Dazzled by his love for her, and desperate for the scoop of a lifetime, Walser has no choice but to join the circus on its magical tour through turn-of-the-nineteenth-century London, St Petersburg and Siberia. **One of the BBC’s 100 ...
Author: Angela Carter
Publisher: Random House
WITH AN INTRODUCTION BY SARAH WATERS Is Sophie Fevvers, toast of Europe's capitals, part swan...or all fake? Courted by the Prince of Wales and painted by Toulouse-Lautrec, she is an aerialiste extraordinaire and star of Colonel Kearney's circus. She is also part woman, part swan. Jack Walser, an American journalist, is on a quest to discover the truth behind her identity. Dazzled by his love for her, and desperate for the scoop of a lifetime, Walser has no choice but to join the circus on its magical tour through turn-of-the-nineteenth-century London, St Petersburg and Siberia.
The publisher Vintage has relaunched many of her titles, including Nights at the
Circus, in new editions, all of which include introductions by contemporary
authors (Ali Smith, Michael Moorcock, Helen Simpson, Sarah Waters) who have
Author: Helen Stoddart
A highly original and influential work of modern British literature, Angela Carter’s Nights at the Circus combines a fantastically creative plot with a strong political undertone. The result is an emotive and provocative novel, which has attracted much critical attention from a range of perspectives including poststructuralism, gender studies, postmodernism and psychoanalysis. This guide to Angela Carter’s complex novel, presents: an accessible introduction to the text and contexts of Nights at the Circus a critical history, surveying the many interpretations of the text from publication to the present a selection of new critical essays on the Nights at the Circus, by Heather Johnson, Jeannette Baxter, Sarah Sceats and Helen Stoddart, providing a variety of perspectives on the novel and extending the coverage of key critical approaches identified in the survey section cross-references between sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Nights at the Circus and seeking not only a guide to the novel, but a way through the wealth of contextual and critical material that surrounds Carter’s text.
Nights. At. The. Circus. With extravagant playfulness, Angela Carter's Nights at
the Circus (1984) weaves together elements of the carnivalesque and fantastic
with those of harsh material realism as vehicles for feminist aims. Carter's novel is
Author: Magali Cornier Michael
Publisher: SUNY Press
Michael analyzes the intersections between feminist politics and postmodern aesthetics as demonstrated in recent Anglo-American fiction. While much has been written on various aspects of postmodernism and postmodern fiction and of feminism and feminist fiction, very little attention has been given to the postmodern aesthetic strategies that surface in post-World War II feminist fiction. Feminism and the Postmodern Impulse examines ways in which many widely read and acclaimed novels with feminist impulses engage and transform subversive aesthetic strategies usually associated with postmodern fiction to strengthen their feminist political edge. The author discusses many examples of recent feminist-postmodern fiction, and explores in greater depth Doris Lessing's The Golden Notebook, Marge Piercy's Woman on the Edge of Time, Margaret Atwood's The Handmaid's Tale, and Angela Carter's Nights at the Circus. She shows that feminist-postmodern fiction's emphasis on the material historical situation--the link to activist politics and commitment to enacting concrete changes in the world, and thus the need to reach a large reading public--often results in a blending and transformation of postmodern and realist aesthetic forms. Moreover, feminist fiction uses deconstructive strategies not only to disrupt the status quo but also to create a space for reconstruction, particularly of recreating new forms of female subjectivities and feminist aesthetics.
