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References

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  • Ackroyd, Peter (1984), ‘The Dark Forest’, Spectator, 29 September, 33-4.
  • Alexander, Flora (1989), Contemporary Women Novelists, London: Edward Arnold, 61-75.
  • Alexander, Marguerite (1990), Flights from Realism: Themes and Strategies in Postmodernist British and American Fiction, London: Edward Arnold.
  • Almansi, Guido (1994), ‘In the Alchemist’s Cave: Radio Plays’ in Sage (ed.), 216-229.
  • Altevers, Nanette (1994), ‘Gender Matters in The Sadeian Woman’, The Review of Contemporary Fiction, 14:3, Autumn, 18-23.
  • Anwell, Maggie (1988), ‘Lolita Meets the Werewolf: The Company of Wolves’ in Gamman and Marshment (eds), 76-85.
  • Atwood, Margaret (1992), ‘Magic Token Through the Dark Forest’, Observer, 23 February, 61.
  • Atwood, Margaret (1994), ‘Running with the Tigers’ in Sage (ed.), 117-135.
  • Bacchilega, Cristina (1988), ‘Cracking the Mirror: Three Revisions of Snow White’, Boundary, 2, 15:16, Spring/Autumn, 1-25.
  • Bailey, Paul (1992), Interview with Angela Carter, Third Ear, Radio 3, 7 April.
  • Baron, Saskia (1987), ‘Toying with Fantasies’, The Independent, 31 July, 26.
  • Barthes, Roland [1957] (1993), Mythologies, London: Vintage.
  • Barthes, Roland (1970), trans Richard Howard (1982), Empire of Signs, New York: Hill and Wang.
  • Bayley, John (1992), ‘Fighting for the Crown’, The New York Review of Books, 23 April, 9-11.
  • Bradfield, Scot (1994), ‘Remembering Angela Carter’, The Review of Contemporary Fiction, 14:3, Autumn, 90-93.
  • Brophy, Philip (1986), ‘Horrality - the Textuality of Contemporary Horror Films’, Screen, 27:1, January-February, 2-13.
  • Bunbury, Stephanie (1987), ‘The Write Stuff’, Cinema Papers, September, 37-8.
  • Bell, Michael (1992), ‘Narration as Action: Goethe’s “Bekenntnisse Einer Schonen Seele” and Angela Carter’s Nights at the Circus’, German Life and Letters, 45, January, 16-32.
  • Bennett, Catherine (1995), ‘Hype and Heritage’, Guardian, 22 September, 2-4.
  • Berry, Philippa (1994), ‘The Burning Glass: Paradoxes of Feminist Revelation in Speculum’ in Burke, Schor and Whitford (eds), 229-46.
  • Bristow, Joseph and Trev Lynn Broughton (eds) (1997), The Infernal Desires of Angela Carter: Fiction, Femininity, Feminism, Essex: Longman.
  • Britzolakis, Christina (1995), ‘Angela Carter’s Fetishism’, Textual Practice, 9:3, 459-76.
  • Brooks, Richard and Peter Beaumont, Observer, 1 December 1991, 3.
  • Bryant, Sylvia (1990), ‘Re-constructing Oedipus Through “Beauty and the Beast”’, Criticisms: A Quarterly for Literature and the Arts, 31:4, Autumn, 439-53.
  • Callil, Carmen (1992), ‘Flying Jewellery’, Sunday Times, Section 7, 23 February, 6.
  • Callil, Carmen and Lorna Sage (1993), ‘In Praise of Angela Carter’, talk at Cheltenham Festival, 16 October.
  • Cameron, Deborah (ed.) (1990), The Feminist Critique of Language: A Reader, London and New York: Routledge.
  • Campbell Dixon, Anne (1987), ‘Mae West Would Have Approved’, Daily Telegraph, 31 July.
  • Cartmell, Deborah, I. Q. Hunter, Heidi Kaye and Imelda Whelehan (eds) (1996), Pulping Fictions: Consuming Culture Across the Literature/Media Divide, London and Chicago: Pluto Press.
  • Cartmell, Deborah, I. Q. Hunter, Heidi Kaye and Imelda Whelehan (eds) (1998), Sisterhoods: Across the Literature/Media Divide, London and Sterling, Virginia: Pluto Press.
  • Castell, David (1984), Review of The Company of Wolves, Daily Telegraph, November, quoted in Anwell (1988).
  • Cholodenko, Alan (ed.) (1991), The Illusion of Life: Essays on Animation, Sydney: Power Publications.
