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Download Contemporary Women's Gothic Fiction: Carnival, Hauntings and by Gina Wisker PDF

By Gina Wisker

This booklet revives and revitalises the literary Gothic within the fingers of latest ladies writers. It makes a scholarly, full of life and convincing case that the Gothic makes horror good, and establishes modern women’s Gothic fictions in and opposed to conventional Gothic. The ebook offers new, enticing views on verified modern girls Gothic writers, with a selected concentrate on Angela Carter, Margaret Atwood and Toni Morrison. It explores how the Gothic is malleable of their palms and is used to demythologise oppressions in keeping with distinction in gender and ethnicity. The research offers new Gothic paintings and new nuances, opinions of risky complacency and radical questionings of what's secure and conformist in works as different as Twilight (Stephenie Meyer) and A woman Walks domestic Alone (Ana Lily Amirpur), in addition to by way of Anne Rice and Poppy Brite. It additionally introduces and significantly explores postcolonial, vampire and neohistorical Gothic and women’s ghost tales.

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Additional resources for Contemporary Women's Gothic Fiction: Carnival, Hauntings and Vampire Kisses

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The Gothic locations of space ships, brutalist architecture, harsh metal suits, Pacific Rim monsters from the deep (Pacific Rim, 2013; Godzilla, 2014), contemporary threats of invasion, eruption (The War of the Worlds—films, 1953, 2005) all utilise Gothic characteristics and interests; focus on identity, troubling fixed beliefs, liminal spaces between safety and deadly danger, and hostile environments, including the home, which initially seemed safe. Twinning is represented in Invasion of the Body Snatchers (1956, 1978), building on The Strange Case of Dr Jekyll and Mr Hyde (Stevenson 1886), mad doctors, and perhaps more deeply than previously, a sense of undermining that which has been thought to be constant.

Manipulated by the strings of male pornographic adulation, this she dramatises in her every move. Lady Purple, the embodiment and repository of the punters’ horror, cannot be packed away. This monster of their own making can neither lie down nor be hung up: she could not escape the tautological paradox in which she was trapped; had the marionette all the time parodied the living or was she, now living, to ANGELA CARTER: LIVING IN GOTHIC TIMES 45 parody her own performance as a marionette? Although she was now manifestly a woman, young and beautiful, the leprous whiteness of her face gave her the appearance of a corpse animated solely by demonic will.

Lady Purple is the stuff of hidden fantasies and fears, written on the constructed body of woman. She is an icon of desired and hated woman, an embodiment of men’s longings and fears, the ‘petrification of a universal whore’, both a ‘nameless essence of the idea of woman’ and yet, once involved in her performance, ‘the image of irresistible evil’. She is also controllable, and static, an ageless marionette, whose body parts are hung up nightly after the show like a painted, false coquette. An archetypal figure of the monstrous female, she embodies all her audience’s desire and fear and yet can be conveniently tidied away out of sight for future use.

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