![]() However, because fan fiction cultures place all stories in dialogue with numerous other equally plausible versions, the fairy tale happy ending can serve unexpected purposes. The happily-ever-after ending receives significant feminist criticism partly because it falls within a larger framework of utopian politics and poetics, which are frequently accused of essentialism and authoritarianism. Deployments of realism in " quality TV " series like Game of Thrones often reinforce social stigmatization of feminine genres like the romance, melodrama, and fairy tale. Realism performs a number of functions in various genres, but becomes a particularly tricky concept to tie down in fantasy. More generally I show how various modalities of translation informed her creative method and conversely, how her intertextual source(s) is itself centrally concerned with translation.įan fiction alternate universe stories (AUs) that combine Game of Thrones characters and settings with fairy tale elements construct a dialogue between realism and wonder. This essay argues that Angela Carter’s oeuvre is shaped by a translational and transcreative dynamic by linking the author's encounter with foreign languages and cultures to her lifelong engagement with Lewis Carroll’s Alice books and the nonsense tradition, including its legacy in the surrealist movement. ![]() Carter’s exposure to foreign languages (French, German, Japanese.), in particular, was a key source of inspiration that fed into her literary project of boundary crossings and reading against the grain. Angela Carter, a self-confessed bookish writer who memorably associated intellectual development with the “new readings of old texts", found inspiration for her multifaceted oeuvre in reading widely across languages, genres and periods to nurture her intellectual curiosity and stimulate her creativity.
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