Relevant bibliographies by topics / Shelley, Mary - Frankenstein

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  2. Dissertations / Theses
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Academic literature on the topic 'Shelley, Mary - Frankenstein'

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Published: 4 June 2021
Last updated: 12 February 2022

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Journal articles on the topic "Shelley, Mary - Frankenstein"

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Prosser, Ashleigh. "Resurrecting Frankenstein: Peter Ackroyd’s The Casebook of Victor Frankenstein and the metafictional monster within." Australasian Journal of Popular Culture 8, no. 2 (September 1, 2019): 179–96. http://dx.doi.org/10.1386/ajpc_00004_1.

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This article examines Peter Ackroyd’s popular Gothic novel The Casebook of Victor Frankenstein (2008), which is a reimagining of Mary Shelley’s famous Gothic novel Frankenstein, or, The Modern Prometheus ([1818] 2003). The basic premise of Ackroyd’s narrative seemingly resembles Shelley’s own, as Victor Frankenstein woefully reflects on the events that have brought about his mysterious downfall, and like the original text the voice of the Monster interrupts his creator to recount passages from his own afterlife. However, Ackroyd’s adaption is instead set within the historical context of the original story’s creation in the early nineteenth century. Ackroyd’s Frankenstein studies at Oxford, befriends radical Romantic poet Percy Bysshe Shelley, moves to London to conduct his reanimation experiments and even accompanies the Shelleys, Byron and Polidori on that fateful holiday when the original novel was conceived. This article explores how Ackroyd’s novel, as a form of the contemporary ‘popular’ Gothic, functions as an uncanny doppelgänger of Shelley’s Frankenstein. By blurring the boundaries between history and fiction, the original text and the context of its creation haunt Ackroyd’s adaptation in uncannily doubled and self-reflexive ways that speak to Frankenstein’s legacy for the Gothic in popular culture. The dénouement of Ackroyd’s narrative reveals that the Monster is Frankenstein’s psychological doppelgänger, a projection of insanity, and thus Frankenstein himself is the Monster. This article proposes that this final twist is an uncanny reflection of the narrative’s own ‘Frankenstein-ian’ monstrous metafictional construction, for it argues that Ackroyd’s story is a ‘strange case(book)’ haunted by the ghosts of its Gothic literary predecessors.
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Comitti, Leopoldo. "O olho, o narrador e o monstro." Estudos Germânicos 10, no. 1 (December 31, 1989): 58. http://dx.doi.org/10.17851/0101-837x.10.1.58-61.

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A reading of Mary Shelley's novel Frankenstein, under the perspective of the Fantastic and taking as a starting point psychoanalylic theories. Leitura do romance Frankenstein, de Mary Shelley, sob a perspectiva do Fantástico e a partir de um instrumental teórico da Psicanálise.
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Cruz, Anielizabeth Bezerra, and Ana Karla Freire de Oliveira. "Mary Shelley." PÓS: Revista do Programa de Pós-graduação em Artes da EBA/UFMG 11, no. 22 (July 19, 2021): 189–220. http://dx.doi.org/10.35699/2237-5864.2021.25725.

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Este artigo aborda a materialidade adotada nas obras para a exposição Os sentidos da forma – o design como ato poético, evento artístico-cultural da Escola de Belas Artes da Universidade Federal do Rio de Janeiro, no âmbito da disciplina Design, Matéria e Produto, do Programa de Pós-Graduação em Design. A obra literária de Mary Shelley, Frankenstein ou O Prometeu Moderno, foi interpretada considerando a materialidade do papel, material sensível ao tempo e mutável mediante determinadas técnicas de trabalho. O processo de desenvolvimento da série será discutido neste artigo, traduzindo-se em um estudo que envolveu a adoção de processo criativo colaborativo no design. Este estudo é parte de uma pesquisa de mestrado que permeia a arte, o design e a sua materialidade.
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Martín Ezpeleta, Antonio, and Yolanda Echegoyen Sanz. "Visitando a Mary Shelley. Diálogos didácticos entre ciencia y literatura. Visiting Mary Shelley. Educational dialogues between science and literature." El Guiniguada 29 (2020): 75–88. http://dx.doi.org/10.20420/elguiniguada.2020.340.

