Relevant bibliographies by topics / Shelley, Mary Wollstonecraft, in fiction

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  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Shelley, Mary Wollstonecraft, in fiction'

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Published: 4 June 2021
Last updated: 14 February 2022

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Journal articles on the topic "Shelley, Mary Wollstonecraft, in fiction"

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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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Bilger, Audrey. "Mary Wollstonecraft and Mary Shelley: Writing Lives (review)." Biography 25, no. 2 (2002): 397–400. http://dx.doi.org/10.1353/bio.2002.0016.

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Wilt, Judith. "The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Mary Poovey , Mary Wollstonecraft , Mary Shelley , Jane Austen." Modern Philology 83, no. 4 (May 1986): 434–37. http://dx.doi.org/10.1086/391506.

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Purinton, Marjean D. "Mary Shelley's science fiction short stories and the legacy of Wollstonecraft's feminism." Women's Studies 30, no. 2 (April 2001): 147–74. http://dx.doi.org/10.1080/00497878.2001.9979369.

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Rzepka, Charles J. "England's First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley. Julie Carlson." Wordsworth Circle 39, no. 4 (September 2008): 152–55. http://dx.doi.org/10.1086/twc24045229.

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Mellor, Anne K. ": The Journals of Mary Shelley. Vol. I, 1814-1822. . Mary Shelley, Paula R. Feldman, Diana Scott-Kilvert. ; The Journals of Mary Shelley. Vol. II, 1822-1844. . Mary Shelley, Paula R. Feldman, Diana Scott-Kilvert. ; The Letters of Mary Wollstonecraft Shelley, Vol. III: "What Years I Have Spent!" . Mary Wollstonecraft Shelley, Betty T. Bennett." Nineteenth-Century Literature 43, no. 4 (March 1989): 535–37. http://dx.doi.org/10.1525/ncl.1989.43.4.99p0203p.

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Schoina, Maria, and Eirini Papadopoulou. "Thomas Jefferson Hogg to Mary Wollstonecraft Shelley: An Unpublished Holograph Letter." Notes and Queries 67, no. 1 (January 21, 2020): 93–99. http://dx.doi.org/10.1093/notesj/gjz196.

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Weekes, Ann Owens, and Anne K. Mellor. "Mary Shelley: Her Life, Her Fiction, Her Monsters." Rocky Mountain Review of Language and Literature 43, no. 1/2 (1989): 107. http://dx.doi.org/10.2307/1347208.

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Braida, Antonella. "Mme de Staël’s Influence on Percy Bysshe Shelley and Mary Wollstonecraft Shelley: Empowering Women’s Politics through Literature." Keats-Shelley Review 33, no. 1 (January 2, 2019): 81–95. http://dx.doi.org/10.1080/09524142.2019.1611270.

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Ferreira, Eliane Aparecida Galvão Ribeiro, and Guilherme Magri da Rocha. "Cânone e mercado editorial: uma reflexão sobre a vitalidade de Frankenstein, de Mary Shelley." FronteiraZ. Revista do Programa de Estudos Pós-Graduados em Literatura e Crítica Literária, no. 24 (July 6, 2020): 119–37. http://dx.doi.org/10.23925/1983-4373.2020i24p119-137.

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Este artigo tem como propósito apresentar ao leitor uma possibilidade de análise do romance Frankenstein ou o Prometeu Moderno (1818), de Mary Wollstonecraft Shelley (1797-1851), tendo como foco os paratextos da edição publicada pela DarkSide em 2017, traduzida por Márcia Xavier de Brito. Justifica-se a escolha dessa edição, pois eleita, em 2019, como atraente pelos alunos do primeiro ano do curso de Letras da Universidade Estadual Paulista – UNESP, Câmpus de Assis-SP. Na análise da obra de Shelley, busca-se, a partir do aporte teórico da Estética da Recepção (JAUSS, 1994; ISER, 1996 e 1999), refletir sobre sua vitalidade, enquanto marco no cânone ocidental, pois se configurou, conforme José Paulo Paes (1985), como primeiro romance de ficção científica. Na análise dos paratextos da edição da DarkSide (SHELLEY, 2017), pretende-se detectar, em consonância com Roger Chartier (2014) e Gerard Genette (2009), se modificam a relação do leitor com o material escrito.
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Dissertations / Theses on the topic "Shelley, Mary Wollstonecraft, in fiction"

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Yeasting, Jeanne E. "Double trouble : romantic idealism in the novels of Mary Shelley, Emily Brontë, and Angela Carter /." Thesis, Connect to this title online; UW restricted, 1999. http://hdl.handle.net/1773/9401.

