{"title":"“帝国主义的另一面”:安吉拉·卡特晚期小说中的喜剧独白","authors":"S. Harris","doi":"10.1093/CWW/VPAA027","DOIUrl":null,"url":null,"abstract":"\n This essay takes seriously Angela Carter’s playful treatment of race and imperialism across her late fiction. It argues that Carter’s representation of popular theatrical culture as a demotic variety of Englishness reveals a paradoxical tension at the heart of her politics: namely, the idea that one can sustain a serious antiracist or anti-imperialist politics while simultaneously taking pleasure in the popular forms that underwrite “Englishness” as a demographic category. In reading the comic monologue as a central feature of Carter’s narrative strategy across her last two novels, Nights at the Circus (1984) and Wise Children (1991), and her short story, “Black Venus” (1980), this essay suggests that Carter adopts the critical edge of comic performance to establish a dissenting, oppositional relationship to imperial culture and its legacies.","PeriodicalId":41852,"journal":{"name":"Contemporary Womens Writing","volume":"14 1","pages":"333-349"},"PeriodicalIF":0.2000,"publicationDate":"2020-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1093/CWW/VPAA027","citationCount":"1","resultStr":"{\"title\":\"“The Other Side of Imperialism”: The Comic Monologue in Angela Carter’s Late Fiction\",\"authors\":\"S. Harris\",\"doi\":\"10.1093/CWW/VPAA027\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n This essay takes seriously Angela Carter’s playful treatment of race and imperialism across her late fiction. It argues that Carter’s representation of popular theatrical culture as a demotic variety of Englishness reveals a paradoxical tension at the heart of her politics: namely, the idea that one can sustain a serious antiracist or anti-imperialist politics while simultaneously taking pleasure in the popular forms that underwrite “Englishness” as a demographic category. In reading the comic monologue as a central feature of Carter’s narrative strategy across her last two novels, Nights at the Circus (1984) and Wise Children (1991), and her short story, “Black Venus” (1980), this essay suggests that Carter adopts the critical edge of comic performance to establish a dissenting, oppositional relationship to imperial culture and its legacies.\",\"PeriodicalId\":41852,\"journal\":{\"name\":\"Contemporary Womens Writing\",\"volume\":\"14 1\",\"pages\":\"333-349\"},\"PeriodicalIF\":0.2000,\"publicationDate\":\"2020-12-31\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"https://sci-hub-pdf.com/10.1093/CWW/VPAA027\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Contemporary Womens Writing\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1093/CWW/VPAA027\",\"RegionNum\":3,\"RegionCategory\":\"文学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"LITERATURE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Contemporary Womens Writing","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1093/CWW/VPAA027","RegionNum":3,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"LITERATURE","Score":null,"Total":0}
“The Other Side of Imperialism”: The Comic Monologue in Angela Carter’s Late Fiction
This essay takes seriously Angela Carter’s playful treatment of race and imperialism across her late fiction. It argues that Carter’s representation of popular theatrical culture as a demotic variety of Englishness reveals a paradoxical tension at the heart of her politics: namely, the idea that one can sustain a serious antiracist or anti-imperialist politics while simultaneously taking pleasure in the popular forms that underwrite “Englishness” as a demographic category. In reading the comic monologue as a central feature of Carter’s narrative strategy across her last two novels, Nights at the Circus (1984) and Wise Children (1991), and her short story, “Black Venus” (1980), this essay suggests that Carter adopts the critical edge of comic performance to establish a dissenting, oppositional relationship to imperial culture and its legacies.