《新夏娃受难记》对荣格原型批评的戏仿
摘要
安吉拉·卡特(1940-1992)是二战后英国文坛备受关注的一位女作家。她在70年代发表的力作《新夏娃受难记》曾引起广泛争议。评论界对它的反应经历了一个由低谷走向高潮的过程。引人注目的是神话原型在这部作品中占据了核心地位。尽管国内外学者曾从不同层面探讨过这部小说中的“炼金术”意象,并结合荣格理论分析其中的象征意义和主题,但他们的研究仍局限于对神话母题的机械性发掘,而对卡特“去神话”的自觉艺术追求则缺乏系统研究。本文拟在前人基础上,从情节、母题和人物三个角度深入探讨《新夏娃受难记》对荣格神话原型批评的戏仿。
论文引言部分着重追述小说发表以来,批评家对其神话原型要素的探讨,提出了进一步探索的空间和可能性,并阐述了论文的基本观点和框架结构。结语部分总结了论文的要点,并简要说明卡特在戏仿荣格原型批评的同时,对一些与该理论一脉相承的宗教思想、精神分析和极端女权主义的颠覆。
论文主体分为三章。第一章是“情节的戏仿”,探讨了小说情节对荣格学派提出的“个体化历程”理论的戏仿。卡特虽在小说情节上摹仿个体化历程的重要阶段,却以“反高潮”的叙事策略颠覆了荣格为个体成长制定的蓝图。小说情节层面上的“戏仿”质疑了荣格对个体心灵发展的过度结构化和原型化的判断。
第二章是“母题的戏仿”,探讨了小说中嵌入的宗教、神话母题。荣格学说视母题为一种原型,并认为它是叙事作品最好的表达方式。然而卡特保留了这些母题的形态,却改变了其内核,创造出一个个具有象征性和颠覆性的意象。《新夏娃受难记》在母题层面的“戏仿”是对荣格原型批评中类型化特征的强烈抨击。
第三章是“人物的戏仿”,探讨了这部小说中的三个女性形象。她们表面上具有原型人物的特点,但其本质却随着小说的发展不断游移,是对荣格学说中“永恒女性原型”的戏仿,也是一次反本质主义的创作实践。小说在人物塑造层面的“戏仿”剖析了原型批评对性别身份,尤其是女性性别身份的奴役。
论文从宏观和微观的角度深入探讨了《新夏娃受难记》对荣格原型批评的戏仿。小说借助“戏仿”这一表现手法反拨了该理论中的本质主义、性别歧视和父权主义思想,并表达了卡特对“双性同体”和“两性共存”的冷静反思。与此同时,“戏仿”也将正面的批评转化为一种巧妙的戏谑和讽刺,提升了小说的艺术效果。从这种意义上说,“戏仿”是卡特在这部小说中表达思想和艺术观点的重要媒介。
Angela Carter (1940-1992) is one of the important postwar British women writers. Her novel The Passion of New Eve, published in 1977, has received mixed critical opinions since its publication. It should be noted that mythological archetypes are the central element in this work. Therefore, scholars from home and abroad have made efforts to study the mythological archetypes and‘alchemical images’in this novel. They employ Jungian archetypal criticism to analyse the symbolic meaning and the thematic implications, but their study is mostly restricted to the discovery of mythological motifs within the novel. They seem to miss the fact that Angela Carter, a self-proclaimed‘demythologiser’, has intended this novel as an innovative work downplaying and subverting Jungian archetypes and their essentialist connotations. This thesis aims to examine the parodic application of Jungian archetypal criticism in The Passion of New Eve, from the perspectives of parodic plots, motifs and characters.
The introduction briefly reviews the critical history related to this topic, puts forward the possibility of further study, and enumerates the basic opinions and argumentative structure of the whole thesis. The conclusion makes a brief summary of the arguments, and concisely accounts for the subversion of religion, psychoanalysis and certain kinds of radical feminisms that Carter considers are in line with Jungian thinking.
The main body of the thesis consists of three chapters. Chapter 1‘The Parodic Plots’discusses parody of the Jungian individuation process through the fictional plots in this novel. The plots imitate the indispensable stages of individuation, but by employing the narrative strategy of‘anti-climax’, they dissolve Jung’s predetermined blueprint for individual development. Parody on this level paves the way for overturning Jung’s structural and archetypal perception towards human growth.
Chapter 2‘The Parodic Motifs’explores parody of the religious and mythological motifs embedded in the novel. Motifs are viewed as transhistorical archetypes and the best way of representation in narrative works by the Jungians. In this novel, Angela Carter maintains the formal appearance of the motifs, but decodes and recodes them to the core. In this manner, she creates highly symbolic and subversive images out of those ancient archetypal narrative patterns. And parody on this level amounts to a strong attack on the authoritarian mythological tradition on which Jungian thinking is based.
Chapter 3‘The Parodic Characters’concentrates on the three female characters. Outwardly, they belong to the stereotyped patterns, but covertly their identities shift with the development of the narrative. Therefore, characterisation in this novel becomes thedeconstructive parody of the Jungian archetypal feminine, and also completes an anti-essentialist practice. Parody on this level anatomises the restrictive forces hidden behind the archetypal criticism and their vicious enslavement of gender identities.
In conclusion, the thesis makes an in-depth research into the parodic application of Jungian archetypal criticism in The Passion of New Eve, with both macro and microcosmic observations. The use of parody not only critiques the essentialist, sexist and patriarchal thinking suggested in Jungian theory, but also expresses Carter’s concern over androgyny and intersexual relationship. Besides, the novel’s artistic effect depends largely on itsexchange of obtrusive, frontal criticism to subtle imitative allusion of parody. In this sense, parody constitutes a key to understanding Carter’s critical and artistic concern in this novel.