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Seligo, Carlos. "The origin of science fiction in the monsters of botany : Carolus Linnaeus, Erasmus Darwin, Mary Shelley /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9361.

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Rotunno, Laura Elizabeth. "Readdressed : correspondence culture and nineteenth century British fiction /." free to MU campus, to others for purchase, 2003. http://wwwlib.umi.com/cr/mo/fullcit?p3099627.

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Kong, Ching-man Paula. "Powerful obsession : variations on a theme in four fictions : Mary Shelley's Frankenstein, Joseph Conrad's Heart of darkness, William Golding's Lord of the flies and the spire /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B1868550X.

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Laarman, Mathieu. "Fictions du naufrage, Naufragés de la fiction : poétiques du roman de l’échec : (Mary Shelley, Giovanni Verga, Thomas Hardy, Alain-Fournier, Louis Guilloux, Vitaliano Brancati)." Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100155/document.

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La présente étude s’appuie sur la confrontation de six œuvres françaises, anglaises et italiennes des XIXe et XXe siècles pour amorcer une réflexion sur la mise en scène de l’échec dans la fiction romanesque. Elle montre en premier lieu que les représentations de l’échec sont façonnées à la fois par le cheminement individuel de leurs auteurs et par les tensions sociales et politiques agitant leurs époques (l’Angleterre au lendemain de la Révolution Française puis à l’apogée de l’Ère industrielle et de la société victorienne ; la Sicile au sortir du Risorgimento puis l’Italie mussolinienne ; la France de la Belle Époque ou de l’entre-deux-guerres).La deuxième partie de cette thèse entend mettre en évidence trois aspects essentiels de la poétique des « romans de l’échec ». Elle s’attache tout d’abord à la distribution du temps, qui oscille entre linéarité et cyclicité, évoquant l’image du flux et reflux marin. Elle s’intéresse ensuite à la profusion de personnages velléitaires, déchiffrant leur rapport au monde à travers le prisme de leurs illusions livresques, à l’instar des protagonistes de Flaubert ou Dostoïevski. Elle met en lumière, enfin, la singulière dynamique qui conduit personnages et objets de fiction à échanger leurs attributs et fonctions : tandis que les premiers se trouvent ravalés au rang d’objets inutiles ou délaissés, les seconds conquièrent une existence autonome.Cet essai se conclut par un questionnement sur la charge subversive des romans de l’échec. La forme romanesque se révèle en effet douée d’une exceptionnelle faculté de résistance aux discours idéologiques et à l’esprit de système, dont elle déjoue insidieusement les aspirations néfastes
This study focuses upon a comparison of six works in French, English and Italian from the 19th and 20th centuries, in order to reflect upon the staging of failure in the novel form. Firstly, the study demonstrates how representations of failure are shaped both by the individual development of their authors, and by the social and political tensions of the period through which they lived (England after the French Revolution, and later at the height of the industrial revolution in the Victorian age; Sicily after the Risorgimento, and under Mussolini’s regime; France during the belle époque or the interwar years.)The second part of this thesis aims to highlight three principal aspects of the poetics of the ‘novel of failure’. This section focuses initially on the distribution of time – a temporality which oscillates between the linear and the cyclical, invoking the image of tidal ebbs and flows. Subsequently, the section emphasises the preponderance of weak-willed characters, who aim to decode their relationships to the world through the prism of their naïve and bookish illusions, in the manner of a Dostoyevskian or Flaubertian protagonist. Finally, this section seeks to illuminate the peculiar process that leads characters and objects of fiction to exchange their attributes and functions: while the former find themselves reduced to the level of useless or abandoned objects, the latter achieve an almost autonomous existence.The thesis concludes by engaging with the question of the subversive charge of the ‘novel of failure’. The novel form reveals itself to be endowed with an exceptional capacity for resistance to ideological discourses and mechanisms of socio-cultural control, whose detrimental aspirations it insidiously frustrates
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Pereira, Ismael Bernardo. "Connections between the gothic and science fiction in Frankenstein, Strange case of Dr. Jekyll and Mr. Hyde and the island of Dr. Moreau." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/179441.

