is not given to a person, but is inalienable in all people. One must realize that it is not a matter of finding and achieving power, but instead, not letting it get taken away. Angela Carter’s The Company of Wolves and Marie de France’s The Lay of the Werewolf ventures into this idea of power, but specifically, into the role of control in a male-dominated society. Carter prologues her main story with several short stories about the nature of werewolves and relationships between mutating men and the
cracks of the power-knowledge apparati. And it is there that the terms of a different construction [...] can be posed (De Lauretis 232). This paper examines Angela Carter’s use of the space-off in “The Company of Wolves”. I begin by showing how Carter employs fairy tale convention in order to establish a fairy tale space, particularly in terms of gender norms and didacticism. I proceed to examine the ways in which she reveals aspects that are marginal to this space. Marginal, meaning that they exist peripherally
Both The Magic Toyshop by Angela Carter and Persuasion by Jane Austen are constructed as love stories, although not conventional love stories. Austen's novel is part of the cultural movement of Romanticism as, although in earlier novels she satires Romanticism, Persuasion does bear some of the hallmarks of the Romantic period. Carter's novel however, can be seen as an ironic look at the Romantic novel. Therefore both novels provide an interesting viewpoint on their male characters, due not only to
Psychological Tug-Of-War in Angela Carter’s Short Fiction In Angela Carter’s collections of short stories Saints and Strangers (1985) and The Bloody Chamber (1979) the heroines of each story’s identity plays a role in the psychological position the characters become manipulated into by the villain or antagonist in each story. Many of the stories in The Bloody Chamber focus on the idea of liminality. By this, the heroines exhibit qualities of personalities in both states of being simultaneously,