Body Texts In The Novels Of Angela Carter

This study fills a major gap in Carter scholarship by examining the interrelations of the ideological constructions and the subversive counter-performances of bodies. texts. identity and femininity-particularly in their connection with the grotesque in Carter's final novel trilogy, The Passion of New Eve (1977). Nights at the Circus (1984) and Wise Children (1992).

This study fills a major gap of CarterOCOs 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 methodOCoa close-reading interfacing of semioticized bodies in the text and of the somatized text on the bodyOCoI decipher how the ideologically disciplined, normativized-neutralized, OCyculturalOCO body and its repressed yet haunting transgressive, corporeal, material OCyrealityOCO (are) (de)compose(d by) the Carterian fictionOCOs destabilizing discursive subversions and vibrations surfacing in narrative blind-spots, overwritings, textual ruptures or rhetorical manoeuvres."

The body has become a highly contested, political site in (post)modern literature and literary theory. In Angela Carter's work the image of the body is constructed around the tension between a post-structuralist notion of gender fluidity and a feminist reclaiming of the female body as a source of pleasure and power. This study examines the body politics in the last four novels Carter wrote between the seventies and the nineties: The Infernal Desire Machines, The Passion of New Eve, Nights at the Circus and Wise Children. Drawing on feminist and poststructuralist theory, it traces a development in Carter's fiction that moves from the pessimistic negation of a self-determined female corporeality to the assertion of the female body as a powerful site of alterity.

Drawing on many aspects of contemporary feminist theory, this lively collection of essays assesses Angela Carter's polemical fictions of desire. Carter, renowned for her irreverent wit, was one of the most gifted, subversive, and stylish British writers to emerge in the 1960s.

Once upon a time fairy tales weren't meant just for children, and neither is Angela Carter's Book of Fairy Tales. This stunning collection contains lyrical tales, bloody tales and hilariously funny and ripely bawdy stories from countries all around the world- from the Arctic to Asia - and no dippy princesses or soppy fairies. Instead, we have pretty maids and old crones; crafty women and bad girls; enchantresses and midwives; rascal aunts and odd sisters. This fabulous celebration of strong minds, low cunning, black arts and dirty tricks could only have been collected by the unique and much-missed Angela Carter. Illustrated throughout with original woodcuts.

Angela Carter’s work is a collage of discourses and genres. The challenge of finding a critical framework, complex and accurate enough to classify her work, has remained. The spectacular and the pragmatic threads of her texts, framed by extreme seriousness and witty humour are unravelled with the help of a different metaphor, denoting enigmatic spaces, conterdiscourses, borders of otherness – heterotopia. Five novels out of nine, five short stories out of thirty-five, as well as Carter’s two film adaptations are filtered through a term extricated from its medical and geographical roots, which emphasizes the ambiguity, as well as the dialogic interaction of Angela Carter’s often discordant discourses that have kept her at the top of the literary canon.

Explores the peculiar enchantments at the heart of Angela Carter's The Bloody Chamber and Carter's commitment to imagining unforeseen possibilities for heterosexual love and desire.