‘In The Bloody Chamber Angela Carter reverses gothic traditions so that the males become the victims instead of the females’. Consider at least two of the stories in The Bloody Chamber in the light of this view.

‘In The Bloody Chamber Angela Carter reverses gothic traditions so that the males become the victims instead of the females’. Consider at least two of the stories in The Bloody Chamber in the light of this view.

In conjunction with Meyre Ivone Santana da Silva ‘one side is always empowered through the other’ and this is characteristically true of the female character Beauty in the tale ‘The Courtship of Mr Lyon’ in ‘The Bloody Chamber’. Beauty’s atypical fairytale inspired character delineates from the tale Beauty and the Beast, yet the Courtship or Mr Lyon see’s a gender reversal in which the male character, initially, conforms to the paradigmatic social expectations of a male character, as he ‘rears on his hind legs like an angry lion’. Thus, Beauty, like the Beast, primarily follows her gender and typically gothic orientated expectations as an ‘obviously’ feminine character through her aesthetically pleasing ‘pearly skin’ and ‘sweetness’. It is when Carter reverses the dichotomy that the typical gothic gender specific roles are subverted; the Beast’s conventionally ‘gothic’ metamorphosis into a fairy tale ‘princess’ challenges his previous position of masculinity into that of something feminine and vulnerable. The emblematic portrayal of the Beast’s transformation from the ‘prince charming’ into the ‘fairy tale princess’ illustrates how the Beast becomes a victim in his own castle- ‘I’m dying’, requiring the aid of a female. Carter portrays a crucial confrontation to gender roles in the gothic- as she explores the use of males as the victim and creates a brave heroine. This role reversal, is a direct challenge to female characters typically distressed portrayal, as it allows Beauty to contest the role delegated to her by gothic conventions; as Carter transfers typical masculine traits to Beauty.

In a reflection of the second wave of feminism in which the book was published, Carter vividly re-imagines fairytales, as a means to gradually empower women through their ability to embrace their desires and passions. The unnamed female narrator in the tale ‘The Bloody Chamber’ establishes the corruption of women through men, most obviously apparent through the temptation insinuated by the male character, the Marquis. Initially, the female narrator is ‘tempted’ into the marriage, yet ‘I know I want to marry him’ alludes to the female characters’ awareness that the marriage is not for love; depicting a certain corruption of morals. The narrator is further tempted into his ‘subterranean privacy’ as she ‘felt no fear’ entering the room in which she was forbidden to enter, with her move away from childhood innocence with a stain that ‘transferred itself to my forehead’ to her prohibited access of knowledge into womanhood. The temptation for the narrator to fulfil her desire to explore the forbidden room results in her access knowledge withheld from her, by the male character. In this respect, the female narrator finds herself in an ‘empowered’ position, having achieved the same knowledge as her husband, ensuing the Marquis’ compromised situation. Yet despite this, the corruption of the female narrator’s morals through her fall to temptation due to the actions of the Marquis almost victimise the female further, through her macabre discovery.

Whilst Angela Carter has created reworks of fairytales that reverse the gothic traditions so that the males become the victims instead of the females, it is also appropriate to suggest that the male in the ‘Courtship of Mr Lyon’ is not completely portrayed as a ‘victim’. The initial portrayal of the Beast conforms to the stereotypical gothic male, who is strong, masculine and powerful, as Beauty also conforms to the gothic portrayal of a weak and vulnerable female. However, it is the metamorphosis of the Beast from a powerful male, into that of a victim that eventually allows his character transform into ‘a man with an unkempt mane of hair’. The very transformation of the Beast into a ‘man’ foresees his character as somewhat triumphant in his efforts to gain the Beauty’s affection. Yet, in order for his triumph to succumb, the typical female victimization was transferred to the Beast, with the unforeseen outcome as a Beast with returned power.

Faustus Themes

Predestination:

Which characters in the play seem to believe that Faustus is damned to hell no matter what he does? Faustus himself. This is evident in the cyclical structure of struggle, doubt, persuasion, resolution and finally a gain.

