Since the publication of Meditations on First Philosophy in 1641 in
which René Descartes posits the possibility of segregating the mind
from the body, most ontological investigations since have necessitated
some consideration of the Cartesian hypothesis. As a pervasive concept,
Cartesian dualism offers artists what I term a "decapitation metaphor"
for use in representations fracturing the mind from the body to analyze
human cognition and the imagination. John Mighton's play Possible Worlds
exemplifies artistic use of the "decapitation metaphor" by presenting the
audience with a severed brain to probe human identity and imagination.
The play has subsequently been adapted for film by Robert Lepage who re-interprets
the visual representation of the "decapitation metaphor" with tools particular
to the cinematic genre. Since both the play and film of Possible Worlds
originate from the same text, this exploration considers how genre affects
the use and affect of the "decapitation metaphor." The discussion will
also consider how the use of the "decapitation metaphor" acts as a portal
into the thematic content of Possible Worlds to stimulate thought on contemporary
social issues in Canada.
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