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Body Texts in the Novels of Angela Carter : Writing from a Corporeagraphic Point of View.

Author: Anna Kérchy
Publisher: Lewiston : Edwin Mellen Press, 2008.
Edition/Format:   eBook : Document : EnglishView all editions and formats
Database:WorldCat
Summary:
This study fills a major gap of Carter's reception and enters into dialogue with current post-semiotical theories of the embodied subject by virtue of focusing on the dynamics of the meaning-in-process concomitant with the subject-in-process (Kristeva 1985) and the body-in-process. Through a corporeal narratological method--a close-reading interfacing of semioticized bodies in the text and of the somatized text on  Read more...
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Genre/Form: Electronic books
Additional Physical Format: Print version:
Kérchy, Anna.
Body Texts in the Novels of Angela Carter : Writing from a Corporeagraphic Point of View.
Lewiston : Edwin Mellen Press, ©2008
Named Person: Angela Carter; Angela Carter; Angela Carter; Angela Carter; Angela Carter
Material Type: Document, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Anna Kérchy
ISBN: 9780773411609 0773411607
OCLC Number: 797917344
Description: 1 online resource (363 pages)
Contents: Title Page; Table of Contents; Foreword; Acknowledgements; Introduction; Part 1: Theoretical Background for Body-Texts; 1.1. The Semioticization of the Body and the Somatization of the Text in Carter; 1.2. Carter's Grotesque Bodies: Freaks, Ethics and Fun; 1.3. Corporeagraphic Metafiction; 1.4. Autobiografiction: Re-membering the Body and (Re)Incarnating Identity; Part 2. Narrating the Nervous, Bulimic Body-Text. Grotesque Self-(De)composition in The Passion of New Eve; 2.1. A Confusing Space of Transformation; 2.2. A "Male Impersonator's" Writing. 2.3. A "Feminist Tract About the Social Creation of Femininity"2.4. A Post-Operative Transsexual Autobiography; 2.5. A Pathological Polyphony: Semioticizing Female Body Dysmorphia; 2.6. Shattering the Looking Glass; Part 3. Corporeal and Textual Performance as Comic Confidence Trick in Nights at the Circus; 3.1. Grotesque Bodies and Carnivalesque Discourses; 3.2. Parodic Bodily Performances, Spectacular Gender Trouble; 3.3. The Tender Irony and Sisterly Burlesque of Textual Performance; 3.4. A Narrative of Laughter and Laughing Narratives. Part 4. Story-telling as Flirtation. Freak Bodies' and Twinned Selves' Vital-Fatal Seductions in Wise Children4.1. Auto-Portraits of a Seductress: (Un)making the Femme Vitale; 4.2. Cosmetic Self-Stylization: Flirting with Signs of Femininity; 4.3. Making Up Our-Selves: Cosmetic Reflections, Communal Identity, and the Ethics of Seduction; 4.4. Spec(tac)ular Seductions and Eyeing Enchantresses; 4.5. The Art of Flirtation: The Allumeuse Body; 4.6. Narrative as Seduction, Story-telling as Flirtation; 4.7. Flirting with the Father, the Bard, and the Empire. 4.8. Bifocal Reconsiderations of the Alluring Names of the Authoress4.9. Narrative Slips: Gaping Garments and Feminist Epistemology; Conclusion; Notes; Bibliography; Index.

Abstract:

This study fills a major gap of Carter's reception and enters into dialogue with current post-semiotical theories of the embodied subject by virtue of focusing on the dynamics of the meaning-in-process concomitant with the subject-in-process (Kristeva 1985) and the body-in-process. Through a corporeal narratological method--a close-reading interfacing of semioticized bodies in the text and of the somatized text on the body--I decipher how the ideologically disciplined, normativized-neutralized, 'cultural' body and its repressed yet haunting transgressive, corporeal, material 'reality' (are) (de).

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