To see the other types of publications on this topic, follow the link: Shelley, Mary Wollstonecraft, in fiction.
Dissertations / Theses on the topic 'Shelley, Mary Wollstonecraft, in fiction'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 43 dissertations / theses for your research on the topic 'Shelley, Mary Wollstonecraft, in fiction.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
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.
Full text
2
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.
Full text
3
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.
Full text
4
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.
Full text
5
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.
Full textAbstract:
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 néfastesThis 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
6
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.
Full textAbstract:
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.
7
Alegrette, Alessandro Yuri [UNESP]. "Frankenstein: uma releitura do mito de criação." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91524.
Full textAbstract:
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)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
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
8
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.
Full textAbstract:
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.
9
Hivet, Christine. "Roman féminin et condition féminine de Mary Wollstonecraft à Mary Shelley." Paris 3, 1993. http://www.theses.fr/1993PA030108.
Full textAbstract:
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 femininAt 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
10
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/.
Full textAbstract:
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.
11
Mercer, Anna. "Rethinking the collaborative literary relationship of Percy Bysshe Shelley and Mary Wollstonecraft Shelley." Thesis, University of York, 2017. http://etheses.whiterose.ac.uk/18022/.
Full textAbstract:
This thesis offers a reassessment of the literary relationship and instances of creative collaboration between Percy Bysshe Shelley (PBS) and Mary Wollstonecraft Shelley (MWS). Rather than focusing on biography, I study the textual connections between the Shelleys’ works - though I have drawn on biographical information to put their collaboration into a historical context. I establish that their written works are profoundly influenced by and constructed through their intellectual exchange. Spoken discussions can never be recovered, but the evidence provided in the Shelleys’ writings, manuscripts, and non-fiction allows informed inferences to be made about how their compositions are interrelated. The study begins with the Shelleys’ meeting and their subsequent elopement in 1814, and continues on to PBS’s death in 1822, and beyond. It includes several case studies examined in detail. I give due attention to the work of existing scholars that have recognised the Shelleys’ collaboration, but emphasise that a comprehensive study of the Shelleys’ texts in light of their status as a literary couple has been lacking. More recent studies in Romanticism have shown a marked interest in the significance of collective creativity: PBS and MWS have the potential to provide one of the most intriguing examples of this paradigm, and critics have called for a ‘major study of this collaboration’ (Charles E. Robinson). I demonstrate MWS’s involvement in the production of PBS’s writings, and I identify shared working spaces. My analysis reveals the reciprocity of a relationship that in popular culture - including much of the discourse surrounding the Frankenstein manuscript - is often misrepresented as that of a patriarchal husband exerting intellectual dominance over his wife.
12
Varenne, Caroline. "Ordre et subversion : la vie et l'écriture de Mary Shelley." Saint-Etienne, 2003. http://www.theses.fr/2003STET2079.
Full textAbstract:
L'identité de Mary Shelley, fille et femme d'écrivains, s'est naturellement construite autour de la lecture et de l'écriture. On rencontre dans son oeuvre trois formes de subversion : 1°) celle des idéologies, sous la forme d'une reprise des théories et des thèmes radicaux de son entourage, théories qu'elle va discrètement subvertir à son tour ; 2°) une subversion de la nature (immortalité, monstruosité, inceste) qui traduit l'angoisse de Mary vis-à-vis de la maternité, son désir de détruire les institutions oppressives de la société patriarcale, ainsi qu'un désir de subversion de la morale et de la religion, deux instruments de la subordination des femmes par les hommes ; 3°) une subversion des conventions littéraires, caractéristique de l'écriture féminine. Ses romans, souvent inclassables ou hors normes, subvertissent la notion même de genre, même si son style très littéraire reste conventionnel. Ses écrits personnels témoignent de son désir constant de se définir comme un auteurMary Shelley, born and later married to celebrated writers, constructed her identity around the activities of reading and writing. Three forms of subversion can be found in her work : 1°) the subversion of ideologies : Mary takes up the radical themes and theories developed by her family circle, theories which she often subverts discreetly ; 2°) the subversion of nature (immortality, monstrosity, incest) shows an anxiety of motherhood, a desire to destroy the oppressive institutions of patriarchal society, and a subversion of moral codes and religious doctrine, which are two instruments used by men to subordinate women ; 3°) the subversion of literary conventions, characteristic of many women's writing. Mary Shelley' novels, which often defy classification or do not respect norms, subvert the very notion of genre, even though her very literary style remains conventional. Her personal writings testify to her constant wish to define herself as an author
13
Fontes, Janaina Gomes. "A voz materna : Mary Wollstonecraft e Michèle Roberts." reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/2681.
