exoticism within Gothic and surrealist generic contexts allows for empowerment of the exoticized other (e.g., the black prostitute Leilah in The Passion of New Eve). From Carter's "Master" and The Passion of New Eve (1977) to The Bloody Chamber (1979) and Black Venus (1985), Carter's use of exoticism interrogates otherness in various categories ranging from persons of colour to human-animal hybrids. It shows how the exoticized other ironically takes advantage of Orientalist beliefs around dangerous & animalized femininity to achieve self-liberation, which ultimately challenges interlocking systems of subordination (phallocentrism, Eurocentrism, and anthropocentrism) and Eurocentric feminism.This project will not only contribute to the limited scholarship on the racial politics of Carter's work but also help other scholars who work on race & gender by highlighting intersectionality from a 'worlded', cross-cultural perspective. Analysing Carter's construction of exoticism as an evolving project avoids totalisation and opens up discussions about the relationship between women's writing, genre, and literary exoticism. It widens critical interests in revisiting texts from the 1960s-1980s in the context of a reinvigorated intersectional critical discourse.