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A presente dissertação tem como objetivo estabelecer um diálogo entre três obras da literatura britânica do século XIX: o romance Frankenstein (1818), da autora Mary W. Shelley; a novela O Médico e o Monstro (1886), de autoria de Robert Louis Stevenson; e o romance A Ilha do Dr. Moreau (1896), de H. G. Wells. Tal comparação será feita com base nas convenções advindas dos gêneros Gótico e Ficção científica, presentes nas obras. Como principal alicerce teórico para a definição de gêneros entendem-se as considerações de Tzvetan Todorov, que defende que os gêneros são inevitáveis como horizonte de interpretação, além de serem entidades em constante mudança numa cadeia de influências através da qual novos gêneros são criados a partir de outros pré-existentes. O presente trabalho parte desse pressuposto para determinar de que maneira os gêneros Gótico e Ficção científica estão presentes nas obras, observando como os traços do Gótico, ao se adaptarem através do tempo, deram lugar a convenções ainda semelhantes, mas que já apontavam para o que posteriormente seria considerado um novo gênero literário. Primeiramente, são feitas considerações sobre conceitos de gênero textual/literário através do tempo, as quais mostram o quanto seu estudo permaneceu constante. A seguir são definidas certas convenções dos dois gêneros, assim como o modo como dialogam entre si. A segunda parte do trabalho analisa as duas primeiras obras em ordem cronológica, Frankenstein e O Médico e o Monstro, de maneira a perceber a predominância de convenções do Gótico – especialmente relacionadas ao conflito interior dos personagens, como o "duplo" – ao mesmo tempo que a emergência de temas da ciência, como os de criador/criatura e ambição científica. O último capítulo verifica como a primeira fase da Ficção científica de H. G. Wells em geral e A Ilha do Dr. Moreau em particular resgatam convenções dos dois gêneros supracitados, ao mesmo tempo servindo como consolidador das convenções do último. Conclui-se, portanto, que houve uma evolução que possibilitou a emergência de um novo gênero ligado ao contexto histórico das obras, o que legitima a consideração dos gêneros como entidades mais livres e não restritivas, que podem estar presentes em diversas obras ao mesmo tempo e ampliar seu horizonte de interpretação.
This thesis establishes a dialogue among three books from 19th century British literature: the novel Frankenstein (1818), by M. W. Shelley; the novella Strange Case of Dr. Jekyll and Mr. Hyde (1886), by Robert Louis Stevenson; and the novel The Island of Dr. Moreau (1896), by H. G. Wells. This comparison is made based on the specific Gothic and Science fiction conventions present in the books. The main theoretical support for the definition of genres employed here comes from Tzvetan Todorov. The author argues that genres are inevitable as horizons of interpretation, entities in constant change which tend to create new genres from pre-existent ones, in a chain of influences. This thesis considers this supposition to determine how Gothic and Science fiction make themselves present in the works analyzed, in a way that Gothic traits, being adapted through time, give way to similar but yet innovative conventions, which subsequently would be considered a new literary genre. Primarily, considerations concerning the concept of genres through history are made, all of which show how this study was kept constant. Hereafter, certain conventions regarding both genres are defined, as well as the manner they dialogue amongst themselves. The second part of the thesis is dedicated to the analysis of Frankenstein and Strange Case of Dr. Jekyll and Mr. Hyde, and establishes the predominance of Gothic conventions – especially the ones related to the inner conflict of the characters, such as the "double" –, while considering the emergence of scientific themes, such as the creator/creature relationship and scientific ambition. The last section verifies how the first cycle of H. G. Wells' Science fiction in a broad sense, and The Island of Dr. Moreau in a strict sense, reemploy conventions of both genres, serving to consolidate the latter. Therefore, it is concluded that there was an evolution which enabled the emergence of a new genre, considering the historical contexts and the books analyzed. This consideration justifies genres as wide-ranging, non-restrictive entities, which may be present in various works simultaneously and broaden their horizon of interpretation.
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Alegrette, Alessandro Yuri [UNESP]. "Frankenstein: uma releitura do mito de criação." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91524.

