Carter‘s fiction sits uneasily in relation to both Gothic and feminist discourses, especially as they converge through the category of the ‘female Gothic’. Owing to her interest in pornography and her engagement with the sexual/textual violence of specifically ‘male Gothic’ scripts – for example, the Gothic scenarios of Sade, Poe, Hoffmann, Baudelaire and Stoker – Carter‘s Gothic heroines have frequently been censured as little more than objects of sadistic male desires by feminist critics. This article re-reads Carter‘s sexual/textual violations – her defiance of dominant feminist and Gothic categories and categorisations – through the problematic of (post-)feminist discourse and, especially, the tension between ‘victim’ and ‘power’ feminisms as prefigured in her own (Gothic) treatise on female sexual identity, The Sadeian Woman (1979). Mapping the trajectory of her Gothic heroine from Ghislaine in Shadow Dance (1966) to Fevvers in Nights at the Circus (1984), it re-contextualises Carters engagements with the Gothic as a dialogue with both the female Gothic and feminist discourse.
“Edgy” TV drama Queer as Folk, Sex and the City, Carnivàle
: 140). The excess of the New York lifestyle in which the four
friends luxuriate is seen in such readings in itself to challenge the oppressions of
bourgeois restraint or “victimfeminism”. The guilt experienced in buying a pair
of very expensive shoes is turned not only into pleasure but ultimately into a
“third-wave” feminist strategy (see Henry, 2004: 75 ff.).
Overall, in Akass and McCabe’s summary:
Sex and the City challenges prohibitions and breaks the silence, so that women can
begin to tell their stories and speak about sex differently. Through finding ‘spaces