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The Magic Toyshop as Nucleus of Desire: A Lacanian Analysis

100%
Ertin S., Türe Abacı Ö.
Lublin Studies in Modern Languages and Literature
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2017
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vol. 41
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issue 1
DE
Der Band enthält die Abstracts ausschließlich in englischer Sprache.
EN
The Magic Toyshop (1967), Angela Carter’s second novel, is the story of a young middle-class English girl –Melanie, who with her brother and sister has to move to London and live with her uncle after the death of her parents in an accident. Uncle Philips functions as the primordial father in the household and does not tolerate any digression or transgression from the Law. This paper aims to offer a Lacanian analysis of The Magic Toyshop by focusing on the major polarity that stands out in the novel around which all the narrative is structured: Desire and Law.
FR
Le numéro contient uniquement les résumés en anglais.
RU
Том не содержит аннотаций на английском языке.
2
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Fear in Gothic Fiction: A Cognitive Poetic Analysis of Angela Carter’s The Bloody Chamber

88%
Kędra-Kardela A.
Zagadnienia Rodzajów Literackich
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2016
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vol. 59/117 z.1
13-23
EN
Based on the Deictic Shift Theory as adopted by cognitive poetics (Stockwell 2002), this paper offers an account of fear generating mechanisms involving spatial, temporal, perceptual, relational and compositional deictic shifts in Angela Carter’s The Bloody Chamber. Focusing on the ways the reader gets involved in the terrifying story of Carter’s protagonist, the paper uncovers the complex mechanism of the “production of horror” in the text.
3
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Phonaesthetic Phonological Iconicity in Literary Analysis Illustrated by Angela Carter’s “The Bloody Chamber”

88%
Gwóźdź M., University J., Maja Gwóźdź is a BA student at the Jagiellonian University C. H. a. i. i. m. d. p.
Analyses/Rereadings/Theories: A Journal Devoted to Literature, Film and Theatre
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2014
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vol. 2
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issue 2
EN
The article offers a phonosemantic analysis of Angela Carter’s “The Bloody Chamber.” The phonosemantic investigation has been based on the corpus of nineteen relevant sound-related descriptions of the sea. Although most excerpts identified contain aural metaphors and are not phonologically iconic per se, there seem to exist at least three fragments which are particularly interesting from a phonosemantic point of view. Most notably, phonaesthemes /gl/, /l/, /r/ have been found to carry substantial meaning contributing to the overall interpretation of the story in question. Accounting for the inevitable subjectivity concerning iconicity, and in this case phonological iconicity, a few theories are presented in order to support the author’s reading of each phonaestheme’s contextual significance. The paper briefly reviews the chronological development of the field of phonosemantics and then combines the aural images theory (proposed by Richard Rhodes) with the “aural semiotic process” theory (the term coined by the author). Each analysis is further supplemented with scholarly views on respective phonaesthemes. On the whole, the paper does not aim to polemicize with the well-established definition of a phoneme and its generally accepted arbitrariness. Nevertheless, it has been observed that a speculative phonosemantic analysis of a literary work may yield noteworthy results.
4
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Violent Spaces, Violated Bodies: The Representations of Violence in Angela Carter’s The Passion of New Eve

71%
Alkan-Genca P.
Społeczeństwo. Edukacja. Język
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2017
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vol. 1(5)
61-72
EN
Published in 1977, The Passion of New Eve depicts a dystopian America where violence has become the norm. From rape to murder, from re-creation to violation, the text provides a variety of contexts in which violence operates. Regardless of one’s gender and sometimes because of that, everyone can become the victim or the perpetrator. Moreover, the spaces occupied by the characters contribute to the novel’s handling of violence. This paper argues that Angela Carter’s The Passion of New Eve is a text in which space, self, gender, and body are the sites where violence is presented and re-presented, inflicted and experienced, and it contends that violence serves as a means to problematize conventional ways of perceiving and making sense of gender and space.
PL
Opublikowana w 1977 roku powieść Angeli Carter The Passion of New Eve kreśli dystopijną wizję Ameryki, gdzie przemoc stała się normą. Od gwałtu do morderstwa, od przetworzenia do przekroczenia, tekst przedstawia szeroki wachlarz kontekstów, w jakich mamy do czynienia z przemocą. Bez względu na płeć, a czasem właśnie ze względu na nią, każdy może stać sie ofiarą lub sprawcą. Co więcej, przestrzenie, w których przebywają bohaterowie mają wpływ na przedstawienia przemocy w powieści. Artykuł ten dowodzi, że powieść Angeli Carter The Passion of New Eve jest tekstem, w którym przestrzeń, tożsamość, płeć i ciało stają się miejscami, gdzie przemoc jest tworzona i odtwarzana, zadawana i doświadczana. Celem poniższego artykułu jest również wykazanie, że przemoc jest środkiem poddającym w wątpliwość konwencjonalne sposoby postrzegania i rozumienia zagadnień płci i przestrzeni.
5
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Baśniowe herstory. Postmodernistyczne strategie reinterpretacyjne Angeli Carter, Tanith Lee i Emmy Donoghue

63%
Kostecka W.
Creatio Fantastica
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2016
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issue 2(53)
23-39
EN
The aim of the article A fairy-tale herstory. Postmodern strategies of reinterpretation by Angela Carter, Tanith Lee, and Emma Donoghue is to analyze selected postmodern fairy tales written by Angela Carter, Tanith Lee, and Emma Donoghue. The most important literary strategy applied by all three authors consists in presenting fairy tales from a new, female perspective. As a result, this strategy reveals “facts”, contexts, and meanings that have so far been unnoticed, ignored, or omitted in the original story, turning it into a fairy-tale “herstory”. Postmodern fairy tales by Carter, Lee, and Donoghue are revisionist stories that critically engage the “canonical” material, i.e. fairy-tale pre-texts. The authors question traditional social values as well as petrified cultural “norms”, rules, hierarchies, and images. At the same time, they often suggest a new order and new values. Consequently, the genre of fairy tale is given back to women—the social group so far discriminated, according to feminist discourse. By challenging the traditional socio-cultural context and constructing the new one, Carter, Lee, and Donoghue change the meaning of fairy tales. Therefore, classic fairy-tale stories become the subject of a postmodern, intertextual play.
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