Angela Carter And The Changeover Essay
Universität Mannheim
Anglistisches Seminar
Lehrstuhl Anglistik II
4. 11. 2012
Mistressing Fear:
Gothic, Gender and Feminism in
Angela Carter’s The Magic Toyshop and Margaret Mahy’s
The Changeover
M.A.-Arbeit
FSS 2012
Betreuerin:
Erstgutachterin:
Zweitgutachter:
Dr. Stella Butter
Prof. Dr. Sarah Heinz
Dr. Stefan Glomb
Hannah Brosch
Table of Contents
1.
Introduction
1
2.
Theory
2
2.1
Eighteenth-Century Gothic, Gender and Feminism
2
2.2
Gothic in the Nineteenth and Twentieth Centuries
12
2.3
From the Fairy Tale to the Romance Novel and the Female Gothic
2.4
Feminism, the Mother-Daughter Relationship and Modern Witchcraft
3.
15
22
Angela Carter 's The Magic Toyshop and Margaret Mahy 's The Changeover
28
3.1
Genre Boundaries, Text Limits
31
3.2
Family Relations …show more content…
The plot pattern she describes does not at all apply to works like Clara
Reeve’s The Old English Baron (1777) (cf. Heiland 15-16) or Mary Shelley’s
Frankenstein (1818) (cf. Moers 92). It is still commonly found in gothic novels written by women (cf. Meyers 18), dating back to the works of Ann Radcliffe (cf. Moers 91), who was one of the most prolific and successful authors of gothic fiction (cf. Heiland
57). 2 “Writing in a tradition that was already fairly well established, she developed it so fully that her name became almost synonymous with the form” (57). In her readings of
Radcliffe’s A Sicilian Romance, The Italian (cf. 58), The Romance of the Forest and
The Mysteries of Udolpho (cf. 68), Heiland demonstrates how she “redefines sublimity as an aesthetic that multiplies differences, and that therefore empowers rather than effaces women” (58). Radcliffe does so by locating the sublime not in the heroine’s violent encounter with a man (cf. 34), but in her reunion with her long lost mother (cf.
1
Other important feminist critics of the gothic include Sandra M. Gilbert, Susan Gubar, Elaine Showalter,
Eve Kosofsky Sedgwick, Juliann Fleenor (cf. Heiland 182-184).
Anglistisches Seminar
Lehrstuhl Anglistik II
4. 11. 2012
Mistressing Fear:
Gothic, Gender and Feminism in
Angela Carter’s The Magic Toyshop and Margaret Mahy’s
The Changeover
M.A.-Arbeit
FSS 2012
Betreuerin:
Erstgutachterin:
Zweitgutachter:
Dr. Stella Butter
Prof. Dr. Sarah Heinz
Dr. Stefan Glomb
Hannah Brosch
Table of Contents
1.
Introduction
1
2.
Theory
2
2.1
Eighteenth-Century Gothic, Gender and Feminism
2
2.2
Gothic in the Nineteenth and Twentieth Centuries
12
2.3
From the Fairy Tale to the Romance Novel and the Female Gothic
2.4
Feminism, the Mother-Daughter Relationship and Modern Witchcraft
3.
15
22
Angela Carter 's The Magic Toyshop and Margaret Mahy 's The Changeover
28
3.1
Genre Boundaries, Text Limits
31
3.2
Family Relations …show more content…
The plot pattern she describes does not at all apply to works like Clara
Reeve’s The Old English Baron (1777) (cf. Heiland 15-16) or Mary Shelley’s
Frankenstein (1818) (cf. Moers 92). It is still commonly found in gothic novels written by women (cf. Meyers 18), dating back to the works of Ann Radcliffe (cf. Moers 91), who was one of the most prolific and successful authors of gothic fiction (cf. Heiland
57). 2 “Writing in a tradition that was already fairly well established, she developed it so fully that her name became almost synonymous with the form” (57). In her readings of
Radcliffe’s A Sicilian Romance, The Italian (cf. 58), The Romance of the Forest and
The Mysteries of Udolpho (cf. 68), Heiland demonstrates how she “redefines sublimity as an aesthetic that multiplies differences, and that therefore empowers rather than effaces women” (58). Radcliffe does so by locating the sublime not in the heroine’s violent encounter with a man (cf. 34), but in her reunion with her long lost mother (cf.
1
Other important feminist critics of the gothic include Sandra M. Gilbert, Susan Gubar, Elaine Showalter,
Eve Kosofsky Sedgwick, Juliann Fleenor (cf. Heiland 182-184).