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Enmarcado en un proyecto de innovación docente relacionado con la integración de las ciencias y las letras destinado a alumnos de los Grados de Maestro en Educación Primaria e Infantil, este trabajo presenta una experiencia educativa basada en la novela mítica Frankenstein, de la creadorainglesa Mary Shelley (1818). La elección de la obra viene motivada por la efeméride de su publicación, pero especialmente por la fortuna de poder asistir a la exposición “Frankenstein o el moderno Prometeo. Diálogos entre ciencia y literatura”, comisariada por Pedro Ruiz-Castell en la Universitat de València. Esta motivó una secuencia didáctica llevada a cabo por más deun centenar de maestros en formación que tenía por objetivo principal el desarrollo de estrategias de mediación cultural a partir del diseño de materiales didácticos para niños, con la peculiaridad de que estos integraban aspectos relacionados con las ciencias y la literatura. This work presents an educationalexperience based on the novel Frankensteinby Mary Shelley (1818) with alumni of the degrees in early childhood educationand primary education, as part of an educational innovation project related to the integration of sciences and arts. The novel was selected because of the ephemeris of its publication, but also because there was an exposition entitled “Frankenstein or the modern Prometheus. Dialogues between science and literature”, directed by Pedro Ruiz-Castell atthe University of Valencia. This lead to a learning unit carried out by more than one hundred pre-service teachers with the main goal of developing cultural mediation strategies based on the design of learning materials for children integrating science and literature.
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Sasani, Samira, and Hamidreza Pilevar. "Modern Prometheus: Marry Shelley's Frankenstein and Rejection of Romanticism." International Journal of Applied Linguistics and English Literature 6, no. 2 (January 4, 2017): 214. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.2p.214.

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The tool for Mary Shelley to criticize and satirize Romanticism is her famous character, Victor Frankenstein, or as the subtitle of the novel suggests: The Modern Prometheus. In Romantic beliefs, Prometheus was the symbol of limitless ability and freedom to whom many Romantic Poets pay tribute. In contrast, in Mary Shelley’s opinion, this ‘metaphysical revolt’ cannot go unpunished. The aim of this paper is to examine, through a Foucauldian reading, the mythic character of Prometheus in Romantic era, and the differences existing between Marry Shelley’s presentations of the modern version of the character and the Romantic version, and to show how Mary Shelley, belonging to other discourses rather than the dominant one, opposes the Romantic-related ideas. As Foucault believes there exist other discourses along with the dominant one all of which are in a constant struggle over power in a hierarchy. Mary Shelley follows some marginalized discourses, and her opposition to Romantic ideals stems from her relationship with other major Romantic Poets, and also from getting influence from some scientific experimentations of her day. She witnesses the harshness in her relationships with Romantic Poets, and their doomed aspirations, which agonizingly affect her life.Keywords: Foucault, Discourse, Romanticism, Prometheus, Mary Shelley, Frankenstein
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Azcárate, Asunción López-Varela, and Estefanía Saavedra. "The Metamorphosis of the Myth of Alchemy: Mary Shelley’s Frankenstein." Revista ICONO14 Revista científica de Comunicación y Tecnologías emergentes 15, no. 1 (January 1, 2017): 108–27. http://dx.doi.org/10.7195/ri14.v15i1.1036.

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This article takes as starting point the myth of alchemy in Mary Shelley´s Frankenstein or the Modern Prometheus, often interpreted as a warning of the risks and dangers of science and technology demonized in the form of the creature. Set in the Romantic period, the paper argues that the novel stages an ambiguous relationship between the advances in natural science and the philosophical and spiritual concerns that Mary Shelley inherited from her father, the philosopher William Godwin, which she discussed with her husband, the poet Percy B. Shelley. In the context of contemporary interdisciplinary discourses that contemplate ‘consilience’ between the humanities and the sciences, this paper offers a reading of Frankenstein and of Percy B. Shelley’s essay “A Defence of Poetry” as critical of empirical science in their ambiguous positioning with regards to alchemy and contemporary science. Furthermore, the research seeks to establish links with eco-cybernetic theories which bring to the fore a renewed interest on humanistic aspects.
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Mellor, Anne K., and Charles E. Robinson. "Mary Wollstonecraft Shelley. The Frankenstein Notebooks." Studies in Romanticism 37, no. 3 (1998): 481. http://dx.doi.org/10.2307/25601349.