Which ones seem to think he can still be saved? All characters despite Faustus, seem to think Faustus can still redeem and repent his actions. This most applicable to Act 5 Scene 1 where the Old Man wishes to free Faustus of his sin. It is in this scene where Mephistopheles hands a dagger to Faustus -as the ultimate act of despair - the refusal to believe that God can save any soul- as he prepares to stab himself, and the Old Man prevents Faustus from this act. The Old Man can be described as a character or morality, as well as the Good and Evil Angels as well as the fact  he exemplifies what Faustus could have been, but manifestly is not.

What does Faustus believe? Faustus believes that he is damned, and therefore this causes him to refuse to repent with this being described as the sin which is unforgivable. 

What do you make of Mephistopheles's admission at the end of the play that he "turned the leaves" and led Faustus's eye in the reading of Scripture? Is he to blame for Faustus's damnation? Or is Faustus still responsible? In Act 1 Scene 1, it is made clear that no matter what opinion Faustus can extract from the Bible, it informs him that he is damned to hell - and therefore corresponds with the Calvinist idea of predestination. "What doctrine call you this? Che sera, sera?". This continues to the arrival of the Scholars, who sum up the eternal question in Dr.Faustus as can Faustus be saved? Or has he decision to interact with Dark Magic ruined his chance of survival and redemption? Faustus also speaks of his blasphemy against God, and therefore can be said to have lost hope in Heaven in Act 1 Scene 3 'Say he surrenders up to him his soul'.

At what point in the play does Faustus reach the point of no return? Or does he reach it at all? Arguably Act 5 Scene 2, see's Faustus realise God cannot pardon his previous sins, despite persuasion otherwise from the Old Man and Mephistopheles, who attempts to take the blame for his actions. 

What do the Scholars tell Faustus to do when he is damned to hell for his sins? What do you think of their advice? "Yet, Faustus, look up to the heaven and remember mercy is infinite." The Scholars advice is to 'call on God', whilst Faustus disagrees and is aware that he has been damned to hell, the Scholars, like they were in beginning, they assist Faustus when he returns to Wittenberg and offer support to him.

Religion:

What is Faustus's attitude toward the study of religion? Does this attitude have anything to do with his downfall? Similarly to Marlowe, Faustus has been described as an Atheist and the conflict between belief and unbelief is a dominant themed in the play. At various points throughout the play, Faustus asserts that there is no such thing as God or Heaven-'There is no chief but only Beelzebub . Whilst he may not believe in a Christian God, he refers to a 'mighty god' in Scene 1 as an alternative. Despite his scepticism towards 'God', he is aware that he possesses a soul, therefore subscribing to aspects of conventional theology.

How does Mephistopheles define hell? How does Faustus react to what Mephistopheles says? Mephistopheles depicts hell a place where everything that is not heaven, is Hell, a place without God. 'Why, this is helm nor am I out of it. Think'st thou that I, who saw the face of God, and tasted the eternal joys of heaven, am not tormented with ten thousand hells in being repaved of everlasting bliss?'

What are Faustus's beliefs about heaven and hell? Do they change at any point? Faustus' disbelief in God is accompanied by an associated disbelief in hell. It is later revealed to Faustus that damnation and belief are actually the same thing for Faustus, since only belief brings him the understanding that generates the pain of damnation. 

What's the purpose of the Pope scene? The Pope serves a representation of the self-indulgence of Churchmen and can be linked to Martin Luther's 95 Theses. 

Sin

What sins does Faustus commit in the course of the play? What, in your opinion, is his worst sin? Why? In making a pact with the Devil, in the world of Christianity in which the play was written, this can be seen as the greatest of all sins: as not only does he disobey God, but consciously acknowledges his disobedience to him, choosing instead to swear allegiance to the Devil. Whilst Faustus is given an abundance of opportunities to repent through the persistence of the Good Angel, who can be described as Faustus' conscience, at the concluding of the play, he decides to repent, but by this time, is too late. 

Does Doctor Faustus portray any one of Faustus's sins as "originary," that is, as the sin that leads to all his other sins? If so, which one was it? And how does it lead to all those other sins?

How does Faustus react to the parade of the Seven Deadly Sins? Does his reaction surprise you? Why or why not? Faustus dismisses the parade of the seven deadly sins as he has already decided he would rather serve the Devil than God, and consequently, ignores the warning from them to repent. 

