By Helen Stoddart
A hugely unique and influential paintings of recent British literature, Angela Carter’s Nights on the Circus combines a beautifully inventive plot with a robust political undertone. the result's an emotive and provocative novel, which has attracted a lot serious consciousness from more than a few views together with poststructuralism, gender reviews, postmodernism and psychoanalysis.
This advisor to Angela Carter’s advanced novel, presents:
- an available creation to the textual content and contexts of Nights on the Circus a severe background, surveying the various interpretations of the textual content from book to the current
- a number of new serious essays at the Nights on the Circus, via Heather Johnson, Jeannette Baxter, Sarah Sceats and Helen Stoddart, supplying quite a few views at the novel and lengthening the assurance of key serious techniques pointed out within the survey part
- cross-references among sections of the advisor, so one can recommend hyperlinks among texts, contexts and feedback
- suggestions for additional examining.
Part of the Routledge courses to Literature sequence, this quantity is vital studying for all these starting special learn of Nights on the Circus and looking not just a advisor to the unconventional, yet a manner throughout the wealth of contextual and demanding fabric that surrounds Carter’s textual content.
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Extra info for Angela Carter's Nights at the Circus: A Routledge Study Guide
122. 60 Bakhtin, Problems of Dostoevsky’s Poetics, p. 122. 28 TEXT AND CONTEXTS mode of interrelationship between individuals’ through physical and ‘concretely sensual’ and ‘eccentric’ forms that are ‘half-real and half-play-acted’. Third, the carnival results in ‘carnivalistic mésalliances’: not only people, but also ‘values, thoughts, phenomena, and things’ – the ‘sacred’ and the ‘profane’ the ‘wise’ and the ‘stupid’ which would otherwise be ‘self-enclosed, disuniﬁed, distanced from one another’ – are freely brought together.
49 The essay is composed of thirty distinct and often poetic paragraphs/theses and is an attempt to understand the relationship between imagining or enacting future change through new forms of remembering and understanding past events and ﬁgures. Underpinning the essays is Benjamin’s commitment to Karl Marx’s (1818–83) reading of history as a series of events behind which the driving force of progress is not individual acts or ideas but rather mankind’s relationship to the means and materials of production, an approach which has come to be known as historical materialism.
The determining male gaze projects its phantasy on to the female ﬁgure which is styled accordingly. 58 Men, Mulvey argues, are the active ‘bearers’ of the look, while women are the passive objects of it. Carter unmistakably echoes Mulvey’s thesis with Fevvers’ claim: ‘I was nought but the painted, gilded sign of love and, you might say, that so it was I served my apprenticeship in being looked at – at being the object of 57 Laura Mulvey, ‘Visual Pleasure and Narrative Cinema’, Screen, 16(3), 1975, pp.
Angela Carter's Nights at the Circus: A Routledge Study Guide by Helen Stoddart