Titlebook: Angela Carter and Decadence; Critical Fictions/Fi Maggie Tonkin Book 2012 Palgrave Macmillan, a division of Macmillan Publishers Limited 20

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不在灌木叢中

,Olympia’s Revenge,r, that ., a text that long proceeds ., can already be considered in this light. .’s critique hinges on the unnamed doll that haunts it, E.T.A. Hoffmann’s Olympia. Olympia is the female automaton in Hoffmann’s most famous story, ‘The Sandman’, an analysis of which forms the basis of Freud’s attempt

initiate

The Muse Exhumed,ld feminism alone responsible for the demise of the muse; psychoanalysis is also to blame: ‘If the Muse is dead, it is not the feminists alone who have killed her. As this century passes away into the next, it will be seen, I think, how the popularization of psychiatric notions of the unconscious ha

Desert

The Ambiguous Muse, other in a potentially endless and all-pervasive combination’ (170). Whilst Mikkonen focuses on .’ allusions to the fairytale genre and to the works of Hoffmann, other critics have identified a myriad of other significant intertexts. Colin Manlove lists Blake’s ., Gothic fiction, de Sade, Lautréamo

indemnify

,The ‘Poe-etics’ of Decomposition: ‘The Cabinet of Edgar Allan Poe’ and the Reading-Effect,nes’ buried in his fictions, prematurely or otherwise, he perversely refuses to lie down. Of course, in ‘The Philosophy of Composition’ he claimed to meticulously calculate his effects, to write, so to speak, from the effect backwards. If we take Poe at his word, his notorious statement that ‘the de

環(huán)形

paradigm

Whose Fantasy is the ,?,d, but her fascination with the iconic figure of Lulu suffuses her work. Whilst working at the University of Iowa she taught G.W. Pabst’s film version of Wedekind’s plays in her course on twentieth-century narrative entitled ‘Life is Strange and the World is Bad’, declaring ‘nothing else but . would

極小量

大都市

There Never was a Woman like Leilah: ,,ntaining a ‘careful and elaborate discussion of femininity as a commodity, of Hollywood producing illusions as tangible commodities’ (Haffenden 86). Carter cited the Hollywood . film ., or rather the film’s advertising slogan, ‘There never was a woman like Gilda!’, as one of the triggers for its wri

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