论文引言部分着重追述小说发表以来,批评家对其神话原型要素的探讨,提出了进一步探索的空间和可能性,并阐述了论文的基本观点和框架结构。结语部分总结了论文的要点,并简要说明卡特在戏仿荣格原型批评的同时,对一些与该理论一脉相承的宗教思想、精神分析和极端女权主义的颠覆。
论文主体分为三章。第一章是“情节的戏仿”,探讨了小说情节对荣格学派提出的“个体化历程”理论的戏仿。卡特虽在小说情节上摹仿个体化历程的重要阶段,却以“反高潮”的叙事策略颠覆了荣格为个体成长制定的蓝图。小说情节层面上的“戏仿”质疑了荣格对个体心灵发展的过度结构化和原型化的判断。
第二章是“母题的戏仿”,探讨了小说中嵌入的宗教、神话母题。荣格学说视母题为一种原型,并认为它是叙事作品最好的表达方式。然而卡特保留了这些母题的形态,却改变了其内核,创造出一个个具有象征性和颠覆性的意象。《新夏娃受难记》在母题层面的“戏仿”是对荣格原型批评中类型化特征的强烈抨击。
第三章是“人物的戏仿”,探讨了这部小说中的三个女性形象。她们表面上具有原型人物的特点,但其本质却随着小说的发展不断游移,是对荣格学说中“永恒女性原型”的戏仿,也是一次反本质主义的创作实践。小说在人物塑造层面的“戏仿”剖析了原型批评对性别身份,尤其是女性性别身份的奴役。
论文从宏观和微观的角度深入探讨了《新夏娃受难记》对荣格原型批评的戏仿。小说借助“戏仿”这一表现手法反拨了该理论中的本质主义、性别歧视和父权主义思想,并表达了卡特对“双性同体”和“两性共存”的冷静反思。与此同时,“戏仿”也将正面的批评转化为一种巧妙的戏谑和讽刺,提升了小说的艺术效果。从这种意义上说,“戏仿”是卡特在这部小说中表达思想和艺术观点的重要媒介。
Angela Carter (1940-1992) is one of the important postwar British women writers. Her novel The Passion of New Eve, published in 1977, has received mixed critical opinions since its publication. It should be noted that mythological archetypes are the central element in this work. Therefore, scholars from home and abroad have made efforts to study the mythological archetypes and‘alchemical images’in this novel. They employ Jungian archetypal criticism to analyse the symbolic meaning and the thematic implications, but their study is mostly restricted to the discovery of mythological motifs within the novel. They seem to miss the fact that Angela Carter, a self-proclaimed‘demythologiser’, has intended this novel as an innovative work downplaying and subverting Jungian archetypes and their essentialist connotations. This thesis aims to examine the parodic application of Jungian archetypal criticism in The Passion of New Eve, from the perspectives of parodic plots, motifs and characters.
The introduction briefly reviews the critical history related to this topic, puts forward the possibility of further study, and enumerates the basic opinions and argumentative structure of the whole thesis. The conclusion makes a brief summary of the arguments, and concisely accounts for the subversion of religion, psychoanalysis and certain kinds of radical feminisms that Carter considers are in line with Jungian thinking.
The main body of the thesis consists of three chapters. Chapter 1‘The Parodic Plots’discusses parody of the Jungian individuation process through the fictional plots in this novel. The plots imitate the indispensable stages of individuation, but by employing the narrative strategy of‘anti-climax’, they dissolve Jung’s predetermined blueprint for individual development. Parody on this level paves the way for overturning Jung’s structural and archetypal perception towards human growth.
Chapter 2‘The Parodic Motifs’explores parody of the religious and mythological motifs embedded in the novel. Motifs are viewed as transhistorical archetypes and the best way of representation in narrative works by the Jungians. In this novel, Angela Carter maintains the formal appearance of the motifs, but decodes and recodes them to the core. In this manner, she creates highly symbolic and subversive images out of those ancient archetypal narrative patterns. And parody on this level amounts to a strong attack on the authoritarian mythological tradition on which Jungian thinking is based.
Chapter 3‘The Parodic Characters’concentrates on the three female characters. Outwardly, they belong to the stereotyped patterns, but covertly their identities shift with the development of the narrative. Therefore, characterisation in this novel becomes thedeconstructive parody of the Jungian archetypal feminine, and also completes an anti-essentialist practice. Parody on this level anatomises the restrictive forces hidden behind the archetypal criticism and their vicious enslavement of gender identities.
In conclusion, the thesis makes an in-depth research into the parodic application of Jungian archetypal criticism in The Passion of New Eve, with both macro and microcosmic observations. The use of parody not only critiques the essentialist, sexist and patriarchal thinking suggested in Jungian theory, but also expresses Carter’s concern over androgyny and intersexual relationship. Besides, the novel’s artistic effect depends largely on itsexchange of obtrusive, frontal criticism to subtle imitative allusion of parody. In this sense, parody constitutes a key to understanding Carter’s critical and artistic concern in this novel.
引文
1 Sarah Gamble (ed.), The Fiction of Angela Carter: A Reader's Guide to Essential Criticism, Cambridge: Icon Books, 2001, p.89.
2 Peter Ackroyd,‘Passion Fruit’, Spectator, 26 March 1977, pp. 23-4. And also see Robert Clark,‘Angela Carter’s Desire Machine’, Women’s Studies XIV, 2, (1987), pp. 151-56.
3 Ibid.
4 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: PandoraPress, 1983, p.71.
5 David Punter, The Hidden Script: Writing and the Unconscious, London: Routledge, 1985, p.36.
6 Brian W. Shaffer (ed.), A Companion to the British and Irish Novel, 1945-2000, Oxford: Blackwell Publishing Ltd., 2005, p.409-20.