He spends almost every night there, and during the day he sits in his rented flat
or at the pub with a glass of wine and a journal and he writes about it. ... One
article finds its way into a London paper, printed under the title “Nights at the
Author: Erin Morgenstern
Publisher: Random House
The circus arrives without warning. It is simply there, when yesterday it was not. Against the grey sky the towering tents are striped black and white. A sign hanging upon iron gates reads: Opens at Nightfall Closes at Dawn As dusk shifts to twilight, tiny lights begin to flicker all over the tents, as though the whole circus is covered in fireflies. When the tents are aglow, sparkling against the night sky, the sign lights up: Le Cirque des Rêves The Circus of Dreams The gates shudder and unlock, seemingly by their own volition. They swing outward, inviting the crowd inside. Now the circus is open Now you may enter BACKSTORY: Read an interview with Erin Morgenstern about how she invented her circus
A COMPARISON OF ANGELA CARTER ' S NIGHTS AT THE CIRCUS AND
CHRISTINA STEAD ' S LITTLE HOTEL AGNES SURÁNYI I should like to begin
this paper with an apt quotation from David Lodge suggesting that ' [ . . . ] nobody
Author: Richard Todd
This lively and fascinating new collection of European essays on contemporary Anglophone fiction has arisen out of the ESSE/3 Conference, which was held in Glasgow in September 1995. The contributors live and work in University English Departments in Bulgaria, Croatia, France, Germany, Hungary, Italy, The Netherlands, Portugal and Spain, as well as in the United Kingdom itself. Essays on general theoretical aspects of the subject head and conclude the collection, and there are also essays on individual writers or groups of writers, such as John Fowles, A.S. Byatt, Charles Palliser, Peter Ackroyd, William Golding, Doris Lessing, Daphne du Maurier, Angela Carter and Christina Stead. The performative aspect of the subject-matter of these essays is balanced by a locational aspect, including utopian and dystopian writing in authors as diverse as Michael Crichton, Jenny Diski and Salman Rushdie, and the travel literature of Bruce Chatwin. These essays show theoretical alertness, but no single theoretical position is privileged. The aim of the collection is to provide an indication of the range of work being carried out throughout European academe on Anglophone (mainly British) writing today.
The novel has similarities to “The Tempest,” Angela Carter's “Nights at the Circus,
” any of Dickens's sensitive and beleaguered children, the HBO show “Carnivàle,
” the Philip Pullman trilogy “His Dark Materials,” even “Romeo and Juliet.” 84.
Author: G Whiz
Publisher: 101BookFacts.com (pub-5999650418488591)
Did you know Morgenstern never intended the novel to be for young adults, but instead targeted it as an adult novel? Or, did you know Morgenstern is interested in learning fire art if she ever has the chance to join a circus? What are the amazingly true facts behind The Night Circus by Erin Morgenstern? Do you want to know the golden nuggets of facts readers love? If you've enjoyed the book, then this will be a must read delight for you! Collected for readers everywhere are 101 book facts about the book & author that are fun, down-to-earth, and amazingly true to keep you laughing and learning as you read through the book! Tips & Tricks to Enhance Reading Experience • Enter "G Whiz" after your favorite title to see if publication exists! ie) Harry Potter G Whiz • Enter "G Whiz 101" to search for entire catalogue! • If not found, request to have your choice created by using form on our website! • Combine your favorite titles to receive bundle coupons! • And, write a review when you're done to hop on the list of contributors! “Get ready for fun, down-to-earth, and amazingly true facts that keeps you learning as you read through the book” - G Whiz DISCLAIMER: Although the Author and Publisher strived to be accurate and verify all contributions by readers, due to the nature of research this publication should not be deemed as an authoritative source and no content should be used for citation purposes. All facts come with source URLS for further reading. This publication is meant for entertainment purposes to provide the best collection of facts possible. Refined and tested for quality, we provide a 100% satisfaction guarantee or your money back.
In my reading , the fantastic in Nights at the Circus is , in principle , like the
fantastic in Carter's other fictions . Obviously not realist in mode it is , however ,
deployed and regulated from a rational , materialist , feminist base . And this base
is not ...
Author: Aidan Day
Publisher: Manchester University Press
The first full-scale study of Angela Carter's fiction with a broad though scholarly appeal.
I This essay offers an auto/biographical1 reading of Nights at the Circus (1984).
At first sight, this may seem to be a surprising, not to say foolhardy, enterprise,
since Carter's baroque fantasy seems to be about anything but its author. I want
Author: Joseph Bristow
Drawing on many aspects of contemporary feminist theory, this lively collection of essays assesses Angela Carter's polemical fictions of desire. Carter, renowned for her irreverent wit, was one of the most gifted, subversive, and stylish British writers to emerge in the 1960s.
Singing with Tigers : Recognition in Wilhelm Meister , Daniel Deronda , and
Nights at the Circus Terence Cave The recognition plot gives retrospective shape
to a life , often to several lives in their connectedness . The shape may be social ...