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Badalamenti, Anthony F. "Why did Mary Shelley Write Frankenstein?" Journal of Religion and Health 45, no. 3 (August 10, 2006): 419–39. http://dx.doi.org/10.1007/s10943-006-9030-0.

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Coats, Karen. "Gris Grimly's Frankenstein by Mary Shelley." Bulletin of the Center for Children's Books 67, no. 2 (2013): 113–14. http://dx.doi.org/10.1353/bcc.2013.0685.

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Stefanuto, Clelia. "Mary Shelley: il padre come ossessiva relazione." Revista Internacional de Culturas y Literaturas, no. 23 (2020): 180–90. http://dx.doi.org/10.12795/ricl.2020.i23.13.

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L’obiettivo di questo articolo è analizzare le difficili relazioni paterno-filiali in Frankenstein di Mary Shelley, contestualizzando l’opera nella narrativa dell’Ottocento nel quale si tenta di ridefinire il ruolo della figura del padre nella famiglia e nella società. Mary Shelley proietta nel mostro il suo rapporto conflittuale con Godwin creando un racconto obliquamente autobiografico e, allo stesso tempo, emblematico della ribellione delle figlie e scrittrici al criterio di autorità patriarcale.
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Dissertations / Theses on the topic "Shelley, Mary - Frankenstein"

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Botting, David Charles. "Making monstrous : Frankenstein, criticism, theory." Thesis, Cardiff University, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.238150.

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Van, Wyk Wihan. "Shelleyan monsters: the figure of Percy Shelley in Mary Shelley’s Frankenstein and Peter Ackroyd’s The Casebook of Victor Frankenstein." University of the Western Cape, 2015. http://hdl.handle.net/11394/4860.

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Magister Artium - MA
This thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but is not exclusively confined to them. The thesis will attempt to show that Victor and the Creature can be read as figures for the Enlightenment and the Romantic movements respectively. As several critics have noted, these fictional protagonists also represent the divergent elements of Percy Shelley’s own divided personality, as he was both a dedicated man of science and a radical Romantic poet. He is a figure who exemplifies the contrasting notions of the archetypal Enlightenment man, while simultaneously embodying the Romantic resistance to some aspects of that zeitgeist. Lately, there has been a resurgence of interest in the novel by contemporary authors, biographers and playwrights, who have responded to it in a range of literary forms. I will pay particular attention to Peter Ackroyd’s, The Casebook of Victor Frankenstein (2011), which shows that the questions Frankenstein poses to the reader are still with us today. I suggest that this is one of the main impulses behind this recent resurgence of interest in Mary Shelley’s novel. In particular, my thesis will explore the idea that the question of knowledge itself, and the scientific and moral limits which may apply to it, has a renewed urgency in early 21st century literature. In Frankenstein this is a central theme and is related to the figure of the “modern Prometheus”, which was the subtitle of Frankenstein, and which points to the ambitious figure who wishes to advance his own knowledge at all costs. I will consider this point by exploring the ways in which the tensions embodied by Percy Shelley and raised by the original novel are addressed in these contemporary texts. The renewed interest in these questions suggests that they remain pressing in our time, and continue to haunt us in our current society, not unlike the Creature in the novel.
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Kolker, Danielle. "Mary Shelley, Victor Frankenstein, and the Powers of Creation." Oberlin College Honors Theses / OhioLINK, 1991. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1411135456.

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Hillerström, Mikael. "A feminist reading of Mary Shelley's Frankenstein." Thesis, Karlstads universitet, Fakulteten för humaniora och samhällsvetenskap (from 2013), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-74494.