7 Lorna Sage, Angela Carter, Plymouth: Northcote House, 1994, p.36.
8 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: Pandora Press, 1983, p 71.
9 Elaine Jordan,‘Enthralment: Angela Carter’s Speculative Fictions’, in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 1990, p.23.
10 Ibid
11 Aidan Day, Angela Carter: the Rational Glass, Manchester: Manchester University Press, 1998, p.128.
12 Nicola Ward-Jouve,‘Mother is a Figure of Speech’, in Lorna Sage (ed.), Flesh and the Mirror: Essays on the Art of Angela Carter, London: Virago, 1994, p.157.
13 Aidan Day, Angela Carter: the Rational Glass, Manchester: Manchester University Press, 1998, p.108.
14 Roberta Rubenstein,‘Intersexions: Gender Metamorphosis in Angela Carter’s The Passion of New Eve and Lois Gould’s A Sea-Change’, Tulsa Studies in Women’s Literature 12, 1, (1993), p.106.
15 Elaine Jordan,‘The Dangers of Angela Carter’, in Isobel Armstrong (ed.), New Feminist Discourses: Critical Essays on Theories and Texts, London: Routledge, 1992, p.122.
16 Maria del mar Pérez-Gil,‘The Alchemy of the Self in Angela Carter’s The Passion of New Eve’, Studies in Novel 39, 2, (2007), p.216-234.
17 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.79.
18 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.6.
19 Jung describes the notion of‘archetype’in different situations throughout his research. The following citations appear in his collective works, with the abbreviation‘CW’, volume and paragraph numbers in the parentheses.C.G. Jung, The Collected Works of C. G. Jung, Princeton, New Jersy: Princeton University Press, 1968.‘The contents of the collective unconscious…are known as archetypes’(CW9(1):4).‘…we are dealing with archaic or—I would say—primordial types, that is, with universal images that have existed since the remotest times’(CW9(1):5).‘…archetypes probably represent typical situations in life’(CW8:255).‘…qualities not individually acquired but inherited…inborn forms of perception and apprehension, which are the a priori determinants of all psychic processes’(CW8:270).‘It seems to me their origin can only be explained by assuming them to be deposits of the constantly repeated experiences of humanity’(CW7:109).
20 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.40.
21 Susan Roland mentions‘Jungian literary theory’as a term distinguished from the traditional, classical Jungian criticism.
22 Elaine Jordan,‘Enthralment: Angela Carter’s Speculative Fictions’, in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 1990, p.24.
23 Teresa de Lauretis,‘Feminist Studies/ Critical Studies: Issues, Terms, and Contexts’, in Teresa de Lauretis (ed.), Feminist Studies/ Critical Studies, Indiana: Indiana University Press, 1986, p.10.
1 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.275.
2 Since the protagonist Eve/lyn has two sexes in this novel, the personal pronoun‘he’will be used to indicate Evelyn before the sex-change operation,‘she’refers to Eve afterwards, and‘Eve/lyn’or‘s/he’when there is co-appearance of the male and female personalities.
3 Strictly speaking, the Mother figure should count as one variation of the anima.
4 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.284.
5 Quoted in Olga Kenyon, The Writer’s Imagination, Bradford: University of Bradford Print Unit, 1992, p.31.
6 Angela Carter, The Passion of New Eve, London: Virago, 1990, p.16. Further references to this edition will be indicated by quote in page numbers in parentheses.
7 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.25.
8 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.25.
9 Verena Kast,‘Animus and Anima: Spiritual Growth and Separation’, Harvest v. 39, (1993), p.7.
10 Barbara Charlesworth Gelpi,‘The Politics of Androgyny’, Women’s Studies 2, no.2, (1974), p.158.
11 The name‘Beulah’is borrowed from the Bible. It is a poetic name for the state of Israel in its future restored condition.It is also the land of peace as described in John Bunyan's Pilgrim's Progress. Here it carries a particularly ironic note.
12 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.86.
13 Erich Neumann, The Origins and History of Consciousness, R. F. C. Hull (trans.), London: Routledge and Kegan Paul Ltd., 1954, p.42.
14 See Erich Neumann, The Great Mother: An Analysis of the Archetype, Ralph Manheim (trans.), Princeton, New Jersey: Princeton University Press, 1972. Also Erich Neumann, The Origin and History of Consciousness, R. F. C. Hull (trans.), London: Routledge and Kegan Paul Ltd., 1954.
15 Erich Neumann, The Origin and History of Consciousness, (trans.) R. F. C. Hull, London: Routledge and Kegan Paul Ltd., 1954, p.165.
16 Ibid, p.158.
17 Robert Clark,‘Angela Carter’s Desire Machine’, Women’s Studies XIV, 2, (1987), p.156.
18 C. G. Jung, CW 7, p.66.
19 Susan Rowland, C.G. Jung and Literary Theory: The Challenge from Fiction, New York: Palgrave Macmillan, 1999, p.14.
20 Merja Makinen,‘Angela Carter’s The Bloody Chamber and the Decolonization of Feminine Sexuality’, Feminist Review, vol. 42, Autumn, (1992), p.12.
21 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.80.
22 Andrew Samuels, Bani Shorter, and Fred Plaut, A Critical Dictionary of Jungian Analysis, London and New York: Routledge & Kegan Paul, 1986, p.24.
23 Linden Peach, Macmillan Modern Novelists: Angela Carter, New York: St. Martin’s Press, 1998, p.114.
24 C. G. Jung, The Psychology of the Transference (from The Collected Works of C. G. Jung, Vol. 16), Princeton, NewJersy: Princeton University Press, 1966.
25 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.79.
26 Peter Ackroyd,‘Passion Fruit’, Spectator, 26 March 1977, p.18.
1 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.41.
