The Oxford University Dictionary defines the word power as ‘authority or control’ over an individual and knowledge as ‘the sum of what is known’. In Angela Carter’s story The Bloody Chamber (1979) knowledge and power correlate with each other. The more information a character possesses the greater authority they have. In The Bloody Chamber Carter utilises a variety of literary techniques to express the importance of knowledge and power in the plot. This essay will analyse the way Carter applies these literary techniques to the story to express the importance of knowledge and power. Firstly, the literary technique symbolism has been used to represent power. The ruby choker, given to the Bride by the Marquis, is a symbol of power. The Bride describes the choker as a ‘choker of rubies, two inches wide, like an extraordinarily precious slit throat...bright as arterial blood’. This depiction is a useful method of representing the Marquis power because the necklace acts like a collar. This signifies how the Marquis behaves like his Bride’s master. (why master?) An example of the Marquis expressing this power is when the Marquis takes the Bride’s virginity. The Marquis tells the Heroine to wear the choker before consummating their marriage; in relation to power, this shows how the Marquis has the right to her body. Moreover, the overwhelming presence of lilies in the bridal chamber represents the loss of virginity. The quote ‘[mirrors] on the wall...reflected more white lilies that I’d ever seen in my life’ (pg10-11). This exhibits the overpowering image of lilies for the reason that lilies in reality connote death or loss, in the context of the story; this is the loss of the Brides virginity. In addition to this, the resemblance of th... ... middle of paper ... ... each other and ultimately determine the fate of the characters in the story, especially the fate of the Heroine. Works Cited Oxford University Press (2010) Oxford Dictionaries “knowledge”. Available at: http://oxforddictionaries.com/definition/knowledge (Accessed: 13 December 2011). Oxford University Press (2010) Oxford Dictionaries “power”. Available at: http://oxforddictionaries.com/definition/power (Accessed: 13 December 2011). (PDF Quotes page 5cited as a webpage with author) Fernandes, A.R. (2009/2010) “The Bloody Chamber” and “O Belo Adormecido”: intertextuality as an effective strategy to subvert conventions. Available at: http://ceh.ilch.uminho.pt/Pub_Ana_Raquel_Fernandes.pdf (Accessed: 27 November 2011) (Google ebook page 96) Roemer, D.M and Bacchilega, C. (2000) Angela Carter and the Fairy Tale. Detroit, MI: Wayne State University Press.
are what keep us interested in the plot of a book. The ongoing battle between a
...cters and event influences, helping them to develop their character by the end of the story.
Teresa De Lauretis defines the space-off as “spaces in the margins of hegemonic discourse, social spaces carved in the interstices of institutions and in the chinks and 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, without supporting or contributing to the space, thus threatening the space and its place at the center, though they may never dismantle it. I finish by demonstrating how the elements come together in the creation of an alternative narrative.
Black, Holly. Valiant: A Modern Faerie Tale. New York : Simon & Schuster, Inc., 2005. Print.
Works Cited I. Powell, Janice A. Teaching Faulkner. Online. Internet. Powell.html at www2semo.edu 15 July 1999 II. Who makes a Devil out of a Fair Lady? Du Fang/Canadian Social Science Vol.3 No.4 2007 18-24 III. Charters, Ann. The Story and its Writer : an Introduction to Short Fiction. Eighth edition. New York: St.Martin's, 1983. Print.
...ence we know what is happening in their lives and where they are with each other and their friendship. It’s important for that because their relationship is a key component in the story.
Rowe Karen. “Feminism and Fairy Tales.” Folk & Fairy Tales. Matin Hallett and Barbrar Karasek. Canada: Library and Archives Canada Cataloguing in Publication, 2009. 342-358. Print.
with power depending on the circumstances, in the novel it is used to explain that if you know
“Guy de Maupassant’s, “The Necklace”, is about a young couple who discovers the upper society appears to sparkles like a real diamond necklace, but in reality it is not always true. A decision that seems to protect their integrity turns out to tarnish it – like a fake necklace. However, through ironic insights we witness drama, character revelations and experience surprise” (Clugston, 2010) .The Necklace is told from a 3rd person point of view with limited omniscience. The title suggests that the plot will center on a necklace. So, naturally we, the audience or reader wants to know what the significance of the necklace is. After reading the story I believe that Maupassant used the necklace to symbolize the upper society or wealth. Another symbol that the necklace represents is appearance. In the story Mme. Loisel was a beautiful young woman that had admirers at the reception. She made all the attendees believe she was from...
Angela Carter was a writer in the 1970s during the third wave of feminism that influenced and encouraged personal and social views in her writing. This is demonstrated through her own interpretation of fairy tales in The Bloody Chamber. She combines realism and fantasy to create ‘magic realism’ whilst also challenging conventions of stereotypical gender roles.
Bettelheim, Bruno. “Fantasy, Recovery, Escape, and Consolation. “The Uses of Enchantment: The Meaning and Importance of Fairy Tales. New York: Vintage Books, 1976.
and that his mother said “Twould make her amiable and subdue [his] father, entirely to her love, but if she lost it or made gift of it, [his] father’s eye should hold her loathèd and his spirits should hunt after new fancies” (III.iv.51-55). - turning the handkerchief into a symbol of chastity. The strawberry pattern, colored with virgin’s blood on the plain white background correlates with the loss of virginity on a wedding night, creating the handkerchief into a symbol of virginity.
Rohrick, Lutz. Introduction. Fairytales and Society: Illusion, Allusion and Paradigm. Ed. R.B. Bottingheimer. Philadelphia: University of Pennsylvania Press, 1986. 1-9.
Bottigheimer Ruth B. Fairytales Folk Narrative Research and History “Social History” JSTOR 14, 3 (1989). 343-357, Taylor & Francis, Ltd.
The Necklace also displays distinctive realism in the use of socioeconomic influences which are essential to the plot. The major conflict in the story would be absent and the theme would not be obtainable without Mathilde Loisel’s insecurity about her own socioeconomic reputation. An example of Loisel’s self-deprivation nature is presented when she realizes she does not have a necklace, she says “I shall look absolutely no one. I would almost rather not go to the party” (Maupassant, sec. 3). Another example of the self-conflict caused by social pressure is Loisel’s immediate attempt to replace the necklace and her reluctance to speak to her friend Madame Forestier about the necklace for ten whole years. If she were not conflicted by societal pressures she might have avoided the whole situation altogether. The Necklace establishes a realistic difference in value between the necklaces and proposed clothing. Her husband proposes flowers which were valued 10 franks so in any case if she had chosen the flowers there would have been an insignificant economic loss. Her decision not to tell her friend about the necklace ends up costing her seven times the worth of the original. The roses symbolize the simpler things in life to the theme of the story. Mathilde Loisel’s withered appearance at the end