Author: Philip F. Kennedy
Publisher: Peter Lang
This interdisciplinary collection of essays advances the study of anagnorisis («recognition»), a quintessential concept in Aristotelian poetics. This book explores narrative structure and epistemology by examining how anagnorisis works in narrative fiction, music, and film. Contributors hail from the fields of cinema; opera; religion; medieval and modern English, German, and French literatures; comparative literature; and Indian (Sanskrit) and Islamic (Arabic) literatures, both classical and modern.
Second-Wave Feminism In Nights at the Circus (1984) Carter makes that wild
surmise, employing fantastic elements in a way that demonstrates the political
reality of secondwave feminism, and the changed collective consciousness it has
Author: Dominic Head
Publisher: Cambridge University Press
The most current, wide-ranging, and accessible introduction on the post-war novel in Britain available.
Angela Carter, the author of the novel Nights at the Circus (1984) could, I suggest
, be described as a female “redface”. Carter, admittedly, is British. But it would
seem more than a little unreasonable not to include the significant questions her
Author: Thomas Pughe
The idea for this study came to me in the course of my reading of innova tive US-American! fiction of the last three decades. I observed that much of it is cast in the comic mode - or, more precisely, that there seems to be in contemporary fiction an affinity between 'innovation' and 'the comic' and that this affinity, furthermore, appears to be characteristic of postmo dernism. It is obvious, at the same time, that comic has become an elusive and, more often than not, a disputable category. Frederick Karl, in his sur vey of American Fictions 1940-1980, maintains, for instance, that much comic writing consists in ridicule that lacks deeper intellectual and cul tural roots. "Wit and mockery," he notes, "by themselves have little lasting value. Even in the best of such fiction, Gravity's Rainbow, one is made aware of attenuated skits stiched onto previous segments, rather than baked in by a defined point of view. " (Karl: 27) Such assessments of course challenge my view that the comic is in significant ways connected with what is innovative in postmodernist US-American fiction. Yet the term comic -or related terms like humour, parody, irony and so fort- is regularly and heavily employed in discussions or reviews of con temporary fiction.
Last night ́s performance had exhausted her. Feeling robbed of ten years of her
life, she wondered what kind of mask she should apply to her face today to
restore it to its original shape. Jelena Horáčková never got out of bed before
Author: Uršuľa Kovalyk
Publisher: Parthian Books
I found him one morning when I went to take out the rubbish. He lay in the grass, clutching a piece of dirty plastic in his tiny baby hands. Blending the naturalistic and the fabulistic, these elusive, delicate stories fold fable and fairy tale into the everyday, domestic settings of kitchen, garden, car. Women love, and lose, strange creatures they find by the garden gate; dream dogs are liberated from the icy prison of a fridge; bathrooms bloom into rainforests that souls can lose themselves in forever. Seemingly quotidian routines and unremarkable lives are pierced by Kovalyk’s precise, sensual prose, to reveal the magic lurking just beneath the surface of the daily skin of existence.
In Nights at the Circus, set in 1899, the American journalist Walser follows the
inexplicably winged woman Fevvers on her picaresque journey to Russia with an
American travelling circus. Both Rushdie and Carter, in these works and ...
Author: Joseph Brooker
Publisher: Edinburgh University Press
Relates developments in fiction, poetry and drama to social change - from the new generation of London novelists such as Martin Amis and Ian McEwan to the impact of feminism in the writing of Angela Carter and Jeanette Winterson.
The rest of Carter ' s novels tend to be classified as “ speculative fiction ' and
include Heroes and Villains ( 1969 ) , The Infernal Desire Machines of Doctor
Hoffman ( 1972 ) , The Passion of New Eve ( 1977 ) , Nights at the Circus ( 1984 )
, and ...
