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Ca R terbury Tales: Romances of Disenchantment in Geoffrey Chaucer and Angela Carter

Ca R terbury Tales: Romances of Disenchantment in Geoffrey Chaucer and Angela Carter THE COMPAKATIST CANTERBURY TALES: ROMANCES OF DISENCHANTMENT IN GEOFFREY CHAUCER AND ANGELA CARTER Nicoletta Pireddu To associate romance with the iUusion-breaking strategy of postmodernism may at first seem paradoxical, yet, in fact, romance is being increasingly taken as the privileged mode, staging the hybridity and openness of contemporary critical discourse. Associated with excess, impurity, and self-difference, romance shares the aesthetic and poUtical agenda of postmodern Uterature and theory: through textual dispersion and playfulness, it provides a counternarrative to the project of knowlperiodization and formal categories, romance can thus indicate a state, a certain attitude towards the cultural and historical heritage and its representation which is at work whenever a straightforward quest for meaning in fact becomes questioning of meaning--whenever, instead of offering a pleasurable escape to a freer world, narrative crosses the conceptual and aesthetic boundaries between referentiaiity and representation, disputing the neutrahty of both. The works of Angela Carter suitably Alústrate such a destabüizing approach to enthraUing fantasies. With her blend of Uterary tradition and mass-culture stereotypes, this British contemporary writer creates a sophisticated fictional world that investigates our knowledge of reahty, exposing the degree to which culture and power inform such knowledge. Romance is particularly suitable http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png The Comparatist University of North Carolina Press

Ca R terbury Tales: Romances of Disenchantment in Geoffrey Chaucer and Angela Carter

Pireddu, Nicoletta.
The Comparatist , Volume 21 (1) – Oct 3, 1997
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University of North Carolina Press
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Copyright © the Southern Comparative Literature Association.
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1559-0887
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Abstract

THE COMPAKATIST CANTERBURY TALES: ROMANCES OF DISENCHANTMENT IN GEOFFREY CHAUCER AND ANGELA CARTER Nicoletta Pireddu To associate romance with the iUusion-breaking strategy of postmodernism may at first seem paradoxical, yet, in fact, romance is being increasingly taken as the privileged mode, staging the hybridity and openness of contemporary critical discourse. Associated with excess, impurity, and self-difference, romance shares the aesthetic and poUtical agenda of postmodern Uterature and theory: through textual dispersion and playfulness, it provides a counternarrative to the project of knowlperiodization and formal categories, romance can thus indicate a state, a certain attitude towards the cultural and historical heritage and its representation which is at work whenever a straightforward quest for meaning in fact becomes questioning of meaning--whenever, instead of offering a pleasurable escape to a freer world, narrative crosses the conceptual and aesthetic boundaries between referentiaiity and representation, disputing the neutrahty of both. The works of Angela Carter suitably Alústrate such a destabüizing approach to enthraUing fantasies. With her blend of Uterary tradition and mass-culture stereotypes, this British contemporary writer creates a sophisticated fictional world that investigates our knowledge of reahty, exposing the degree to which culture and power inform such knowledge. Romance is particularly suitable

Journal

The Comparatist – University of North Carolina Press

Published: Oct 3, 1997

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