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dc.contributor.authorKusnetz, Ilyse Margoen
dc.date.accessioned2018-01-31T11:46:42Z
dc.date.available2018-01-31T11:46:42Z
dc.date.issued1998en
dc.identifier.urihttp://hdl.handle.net/1842/28384
dc.description.abstracten
dc.description.abstractThe title of my thesis is The Return of Romantic Irony: Modes of Feminist and Post - Colonial Identity in the work of Angela Carter, Salman Rushdie and Ben Okri. Within my thesis, I explore how the work of Angela Carter, Salman Rushdie and Ben Okri can be viewed in connection with traditional ideas of late eighteenth and early nineteenth century Romantic Irony, and how their work may embody a more contemporary Romantic Irony. This contemporary Romantic Irony involves an ironic usage of ideas and texts associated with romance and Romanticism, in order to both address patriarchal and orientalist constructions of the 'Other', and to explore feminist and post -colonial constructions of individual and cultural identities.en
dc.description.abstractIn 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.en
dc.description.abstractIn 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.en
dc.description.abstractIn 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) Nature. 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.en
dc.description.abstractme. In Chapter Four, I discuss how Okri's work poses an unavoidable question within the framework of the thesis, as to how valid Western definitions of `the romantic' and the fantastical are when applied to non -Western literature. With this in mind, I describe Okri's shift from ideas of imaginative transcendence to imaginative transformation. I also investigate his stress on the importance of individual, romantic love as a counterpoint to mass political corruption, and his emphasis on the artist as a redemptive hero who fuses elements of spiritual and political awareness.en
dc.description.abstractIn my conclusion, I discuss the relationship between feminist theories of love and intersubjectivity, and post -colonial theories of hybridity and migrancy.en
dc.publisherThe University of Edinburghen
dc.relation.ispartofAnnexe Thesis Digitisation Project 2017 Block 16en
dc.relation.isreferencedbyAlready catalogueden
dc.titleReturn of romantic irony : modes of feminist and post-colonial identity in the work of Angela Carter, Salman Rushdie and Ben Okrien
dc.typeThesis or Dissertationen
dc.type.qualificationlevelen
dc.type.qualificationnamePhD Doctor of Philosophyen


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