  • Clapp, Susannah (1991), ‘On Madness, Men and Fairy-tales’, Independent on Sunday Review Supplement, 9 June, 26.
  • Clark, Robert (1987), ‘Angela Carter’s Desire Machine’, Women’s Studies: An Interdisciplinary Journal, 14:2, 147-61.
  • Collick, John (1991), ‘Wolves Through the Window: Writing Dreams / Dreaming Films / Filming Dreams’, Critical Survey, 3:3, 283-9.
  • Coover, Robert (1994), ‘A Passionate Remembrance’, The Review of Contemporary Fiction, 14: 3, Fall, 9.
  • Cranny-Francis, Anne (1990), Feminist Fiction: Feminist Uses of Generic Fiction, Cambridge: Polity Press.
  • Crofts, Charlotte (1996), ‘Mirage Bombardment’, Times Literary Supplement, 8 November, 34.
  • Crofts, Charlotte (1998), ‘Curiously Downbeat Hybrid or Radical Retelling?: Neil Jordan’s and Angela Carter’s The Company of Wolves ’ in Cartmell, Hunter, Kaye and Whelehan (eds) (1998), 48-63.
  • Crofts, Charlotte (2003), Anagrams of Desire: Angela Carter's Writing for Radio, Film and Television (Manchester: Manchester University Press).
  • Crofts, Charlotte (2006), ‘“The Other of the Other”: Angela Carter’s “New-Fangled” Orientalism’ in Rebecca Munfod (ed.) Revising Angela Carter: Texts / Intertexts / Contexts (London: Palgrave Macmillan), 87-110.
  • Cunningham, Valentine (1995), ‘Roll Up for the Necrophiliacs’ Party’, Observer, 19 February, 17.
  • Day, Aidan (1998), Angela Carter: The Rational Glass, Manchester and New York, Manchester University Press.
  • Dearman, Glyn (1992), Angela Carter Obituary, Times, 20 February.
  • Donelly, Frances (1987), ‘Edinburgh by Carter and Son’, Observer, 15-21 August, 85.
  • Duncker, Patricia (1984), ‘Re-imagining the Fairy Tales: Angela Carter’s Bloody Chambers’, Literature and History, 10:1, Spring, 3-14.
  • Engstrom, John (1988), ‘Bewitching Wit’, Boston Globe, 28 October, 51-62.
  • Erens, Patricia (ed.) (1990), Issues in Feminist Film Criticism, Bloomington and Indianapolis: Indiana University Press.
  • Evans, Kim and Angela Carter (1992), Post production script of Angela Carter’s Curious Room, Omnibus, BBC Music and Arts Department archive, part published as ‘The Granada, Tooting’ in Carter (1997), 400.
  • Fernihough, Anne (1997), ‘“Is She Fact or Is She Fiction?”: Angela Carter and the Enigma of Woman’, Textual Practice, 11:1, 89-107.
  • Ferrell, Robyn (1991), ‘Life-threatening Life: Angela Carter and the Uncanny’ in Cholodenko (ed.), 131-44.
  • Fisher, Susan (2001), 'The Mirror of the East: Angela Carter and Japan' in Susan Fisher (ed.), Nostalgic Journeys: Literary Pilgrammages Between Japan and the West, Vancouver: Institute for Asian Reseach, University of British Columbia, 165-74.
  • Forgan, Liz (1991), ‘Sacred Cows on C4’, Times, 5 December.
  • French, Philip (1984), ‘Rosaleen and the Wolves’, Observer, 23 September, 9.
  • Gallop, Jane (1982), Feminism and Psychoanalysis: The Daughter’s Seduction, London: Macmillan, 58.
  • Gamble, Sarah (1997), Angela Carter: Writing From the Front Line, Edinburgh: Edinburgh University Press.
  • Gamman, Lorraine and Margaret Marshment (eds) (1988), The Female Gaze: Women as Viewers of Popular Culture, London: Women’s Press.
  • Gerrard, Nicci (1989), Into the Mainstream: How Feminism Has Changed Women’s Writing, London: Pandora.
  • Gibbs, Jeanne K. (1992), ‘Wise Children’, The Review of Contemporary Fiction, 12, Summer, 195-6.
  • Goldsworthy, Kerryn (1985), ‘Angela Carter’, Meanjin, 44:1, 4-13.
  • Gorra, Michael (1987), ‘Saints and Strangers’, The Hudson Review, 40, Spring, 136-48.
  • Gray, John (1997), ‘Time to Get Rid of the Crime of Blasphemy’, Daily Telegraph, 12 August.
