Download Angela Carter: New Critical Readings by Sonya Andermahr, Lawrence Phillips PDF

By Sonya Andermahr, Lawrence Phillips

Bringing jointly top foreign students of latest fiction and sleek ladies writers, this ebook presents authoritative new serious readings of Angela Carter's paintings from various leading edge theoretical and disciplinary methods. Angela Carter: New severe Readings either evaluates Carter's legacy as feminist provocateur and postmodern stylist, and broaches new floor in contemplating Carter as, variously, a poet and a ‘naturalist'. together with assurance of Carter's earliest writings and her journalism in addition to her extra largely studied novels, brief tales and dramatic works, the booklet covers such issues as rescripting the canon, surrealism, and Carter's poetics.

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Extra resources for Angela Carter: New Critical Readings

Sample text

She claimed this book as her first properly Gothic novel, saying in 1977 that she had become ‘very irritated at the Gothic tag’ that reviewers habitually attached to her work and, as a retort, decided to show them what a Gothic novel really was: ‘owls and ivy and ruins and a breathtakingly Byronic hero’ (Bedford 1977). Yet the similarity of the wedding dress imagery in Heroes and Villains to that contained within The Magic Toyshop indicates that this novel is not so much of a departure from her past work as Carter might have us believe.

2002), ‘Writing a history of difference: Jeanette Winterson’s Sexing the Cherry and Angela Carter’s Wise Children’, College Literature, 29(1), Winter: 102–22. Russo, M. (1997), The Female Grotesque: Risk, Excess and Modernity. London & New York: Routledge. Sage, L. uk. Accessed on 12 October, 2011. Smith, A. (2001), Hotel World, London: Hamish Hamilton. uk. Accessed on 12 October, 2011. —(2007), Girl Meets Boy, London: Canongate. Waters, S. (1998), Tipping the Velvet, London: Virago, 1998. —(1999), Affinity, London: Virago.

146). It can be argued that, with regard to both Carter and Dickens, the veil assumes a metonymical function, standing in for the dress as well, and the stress on disguise and concealment that this association produces is what allows the wedding dress, too, to acquire its Gothic effects. Great Expectations exemplifies this tendency, for Miss Angela Carter’s Bridal Gothic 25 Havisham’s wedding dress changes its meaning by means of movement through a number of synonymous associations with the word ‘veil’, both as noun and verb.

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