Rebecca Munford – författare

Decadent daughters and monstrous mothers interrogates the vexed question of Angela Carter’s feminist politics through the dusty lens of European Gothic. It illuminates her ambivalent relation to some of her most contentious European literary forebears, reveals her rich knowledge of French literature and offers fresh insights into her literary practices afforded by newly available archival material. This book analyses Carter’s textual engagements with a dirty lineage of European Gothic that can be mapped from the Marquis de Sade’s obsession with desecration and defilement, through Baudelaire’s perverse decompositions of the muse and decadent imaginings of infernal femininity, to surrealism’s violent dreams of abjection. It argues that Carter’s most troublesome engagements with her European Gothic forefathers are unexpectedly those which are most vital to a consideration of her feminist politics. Decadent daughters and monstrous mothers will be of interest to researchers and students working on contemporary women’s writing, the Gothic and comparative literature.

Feminism and Popular Culture maps the fraught and often unpredictable relationship between popular culture, feminism and postfeminism. From the shadowy city spaces of Mad Men and Homeland to the dystopic suburbia of The Stepford Wives and American Horror Story, the authors trace the maniacal career women, hysterical housewives and amnesiac daughters who roam the postfeminist landscape. Through recourse to these figures, they illuminate postfeminism's obsessive resuscitation of seemingly anachronistic models of femininity and ask why these should today be gilded with new appeal. Analysing postfeminism's historical slippages and haunted temporalities, the book not only takes account of the complex ways in which popular culture negotiates ongoing debates within and about feminism, but also explores its implications for feminism's future.

Feminism and Popular Culture maps the fraught and often unpredictable relationship between popular culture, feminism and postfeminism. From the shadowy city spaces of Mad Men and Homeland to the dystopic suburbia of The Stepford Wives and American Horror Story, the authors trace the maniacal career women, hysterical housewives and amnesiac daughters who roam the postfeminist landscape. Through recourse to these figures, they illuminate postfeminism's obsessive resuscitation of seemingly anachronistic models of femininity and ask why these should today be gilded with new appeal. Analysing postfeminism's historical slippages and haunted temporalities, the book not only takes account of the complex ways in which popular culture negotiates ongoing debates within and about feminism, but also explores its implications for feminism's future.

This revised and expanded edition, new in paperback, provides a definitive collection on the current period in feminism known by many as the 'third wave'. Three sections - genealogies and generations, locales and locations, politics and popular culture - interrogate the wave metaphor and, through questioning the generational account of feminism, indicate possible future trajectories for the feminist movement. New to this edition are an interview with Luce Irigaray, a foreword by Imelda Whelehan as well as newly commissioned chapters.

Now available in paperback, Decadent daughters and monstrous mothers interrogates the vexed question of Angela Carter’s feminist politics through the dusty lens of European Gothic. It illuminates her ambivalent relation to some of her most contentious European literary forebears, reveals her rich knowledge of French literature and offers fresh insights into her literary practices afforded by newly available archival material. This book analyses Carter’s textual engagements with a dirty lineage of European Gothic that can be mapped from the Marquis de Sade’s obsession with desecration and defilement, through Baudelaire’s perverse decompositions of the muse and decadent imaginings of infernal femininity, to surrealism’s violent dreams of abjection. It argues that Carter’s most troublesome engagements with her European Gothic forefathers are unexpectedly those which are most vital to a consideration of her feminist politics.