잔혹과 매혹의 상상력: 앤젤라 카터의 동화 다시 쓰기
Grotesque Body and Grotesque Laughter in Angela Carter’s Rewriting of Fairy Tales
1
조회
0
다운로드
3
인용
0
참고문헌
키워드
초록
Angela Carter's The Bloody Chamber and Other Stories is firmly grounded in the tradition of the European popular imagination of the fairy tale, which originates in the oral tradition of peasant folk tales and is institutionalized as a modern literary genre from the late eighteenth century on. In her rewriting of popular fairy tales such as “Bluebeard,” “Beauty and the Beast,” “Snow White” and “Little Red Riding Hood,” Carter boldly combines fairy tales, gothicism, eroticism and pornography to explore the complicated nexus between sexuality and power, eroticism and violence. Carter's unrelenting exploration of the links between eroticism and violence has generated both critical fascination and controversy centering on the issue of female sexuality and desire. Given the problematic place that Carter holds in literary debates over her revision of fairy tales, I propose to analyze Carter's work as a feminist practice of scrutinizing the genealogy of sexuality articulated and/or disarticulated, reinforced and/or concealed,disciplined and/or unruled in the process of the institutionalization of folk tales into the modern literary genre of the fairy tale. In The Bloody Chamber and Other Stories, Carter both repeats and departs from, negates and restores the inherited tradition of the fairy tale. Central to what she restores from the oral and literary tradition of the tales is the female body and its adventurous, unruly sexual desire that is susceptible to eroticism as it embarks upon a course of unfinished metamorphosis. Carter's writing presents a girl whose grotesque body and grotesque laughter hover on the boundary between historical reality and utopian fantasy, on the edge of terror and humor.
Abstract
Angela Carter's The Bloody Chamber and Other Stories is firmly grounded in the tradition of the European popular imagination of the fairy tale, which originates in the oral tradition of peasant folk tales and is institutionalized as a modern literary genre from the late eighteenth century on. In her rewriting of popular fairy tales such as “Bluebeard,” “Beauty and the Beast,” “Snow White” and “Little Red Riding Hood,” Carter boldly combines fairy tales, gothicism, eroticism and pornography to explore the complicated nexus between sexuality and power, eroticism and violence. Carter's unrelenting exploration of the links between eroticism and violence has generated both critical fascination and controversy centering on the issue of female sexuality and desire. Given the problematic place that Carter holds in literary debates over her revision of fairy tales, I propose to analyze Carter's work as a feminist practice of scrutinizing the genealogy of sexuality articulated and/or disarticulated, reinforced and/or concealed,disciplined and/or unruled in the process of the institutionalization of folk tales into the modern literary genre of the fairy tale. In The Bloody Chamber and Other Stories, Carter both repeats and departs from, negates and restores the inherited tradition of the fairy tale. Central to what she restores from the oral and literary tradition of the tales is the female body and its adventurous, unruly sexual desire that is susceptible to eroticism as it embarks upon a course of unfinished metamorphosis. Carter's writing presents a girl whose grotesque body and grotesque laughter hover on the boundary between historical reality and utopian fantasy, on the edge of terror and humor.
참고문헌 (21)
- Bacchilega, Christina, "Cracking the Mirror Three Re-Visions of ‘Snow White.'", Boundary 2, 15(3), pp.1~25 (1988)
- Bacchilega, Christina, "Postmodern Fairy Tales: Gender and Narrative Strategies" (1997), U of Pennsylvania P
- Bakhtin, Mikhail, "Introduction. in Rabelais and His World. Trans. Helene Iswolsky", pp.1~58 (1984), Indiana UP
- Bettelheim, Bruno, "The Uses of Enchantment: The Meaning and Importance of Fairy Tales" (1976), Knopf
- Carter, Angela, "The Bloody Chamber. 1979" (1979), Penguin
- Carter, Angela, "Notes from the Front Line. in On Gender and Writing", pp.69~77 (1983), Pandora
- Delarue, Paul, "The Story of Grandmother", Tatar, 10~11
- Duncker, Patricia, "Re-Imagining the Fairy Tale: Angela Carter's Bloody Chambers", Literature and History, 10, pp.3~14 (1984)
- Grimms, Jacob, "The Complete Fairy Tales of the Brothers Grimm" (1987), Bantam
- Hempen, Daniela, "Bluebeard's Female Helper: The Ambiguous Role of the Strange Old Woman in the Grimms' ‘Castle of Murder' and ‘The Robber Bridegroom", Folklore, 108, pp.45~8 (1997)
- Jordan, Elaine, "The Dangers of Angela Carter. in New Feminist Discourses: Critical Essays on Theories and Texts", pp.119~32 (1992), Routledge
- Lewallen, Avis, "Wayward Girls but Wicked Women?: Female Sexuality in Angela Carter's The Bloody Chamber. in Perspectives on Pornography: Sexuality in Film and Literature", pp.144~58 (1988), St. Martin's
- Lokke, Kari E, "Bluebeard' and ‘The Bloody Chamber': The Grotesque of Self-Parody and Self-Assertion", Frontiers: A Journal of Women Studies, 10(1), pp.7~12 (1988)
- Lovellp-Smith, Rose, "Anti-Housewives and Ogres' Housekeepers: The Roles of Bluebeard's Female Helper", Folklore, 113(2), pp.197~214 (2002)
- Makinen, Merja, "Angela Carter's ‘The Bloody Chamber' and the Decolonization of Feminine Sexuality", Feminist Review, 42, pp.2~15 (1992)
- Perrault, Charles, "Little Red Riding Hood", Tatar, 11~13
- Sexton, Anne, "Snow White and the Seven Dwarfs", Tatar, 96~100
- Sheets, Robin Ann, "Pornography, Fairy Tales, and Feminism: Angela Carter's ‘The Bloody Chamber.'", Journal of the History of Sexuality, 1(4), pp.633~57 (1991)
- Tatar, Maria, "The Hard Facts of the Grimms' Fairy Tales" (1987), Princeton UP
- Tatar, Maria, "The Classic Fairy Tales" (1999), Norton
- Zipes, Jack, "Why Fairy Tales Stick: The Evolution and Relevance of a Genre" (2006), Routledge