What's the cure for sin, according to Faustus's friends? Why is Faustus unable to take it? Presumably the cure for Sin, is repentance, and acceptance of God, which Faustus disbelieves, as he is aware, in accordance with Calvinist ideas that his future has been 'Predestined' and therefore is callous of the idea of Heaven.

The Supernatural

Why does Faustus want to be able to do magic? What do you think of his reasons? Faustus feels that he must turn to magic in the hope that, combined with his intelligence, it will make him godlike and capable of transcending mortality. This is because he feels theology is logically inevitable and that all human beings must sin, and so die.

What does Faustus do with his magical powers? What do the peasants use magic for? How does their use of magic compare with Faustus's? Whilst in the beginning of the play Faustus wishes to possess powers of necromancy, witchcraft and comparable powers to that of God, throughout the play it becomes apparent that the very powers he sold his soul to the Devil for are to an extent superficial. The comedic conjuring between characters Robin and Dick are equipollent to scenes involving Faustus and Mephistopheles. Whilst Robin uses powers for free alcohol, instead of power and wealth as Faustus does, this scene questions the use of Faustus' unearthly powers, as it is lowly imitated by stock characters. 

Does Faustus do any harm with his magic? Why or why not? The ambitious goals of Faustus are not dissimilar to those of the simple peasants, which is demonstrated in Act 3 Scene 3 as Dick conjures Mephistopheles. 

Knowledge and Wisdom

Why does he reject philosophy, medicine, law and theology as not worth his time? Faustus lists the discoveries and ideas of each of the great authors he has studied and imagines giving himself over wholly to each field of knowledge in turn. Each discipline, whether it be theology, philosophy, medicine or law, is superseded by the other, until it seems useless to him. He feels it is inevitable that all human beings must sin and so die and therefore turns to magic in the hope that it will make him godlike and capable of transcending mortality.

How does a desire for knowledge motivate Faustus's decision to practice magic? The subject of magic is one which Faustus is a novice, and therefore he conjures the help of Valdes and Cornelius who can teach him how to gain power over the spirit world. The characters feed Faustus' expectations, promising the serves of spirits in many disguises leading to Faustus hoping to learn enough magic to practise independently. 

How does Mephistopheles aid Faustus in his quest for knowledge? Is there anything that Mephistopheles can't teach Faustus? If so, why can't he? Mephistopheles is vital in Faustus quest for knowledge in the sense that he provides reinforcement when the cycle is brought about throughout the play, where a resolution and gain is inevitable.  

Cunning and Cleverness

Who else besides Faustus displays cunning and cleverness in the play? What do they use it for?  Robin and Dick are also involved in the use of magic, as they read from Faustus' magic books, inferring his skills may not be as rare as first thought. 

After he becomes a magician, what does Faustus do to display his cunning and cleverness? To portray his cunningness, he interacts with the Pope, although, he is either in disguise or completely invisible 

How do Robin and Dick's abilities to conjure change our opinion of Faustus's cleverness? Their 'peasant' status as character imply that they should not be able to carry out the level of magic Faustus is able to. Yet, they manage to surpass this expectation and even summon Mephistopheles. This changes our opinion of Faustus, as it questions his pact with the Devil for his soul, when Robin and Dick are able to demonstrate the same magic as Faustus does.

Wealth

What kinds of luxury goods do Faustus, Valdes, and Cornelius imagine that their magical spirits will bring them? What does their imagination tell us about their personalities?  Faustus wishes for silk to aid impoverished scholars. Valdes echoes Faustus' desire to be exploit the wealth of the 'new' world. As Valdes reveals a plan to steal from the King of Spain, it reveals the way both Faustus and Valdes imagine wealth to be the means by which they can help their homeland excel over surrounding nations.

What does Faustus imagine himself doing with spirit-produced wealth before he has it? What do these plans reveal about his character and priorities? Faustus wishes to possess the wealth of the New World, and in doing so reveals his ambition to conquer and explore the world. This can also transgress into his desire for power, as the New World was difficult to reach in subsequently more expensive.

How does Faustus use his magic to cheat people out of their money?

Why does Faustus will all his possessions to Wagner? And what does this have to do with Mephistopheles?

