By Helen Stoddart
A hugely unique and influential paintings of recent British literature, Angela Carter’s Nights on the Circus combines a superbly artistic plot with a powerful political undertone. the result's an emotive and provocative novel, which has attracted a lot severe recognition from more than a few views together with poststructuralism, gender experiences, postmodernism and psychoanalysis.
This consultant to Angela Carter’s complicated novel, presents:
- an obtainable creation to the textual content and contexts of Nights on the Circus a severe historical past, surveying the various interpretations of the textual content from ebook to the current
- a collection of new serious essays at the Nights on the Circus, by way of Heather Johnson, Jeannette Baxter, Sarah Sceats and Helen Stoddart, delivering a number of views at the novel and lengthening the insurance of key severe techniques pointed out within the survey part
- cross-references among sections of the advisor, with a purpose to recommend hyperlinks among texts, contexts and feedback
- suggestions for extra analyzing.
Part of the Routledge publications to Literature sequence, this quantity is key studying for all these starting unique examine of Nights on the Circus and looking not just a advisor to the radical, yet a manner in the course of the wealth of contextual and significant fabric that surrounds Carter’s textual content.
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Additional resources for Angela Carter's Nights at the Circus: A Routledge Study Guide
The important question for Jordan, therefore, is only who the myths serve and what possibilities they open up or close down. She also makes the point that demythologizing is ‘always secondary: subordinate to the tradition “with” which it claims to break’. 44 Though a great many women were involved in projects of this nature, the work 41 Jack Zipes, Breaking the Magic Spell, London: Heinemann Educational, 1979, p. 220. 42 Sage, Moments of Truth, p. 238. 43 Elaine Jordan, ‘Down the Road, or History Rehearsed’, in Francis Barker, Peter Hulme and Margaret Iverson (eds), Postmodernism and the Re-Reading of Modernity, Manchester: Manchester University Press, 1992, pp.
6, p. 238) which he doesn’t yet understand. Finally, though Fevvers holds on to her ‘Father Time’ clock from Ma Nelson’s brothel as a form of protection when she moves out into a world of sometimes dangerous patriarchs, the clock itself appears to depict a rather angelic Father Time whose time-telling arms, always at midday or midnight, are ‘folded perpetually together as if in prayer’ (Pt. I, Ch. 2, p. 29). In doing so, the clock captures ‘the dead centre of the day or night . . the still hour in the centre of the storm of time’.
30 TEXT AND CONTEXTS Like the carnivalesque, there is ambivalence at the heart of the grotesque that is mapped with reference to the birth and renewal through death of the human body: Degradation here means coming down to earth, the contact with earth as an element that swallows up and gives birth at the same time. To degrade is to bury, to sow, and to kill simultaneously, in order to bring forth something more and better. To degrade also means to concern oneself with the lower stratum of the body, the life of the belly and the reproductive organs; it therefore relates to acts of defecation, and copulation, conception, pregnancy and birth.