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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Angela Carter and the Politics of Intertextuality,‘the voracious and often dizzying intertextuality’ of Carter’s writing (50), while Linden Peach argues that intertextuality is a ‘boldly thematised part of her work’ (4). From fairy tale to French decadence, from medieval literature to Victoriana, and from cookery books to high theory, Carter’s narr

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Something Sacred: Angela Carter, Jean-Luc Godard and the Sixties,(Appignanesi), she had a noticeable tendency to fall into quasi-devout rhetoric whenever she talked of the cinema. This is exemplified in ., the . documentary made shortly before her death in 1992, in which she asserted her belief that ‘there is something sacred about the cinema, which is to do with

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,Bubblegum and Revolution: Angela Carter’s Hybrid Shakespeare,ated Shakespeare’s texts and the very idea of the national poet. The plurality and hybridity of her approach to ‘Shakespeare’ — those quotation marks deliberately signal the element of camp in her allusions to the playwright. — function as a version in microcosm of her approach to literary intertext

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Behind Locked Doors: Angela Carter, Horror and the Influence of Edgar Allan Poe,ath, curses, body horror, contagion and natural terrors turned weird. In his study . (1927), H.P. Lovecraft devotes a whole chapter to Poe’s horror tales, acknowledging his mastery by calling him the ‘deity and fountain-head of all modern diabolic fiction’ (53). Lovecraft sees Poe as moving beyond e

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most important British writers. A provocative collection both offers new readings of Carter‘s opus, and contributes to contemporary critical debates concerning gender, postmodernism and intertextual theory.978-0-230-59587-3