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This essay is a feminist analysis of Mary Shelley’s Frankenstein; or, The Modern Prometheus (1818) that shows how Shelley criticizes society through presenting feminist viewpoints. I argue that Shelley critiques traditional gender roles by punishing characters subscribing to them. Most of the characters conform to traditional gender stereotypes. The male characters are ambitious and self-centered while the female characters are self-sacrificing and docile. The main protagonist Victor Frankenstein represents patriarchal belief and is incapable of any feminine attributes which leads to the demise of everyone he cares for, and himself. The male-only narration emphasizes how insignificant the male characters deem women to be, as they are rarely heard of and most of the time ignored. In the novel, nature is represented as active and feminine, and it punishes or rewards characters in accordance with their actions.
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Haapala, Linda. "Mary Shelley’s Frankenstein and the Dangers of Medical Science." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-67377.

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Mary Shelley’s Frankenstein has frequently been interpreted as a cautionary tale of the dangers of medical science and its ambitions. However, by comparing the different narratives in the novel the essay will show that the intention of the novel is quite different. The essay will show that while Frankenstein himself comes to believe that science is the culprit, the narratives by Walton and the creature qualify that view, showing rather that the problem is not science as such but Frankenstein’s abandonment of his creation. The essay begins with a brief introduction to the historical background of the novel, followed by an analysis of the three distinct narratives given by Walton, Frankenstein and the creature, and conclude with a discussion of the findings when comparing their narratives.
Mary Shelleys Frankenstein har ofta tolkats som en varnande berättelse om farorna av medicinsk vetenskap och dess ambitioner. Men genom att jämföra de olika berättelserna i boken så kommer uppsatsen att visa att syftet med boken är ganska annorlunda. Uppsatsen kommer att visa att medan Frankenstein själv tror att vetenskapen är den skyldige, Waltons och varelsens berättelser berättigar denna uppfattning, så är problemet inte vetenskap som sådan utan det faktum att Frankenstein övergav sin skapelse. Uppsatsen börjar med en kort introduktion till den historiska bakgrunden av boken, följt av en analys av de tre distinkta berättelserna från Walton, Frankenstein och varelsen och uppsatsen avslutas med en diskussion av resultaten när man jämför deras berättelser.
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Åsman, Sofia. "Människan och Naturen i Mary Shelleys Frankenstein or the Modern Prometheus." Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-16426.

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Denna uppsats ämnar med hjälp av av teorier från ekokritik och posthumanism besvara frågorna hur Mary Shelley i sin roman skildrar relationen mellan natur och människa, samt hur man med utgångspunkt i Frankensteins monster (i uppsatsen refererad till som Skapelsen) kan diskutera begreppet människa. Med ekokritik menas här att studera det mänskliga jämfört med det ickemänskliga samt att också diskutera detta mänskliga, vilket är en av huvudpoängerna inom posthumanism. Den vetenskapssyn och natursyn som var gällande på Mary Shelleys tid var antropocentrisk, en världsåskådning som alltid utgår ifrån människan, och som oftast ger människan högre status än allt annat. I romanen skildras detta genom Kapten Waltons syn på sitt upptäcktsresande, och Victor Frankensteins önskan att besegra döden, eller naturen, genom att skapa en ny varelse, för vilket han får plikta med sitt liv, då han inte klarar det hårda klimatet vid Nordpolen. Det blir alltså naturen som dödar honom. I detta kan ses Mary Shelleys kritik mot ett oansvarigt utforskande av naturen och dess processer. Vid försök att diskutera konceptet människa kan upptäckas att en definition lätt motarbetas genom att inte alla människor passar in på denna definition, och att det också kan finnas andra varelser som helt eller delvis gör det. Saken kompliceras dessutom av att en maskin, en robot, eller en artificiell intelligens, numera kan fungera mycket likt en hjärna, och att den mänskliga hjärnan beskrivs som en serie elektrokemiska impulser. Vi leds att acceptera Derridas tanke att människa inte är något som går att definiera. Även denna diskussion kan ses som antropocentrisk, vilket är en av svårigheterna; att bortse från sin egen kulturs världsåskådning.
The main focus of this essay is to attempt to answer the questions of how Mary Shelley, in her novel Frankenstein or the Modern Prometheus, portrays the relationship between man and nature, and how Frankensteins creature can serve as a starting point in a discussion of the term human. The theories of ecocriticism - here described as the study of the relationship between human and nonhuman - and poshumanism, which contains the premisses for discussing this human, reveal many interesting things about the novel. The scientific approach to the world, and by extension, nature, can in Shelleys novel be considered anthropocentric, which is portrayed as a damaging world-view. Attempts to discuss the concept of human reveals that any definition can be met with resistence and objections. Not all humans meet the criteria of a certain definition, and there may be other creatures that do. The conclusion here may be that the human simply cannot be defined properly.
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Mattos, Marília. "Humanoides pós-naturais: atualizações de Frankenstein na cultura ocidental." reponame:Repositório Institucional da UFBA, 2013. http://www.repositorio.ufba.br/ri/handle/ri/8495.

