Strange Worlds: The Vision of Angela Carter
- Submitting institution
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University of the West of England, Bristol
- Unit of assessment
- 27 - English Language and Literature
- Output identifier
- 6831167
- Type
- B - Edited book
- DOI
-
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- Publisher
- Sansom & Co
- ISBN
- 9781908326980
- Open access status
- -
- Month of publication
- December
- Year of publication
- 2016
- URL
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- Supplementary information
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- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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1
- Research group(s)
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- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- For the exhibition and catalogue, I re-read all of Carter’s works, relevant secondary sources, and scoured the Carter archive at the British Library for material on art and artists, including her unpublished translation of a French book on surrealism. From this, I compiled a list of art-works, tracking down where they were housed, putting together rationales in readiness for loan requests to art galleries and private collections, and explaining the importance of the art-work to the exhibition and its link to Carter.
I also researched images for the book (not all were included in the exhibition) and objects to exhibit from Carter’s life. Many hours were spent visiting artists, curators and private collectors around the country for the purposes of research and to select material for the exhibition. I discussed art-works and Carter’s links to the art-world with academics, curators, art dealers and art historians, which involved another form of research. The exhibition and catalogue presented original links with Carter and art and opened up new and significant ways of thinking about her written word in terms of the visual.
This catalogue also contains a retrospective of Carter’s life. This involved gathering unrecorded memoirs from those who had known her, networking around Carter’s circle in the form of phone calls, emails and face-to face meetings (e.g., Fay Weldon, Diana Moyniham [George Melly’s wife], the author Helen Simpson and Edward Horesh who had shared a house with Carter in Bath, who I visited in a nursing home). Research people who had known Carter in Bristol led me to Chris Molan, who had also been Carter’s fellow-folk singer and agreed to write about that in the catalogue and for the exhibition to make available a rare music archive which had never been seen before.
- Author contribution statement
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- Non-English
- No
- English abstract
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