  • Grossman, Michele (1988), ‘“Born to Bleed”: Myth, Pornography and Romance in Angela Carter’s “The Bloody Chamber”’, The Minnesota Review, 30/31, Spring, 148-60.
  • Haase, Donald P. (1990), ‘Is Seeing Believing?: Proverbs and the Film Adaptation of a Fairy Tale’, Proverbium, 7, 89-104.
  • Haffenden, John (1985), Novelists in Interview, London: Methuen, 76-96.
  • Hanson, Clare (1988), ‘Each Other: Images of Otherness in the Short Fiction of Doris Lessing, Jean Rhys and Angela Carter’, Journal of the Short Story in English, 10, Spring, 67-82.
  • Hanson, Clare (ed.) (1989), Re-reading the Short Story, London: Macmillan.
  • Herbert, Hugh (1991), ‘A Slice of the Action that Was Pie in the Sky’, Guardian, 4 December, 34.
  • Hill, Joanne (1987), ‘Dream Machines’, City Life, 9-23 October, 12.
  • Holden, Kate (1985), ‘Women’s Writing and the Carnivalesque’, Literature Teaching Politics, 4, 5-15.
  • Johnstone, Iain (1984), ‘Old Wolves’ Tales’, Sunday Times, 23 September, 55.
  • Jordan, Elaine (1990), ‘Enthralment: Angela Carter’s Speculative Fictions’ in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 19-40.
  • Jordan, Elaine (1992), ‘The Dangers of Angela Carter’ in Isobel Armstrong (ed.), New Feminist Discourses, London: Routledge, 119-31.
  • Jordan, Elaine (1994), ‘The Dangerous Edge’ in Sage (ed.), 189-215.
  • Kappeler, Susanne (1986), The Pornography of Representation, Minneapolis: University of Minnesota Press.
  • Katsavos, Anna (1994), ‘An Interview with Angela Carter’ in The Review of Contemporary Fiction, 14:3, Autumn, 11-17.
  • Kearns, George (1989), ‘History and Games’, The Hudson Review, 42:2, Summer, 335-44.
  • Keenan, Sally (1997), ‘Angela Carter’s The Sadeian Woman: Feminism as Treason’ in Bristow and Broughton (eds), 132-148.
  • Kemp, Peter (1991), ‘Magical History Tour’, Sunday Times, Section 6, 9 June, 6-7.
  • Kenyon, Olga (1988), Women Novelists Today: A Survey of English Writing in the Seventies and Eighties, Brighton: Harvester.
  • Landon, Brooks (1986), ‘Eve at the End of the World: Sexuality and the Reversal of Expectations in Novels by Joanna Russ, Angela Carter and Thomas Berger’ in Donald Palumbo (ed.), Erotic Universe: Sexuality and Fantastic Literature, Connecticut: Greenwood Press, 61-74.
  • Laye, Mike (1986), ‘Flights of Fancy in Balham’, Observer, 9 November.
  • Lee, Hermione (1992), ‘Angela Carter’s Profane Pleasures’, Times Literary Supplement, 19 June, 5-6.
  • Lee, Hermione (1994), ‘“A Room of One’s Own” or a Bloody Chamber?: Angela Carter and Political Correctness’ in Sage (ed.), 308-320.
  • Lewallen, Avis (1988), ‘Wayward Girls But Wicked Women?: Female sexuality in Angela Carter’s The Bloody Chamber’ in Gary Day and Clive Bloom (eds), Perspectives on Pornography: Sexuality in Film and Literature, New York: St. Martin’s Press, 144-58.
  • Lokke, Kari E. (1988), ‘Bluebeard and The Bloody Chamber: the Grotesque of Self-parody and Self-assertion’, Frontiers: A Journal of Women’s Studies, 10:1, 7-12.
  • Magrs, Paul (1997), ‘Boys Keep Swinging: Angela Carter and the Subject of Men’ in Bristow and Broughton (eds), 184-197.
  • Makinen, Merja (1992), ‘Angela Carter’s The Bloody Chamber and the Decolonization of Feminine Sexuality’, Feminist Review, 42, Autumn, 2-15.
  • Malcolm, Derek (1984), ‘A Furry Tale for Grown-ups’, Guardian, 20 September, 11.
  • Mansfield, Paul (1990), ‘Tell-tale Sisters’, Guardian, 25 October, 32.
  • Mars-Jones, Adam (1984a), ‘Nights at the Circus’, Times Literary Supplement, 28 September, 1083.
  • Mars-Jones, Adam (1984b), Writers in Conversation, London: ICA Video.
