Titlebook: Re-Visiting Angela Carter; Texts, Contexts, Int Rebecca Munford (Lecturer in 20th and 21st Century Book 2006 Palgrave Macmillan, a division

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不理会

Gina Wiskerysteriös ist, wie oft angenommen, und dass es sich lohnt, die Welt wieder (auch) mit der Nase wahrzunehmen. In einem Zeitalter, das von digitalisierten Erfahrungen geprägt ist, die beliebig kopiert und für die Ewigkeit gespeichert werden können, bedeutet die flüchtige Realität eines Geruches mehr als je zuvor..978-3-662-57260-3978-3-662-57261-0

松驰

nn haben. Die niedrigste Konzentration eines Duftmoleküls, die von einem Tier wahrgenommen werden kann, ist vermutlich die sehr geringe Menge von Bombykol, dem von Seidenspinnerweibchen abgegebenen Pheromon, auf das ein Seidenspinnermännchen reagiert (Kaissling 2014).

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Something Sacred: Angela Carter, Jean-Luc Godard and the Sixties,t acts as an exemplar of her opinion that cinema is a medium that demands communal participation, uniting individuals within a shared imaginative experience. Carter had nothing against television as an art form — she admitted to watching ‘anything that flickers’ (qtd. in Clapp ix) — but she was of t

Irremediable

,‘The Other of the Other’: Angela Carter’s ‘New-Fangled’ Orientalism,rter’s work.. Drawing on her journalism, radio plays and short fiction, this chapter explores the impact of Carter’s formative experiences in Japan on her feminist and political consciousness as a writer. However, whilst Japan can be glossed as the source of Carter’s feminist and political enlighten

斜坡

,Bubblegum and Revolution: Angela Carter’s Hybrid Shakespeare, canon provide particularly solid vertebrae to Carter’s allusive body of work and in turn reveal much about the political dimension to her personal brand of intertextuality. Carter is alert to the politics of Shakespearean citation in the late twentieth century, and to the critical perspectives on h

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,‘The Margins of the Imaginative Life’: The Abject and the Grotesque in Angela Carter and Jonathan Stheon of Venuses and relegated to circuses and sideshows’ (165). Similarly, these spectacles of the unexpected, headlining the fairgrounds of Swift’s eighteenth-century London, people the peculiar landscapes of Gulliver’s far-flung destinations as well as the more domestic settings of Swift’s poetry