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Made available in DSpace on 2014-06-11T19:25:23Z (GMT). No. of bitstreams: 0 Previous issue date: 2010-03-02Bitstream added on 2014-06-13T20:13:43Z : No. of bitstreams: 1 alegrette_ay_me_arafcl.pdf: 573460 bytes, checksum: 4e564e7284dc1d936b52f3ee5ff8275f (MD5)
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A dissertação de mestrado, “Frankenstein: uma releitura do mito de criação”, tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura
The main aim of this Master’s Thesis, “Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses – the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley’s novel, stressing the importance of the Promethean’s story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel’s intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley’s rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein’s myth in our culture
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Romero, Holly-Mary. "The doppelganger in select nineteenth-century British fiction : Frankenstein, Strange case of Dr Jekyll and Mr Hyde, and Dracula." Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29381/29381.pdf.

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Ce mémoire étudie les épitomés de la figure doppelganger en trois romans britanniques gothiques du XIXe siècle: Frankenstein de Mary Shelley, Strange Case of Dr. Jekyll and Mr. Hyde de Robert Louis Stevenson et Dracula de Bram Stoker. En utilisation avec les sources secondaires dont The Origin of Species et The Descent of Man de Charles Darwin, et The Uncanny de Sigmund Freud, je soutiens que le doppelganger symbolise les conventions sociales et les angoisses des hommes britanniques dans les années 1800. Grâce à un examen des représentations physiques et métaphoriques de la dualité et de la figure doppelganger dans la littérature primaire, je démontre que la duplicité était courante au XIXe siècle à Londres. En conclusion, les doppelgangers sont des manifestations physiques gothiques de terreur qui influencent les luttes avec bien séance, des répressions des désirs et des craintes de l'atavisme, de la descente et de l'inconnu dans le XIXe siècle.
This thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.
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Hivet, Christine. "Roman féminin et condition féminine de Mary Wollstonecraft à Mary Shelley." Paris 3, 1993. http://www.theses.fr/1993PA030108.

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A une epoque ou florissait le roman feminin et ou la condition feminine posait des problemes de plus en plus aigus, mary wollstonecraft choisit d'exprimer dans le roman les revendications de a vindication of the rights of woman. Oeuvres pleines d'horreur et de pathos, mary et the wrongs of woman reclamaient ainsi pour la femme le droit au divorce et a l'amour. Certaines de ses contemporaines eurent le courage de suivre mary wollstonecraft et de faire elles aussi un sombre tableau de la realite de la condition feminine. Toutes les femmes etaient cependant loin de partager cette sympathie pour mary wollstonecraft. Detestant tout ce que representait cette derniere, des auteurs comme hannah more mirent donc en scene des heroines wollstonecraftiennes destinees a etre punies par la justice poetique. Le statu quo faisait en revanche l'objet de tous leurs eloges au prix meme de la dynamique romanesque. Une generation plus tard, mary shelley publiait frankenstein. Apparemment sans importance, la femme n'etait cependant pas absente de l'oeuvre de la fille de mary wollstonecraft. Peut-etre est-ce en partie a cette indirection que mary shelley dut sont succes litteraire. D'autres romancieres parvinrent a faire reconnaitre plus ou moins vite leur talent, telles fanny burney, maria edgeworth, ann radcliffe ou jane austen. Si elles aussi s'en remirent a la strategie de l'indirection, leur succes n'en constitua pas moins un grand pas en avant pour le sexe feminin
At a time when women's fiction was flourishing and when the condition of woman caused increasingly acute problems, mary wollstonecraft chose to express in the novel the same message as in a vindication of the rights of woman. Works which were full of horror and pathos, mary and the wrongs of woman promoted the right to divorce and love for women. Some of ther contemporaries had the courage to follow in her steps and like her to portray a sombre picture of a woman's life. However, not all women were sympathetic towards mary wollstonecraft's views. Hating everything which she stood for, some authors like hannah more created wollstonecraftian anti-heroines who were destined to be punished by poetic justice. On the other hand, they were full of praise for the status quo, even at the expense of the dynamics of their novel. A generation later, mary shelley published frankenstein. Apparently without importance, woman is however not absent from the works of mary wollstonecraft's daughter. Perhaps mary shelley owes her success partly to this indirection. Other novelists, such as fanny burney, maria edgeworth, ann radcliffe or jane austen, managed to have their talent more or less quickly recognised. If they as well adopted the strategy of indirection, their success however was a significant step forward for the female sex
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Poston, Craig A. (Craig Alan). "The Problematic British Romantic Hero(ine): the Giaour, Mathilda, and Evelina." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278684/.

