Use this URL to cite or link to this record in EThOS: http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.653594
Title: The return of romantic irony : modes of feminist and post-colonial identity in the work of Angela Carter, Salman Rushdie and Ben Okri
Author: Kusnetz, I. M.
Awarding Body: University of Edinburgh
Current Institution: University of Edinburgh
Date of Award: 1999
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Abstract:
In Chapter One, I discuss definitions of romantic irony, and the various ways in which romantic irony might be viewed in conjunction with the work of these three authors. In order to approach a working definition of 'the romantic', I briefly frame the relationships between romance, romanticism and romantic irony, and establish a particular set of ideas and themes which I view as central to this concept. In this chapter I also develop a theoretical framework for the rest of the thesis, examining points of convergence and divergence between 'the romantic', feminism, post-colonialism, and postmodernism. In Chapter Two, I examine how Carter ironises the dynamic of the Romantic sublime in her work, and how her work develops from an exploration of abjection in her first novel, to an exploration of the sublime in proceeding novels. I view her work in conjunction with Bakhtin's ideas of the grotesque and Kristeva's ideas of the abject. This chapter also explores the role Romantic love plays in shaping the subjectivity of Carter's fictional characters, and connects this with the sublime, transgressive nature of love as Carter describes it in her fiction and journalism. In Chapter Three, I examine how Rushdie ironises and refigures various ideas within romance and romanticism, such as Romantic imagination, Romantic love, the Romantic artist as a hero and/or prophet, and the Romantic sublime (with regard to the dynamic between artist and (M)other). I discuss how these revisionings of Romantic ideas relate to issues of post-colonial identity such as the fate of nationalism and the construction of hybrid/migrant identities. I also question if Rushdie's reinvention of Romantic ideas doesn't to a certain extent reproduce the difficulties with representations of gender found within, especially, the dynamic of the Romantic sublime.
Supervisor: Not available Sponsor: Not available
Qualification Name: Thesis (Ph.D.) Qualification Level: Doctoral
EThOS ID: uk.bl.ethos.653594  DOI: Not available
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