Power

Which characters in the play desire power, and why? Valdes in Act 1 Scene 1 describes the power that is in waiting for himself, Corneilus and Faustus through the expectation that many people will honour and admire them. 

What kind of power does Faustus imagine himself gaining before he signs his contract with Lucifer? Does he achieve this level of power? Why or why not?

What are the limits of Faustus's magical powers? He can recall spirits of those who are dead, yet cannot recall the actual presence.

Is Mephistopheles powerful? Why or why not? In some respects yes. He is a devil who is a tempter, and therefore can be seen as an enemy of Faustus. This is portrayed as he offers Faustus a dagger to encourage him into suicide, as a quick way of ensuring the result that apparently still hangs in doubt at this stage of the play. Nevertheless, there is points in the play whereby Mephistopheles almost warns Faustus not to commit the same error as he, of his disloyalty to Lucifer on one occasion- 'Think'st though that I, who saw the face of God, and tasted the eternal joys of heaven, am not torment with ten thousand hells in being deprived of everlasting bliss!'. 

What does the pope claim as the basis of his power? Bruno? What does the pope use his power for? The basis of the Pope's power are two things intrinsically regarded by Catholics as powers belonging to the church. Firstly, is the Pope's power to decree infallibly in his papal office. Secondly is the power to forgive sins and therefore controls individuals access to salvation. This is also accompanied by the power to excommunicate, which is used by the Pope selfishly, to make the world 'stoop'. Bruno recognises the power of the Pope, and admits that he submits due to his respect for St.Peter.

Dr Faustus - Prologue

Role of the Chorus:

1)Supplies background information and comments on the action.

'The Chorus's mediation between the audience and the central performance, provides a sense of daily life as a theatrical event: of moral decision being under observation.'

'The Prologue Chorus is fundamentally opposed to Faustus' philosophies and actions: Marlowe is expressing here... one of the fundamental issues of his times: man's new faith in his own intellectual resources against a deeply routed Christian concept of the vanity of human endeavour alone.' 

3)Sums up Faustus' early life emphasising his lowly social origins and outlines his development as a celebrated scholar to someone who brings about his own destruction after practising necromancy. Look at lines 11-19 and pick out key examples of his early life and academic success:

-Lowly social origins - 'Of riper years to Wittenberg he went, whereas his kinsmen chiefly brought him up'

-Development as a celebrated scholar - 'So soon he he profits in divinity, the fruitful plot of scholarism graced' 

-Own destruction - 'His waxen wings did mount above his reach' reference to Icarus, greek mythology. 

Then look at 20-28 for examples which illustrate that Faustus has over-reached himself 

-'And melting heavens conspired his overthrow.' and 'He surfeits upon cursed necromancy; nothing so sweet as magic is to him.'

What other words and phrases at the end of this first Chorus, having negative connotations, also point to Faustus' self-destruction?

-'...melting heavens conspired his overthrow', '...falling to a devilish existence', 'He surfeits upon cursèd necromancy'.

Act 1 Scene 1

4)The scene follows on from the preceding speech and begins with Faustus seated in his study surrounded by books. He speaks in a long soliloquy listing the great writers he has studied and considers their ideas and discoveries. He imagines himself as pursuing each of their fields of knowledge. He is systematic in his approach: considering the purpose of each of the intellectual disciplines. For each of them summaries his response to each discipline and name the classical figures to whom he refers:

Theology - 'In heavenly matters of theology; till, swoll'n with cunning of a self-conceit' arrogance towards his closeness to god? (I have written close to God next to these lines???)

Philosophy - Aristotle, greek philosopher and teacher of logic

Medicine - 'health is the greatest good medicine can do' the purpose of medicine is our bodies health

The Law - Justinian, Roman Emperor, famous for his codification of Roman law in the Institutes

5)What are his reasons for turning to magic? 

Faustus feels that he must turn to magic in the hope that, combined with his intelligence, it will make him godlike and capable of transcending mortality. This is because he feels theology is logically inevitable that all human beings must sin and so die. 

6)Who are Valdes and Cornelius and why does he send for them? How do they contribute to Faustus' decision to study necromancy? 