Author: Emilija Dimitrijevic
Publisher: Peter Lang
This book focuses on the themes of intimacy and identity in the contemporary novel and, in particular, in the novels of A. S. Byatt, Angela Carter and Jeanette Winterson. Not only do the specificity of the contemporary social context and a growing awareness of the relational nature of the concepts of intimacy and identity set these novels apart from earlier writing that take these issues more for granted. Their very concern with the themes of intimacy and identity also sets them apart from much postmodernist, or mannerist, writing that chooses to cold-shoulder these arguments. The study draws on work by contemporary social theorists and philosophers, and aims to examine issues which, although central to the writing of these authors, have been neglected or treated superﬁcially in literary criticism. Finally, it looks into the ways in which the new approaches to the question of intimacy and identity relate and contribute to contemporary debates on the postmodern novel.
On the one hand , Carter's ex - centric circus performs a deconstruction of falsely
universal and homogenous notions of ... be appropriated by the dominant culture
and made into a commodity.40 The spectacles in Nights at the Circus the cast ...
Author: Sally Robinson
Publisher: SUNY Press
Viewing the novels of Doris Lessing, Angela Carter, and Gayle Jones through feminist critical theory, argues that female subjectivity is engendered by women characters engaging systems that rely on the figure of the women for coherence. Paper edition (unseen), $14.95. Annotation copyrighted by Book News, Inc., Portland, OR
Many of these things come together and, to be consistent with the rhetoric and
the politics, fall apart in Nights at the Circus. Its apocalyptic moment is
emphasized in the first chapter: For we are at the fag-end, the smouldering cigar-
butt of a ...
Author: Brian Edwards
Drawing on developments in critical theory and postmodernist fiction, this study makes an important contribution to the appreciation of playforms in language, texts, and cultural practices. Tracing trajectories in theories of play and game, and with particular attention to the writings of Nietzsche, Wittgenstein, Bakhtin, and Derrida, the author argues that the concept of play provides perspectives on language and communication processes useful both for analysis of literary texts and also for understanding the interactive nature of constructions of knowledge.
We will see that elements of this script will return in Angela Carter's Nights at the
Circus (1984), Margaret Atwood's Alias Grace (1996), Janice Galloway's Clara (
2002) and Sarah Waters' neoVictorian trio of novels (1998–2002). However, this
Author: H. Davies
Is ventriloquism just for dummies? What is at stake in neo-Victorian fiction's desire to 'talk back' to the nineteenth century? This book explores the sexual politics of dialogues between the nineteenth century and contemporary fiction, offering a new insight into the concept of ventriloquism as a textual and metatextual theme in literature.
In Nights at the Circus (1984), the title gestures to the Arabian Nights, while
Fevvers, the colossal trapeze artist heroine, spreads her purple dyed wings, and
flies. 'Is she fact or is she fiction?' keeps recurring as a question in the novel.
Again, in ...
Author: Marina Warner
Publisher: OUP Oxford
From wicked queens, beautiful princesses, elves, monsters, and goblins to giants, glass slippers, poisoned apples, magic keys, and mirrors, the characters and images of fairy tales have cast a spell over readers and audiences, both adults and children, for centuries. These fantastic stories have travelled across cultural borders, and been passed on from generation to generation, ever-changing, renewed with each re-telling. Few forms of literature have greater power to enchant us and rekindle our imagination than a fairy tale. But what is a fairy tale? Where do they come from and what do they mean? What do they try and communicate to us about morality, sexuality, and society? The range of fairy tales stretches across great distances and time; their history is entangled with folklore and myth, and their inspiration draws on ideas about nature and the supernatural, imagination and fantasy, psychoanalysis, and feminism. Marina Warner has loved fairy tales over a long writing life, and she explores here a multitude of tales through the ages, their different manifestations on the page, the stage, and the screen. From the phenomenal rise of Victorian and Edwardian literature to contemporary children's stories, Warner unfolds a glittering array of examples, from classics such as Red Riding Hood, Cinderella, and The Sleeping Beauty, the Grimm Brothers' Hansel and Gretel, and Hans Andersen's The Little Mermaid, to modern-day realizations including Walt Disney's Snow White and gothic interpretations such as Pan's Labyrinth. In ten succinct chapters, Marina Warner digs into a rich hoard of fairy tales in their brilliant and fantastical variations, in order to define a genre and evaluate a literary form that keeps shifting through time and history. Her book makes a persuasive case for fairy tale as a crucial repository of human understanding and culture.