  • Matus, Jill (1991), ‘Blonde, Black and Hottentot Venus: Context and Critique in Angela Carter’s Black Venus’, Studies in Short Fiction, 28, Autumn, 467-76.
  • McAsh, Iain F. (1984), ‘Wolves at the Palace’, Films, 4:9, September, 5.
  • McDowell, Margaret B. (1986), ‘Angela Carter’ in Contemporary Novelists, London: St James Press, 173-75.
  • McEwan, Ian (1984), ‘Sweet Smell of Excess’, Sunday Times Magazine, 9 September, 42-4.
  • McHale, Brian (1987), Postmodernist Fiction, New York: Methuen.
  • Mckee Charnas, Suzy (1990), ‘Boobs’ in Tuttle (ed.), 18-38.
  • Michael, Magali Cornier (1994), ‘Angela Carter’s Nights at the Circus: an Engaged Feminism Via Subversive Postmodern Strategies’, Contemporary Literature, 35, Autumn, 492-521.
  • Mills, Sara, Lynne Pearce, Sue Spaull, and Elaine Millard (1989), Feminist Readings/ Feminists Reading, Hemel Hempsted: Harvester Wheatsheaf.
  • Monteith, Moria (ed.) (1986), Women’s Writing: A Challenge to Theory, Brighton: Harvester.
  • Morgan-Griffiths, Lauris (1990), ‘Well Wicked Times by Word of Mouth,’ Observer, 21 October.
  • Mortimer, John (1982), ‘The Stylish Prime of Miss Carter,’ Sunday Times, 24 January, 36.
  • Moyes, Jojo (1997), ‘Pregnant With Meaning - or a Slight on Motherhood?’, Independent, 11 September, 3.
  • Müller, Anja (1997), Angela Carter: Identity Constructed / Deconstructed, Heidelberg: Universitätsverlag C. Winter.
  • Mulvey, Laura (1994), ‘Cinema Magic and the Old Monsters: Angela Carter’s Cinema’ in Sage (ed.), 230-42.
  • Neale, Catherine (1996), ‘Pleasure and Interpretation: Film Adaptations of Angela Carter’s Fiction’ in Cartmell, Hunter, Kaye, Whelehan (eds), 99-109.
  • Geraldine O’Brien (1987), ‘Putting Pen to Celluloid’, Sydney Morning Herald, 29 September.
  • O’Brien, John (ed.) (1994), The Review of Contemporary Fiction, 14:3, Autumn.
  • O’Day, Marc (1994), ‘Mutability is Having a Field Day: The Sixties Aura of Angela Carter’s Bristol Trilogy’ in Sage (ed.), 24-59.
  • Orodenker, Richard (1983), ‘Fireworks: Nine Story-tellers’, The North American Review, 268:1, March, 68-72.
  • Palmer, Paulina (1987), ‘From “Coded Mannequin” to Bird Woman: Angela Carter’s Magic Flight’ in Roe (ed.), 177-205.
  • Palmer, Paulina (1989), Contemporary Women’s Fiction: Narrative Practice and Feminist Theory, Jackson: University of Mississippi.
  • Palmer, Paulina (1997), ‘Gender as Performance in the Fiction of Angela Carter and Margaret Atwood’ in Bristow and Broughton (eds), 24-42.
  • Parente, William (1984), ‘Haunting tales from the forest’, The Scotsman, 22 September, 6.
  • Paterson, Moira (1986), ‘Flights of Fancy in Balham: Filming The Magic Toyshop’, Observer Magazine, 9 November, 42-3, 45.
  • Peach, Linden (1998), Angela Carter, Basingstoke: Macmillan.
  • Perino, Joy (dir) (1990), ‘The Kitchen Child’, Short and Curlies, Channel 4, 30 June.
  • Punter, David (1984), ‘Angela Carter: Supersessions of the Masculine’, Critique: Studies in Modern Fiction, 25:4, 209-22.
  • Punter, David (1980), The Literature of Terror: A History of Gothic Fictions from 1764 to the Present Day, London: Longman.
  • Pym, John (1984), ‘If You Go Down to the Woods Today’, Financial Times, 21 September, 23.
  • Roe, Sue (ed.) (1987), Women Reading Women’s Writing, Brighton: Harvester.
  • Rose, Ellen Cronan (1983), ‘Through the Looking Glass: When Women Tell Fairy Tales’ in Abel, Elizabeth, Marianne Hirsch and Elizabeth Langland (eds), The Voyage In: Fictions of Female Development, Hanover: University Press of New England, 209-43.