Valdes are Cornelius are two of Faustus' friends who offer to teach him the arts of dark magic. When they are first presented to us, Faustus repeats his ideas and they continue to feed his expectations, by promising the services of spirits in many disguises. The spells they offer to Faustus will make devils and spirits perform his commands. Valdes even hints that he could conjure women at his desire -'Shadowing more beauty in their airy brows/Than in the white breasts of the Queen of Love'.

7)What functions do the Good Angel and Bad Angel perform in this scene?

The Good Angel in the first scene threatens Faustus with God's anger if he follows the course he has decided, whilst the Evil Angel follows by suggesting that Faustus can achieve great earthly power. As a morality play, Faustus appears to hear only the last speaker, the Evil Angel. 

8)Lucifer was cast out of the heavens for the sin of pride, what examples of pride can you attribute to Faustus in this scene?

'How comes it then, that he is prince of devils?'. The qualities described by Mestopheles in this scene see the devils relation depicting the qualities the devil possessed which led to his expulsion from heaven, which are relatable to Faustus. 

Reading Journal

CONTEXT

Feminism 1^st Wave:

19^th century to early 20^th century. First sparked in the UK and the US due to inequalities and officially mandated inequalities. Considered Feminists of this time include Mary Wollstonecraft along with Lucy Stone and Olympia Brown. The first wave initially thought to have passed after the success of the nineteenth amendment within congress granting women the right to vote. This also created an influx of reforms in the workplace, healthcare, professions and education. Feminists of the first wave worked against unmarried woman remaining property of their fathers and for married women, becoming property of their husbands. An educated woman at the time was dangerous, and Anne Askew was burnt to death for withholding such knowledge as she said to have challenged ‘implicitly or explicitly the patriarchal order’.

‘First wave feminists spent hundreds of years in activism, writing, protesting and working for the betterment and equality of their sex and gender. First wave feminists worked not only for suffrage, or the right to vote, but also for the right to an education, the right to work, the right to work safely, the right to the money they earned when they worked, the right to a divorce, the right to their children and the right to themselves and their own bodies.’ – being feminist blog.

Summary: voting rights, property rights, birth control (that existed at the time - condoms or sponges and, just as important, education about sexuality and how to prevent conception.) Achieved.

Feminism 2^nd Wave:

1960’s to 1980’s. Followed from the first wave, after there was a sense of ‘unfinished business’. Addressed the issues of unofficial inequalities. Encouraged women to understand the personal issues within their lives, as well as questioning the sexist’s structure of power. Several key movements and events during this period, impacting on the influence of women, their power, and feminism including, Equal Pay act 1963, the Civil Rights Act 1964 in the US, formation of the National Organisation for Women, the rise of radical feminism, Educational Amendments in 1972. Key figures included Angela Davis and Jo Freeman.

Summary: sexual freedom, legislative work to change sexist law, integration into the workplace, equal funding, integration into the political arena

Feminism 3^rd Wave:

1990’s to present. Informed by post-modern and post-colonial thinking. Readdresses derogatory terms such as ‘slut’ and ‘bitch’ in order to subvert a sexist culture.

Summary: sexual freedom, inclusion of gendered females, diversity, inclusion of women of colour and women from other cultures - plus the issues surrounding both 1st and 2nd wave feminism.

Marxism and its role in the 20^th Century:

Marx’s theory of history is contradicted by the fact that industrialised countries have not moved closer to revolution. The recent revolutions have been in peasant societies, such as China. Capitalist societies seem to have become more secure from threat of revolution throughout the 20th century. 20th Century America after the working class proved by events that they had no interest in serving as cannon fodder for the Marxist revolutionary forces; the revolutionary forces shifted the focus of their efforts to radicalizing women and minorities, blacks, Hispanics and Third World Immigrants, with the intent that these groups become Karl Marx's new proletarians.