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Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.
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Books on the topic "Shelley, Mary Wollstonecraft, in fiction"

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

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

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Hivet, Christine. Voix de femmes: Roman féminin et condition féminine de Mary Wollstonecraft à Mary Shelley. Paris: Presses de l'Ecole normale supérieure, 1997.

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Romantic narrative: Shelley, Hays, Godwin, Wollstonecraft. Baltimore, USA: Johns Hopkins University Press, 2010.

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Mellor, Anne Kostelanetz. Mary Shelley: Her life, her fiction, her monsters. New York: Routledge, 1988.

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Mary Shelley: Her life, her fiction, her monsters. New York: Routledge, 1989.

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Shelley, Mary Wollstonecraft. Mary Wollstonecraft Shelley's Frankenstein, or, The modern Prometheus. 2nd ed. New York: Pearson Longman, 2007.

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Shelley, Mary Wollstonecraft. Mary Wollstonecraft Shelley's Frankenstein, or, The modern Prometheus. New York: Longman, 2003.

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Shelley, Mary Wollstonecraft. Mary Wollstonecraft Shelley's Frankenstein, or, The modern Prometheus. 2nd ed. New York, NY: Pearson Longman, 2006.

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The fictions of romantic tourism: Radcliffe, Scott, and Mary Shelley. Stanford, Calif: Stanford University Press, 2005.

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Book chapters on the topic "Shelley, Mary Wollstonecraft, in fiction"

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Müller, Wolfgang G. "Mary Wollstonecraft Shelley." In Kindler Kompakt: Englische Literatur, 19. Jahrhundert, 70–72. Stuttgart: J.B. Metzler, 2015. http://dx.doi.org/10.1007/978-3-476-05527-9_10.

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Schmid, Susanne. "Shelley, Mary Wollstonecraft." In Metzler Autorinnen Lexikon, 494–95. Stuttgart: J.B. Metzler, 1998. http://dx.doi.org/10.1007/978-3-476-03702-2_344.

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Müller, Wolfgang G. "Shelley, Mary Wollstonecraft." In Kindlers Literatur Lexikon (KLL), 1. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17069-1.

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Müller, Wolfgang G. "Mary Wollstonecraft Shelley." In Kindler Kompakt: Horrorliteratur, 67–69. Stuttgart: J.B. Metzler, 2017. http://dx.doi.org/10.1007/978-3-476-04502-7_10.

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Edwards, Gavin. "Relations: Mary Wollstonecraft and Mary Shelley." In Narrative Order, 1789–1819, 139–58. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230502246_8.

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Franklin, Caroline. "‘We did not marry’: the Comedy and Tragedy of Marriage in Life and Fiction." In Mary Wollstonecraft, 169–94. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230510050_7.

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Müller, Wolfgang G. "Shelley, Mary Wollstonecraft: Frankenstein: or, The Modern Prometheus." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_17070-1.

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Garrett, Martin. "A." In The Palgrave Literary Dictionary of Mary Wollstonecraft Shelley, 1–6. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-56639-3_1.

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Garrett, Martin. "J." In The Palgrave Literary Dictionary of Mary Wollstonecraft Shelley, 127–29. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-56639-3_10.

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Garrett, Martin. "K." In The Palgrave Literary Dictionary of Mary Wollstonecraft Shelley, 131–33. London: Palgrave Macmillan UK, 2019. http://dx.doi.org/10.1057/978-1-137-56639-3_11.

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