2 Ibid, p.58.
3 C. G. Jung, Modern Man in Search of a Soul, New York: Harcourt, Brace & World, 2001, p.168.
4 Ibid, p.172.
5 Elaine Jordan,‘The Dangers of Angela Carter’, in Isobel Armstrong (ed.), New Feminist Discourses: Critical Essays on Theories and Texts, London: Routledge, 1992, p.123.
6 Alison Lee,‘Angela Carter’s New Eve/lyn: De/Engendering Narrative’, in Kathy Mezei (ed.), Ambiguous Discourse: Feminist Narratology and British Women Writers, Chapel Hill: University of North Carolina Press, 1996, p.244.
7 M. H. Abrams, A Glossary of Literature Terms, Beijing: Foreign Language Teaching and Research Press, 2004, p.14
8 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: Pandora Press, 1983, p.71.
9 Angela Carter,‘The Language of Sisterhood’, in Leonard Michaels and Christopher Ricks (eds.), The State of the Language, Berkeley and London: University of California Press, 1980, p.228.
10 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: Pandora Press, 1983, p.71.
11 Carolyn G. Heilbrun, Towards a Recognition of Androgyny, New York: Harper & Row, 1973, p.ix, x.
12 Arleen B. Dallery,‘The Politics of Writing (the) Body:écriture Féminine’, in Alison M. Jaggar and Susan Bordo (eds.), Gender/Body/Knowledge, New Brunswick and London: Rutgers University Press, 1989, p.65.
13 Angela Carter in Lorna Sage,‘The Savage Sideshow: a Profile of Angela Carter by Lorna Sage’, The New Review, Jule/July, (1977), p.55.
14 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.5.
15 Carter is not over optimistic for the strategies that she can take in demythologising business. See Angela Carter,‘The Language of Sisterhood’, in Leonard Michaels and Christopher Ricks (eds.), The State of the Language, Berkeley and London: University of California Press, 1980.
16 Angela Carter in Anna Katsavos,‘An Interview with Angela Carter’, Review of Contemporary Fiction 14, 3, (1994), p.12.
17 Roland Barthes,‘Myth Today’, in Mythologies, London: Jonathan Cape, 1983, p.135.
18 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: PandoraPress, 1983, p.69.
1‘Feminine’here is used as a noun by Jung himself and the Jungians, such as Erich Neumann, June Singer, etc.. And inJungian criticism, the term‘archetypal feminine’is employed to refer to the transcendent images of certain kinds of prototyped female figure in the psyche.
2 C.G. Jung, CW 10, p.117-18.
3 See Erich Neumann, The Great Mother: An Analysis of the Archetype, trans. Ralph Mannheim, Princeton, N. J.: Princeton University Press, 1972; and Esther Harding, Women’s Mysteries, New York: Bantam Books, 1971.
4 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.12.
5 Luce Irigaray, This Sex Which Is Not One, Catherine Porter (trans.), Ithaca: Cornell University Press, 1985, p.186-87
8 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.16.
9 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.111-15.
10 Susan Sheridan has drafted a research project on‘The Changing Reception of Women's Writing in the 1970s -Adrienne Rich and Angela Carter’.
11 Adrienne Rich, Of Woman Born: Motherhood as Experience and Institution, London: Virago Press, 1977, p.120.
12 Mary Daly, Gyn/Ecology, London: The Women’s Press, 1979, p.111.
13 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.5.
14 Ibid., p.115.
15 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.114.
16 Ibid., p.106-7.
17 Ibid., p.113.
18 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.110.
19 See Laura Mulvey,‘Visual Pleasure and Narrative Cinema’, Screen 16, 3, (1975), p.6-18.
20 See Roland Barthes, A Barthes Reader, Susan Sontag (ed.), New York: Hill and Wang, 1982.
21 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.86.
22 See Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York: Routledge, 1990.
23 Helen Cagney Watts,‘Carter, Angela: An Interview with Helen Cagney Watts’, Bête Noire, August (1987), p.161-75.
24 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.76-7.
25 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.5.
26 Elaine Jordan,‘Enthralment: Angela Carter’s Speculative Fictions’, in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 1990, p.22.
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------. The Sadeian Woman: An Exercise in Cultural History. London: Virago, 1979.
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Haffenden, John.‘Magical Mannerist’. The Literary Review, Nov. (1984).
------. (ed.) Novelists in Interview. New York: Methuen & Co. Ltd., 1985.
Heilbrun, Carolyn G.. Towards a Recognition of Androgyny. New York: Harper & Row, 1973.
Henderson, Joseph L. & Sherwood, Dyane N.. Transformation of the Psyche: The Symbolic Alchemy of the Splendor Solis. Hove & New York: Brunner-Routledge, 2003.
Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York & London: Routledge, 1988.
------. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York & London: Methuen & Co. Ltd., 1985.
Irigaray, Luce. This Sex Which Is Not One. Catherine Porter (trans.). Ithaca: Cornell University Press, 1985.
Jordan, Elaine.‘The Dangers of Angela Carter’. Isobel Armstrong (ed.), New Feminist Discourses: Critical Essays on Theories and Texts. London: Routledge, 1992.
------.‘Enthralment: Angela Carter’s Speculative Fictions’. Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction. London: Edward Arnold, 1990.
Jung, C.G.. Archetypes and the Collective Unconscious. Princeton, New Jersy: Princeton University Press, 1968.
------. The Collected Works of C. G. Jung. Princeton, New Jersy: Princeton University Press, 1968.
------. Modern Man in Search of a Soul. New York: Harcourt, Brace & World, 2001.
------. The Psychology of the Transference. Princeton, New Jersy: Princeton University Press, 1966.
Kast, Verena.‘Animus and Anima: Spiritual Growth and Separation’. Harvest v. 39, (1993).
