Related Papers
Open Call Session Housing Romanticism BARS 2019
Francesca Saggini, Maximiliaan van Woudenberg
BARS, XVI Conference
Romantic Facts and Fantasies. 16th BARS Conference (Nottingham, 25-28 July 209). "The essayistic parlour: Leigh Hunt and Charles Lamb’s grammar of domesticity"
2019 •
Paolo Bugliani
Wordsworth Editions Blog
'Conclusions most forbidden': Frankenstein and the Romantic Hero
2022 •
Stephen Carver
To read Frankenstein is to enter a realm of intersecting myths. It is there immediately in the novel’s original subtitle ‘The Modern Prometheus’, a comparison between the Faustian Victor Frankenstein and the Titan who stole fire from the gods and was punished horribly for gifting it to humanity. As a response to Milton’s Paradise Lost the novel explores and interrogates the Christian myths of creation and fall. Frankenstein is also the source of one of the shaping myths of modern culture, a cautionary tale in which a scientist in pursuit of truth but unfettered by morality is destroyed by his own creation. That most people encounter the story first through one of the numerous film versions adds a further mythic layer populated by visions of Boris Karloff’s monster and Peter Cushing’s mad doctor, of De Niro’s tragic outcast, Herman Munster, Bladerunner, and the Bride of Re-Animator to name a few of the many. In gothic terms, only the Dracula mythos is as culturally endemic...
Frankenstein A Special Issue
Francesca Orestano
ROMANTIC CRITIQUE OF THE ENLIGHTENMENT IN FRANKENSTEIN; OR, THE ALLEGORY OF TECHNOLOGY GONE FERAL
Vittoria S Rubino, Ph.D.
Pieces of literature are never written in isolation from transitional periods in time, allowing works to become symbolic structures of history. During the 19th century in Europe, Romantics sought to dispute the values of Enlightenment ideals while also developing a humanistic critique of the Industrial Revolution, and the indications are transparent in Mary Shelley’s Frankenstein. Mary Shelley intentionally draws upon a number of contemporary sources for her understanding of electrical science in the novel. New Historicism, or Cultural Poetics, emphasizes the interaction between the historical context of a work and a modern reader’s understanding and interpretation of the work. Reading the novel Frankenstein within the framework of New Historicism and Cultural Criticism renders a more modern interpretation of the novel as a judgment of science, and depicts the influence of the ideals of the Romantic Movement: freedom of thought and expression, skepticism about science, society’s potential to be transformed by the individual, the plight of the individual, and the appeal of nature to affect one’s emotions. Mary Shelley’s novel is a reaction to the hollowness and vanity of Enlightenment thought that later led to the Industrial Revolution. Victor Frankenstein is presented as a doctor who is discontent with his mediocre life, living outside of Romantic ideals. Frankenstein believes he will achieve satisfaction through the use of scientific and alchemic measures, which helps him accomplish the creation of his Monster. In her criticism of the Enlightenment, Mary Shelley’s novel Frankenstein articulates the revolutionary spirit of the Romantic era, and anticipates the coming of the Industrial Revolution.
Women's Writing
Claire clairmont and mary shelley: identification and rivalry within the “tribe of the otaheite philosopher's”
1999 •
Deirdre Coleman
The Critical Metamorphoses of Mary Shelley’s Frankenstein
Affonso kristeva
British Romanticism and Europe | International Congress; Ascona, Switzerland 23-26 June 2022
Remapping Iberia, Rewriting England: Mary Shelley's Literary Lives and Miguel de Cervantes
2022 •
Almudena Jiménez Virosta
Conference paper presented in the framework of the “British Romanticism and Europe” International Congress held in Ascona, Switzerland (23-26 June 2022). My presentation was part of the panel “Mary Shelley, European”, formed by Prof. Soelve Curdts (Uni. Düsseldorf) and Prof. Karen Hadley (Uni. Louisville) - chaired by Prof. Simon Swift (Uni. Geneva). Special thanks to the English Department and the Comparative Literature Program of the University of Geneva for having sponsored my presentation. You can find attached the abstract book of the conference elaborated by Prof. Patrick Vincent (University of Neuchâtel), Prof. David Duff (Queen Mary - University of London) and Prof. Simon Swift.
Shelley’s idea of nature a study of the interrelationship of subject and object in the major poems
1995 •
John Metson
The thesis offers an interpretation of Shelley's poetry which focuses on his treatment of external nature. Its main argument is that a subject-object dialectic lies at the basis of his thought and style. Manifesting itself as a tension and oscillation between dualist and monist tendencies, this dialectic underlies the opposing strains of thought associated with his sceptical idealism; it informs the relationship between various contraries with which he is recurrently concerned, such as reason and feeling, necessity and freedom, language and thought; and it accounts for some major characteristics of his style--for example, its self-reflexiveness, indeterminacy, and restless forward momentum. Nature is found to play a complex dual function in this dialectical process: first, as the circumference to the circle of which mind is the centre, it provides the material of thought and poetry; secondly, through its cyclic processes, it serves as an emblem of the mind's dynamic relation...
Anglistik
“The Plastic and Prolific Creature”
Sean Moreland