  • Rosinsky, Natalie M. (1984), Feminist Futures: Contemporary Women’s Speculative Fiction, Michigan: UMI Research, 10-19.
  • Rowe, Karen E. (1986), ‘Feminism and Fairy Tales’ in Zipes (ed.), 209-26.
  • Sage, Lorna (1973), ‘Angela Carter’ in Jay L. Halio (ed.), Dictionary of Literary Biography, Volume. 14: British Novelists Since 1960, Detroit, Michigan: Bruccoli Clark, 205-12.
  • Sage, Lorna (1977), ‘The Savage Sideshow’, New Review, 39/40, 51-7.
  • Sage, Lorna (1992), Women in The House of Fiction, London: Macmillan.
  • Sage, Lorna (1994), Angela Carter: Writers and Their Work, Plymouth: Northcote House.
  • Sage, Lorna (ed.) (1994), Flesh and the Mirror: Essays on the Art of Angela Carter, London: Virago.
  • Sanders, Claire (1994), 'Quota Plan May Save Pre-modern Literature', Times Higher Education Supplement, 8 April, 6.
  • Sceats, Sarah (1997), ‘The Infernal Appetites of Angela Carter’ in Bristow and Broughton (eds), 100-15.
  • Schmidt, Ricarda (1989), ‘The Journey of the Subject in Angela Carter’s Fiction’, Textual Practice, 3:1, Spring, 56-75.
  • Sheets, Robin Ann (1991), ‘Pornography, Fairy Tales, and Feminism: Angela Carter’s “The Bloody Chamber’ in Tucker (1998), 96-118.
  • Sebastyen, Amanda (1987), ‘The Mannerist Marketplace’, New Socialist, March, 34-9.
  • Smith, Anne (1985), ‘Myths and the Erotic’, Women’s Review, 1, November, 28-9.
  • Smith, Barbara (1985), ‘From Classical Archetypes to Modern Stereotypes’, Spare Rib, November, 36-39.
  • Smith, Joan (1989), Misogynies, London: Faber and Faber.
  • Smith, Joan (1997), Introduction to Carter (1997), xii-iv.
  • Snitow, Ann (1989), ‘Angela Carter: Wild Thing’, The Village Voice Literary Supplement, June, 14-17.
  • Stanbrook, Alan (1991), ‘Snapshots on the Road to Blasphemy’, Daily Telegraph, 4 December, 16.
  • Suleiman, Susan Rubin (ed.) (1986), The Female Body in Western Culture: Contemporary Perspectives, Cambridge, Massachusetts: Harvard University Press.
  • Sutton, Paul and Anne White (1997), ‘Framing the Text: in The Company of Wolves’, ManuScript, 2:1, Summer, 27-38.
  • Tolley, Michael J. (1986), ‘Angela Carter’ in Curtis Smith (ed.), Twentieth-Century Science-Fiction Writers, 2nd Edition, London: St James Press, 122-3.
  • Tucker, Lindsey (ed.) (1998), Critical Essays on Angela Carter, New York: G. K. Hall and Co.
  • Turner, Rory P. B. (1987), ‘Subjects and Symbols: Transformations of Identity in Nights at the Circus’, Folklore Forum, 20:1/2, 39-60.
  • Tuttle, Lisa (ed.) (1990), Skin of the Soul: New Horror Stories by Women, London: Women’s Press.
  • Warner, Marina (1994), From the Beast to the Blonde: on Fairy Tales and Their Tellers, London: Chatto and Windus.
  • Waugh, Patricia (1986), ‘Winged Women and Werewolves: How Do We Read Angela Carter?’, Ideas and Production: A Journal in the History of Ideas, 4, 87-98.
  • Waugh, Patricia (1989), Feminine Fictions: Revisiting the Postmodern, London: Routledge.
  • Wilson, Robert Rawdon (1989), ‘Slip Page: Angela Carter In/Out/In the Postmodern Nexus’, Ariel: A Review of International English Literature, 20:4, October, 96-114.
  • Wisker, Gina (1984), ‘Woman Writer, Woman Reader, Male Institution: the Experience of a Contemporary Women’s Writing Seminar’, Literature Teaching Politics, 3, 18-31.
  • Wisker, Gina (1997), ‘The Revenge of the Living Doll: Angela Carter’s Horror Writing’ in Bristow et al (eds), 116-31.
  • Zipes, Jack (1983), The Trials and Tribulations of Little Red Riding Hood: Versions of the Tale in Sociocultural Context, London: Heinemann.
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