Katsavos, Anna.‘An Interview with Angela Carter’. Review of Contemporary Fiction 14, 3, (1994).
Kenyon, Olga. The Writer’s Imagination. Bradford: University of Bradford Print Unit, 1992.
Lee, Alison.‘Angela Carter’s New Eve/lyn: De/Engendering Narrative’. Kathy Mezei (ed.), Ambiguous Discourse: Feminist Narratology and British Women Writers. Chapel Hill: University of North Carolina Press, 1996.
Makinen, Merja.‘Angela Carter’s The Bloody Chamber and the Decolonization of Feminine Sexuality’. Feminist Review vol. 42, Autumn, (1992).
Mulvey, Laura.‘Visual Pleasure and Narrative Cinema’. Screen 16, 3, (1975).
Neumann, Erich. The Great Mother: An Analysis of the Archetype. Ralph Manheim (trans.).Princeton, New Jersey: Princeton University Press, 1972.
------. The Origins and History of Consciousness. R. F. C. Hull (trans.). London: Routledge and Kegan Paul Ltd., 1954.
Peach, Linden. Macmillan Modern Novelists: Angela Carter. New York: St. Martin’s Press, 1998.
Peng, Emma Pi-tai.‘Angela Carter’s Postmodern Feminism and the Gothic Uncanny’. NTU Studies in Language and Literature 13, June (2004).
Pérez-Gil, Maria del mar.‘The Alchemy of the Self in Angela Carter’s The Passion of New Eve’. Studies in Novel 39, 2, (2007).
Plaut, Fred & Samuels, Andrew & Shorter, Bani. (eds.) A Critical Dictionary of Jungian Analysis. London and New York: Routledge & Kegan Paul, 1986.
Punter, David. The Hidden Script: Writing and the Unconscious. London: Routledge, 1985.
------. The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London & New York: Longman Group Ltd., 1980.
Rich, Adrienne. Of Woman Born: Motherhood as Experience and Institution. London: Virago Press, 1977.
Rowland, Susan. C.G. Jung and Literary Theory: The Challenge from Fiction. New York: Palgrave Macmillan, 1999.
Rubenstein, Roberta.‘Intersexions: Gender Metamorphosis in Angela Carter’s The Passion of New Eve and Lois Gould’s A Sea-Change’, Tulsa Studies in Women’s Literature 12, 1, (1993).
Sage, Lorna. Angela Carter. Plymouth: Northcote House, 1994.------.‘The Savage Sideshow: a Profile of Angela Carter by Lorna Sage’. The New Review, Jule/July, (1977).
Shaffer, Brian W.. (ed.) A Companion to the British and Irish Novel, 1945-2000. Oxford: Blackwell Publishing Ltd., 2005.
Simon, Julia. Rewriting the Body: Desire, Gender and Power in Selected Novels by Angela Carter. Frankfurt & Main: Peter Lang, 2004.
Ward-Jouve, Nicola.‘Mother is a Figure of Speech’. Lorna Sage (ed.), Flesh and the Mirror: Essays on the Art of Angela Carter. London: Virago, 1994.
Watts, Helen Cagney.‘Carter, Angela: An Interview with Helen Cagney Watts’. Bête Noire, August (1987).
刘凯芳:安吉拉·卡特作品论,《外国文学评论》1997年第3期。
荣格:《荣格文集》,冯川译,北京:改革出版社,1997年。
叶舒宪:《二十世纪外国文学译丛:神话—原型批评》,西安:陕西师范大学出版社,1987年。
张京媛:《当代女性主义文学批评》,北京:北京大学出版社,1995年。
卓慧臻:嘉年华,女性幻想,社会批评——论英国女作家安吉拉·卡特的《紫姬的爱情》,《外国文学评论》2004年第2期。
2 Peter Ackroyd,‘Passion Fruit’, Spectator, 26 March 1977, pp. 23-4. And also see Robert Clark,‘Angela Carter’s Desire Machine’, Women’s Studies XIV, 2, (1987), pp. 151-56.
3 Ibid.
4 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: PandoraPress, 1983, p.71.
5 David Punter, The Hidden Script: Writing and the Unconscious, London: Routledge, 1985, p.36.
6 Brian W. Shaffer (ed.), A Companion to the British and Irish Novel, 1945-2000, Oxford: Blackwell Publishing Ltd., 2005, p.409-20.
7 Lorna Sage, Angela Carter, Plymouth: Northcote House, 1994, p.36.
8 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: Pandora Press, 1983, p 71.
9 Elaine Jordan,‘Enthralment: Angela Carter’s Speculative Fictions’, in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 1990, p.23.
10 Ibid
11 Aidan Day, Angela Carter: the Rational Glass, Manchester: Manchester University Press, 1998, p.128.
12 Nicola Ward-Jouve,‘Mother is a Figure of Speech’, in Lorna Sage (ed.), Flesh and the Mirror: Essays on the Art of Angela Carter, London: Virago, 1994, p.157.
13 Aidan Day, Angela Carter: the Rational Glass, Manchester: Manchester University Press, 1998, p.108.
14 Roberta Rubenstein,‘Intersexions: Gender Metamorphosis in Angela Carter’s The Passion of New Eve and Lois Gould’s A Sea-Change’, Tulsa Studies in Women’s Literature 12, 1, (1993), p.106.
15 Elaine Jordan,‘The Dangers of Angela Carter’, in Isobel Armstrong (ed.), New Feminist Discourses: Critical Essays on Theories and Texts, London: Routledge, 1992, p.122.
16 Maria del mar Pérez-Gil,‘The Alchemy of the Self in Angela Carter’s The Passion of New Eve’, Studies in Novel 39, 2, (2007), p.216-234.
17 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.79.
18 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.6.
