By Sonya Andermahr, Lawrence Phillips
Bringing jointly prime overseas students of latest fiction and glossy girls writers, this publication presents authoritative new serious readings of Angela Carter's paintings from numerous leading edge theoretical and disciplinary methods. Angela Carter: New serious 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 insurance of Carter's earliest writings and her journalism in addition to her extra greatly studied novels, brief tales and dramatic works, the e-book covers such subject matters as rescripting the canon, surrealism, and Carter's poetics.
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Extra resources for Angela Carter: New Critical Readings
The association between death and display – seductive veiling and sinister shrouding – is preserved in the transition from the photographic image to the real thing. , 15) for disinterring her mother’s bridal outfit from the trunk in which it has been carefully preserved. . ). ). It is at this point that the ‘wrong body’ narrative comes to the fore. , 18). When – in an episode which makes no attempt to hide its heavy symbolism – she leaves her father’s house and goes out into the garden in her stolen bridal regalia, she panics and, finding she has accidentally locked the front door behind her, is forced to climb an apple tree in order to reach her bedroom window.
Rather than a process from ‘original’ to inferior copy, adaptation is now considered as a complex and nuanced process of translation, reimagining or appropriation. Foregrounding the fidelity of an adaptation usually serves to valorize literature above film or television or at least to award status to the ‘original’. Now that adaptation traffic of all kinds is acknowledged (from stage show to TV show, from comics to movies, from historical events to fictionalizations, from film to film remake) the very notion of the ‘original’ is in question.
Carter’s use of the wedding dress trope reaches the height of audacity in her 1977 novel The Passion of New Eve. Melanie and Marianne subvert the romantic ideology of Angela Carter’s Bridal Gothic 29 marriage from opposite ends of the spectrum, as it were, in that Melanie puts the dress on too early, and Marianne too late, but in this novel the ‘wrong body’ narrative is taken to its extreme. The novel is narrated in the first person by a figure who is initially male – the masculine Evelyn – but who subsequently undergoes an enforced sex change at the hands of the radical feminist Mother, who transforms him into the feminine Eve.