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A tese investiga a relação do mito Frankenstein com configurações identitárias, ditas "pós-humanas", da cultura ocidental. O capítulo inicial focaliza as principais características do mito frankensteiniano, tais como a questão do duplo, a noção de monstro e a de herói trágico, assim como o conflito entre o Romantismo e o Iluminismo. Em "Monstros e máquinas" são abordados androides ficcionais da literatura e do cinema, relacionando-os a correntes epistemológicas da Inteligência Artificial e a Frankenstein. Também é enfocado o subgênero literário "Ficção Científica", buscando-se compreender sua especificidade. O último capítulo concentra-se no pop star Michael Jackson, que é lido como uma versão pós-moderna de Frankenstein, pois se recria incessantemente através da ciência. Jackson é analisado a partir de videoclipes e de dados biográficos e considerado uma atualização contemporânea do herói trágico dionisíaco apontado por Nietzsche
Universidade Federal da Bahia. Instituto de Letras. Salvador-Ba, 2010.
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Nidesjö, Liselott. "Who is the Monster in Mary Shelley's Frankenstein? : A Psychoanalytic Reading of the Double Nature of Victor Frankenstein." Thesis, Högskolan i Halmstad, Sektionen för humaniora (HUM), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-18981.

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This essay challanges one of the worlds most famous horror story, Mary Shelley'sFrankenstein.Who is the monster in this novel? People know the story but they often tend to blend the two head characters, Victor Frankenstein and his creature. Based on the psychoanalysis, founded by Sigmund Freud, this essay argues that Victor Frankenstein is not the nice guy he seems to be. Appearances are not always what they seem and Victor Frankenstein turns into a "monster of the soul" due to suppressed feelings. His creature never stands a chance without any guidence and love. The creature is instead turned into a "monster of the body" since it is constantly badly treated from the start
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Donada, Jaqueline Bohn. ""Spontaneous overflow of powerful feelings" : romantic imagery in Mary Shelley's Frankenstein." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7109.