19 Jung describes the notion of‘archetype’in different situations throughout his research. The following citations appear in his collective works, with the abbreviation‘CW’, volume and paragraph numbers in the parentheses.C.G. Jung, The Collected Works of C. G. Jung, Princeton, New Jersy: Princeton University Press, 1968.‘The contents of the collective unconscious…are known as archetypes’(CW9(1):4).‘…we are dealing with archaic or—I would say—primordial types, that is, with universal images that have existed since the remotest times’(CW9(1):5).‘…archetypes probably represent typical situations in life’(CW8:255).‘…qualities not individually acquired but inherited…inborn forms of perception and apprehension, which are the a priori determinants of all psychic processes’(CW8:270).‘It seems to me their origin can only be explained by assuming them to be deposits of the constantly repeated experiences of humanity’(CW7:109).
20 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.40.
21 Susan Roland mentions‘Jungian literary theory’as a term distinguished from the traditional, classical Jungian criticism.
22 Elaine Jordan,‘Enthralment: Angela Carter’s Speculative Fictions’, in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 1990, p.24.
23 Teresa de Lauretis,‘Feminist Studies/ Critical Studies: Issues, Terms, and Contexts’, in Teresa de Lauretis (ed.), Feminist Studies/ Critical Studies, Indiana: Indiana University Press, 1986, p.10.
1 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.275.
2 Since the protagonist Eve/lyn has two sexes in this novel, the personal pronoun‘he’will be used to indicate Evelyn before the sex-change operation,‘she’refers to Eve afterwards, and‘Eve/lyn’or‘s/he’when there is co-appearance of the male and female personalities.
3 Strictly speaking, the Mother figure should count as one variation of the anima.
4 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.284.
5 Quoted in Olga Kenyon, The Writer’s Imagination, Bradford: University of Bradford Print Unit, 1992, p.31.
6 Angela Carter, The Passion of New Eve, London: Virago, 1990, p.16. Further references to this edition will be indicated by quote in page numbers in parentheses.
7 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.25.
8 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.25.
9 Verena Kast,‘Animus and Anima: Spiritual Growth and Separation’, Harvest v. 39, (1993), p.7.
10 Barbara Charlesworth Gelpi,‘The Politics of Androgyny’, Women’s Studies 2, no.2, (1974), p.158.
11 The name‘Beulah’is borrowed from the Bible. It is a poetic name for the state of Israel in its future restored condition.It is also the land of peace as described in John Bunyan's Pilgrim's Progress. Here it carries a particularly ironic note.
12 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.86.
13 Erich Neumann, The Origins and History of Consciousness, R. F. C. Hull (trans.), London: Routledge and Kegan Paul Ltd., 1954, p.42.
14 See Erich Neumann, The Great Mother: An Analysis of the Archetype, Ralph Manheim (trans.), Princeton, New Jersey: Princeton University Press, 1972. Also Erich Neumann, The Origin and History of Consciousness, R. F. C. Hull (trans.), London: Routledge and Kegan Paul Ltd., 1954.
15 Erich Neumann, The Origin and History of Consciousness, (trans.) R. F. C. Hull, London: Routledge and Kegan Paul Ltd., 1954, p.165.
16 Ibid, p.158.
17 Robert Clark,‘Angela Carter’s Desire Machine’, Women’s Studies XIV, 2, (1987), p.156.
18 C. G. Jung, CW 7, p.66.
19 Susan Rowland, C.G. Jung and Literary Theory: The Challenge from Fiction, New York: Palgrave Macmillan, 1999, p.14.
20 Merja Makinen,‘Angela Carter’s The Bloody Chamber and the Decolonization of Feminine Sexuality’, Feminist Review, vol. 42, Autumn, (1992), p.12.
21 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.80.
22 Andrew Samuels, Bani Shorter, and Fred Plaut, A Critical Dictionary of Jungian Analysis, London and New York: Routledge & Kegan Paul, 1986, p.24.
23 Linden Peach, Macmillan Modern Novelists: Angela Carter, New York: St. Martin’s Press, 1998, p.114.
24 C. G. Jung, The Psychology of the Transference (from The Collected Works of C. G. Jung, Vol. 16), Princeton, NewJersy: Princeton University Press, 1966.
25 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.79.
26 Peter Ackroyd,‘Passion Fruit’, Spectator, 26 March 1977, p.18.
1 C. G. Jung, Archetypes and the Collective Unconscious (The Collected Works of C. G. Jung, Vol. 9, Pt. 1), Princeton, New Jersy: Princeton University Press, 1968, p.41.
2 Ibid, p.58.
3 C. G. Jung, Modern Man in Search of a Soul, New York: Harcourt, Brace & World, 2001, p.168.
4 Ibid, p.172.
5 Elaine Jordan,‘The Dangers of Angela Carter’, in Isobel Armstrong (ed.), New Feminist Discourses: Critical Essays on Theories and Texts, London: Routledge, 1992, p.123.
6 Alison Lee,‘Angela Carter’s New Eve/lyn: De/Engendering Narrative’, in Kathy Mezei (ed.), Ambiguous Discourse: Feminist Narratology and British Women Writers, Chapel Hill: University of North Carolina Press, 1996, p.244.
7 M. H. Abrams, A Glossary of Literature Terms, Beijing: Foreign Language Teaching and Research Press, 2004, p.14
8 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: Pandora Press, 1983, p.71.
9 Angela Carter,‘The Language of Sisterhood’, in Leonard Michaels and Christopher Ricks (eds.), The State of the Language, Berkeley and London: University of California Press, 1980, p.228.
10 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: Pandora Press, 1983, p.71.
