Titlebook: Angela Carter; Linden Peach Textbook 1998Latest edition Macmillan Publishers Limited 1998 America.bibliography.critique.dance.death.Englis

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書目名稱Angela Carter影響因子(影響力)




書目名稱Angela Carter影響因子(影響力)學科排名




書目名稱Angela Carter網(wǎng)絡(luò)公開度




書目名稱Angela Carter網(wǎng)絡(luò)公開度學科排名




書目名稱Angela Carter被引頻次




書目名稱Angela Carter被引頻次學科排名




書目名稱Angela Carter年度引用




書目名稱Angela Carter年度引用學科排名




書目名稱Angela Carter讀者反饋




書目名稱Angela Carter讀者反饋學科排名

大方一點

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Textbook 1998Latest editionglish realist novel and frequently drew on prenovelistic forms, Linden Peach maintains that she still addressed the ‘a(chǎn)ctuality‘ of people‘s lives. In novels crammed with themes, ideas and images, Carter is seen as blurring the boundaries between literature, philosophy and cultural critique.

cogent

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hedonic

Giulia Wally Scurati,Marco Bertonicalled them Carter’s Bristol trilogy, a view supported by Lorna Sage (1994b, p. 22). Sage, however, is troubled by O’Day’s description of them as realist texts. Whilst, as O’Day argues, they do not possess the ‘magic realist’ qualities of Carter’s later fiction, she believes that they have ‘the extra density of fiction squared’ (p. 22).

covert

https://doi.org/10.1007/978-3-031-60082-1uch as Timothy Leary who is parodied in Donally (p. 18). However, they are different from the other novels written in the 1960s in ways which anticipate the later fiction. Indeed, both novels may be seen as transitional works, bridging the gap between the Bristol trilogy and the less realistic mode of the post-1970 novels.

爭議的蘋果

th study devoted to her novels, Linden Peach demonstrates how Carter‘s fiction has retained the power to shock us, move us and make us laugh. This lively book provides both close readings of individual texts and an overview of her work. Although Carter preferred a mode of writing closer to fantasy t

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Maria Spadafora,Mario Rapaccini,Shaun Westial adventure stories, anthropological idylls according to Rousseau or Levi-Strauss, and the fantasies of philosophy, the world as Will and Idea’ (p. 34). It also has some of the characteristics of the quest narrative.

obligation