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A literatura romântica inglesa se constituiu basicamente de poesia, pois foi produzida em uma época em que ficção em prosa era vista como mero entretenimento. Alguns romancistas, excepcionalmente, são rotulados como “românticos”, mas Mary Shelley não aparece entre eles. Durante mais de um século, sua obra permaneceu restrita às sessões dos livros que tratam da exótica literatura gótica. A presente dissertação argumenta que a crítica literária não tem reconhecido a óbvia relação de Frankenstein com o romantismo inglês. Para evidenciar tal envolvimento, será apresentada uma análise do conjunto de imagens do romance que busque revelar os elementos românticos ali contidos. A análise se baseia, principalmente, nas idéias de Northrop Frye a respeito da natureza e função de imagens na literatura. O conceito de intertextualidade também será utilizado como ferramenta para a análise da inserção de imagens no romance e da inserção do romance no contexto do romantismo inglês. O trabalho é dividido em três partes. A primeira explora as relações de Frankenstein com a vida de Mary Shelley e com o romantismo inglês. A segunda expõe a base teórica em que esta dissertação se apóia. A última apresenta a minha leitura da teia de imagens do romance. Ao final, espero poder validar a tese proposta: que Frankenstein incorpora os valores estéticos e filosóficos do romantismo e merece, portanto, ser situado no seu devido lugar no cânone literário inglês como o representante legítimo do romantismo em prosa.
Romantic English literature – written at a time when prose fiction was predominantly a medium for sheer entertainment – is rooted in poetry. One or two novelists may exceptionally be granted the adjective “Romantic”, but Mary Shelley is not ranked among them. For centuries, her work has been restricted to that section in handbooks reserved for exotic Gothic literature. This thesis argues that literary criticism has failed to recognize Frankenstein’s obvious relation with the movement. The argument will be fostered by a brief look at such handbooks, and developed through the analysis of the imagery of the novel, so as to trace the Romantic elements there contained. The analysis relies mainly on the frame developed by Northrop Frye concerning the nature and function of imagery in literature. The concept of intertextuality will also be useful as a tool to account for the insertion of images in the novel, and for the novel’s insertion within the Romantic context. The work is divided into three parts. The first contextualizes the main issues set forth by Frankenstein, establishing connections with the life of the author and with the Romantic movement. The second exposes the theoretical basis on which the thesis is grounded. The last presents my reading of the novel’s web of images. In the end, I hope to validate the thesis proposed, that Frankenstein embodies the aesthetic and philosophical assessments of the English Romantic agenda, and therefore deserves to be situated in its due place in the English Literary canon as the legitimate representative of Romanticism in prose form.
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Chow, Wing-kai Ernest. "Transgression and identity in Frankenstein, Lord Jim, and the Satanic Verses." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18735563.

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Books on the topic "Shelley, Mary - Frankenstein"

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Mary Shelley: Frankenstein. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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Currie, Felicity. Mary Shelley: Frankenstein. Buckingham: The Critical Forum, 2001.

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Marsh, Nicholas. Mary Shelley: Frankenstein. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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Shelley, Mary Wollstonecraft. Frankenstein: Mary Shelley. New York, NY, USA: Spark Publishing, 2014.

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Marsh, Nicholas. Mary Shelley: Frankenstein. Houndmills, Basingstoke, Hampshire [England]: Palgrave Macmillan, 2009.

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Marsh, Nicholas. Mary Shelley: Frankenstein. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3.

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Mary Shelley et Frankenstein: Itinéraires romanesques. Paris: Presses universitaires de France, 2005.

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Mary Shelley. Lyon: La Manufacture, 1988.

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Hindle, Maurice. Mary Shelley, Frankenstein, or, The modern prometheus. London: Penguin Books, 1994.

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Mary Shelley & Frankenstein: The Fate of Androgyny. Chicago, IL, USA: University of Chicago Press, 1986.

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Book chapters on the topic "Shelley, Mary - Frankenstein"

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Beer, John. "Mary Shelley, Frankenstein." In A Companion to Romanticism, 245–54. Oxford, UK: Blackwell Publishing Ltd, 2017. http://dx.doi.org/10.1002/9781405165396.ch22.

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Allen, Graham. "Frankenstein: Or, The Modern Prometheus." In Mary Shelley, 17–40. London: Macmillan Education UK, 2008. http://dx.doi.org/10.1007/978-1-137-09659-3_2.

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Marsh, Nicholas. "Introduction." In Mary Shelley: Frankenstein, 1–3. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_1.

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Marsh, Nicholas. "The Narrative Frame." In Mary Shelley: Frankenstein, 7–45. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_2.

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Marsh, Nicholas. "Characterization." In Mary Shelley: Frankenstein, 46–87. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_3.

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Marsh, Nicholas. "Nature, Society and Science." In Mary Shelley: Frankenstein, 88–127. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_4.

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Marsh, Nicholas. "Symbol and Myth." In Mary Shelley: Frankenstein, 128–70. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_5.

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Marsh, Nicholas. "Themes, and Conclusions to Part 1." In Mary Shelley: Frankenstein, 171–80. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_6.

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Marsh, Nicholas. "Mary Shelley’s Life and Works." In Mary Shelley: Frankenstein, 183–202. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_7.

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Marsh, Nicholas. "The Historical and Literary Context." In Mary Shelley: Frankenstein, 203–19. London: Macmillan Education UK, 2009. http://dx.doi.org/10.1007/978-1-137-03763-3_8.

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