自称为“女性主义者”的卡特,她的第一部小说《影舞》就批判了文化给男女性别带来的负面影响,展示了她的初始女性主义意识。不过这种意识是间接的、隐含的,嵌入于叙述者的超现实主义的视角之下,故而容易被读者“指责”小说专注于女性受虐狂,看不见超现实主义欲达到的“革命”。本文通过分析叙述者就三位女性人物的超现实主义叙事视角,探析她们身上不同程度蕴含的挑战父权法则的女性主义伦理,认为吉斯莲若从20世纪60年代反文化的角度来说,是“不再表现其过去的假正经”,而是“‘扮演’其解放”,埃德娜是位觉醒者,而艾米莉几乎一开始就是位女勇士。

Shadow Dance, the first novel written by Angela Carter, who claimed to be a feminist, showcases Carter’s criticism against the adverse effects of culture on both genders, demonstrating her initial awareness of feminism. Yet this awareness is indirect and implied, as it is embedded in the narrator’s surrealist perspective, and therefore readers readily blame the novel for its preoccupation with female masochism, and are blind to the “revolution” intended by surrealism. With an analysis of the narrator’s surrealist narrative perspective on the three female characters, this article intends to probe the perspective for its feminist ethics that challenges the patriarchal law embedded in them to different degrees. It argues that Ghislaine, seen from the counterculture in the 1960s, “no longer ‘performs’ her prudishness of the past” but her “liberation”, Edna has been awakening, and Emily is a woman warrior almost from the start.