ANGELA CARTER Fairy- tales were not the same after her The most important English fantasist of her generation has been defined Angela Carter She is best known as a novelist, having won several awards for her long fiction. Her earliest novels were surreal without being clearly supernatural, but after Heroes and Villains (1969) she made increasing use of fantastic devices, developing phantasmagorical symbolic landscapes of an extraordinary complexity in The Infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve (1977). She also wrote a great deal of journalistic criticism, collected in Shaking a Leg (1997). Angela Carter is nearly as well known for her short fiction as she is for her novels. Her short-story collections include Fireworks: Nine Profane Pieces (1974), Black Venus (1985; also known as Saints and Strangers, 1986), the highly praised The Bloody Chamber, and Other Stories (1979), which contains her transformations of familiar fairy tales into adult tales with erotic overtones. In her fiction there’s the blending of gothic and surreal elements with vivid portrayals of urban sufferers and survivors. Critics have praised her wit, inventiveness, eccentric characters, descriptive wealth,. Her imaginative transformation of folkloric elements and examination of their mythic impact on sexual relationships began to be fully appreciated on the appearance of The Bloody Chamber and Other Stories. The Blood Chamber These short stories challenge the way women are represented in fairy tales, yet retain an air of tradition and convention through her voluptuously descriptive prose. Carter effectively draws out the theme of feminism by contrasting traditional elements of Gothic fiction – which usually depicted female characters as weak and helpless – with strong female protagonists, contrasting the barren and horrific atmosphere found typically within the Gothic to the strong heroines of her story, Carter is able to create sexually liberated female characters that are set against the more traditional backdrop of the fairy tale. In doing so, Carter reinvents the outdated fairy tales and offers insight on the archetypes and stereotypes of women in these well-known and celebrated stories. The stories deal with themes of women's roles in relationships and marriage, their sexuality, coming of age and corruption. Stories such as "The Bloody Chamber" and "The Company of Wolves" explicitly deal with the horrific or corrupting aspects of marriage and/or sex and the balance of power within such relationships. Themes of female identity are explored As a whole, The Bloody Chamber can be treated as a collection of short stories that speak to a bigger narrative that deals with issues of feminism and metamorphosis instead a set of individual tales. Although each particular narrative deals with a different set of characters, the 'oppressed female seeking liberation' is a common theme and concept that is explored throughout the collection. The characters seem to blend into each other and become indistinguishable from one another when recognising this theme in the text. The stories are updated to more modern settings. The exact time periods remains vague, but they are clearly anchored intentionally.
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Carter

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ANGELA CARTER Fairy- tales were not the same after her The most important English fantasist of her generation has been defined Angela Carter She is best known as a novelist, having won several awards for her long fiction. Her earliest novels were surreal without being clearly supernatural, but after Heroes and Villains (1969) she made increasing use of fantastic devices, developing phantasmagorical symbolic landscapes of an extraordinary complexity in The Infernal Desire Machines of Doctor Hoffman (1972) and The Passion of New Eve (1977). She also wrote a great deal of journalistic criticism, collected in Shaking a Leg (1997). Angela Carter is nearly as well known for her short fiction as she is for her novels. Her short-story collections include Fireworks: Nine Profane Pieces (1974), Black Venus (1985; also known as Saints and Strangers, 1986), the highly praised The Bloody Chamber, and Other Stories (1979), which contains her transformations of familiar fairy tales into adult tales with erotic overtones. In her fiction there’s the blending of gothic and surreal elements with vivid portrayals of urban sufferers and survivors. Critics have praised her wit, inventiveness, eccentric characters, descriptive wealth,. Her imaginative transformation of folkloric elements and examination of their mythic impact on sexual relationships began to be fully appreciated on the appearance of The Bloody Chamber and Other Stories. The Blood Chamber These short stories challenge the way women are represented in fairy tales, yet retain an air of tradition and convention through her voluptuously descriptive prose. Carter effectively draws out the theme of feminism by contrasting traditional elements of Gothic fiction – which usually depicted female characters as weak and helpless – with strong female protagonists, contrasting the barren and horrific atmosphere found typically within the Gothic to the strong heroines of her story, Carter is able to create sexually liberated female characters that are set against the more traditional backdrop of the fairy tale. In doing so, Carter reinvents the outdated fairy tales and offers insight on the archetypes and stereotypes of women in these well-known and celebrated stories. The stories deal with themes of women's roles in relationships and marriage, their sexuality, coming of age and corruption. Stories such as "The Bloody Chamber" and "The Company of Wolves" explicitly deal with the horrific or corrupting aspects of marriage and/or sex and the balance of power within such relationships. Themes of female identity are explored As a whole, The Bloody Chamber can be treated as a collection of short stories that speak to a bigger narrative that deals with issues of feminism and metamorphosis instead a set of individual tales. Although each particular narrative deals with a different set of characters, the 'oppressed female seeking liberation' is a common theme and concept that is explored throughout the collection. The characters seem to blend into each other and become indistinguishable from one another when recognising this theme in the text. The stories are updated to more modern settings. The exact time periods remains vague, but they are clearly anchored intentionally.
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