The Bloody Chamber

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From Wikipedia: Born Angela Olive Stalker in Eastbourne, in 1940, Carter was evacuated as a child to live in Yorkshire with her maternal grandmother. As a teenager she battled anorexia. She began work as a journalist on the Croydon Advertiser, following in the footsteps of her father. Carter attended the University of Bristol where she studied English literature.

She married twice, first in 1960 to Paul Carter. They divorced after twelve years. In 1969 Angela Carter used the proceeds of her Somerset Maugham Award to leave her husband and relocate for two years to Tokyo, Japan, where she claims in Nothing Sacred (1982) that she "learnt what it is to be a woman and became radicalised." She wrote about her experiences there in articles for New Society and a collection of short stories, Fireworks: Nine Profane Pieces (1974), and evidence of her experiences in Japan can also be seen in The Infernal Desire Machines of Doctor Hoffman (1972). She was there at the same time as Roland Barthes, who published his experiences in Empire of Signs (1970).

She then explored the United States, Asia, and Europe, helped by her fluency in French and German. She spent much of the late 1970s and 1980s as a writer in residence at universities, including the University of Sheffield, Brown University, the University of Adelaide, and the University of East Anglia. In 1977 Carter married Mark Pearce, with whom she had one son.

As well as being a prolific writer of fiction, Carter contributed many articles to The Guardian, The Independent and New Statesman, collected in Shaking a Leg. She adapted a number of her short stories for radio and wrote two original radio dramas on Richard Dadd and Ronald Firbank. Two of her fictions have been adapted for the silver screen: The Company of Wolves (1984) and The Magic Toyshop (1987). She was actively involved in both film adaptations, her screenplays are published in the collected dramatic writings, The Curious Room, together with her radio scripts, a libretto for an opera of Virginia Wolf's Orlando, an unproduced screenplay entitled The Christchurch Murders (based on the same true story as Peter Jackson's Heavenly Creatures) and other works. These neglected works, as well as her controversial television documentary, The Holy Family Album, are discussed in Charlotte Crofts' book, Anagrams of Desire (2003).

At the time of her death, Carter was embarking on a sequel to Charlotte Brontë's Jane Eyre based on the later life of Jane's stepdaughter, Adèle Varens. However, only a synopsis survives.

Her novel Nights at the Circus won the 1984 James Tait Black Memorial Prize for literature.

Angela Carter died aged 51 in 1992 at her home in London after developing lung cancer. Her obituary published in The Observer said, "She was the opposite of parochial. Nothing, for her, was outside the pale: she wanted to know about everything and everyone, and every place and every word. She relished life and language hugely, and reveled in the diverse."

出版者:Penguin Books
作者:Angela Carter
出品人:
頁數:128
译者:
出版時間:1990-1-1
價格:USD 14.00
裝幀:Paperback
isbn號碼:9780140178210
叢書系列:
圖書標籤:
  • AngelaCarter 
  • 英國 
  • 童話 
  • Angela_Carter 
  • 小說 
  • 英國文學 
  • 文學 
  • 性彆 
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A reissue of a collection of short stories first published ten years ago. They include "The Company of Wolves", on which the prize-winning film of the same name was based. Angela Carter is the author of "Nights at the Circus" and "The Magic Toyshop". --This text refers to an out of print or unavailable edition of this title.

具體描述

讀後感

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我是个记性很差的人,看了安吉拉的几乎所有的故事,大部分都很喜欢,不过能记住的大部分是零星的碎片:穿着脏礼服的忧郁少女,被小孩的脏手拿着的精致的流着眼泪的玩偶,带有日本风味的叙述等等。然而蓝胡子这个故事我却是罕见的记得前前后后和许许多多的细节。 ...  

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世界充满故事,至始至终。 很久以前,中国有了神话,欧洲有了童话。这些故事随着时间的流转不息,不断被改写重塑,然后赋予新的意义。 于是——中国有了鲁迅的《故事新编》,欧洲有了安吉拉•卡特的《染血之室》。 但和《故事新编》特有的文人式调侃讽刺截然不同的是,安吉...

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侯门一入深似海,自此委食换回徨 ——《染血之室与其他故事》 文/yhw_细雨微澜 序言 梦幻的纱穿过古老而又厚重的门,柔和的月光洒在光洁而又冰冷的地砖上,明亮的大厅里觥筹交错,而“我”...  

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用戶評價

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暫時就看瞭bloody chamber這一個故事 語言上有難度

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顛覆傳統童話故事裏的性解讀、性角色和性關係的童話改寫。每個故事均從女性角色的視角齣發,筆觸華美細膩性感。最喜歡血染密室(改編自藍鬍子)和愛情之屋的女主人這兩個故事,連讀瞭三遍,簡直就是完美的哥特文學。有些短篇符號象徵用得太多,有晦澀之嫌。去翻瞭下A-Level備考對一些故事的解讀,覺得自己完全沒有領會其中的性和性彆象徵和含義,幸好我不是文學專業的 = =。

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現代成人童話,略哥特,高級妥帖的女權,一個字不提女權,在情節人物設定上顛反原版男權視角

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所以裏麵的意象到底應該用傳統童話民謠式的男權心理暗示還是Carter的女性主義解讀啊我好糾結!覺得大學能學習中世紀文學還挺酷炫的=_=

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Faerie tales turned into urban Gothics. Words coated with overflowing beauty. I am mesmerised... though I do feel the magic lies only in those layers of antique locutions.

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