Abstract

It is a little-known fact that Angela Carter was a traditional folk singer during the 1960s, that she played the English concertina, and that she co-founded a folk club in Bristol with her first husband, Paul Carter. A newly unearthed private archive of her folk song notes from the decade, which includes her musical notations and a recording of her singing, allows us to develop new understandings of her folk praxis and, when laid alongside her private journal entries, the folk album sleeve notes she penned, her undergraduate dissertation, and other unpublished papers, a whole host of possible new readings of her literary work emerges. This essay explores just one: gender fluidity in folk song performance and its impact upon Carter’s interpretations of gender identity in her debut novel, Shadow Dance. I will suggest that Carter learned gender ambiguity from her folk singing, and that her experience of singing afforded her freedoms to explore versions of sexual performance and gendered selfhood through male characters. More broadly, I will suggest that she buried musical folk song features into the structures of her writing to present her prose as a form of audial performance.

中文翻译：

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“我与非我”：安吉拉·卡特影舞中的民歌，叙事视角和性别想象

摘要

鲜为人知的事实是，安吉拉·卡特（Angela Carter）在1960年代是一位传统的民谣歌手，她参加过英语六角琴演奏，并且与她的第一任丈夫保罗·卡特（Paul Carter）在布里斯托尔共同创立了一家民间俱乐部。新近发掘出的她十年来民间歌曲笔记的私人档案馆，包括她的音乐符号和她的歌唱唱片，使我们能够发展出对她的民间实践的新理解，并且与她的私人日记条目一起放置时，民间专辑袖子她所写的笔记，她的大学论文以及其他未发表的论文，涌现出大量关于她的文学作品的新读物。本文仅探讨一种：民歌表演中的性别流动性及其对卡特在她的处女作《影子舞》中对性别认同的解释的影响。我将建议卡特从她的民歌中学习性别歧义，并且她的歌唱经历使她可以自由地通过男性角色来探索性表现和性别自尊的版本。更广泛地说，我建议她将音乐民歌特征隐藏在写作的结构中，以将散文呈现为听觉表演的一种形式。