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Angela Carter

著者: Linden Peach
出版商: New York : St. Martin's Press, 1998.
丛书: Modern novelists.
版本/格式:   图书 : 英语查看所有的版本和格式
数据库:WorldCat
提要:
At the time of her death in 1992, Angela Carter had become an important and widely read British writer. However, as the author of a collection of essays entitled Nothing Sacred, she would probably have found her own canonization amusing. In the first book-length study devoted to her novels, Linden Peach demonstrates how Carter's fiction has retained the power to surprise and agitate. This lively book provides both
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提及的人: Angela Carter
材料类型: 互联网资源
文件类型: 书, 互联网资源
所有的著者/提供者: Linden Peach
ISBN: 0312176260 9780312176266
OCLC号码: 36727510
描述: x, 183 p. ; 23 cm.
内容: 1. Introduction --
2. Euro-American Gothic and the 1960s: Shadow Dance (1966), Several Perceptions (1968) and Love (1970) --
3. Pain and Exclusion: The Magic Toyshop (1967) and Heroes and Villains (1969) --
4. The Last Days: The Infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve (1977) --
5. Illegitimate Power, Carnival and Theatre: Nights at the Circus (1984) and Wise Children (1991) --
6. Postscript.
丛书名: Modern novelists.
责任: Linden Peach.
更多信息:

摘要:

At the time of her death in 1992, Angela Carter had become an important and widely read British writer. However, as the author of a collection of essays entitled Nothing Sacred, she would probably have found her own canonization amusing. In the first book-length study devoted to her novels, Linden Peach demonstrates how Carter's fiction has retained the power to surprise and agitate. This lively book provides both close readings of individual texts and an overview of her work. Arguing that Carter often begins with our 'conclusions', it discusses the challenges that her novels mount to popular preconceptions and conventions.

It offers an in-depth discussion of Carter's much neglected first novel, Shadow Dance, and suggests fresh approaches to other texts, including Carter's indebtedness to Euro-American Gothic and her concern with carnivalesque and theatre as sites of illegitimate power. Carter's fiction is interpreted within frameworks derived from the work of Julia Kristeva, Jean Baudrillard, Melanie Klein and Bertolt Brecht.

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