11 Carolyn G. Heilbrun, Towards a Recognition of Androgyny, New York: Harper & Row, 1973, p.ix, x.
12 Arleen B. Dallery,‘The Politics of Writing (the) Body:écriture Féminine’, in Alison M. Jaggar and Susan Bordo (eds.), Gender/Body/Knowledge, New Brunswick and London: Rutgers University Press, 1989, p.65.
13 Angela Carter in Lorna Sage,‘The Savage Sideshow: a Profile of Angela Carter by Lorna Sage’, The New Review, Jule/July, (1977), p.55.
14 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.5.
15 Carter is not over optimistic for the strategies that she can take in demythologising business. See Angela Carter,‘The Language of Sisterhood’, in Leonard Michaels and Christopher Ricks (eds.), The State of the Language, Berkeley and London: University of California Press, 1980.
16 Angela Carter in Anna Katsavos,‘An Interview with Angela Carter’, Review of Contemporary Fiction 14, 3, (1994), p.12.
17 Roland Barthes,‘Myth Today’, in Mythologies, London: Jonathan Cape, 1983, p.135.
18 Angela Carter,‘Notes from the Front Line’, in Michelene Wandor (ed.), On Gender and Writing, London: PandoraPress, 1983, p.69.
1‘Feminine’here is used as a noun by Jung himself and the Jungians, such as Erich Neumann, June Singer, etc.. And inJungian criticism, the term‘archetypal feminine’is employed to refer to the transcendent images of certain kinds of prototyped female figure in the psyche.
2 C.G. Jung, CW 10, p.117-18.
3 See Erich Neumann, The Great Mother: An Analysis of the Archetype, trans. Ralph Mannheim, Princeton, N. J.: Princeton University Press, 1972; and Esther Harding, Women’s Mysteries, New York: Bantam Books, 1971.
4 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.12.
5 Luce Irigaray, This Sex Which Is Not One, Catherine Porter (trans.), Ithaca: Cornell University Press, 1985, p.186-87
8 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.16.
9 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.111-15.
10 Susan Sheridan has drafted a research project on‘The Changing Reception of Women's Writing in the 1970s -Adrienne Rich and Angela Carter’.
11 Adrienne Rich, Of Woman Born: Motherhood as Experience and Institution, London: Virago Press, 1977, p.120.
12 Mary Daly, Gyn/Ecology, London: The Women’s Press, 1979, p.111.
13 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.5.
14 Ibid., p.115.
15 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.114.
16 Ibid., p.106-7.
17 Ibid., p.113.
18 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.110.
19 See Laura Mulvey,‘Visual Pleasure and Narrative Cinema’, Screen 16, 3, (1975), p.6-18.
20 See Roland Barthes, A Barthes Reader, Susan Sontag (ed.), New York: Hill and Wang, 1982.
21 John Haffenden (ed.), Novelists in Interview, New York: Methuen & Co. Ltd., 1985, p.86.
22 See Judith Butler, Gender Trouble: Feminism and the Subversion of Identity, New York: Routledge, 1990.
23 Helen Cagney Watts,‘Carter, Angela: An Interview with Helen Cagney Watts’, Bête Noire, August (1987), p.161-75.
24 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.76-7.
25 Angela Carter, The Sadeian Woman: An Exercise in Cultural History, London: Virago, 1979, p.5.
26 Elaine Jordan,‘Enthralment: Angela Carter’s Speculative Fictions’, in Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction, London: Edward Arnold, 1990, p.22.
Abrams, M. H.. A Glossary of Literature Terms. Beijing: Foreign Language Teaching and Research Press, 2004.
Ackroyd, Peter.‘Passion Fruit’. Spectator 26 March (1977).
Bacchilega, Cristina & Roemer, Danielle M.. Angela Carter and the Fairy Tale. Detroit, Michigan: Wayne State University Press, 2001.
Barthes, Roland. A Barthes Reader. Susan Sontag (ed.), New York: Hill and Wang, 1982.------. Mythologies. London: Jonathan Cape, 1983.
Butler, Judith. Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge, 1990.
Carter, Angela.‘The Language of Sisterhood’. Leonard Michaels and Christopher Ricks (eds.), The State of the Language. Berkeley and London: University of California Press, 1980.
------.‘Notes from the Front Line’. Michelene Wandor (ed.), On Gender and Writing. London: Pandora Press, 1983.
------. The Passion of New Eve. London: Virago, 1977/1990.
------. The Sadeian Woman: An Exercise in Cultural History. London: Virago, 1979.
Chesser, Barbara E..‘Comment on Naomi Goldenberg’s“A Feminist Critique of Jung”’. Signs, Vol. 3, No. 3, Spring (1978).
Clark, Robert.‘Angela Carter’s Desire Machine’. Women’s Studies XIV, 2, (1987).
Dallery, Arleen B..‘The Politics of Writing (the) Body:écriture Féminine’. Alison M. Jaggar and Susan Bordo (eds.), Gender/Body/Knowledge. New Brunswick and London: Rutgers University Press, 1989.
Daly, Mary. Gyn/Ecology. London: The Women’s Press, 1979.
Day, Aidan. Angela Carter: the Rational Glass. Manchester: Manchester University Press, 1998.
de Lauretis, Teresa.‘Feminist Studies/ Critical Studies: Issues, Terms, and Contexts’.Teresa de Lauretis (ed.), Feminist Studies/ Critical Studies. Indiana: Indiana University Press, 1986.
Gallant, Christine. Tabooed Jung: Marginality as Power. New York: New York University Press, 1996.
Gamble, Sarah. (ed.) The Fiction of Angela Carte: A Reader's Guide to Essential Criticism. Cambridge: Icon Books, 2001.
Gelpi, Barbara Charlesworth.‘The Politics of Androgyny’. Women’s Studies 2, no.2, (1974).
Goldenberg, Naomi R..‘A Feminist Critique of Jung’. Signs, Vol. 2, No. 2, Winter (1976).