Carter’s previous work and publications:

Shadow Dance, The Magic Toyshop, Several Perceptions, Heroes and Villains, Love, The Infernal Desire Machines of Doctor Hoffman, The Passion of New Eve, Nights at the Circus, Wise Children. (All classed as novels)

The Bloody Chamber, The Bridegroom, Black Venus, American Ghosts and Old World Wonders, Burning Your Boats, Fireworks: Nina Profane Pieces. (Short fiction)

Five Quiet Shouter, Unicorn. (Poetry collections)

Come Unto These Yellow Sands: Four Radio Plays, The Curious Room: Plays, Film Scripts and an Opera, The Holy Family Album. (Dramatic works)

The Donkey Prince, Miss Z, the Dark Young Lady, Comic and Curious Cats, Moonshadow, Sea-Cat and Dragon King. (Children’s books)

The Sadeian Woman and the Ideology of Pornography, Nothing Sacred: Selected Writings, Expletives Deleted: Selected Writings, Shaking a Leg: Collected Journalism and Writing. (Non-Fiction works)

Extract from Nights at the Circus:

Nights at the Circus by Angela Carter focus’ on the whirlwind relationship between reporter Jack Walser and trapeze artist Sophia Fevvers. The two meet when Jack comes to interview Sophia. She fascinates him because of her unusual anatomical difference. Sophia claims that she was hatched from an egg rather than delivered from a woman. She also states that she had two lumps, one on each shoulder, until she reached puberty. At that point, the two lumps began growing until they were full-size wings. These wings are one of the big attractions for Jack. They are also what make Sophia such a wonder at the trapeze.

Major Film/News Stories 3 Years before and after:

Film

1976- Rocky, The Omen, King Kong

1977- Star Wars, Saturday Night Fever, A Bridge Too Far

1978- Grease, Superman, Jaws 2

1980- The Shining, Star Wars Episode V, The Elephant Man

1981- Raiders of the Lost Ark, Superman II, Chariots of Fire

1982- ET, Rocky II, Annie

News

1976- Korean cars imported, NEC in BHam opened by Queen, Wilson resigns, opening of Rutland Water

1977- The Clash release first album, prostitute Patricia Atkinson murdered in Bradford as a result of the Yorkshire Ripper, prostitute Jean Jordan dead after another Yorkshire Ripper attack, Marilyn Moore attacked by supposed Yorkshire Ripper

1978- Body of 21 year-old prostitute found Yorkshire Ripper thought to be responsible.

1980- First UK Indie Chart published in Record Week, Thatcher announces state benefit to strikers will be halved, poll by Evening Standard suggest 6/10 Britons unhappy with Thatcher’s Conservative government, Zimbabwe independent from the UK, inflation rises to 21.8%, unemployment reaches post war high of 1,600,000 followed by high of 1,900,000, John Lennon shot in NY.

1981- Thatcher announces it will sell half of its shares in British Aerospace, Homebase opens in Croydon, unemployment stands at 2,400,000 or 10% of workforce, MP’s challenging leadership of Thatcher, UK census conducted, 80 arrests during clashes between White Power Skinheads and black people in Coventry, First case of AIDS in the UK, inflation falls to 11.9%

1982- unemployment 3 million, Queen celebrates pearl jubilee, Falklands war begins, Haçienda opens in Manc, The Smiths formed.

Polemical

Negative Reviews:

Positive Reviews:

Problems with Feminism/Marxism

Feminism:

-Unfair view on feminism, mostly middle/upper class females

-Men specifically may find it difficult to relate to, as they are not females themselves

-Feminist theories do not allow for the natural tendencies of men. They do to men exactly what they claim was wrongly done to women for centuries

Marxism:

-Outdated in terms of social, economic and political theories

-Some of Marx’s theories are inconsistent, specifically the ‘value theory’

-Engenders the belief that the end justifies the means

-Freud saw "sexual energy" to be the motivating factor behind human endeavour and Nabokov seemed to feel artistic impulse was the real factor, Marx thought that "historical materialism" was the ultimate driving force, a notion involving the distribution of resources, gain and production

Viewpoint

Marxism: The report goes on to suggest the damp in social housing is a direct result of increasing poverty and ever increasing energy bills.  Therefore, because they are poor, remain in unsatisfactory living conditions, due to the fact that it is unaffordable to address the issue in most cases.

Feminism: In an article by The Guardian, a review of the year in sexist remarks is complied including inappropriately made sexist remarks by a variety of different people both in and out of the public eye in what can be described as an attempt to draw awareness to ‘everyday sexism’.