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Angela Carter

作者: Linden Peach
出版商: New York : St. Martin's Press, 1998.
叢書: Modern novelists.
版本/格式:   圖書 : 英語所有版本和格式的總覽
資料庫: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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詳細書目

類型/形式: Criticism, interpretation, etc
History
提及的人: Angela Carter; Angela Carter
資料類型: 網際網路資源
文件類型: 圖書, 網路資源
所有的作者/貢獻者: Linden Peach
ISBN: 0312176260 9780312176266
OCLC系統控制編碼: 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.
叢書名: Modern novelists.
責任: Linden Peach.
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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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