------.‘Reply to Barbara Chesser’s Comment on“A Feminist Critique of Jung”’. Signs, Vol. 3, No.3, Spring (1978).
Haffenden, John.‘Magical Mannerist’. The Literary Review, Nov. (1984).
------. (ed.) Novelists in Interview. New York: Methuen & Co. Ltd., 1985.
Heilbrun, Carolyn G.. Towards a Recognition of Androgyny. New York: Harper & Row, 1973.
Henderson, Joseph L. & Sherwood, Dyane N.. Transformation of the Psyche: The Symbolic Alchemy of the Splendor Solis. Hove & New York: Brunner-Routledge, 2003.
Hutcheon, Linda. A Poetics of Postmodernism: History, Theory, Fiction. New York & London: Routledge, 1988.
------. A Theory of Parody: The Teachings of Twentieth-Century Art Forms. New York & London: Methuen & Co. Ltd., 1985.
Irigaray, Luce. This Sex Which Is Not One. Catherine Porter (trans.). Ithaca: Cornell University Press, 1985.
Jordan, Elaine.‘The Dangers of Angela Carter’. Isobel Armstrong (ed.), New Feminist Discourses: Critical Essays on Theories and Texts. London: Routledge, 1992.
------.‘Enthralment: Angela Carter’s Speculative Fictions’. Linda Anderson (ed.), Plotting Change: Contemporary Women’s Fiction. London: Edward Arnold, 1990.
Jung, C.G.. Archetypes and the Collective Unconscious. Princeton, New Jersy: Princeton University Press, 1968.
------. The Collected Works of C. G. Jung. Princeton, New Jersy: Princeton University Press, 1968.
------. Modern Man in Search of a Soul. New York: Harcourt, Brace & World, 2001.
------. The Psychology of the Transference. Princeton, New Jersy: Princeton University Press, 1966.
Kast, Verena.‘Animus and Anima: Spiritual Growth and Separation’. Harvest v. 39, (1993).
Katsavos, Anna.‘An Interview with Angela Carter’. Review of Contemporary Fiction 14, 3, (1994).
Kenyon, Olga. The Writer’s Imagination. Bradford: University of Bradford Print Unit, 1992.
Lee, Alison.‘Angela Carter’s New Eve/lyn: De/Engendering Narrative’. Kathy Mezei (ed.), Ambiguous Discourse: Feminist Narratology and British Women Writers. Chapel Hill: University of North Carolina Press, 1996.
Makinen, Merja.‘Angela Carter’s The Bloody Chamber and the Decolonization of Feminine Sexuality’. Feminist Review vol. 42, Autumn, (1992).
Mulvey, Laura.‘Visual Pleasure and Narrative Cinema’. Screen 16, 3, (1975).
Neumann, Erich. The Great Mother: An Analysis of the Archetype. Ralph Manheim (trans.).Princeton, New Jersey: Princeton University Press, 1972.
------. The Origins and History of Consciousness. R. F. C. Hull (trans.). London: Routledge and Kegan Paul Ltd., 1954.
Peach, Linden. Macmillan Modern Novelists: Angela Carter. New York: St. Martin’s Press, 1998.
Peng, Emma Pi-tai.‘Angela Carter’s Postmodern Feminism and the Gothic Uncanny’. NTU Studies in Language and Literature 13, June (2004).
Pérez-Gil, Maria del mar.‘The Alchemy of the Self in Angela Carter’s The Passion of New Eve’. Studies in Novel 39, 2, (2007).
Plaut, Fred & Samuels, Andrew & Shorter, Bani. (eds.) A Critical Dictionary of Jungian Analysis. London and New York: Routledge & Kegan Paul, 1986.
Punter, David. The Hidden Script: Writing and the Unconscious. London: Routledge, 1985.
------. The Literature of Terror: A History of Gothic Fictions from 1765 to the Present Day. London & New York: Longman Group Ltd., 1980.
Rich, Adrienne. Of Woman Born: Motherhood as Experience and Institution. London: Virago Press, 1977.
Rowland, Susan. C.G. Jung and Literary Theory: The Challenge from Fiction. New York: Palgrave Macmillan, 1999.
Rubenstein, Roberta.‘Intersexions: Gender Metamorphosis in Angela Carter’s The Passion of New Eve and Lois Gould’s A Sea-Change’, Tulsa Studies in Women’s Literature 12, 1, (1993).
Sage, Lorna. Angela Carter. Plymouth: Northcote House, 1994.------.‘The Savage Sideshow: a Profile of Angela Carter by Lorna Sage’. The New Review, Jule/July, (1977).
Shaffer, Brian W.. (ed.) A Companion to the British and Irish Novel, 1945-2000. Oxford: Blackwell Publishing Ltd., 2005.
Simon, Julia. Rewriting the Body: Desire, Gender and Power in Selected Novels by Angela Carter. Frankfurt & Main: Peter Lang, 2004.
Ward-Jouve, Nicola.‘Mother is a Figure of Speech’. Lorna Sage (ed.), Flesh and the Mirror: Essays on the Art of Angela Carter. London: Virago, 1994.
Watts, Helen Cagney.‘Carter, Angela: An Interview with Helen Cagney Watts’. Bête Noire, August (1987).
刘凯芳:安吉拉·卡特作品论,《外国文学评论》1997年第3期。
荣格:《荣格文集》,冯川译,北京:改革出版社,1997年。
叶舒宪:《二十世纪外国文学译丛:神话—原型批评》,西安:陕西师范大学出版社,1987年。
张京媛:《当代女性主义文学批评》,北京:北京大学出版社,1995年。
卓慧臻:嘉年华,女性幻想,社会批评——论英国女作家安吉拉·卡特的《紫姬的爱情》,《外国文学评论》2004年第2期。