Full textAbstract:
Dissertação (mestrado)—Universidade de Brasília, Instituto de Letras, Departamento de Teoria Literária e Literaturas, 2008.Submitted by Priscilla Brito Oliveira (priscilla.b.oliveira@gmail.com) on 2009-09-09T20:59:14Z No. of bitstreams: 1 Dissert_Janaina Fontes.pdf: 962665 bytes, checksum: d3e9bfcb2facb6d6d8d11970f7ce2ec6 (MD5)
Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2009-12-12T12:18:06Z (GMT) No. of bitstreams: 1 Dissert_Janaina Fontes.pdf: 962665 bytes, checksum: d3e9bfcb2facb6d6d8d11970f7ce2ec6 (MD5)
Made available in DSpace on 2009-12-12T12:18:06Z (GMT). No. of bitstreams: 1 Dissert_Janaina Fontes.pdf: 962665 bytes, checksum: d3e9bfcb2facb6d6d8d11970f7ce2ec6 (MD5) Previous issue date: 2008
A experiência da maternidade tem suscitado complexos sentimentos desde os mitos existentes nas primeiras sociedades, que comparavam a capacidade reprodutiva das mulheres às forças da natureza. Durante os séculos, tal comparação foi distorcida pela sociedade patriarcal para satisfazer seus interesses, causando a opressão e o sofrimento de milhares de mulheres. Esse processo está presente também na literatura, que é capaz de refletir e perpetuar essas distorções ou desconstruí-las, contribuindo para novas visões dessa complexa experiência. Neste trabalho, analiso a representação da maternidade em romances de autoria feminina, mais precisamente, Maria, or the Wrongs of Woman e Mary, a Fiction, de Mary Wollstonecraft (escritora inglesa do século XVIII), e Fair Exchange, de Michèle Roberts (escritora inglesa contemporânea), auxiliada por exemplos em diversos textos teóricos de como o papel da mãe foi construído ao longo do tempo e pela contribuição dos estudos feministas para a desconstrução dos mitos patriarcais sobre a maternidade. _________________________________________________________________________________________ ABSTRACT
The experience of motherhood has roused complex feelings since the myths existing in the first societies, wich used to compare women’s reproductive capability to the forces of nature. Throughout the centuries, such comparison was distorted by the patriarchal society in order to satisfy its interests, causing the oppression and the suffering of thousands of women. This process is also present in literature, which is able to reflect and perpetuate these distortions or deconstruct them, contributing to new views on this complex experience. In this work I analyze the representation of motherhood in novels written by women, more precisely, Maria, or the Wrongs of Woman and Mary, a Fiction, by Mary Wollstonecraft (eighteenth-century English writer) and Fair Exchange, by Michèle Roberts (comtemporary English writer), assisted by examples in different texts of how the mother’s role has been constructed throughout time and by the contributions of the feminist studies for the deconstruction of patriarchal myths about motherhood.
14
Bell, Vivienne Ann. "William Godwin and Frankenstein : the secularization of Calvinism in Godwin's philosophy and the sub-Godwinian Gothic novel ; with some remarks on the relationship of the Gothic to Romanticism /." Title page, contents and summary only, 1993. http://web4.library.adelaide.edu.au/theses/09ARM/09armb435.pdf.
Full text
15
Knutsson, Emma. "Wollstonecraft's Mary and Maria: Creating Feminist Propaganda through Fiction." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-27164.
Full textAbstract:
This essay attempts to define Mary Wollstonecraft’s Mary: A Fiction and Maria or The Wrongs of Woman as early feminist propaganda from its historical perspective. Initially, feministic values as well as propaganda are connected to the eighteenth century with the help of contemporary scholars. These theories are then applied on Wollstonecraft’s Mary: A Fiction and Maria or the Wrongs of Woman, in order to establish these as propaganda. The conclusion reached is that Wollstonecraft had a political and feminist aim when writing her novels as there are many similarities between Mary: A Fiction and Maria or The Wrongs of Woman and her political text A Vindication of the Rights of Woman. Thus, it is possible to regard Mary: A Fiction and Maria or The Wrongs of Woman as early feminist propaganda.
16
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.
Full textAbstract:
Submitted by Cynthia Nascimento (cyngabe@ufba.br) on 2013-02-15T13:44:40Z
No. of bitstreams: 1
Marilia Mattos.pdf: 1383432 bytes, checksum: 8f12a8adc360ed2ee1449731d38aa2b3 (MD5)Approved for entry into archive by Fatima Cleômenis Botelho Maria (botelho@ufba.br) on 2013-02-18T16:19:47Z (GMT) No. of bitstreams: 1 Marilia Mattos.pdf: 1383432 bytes, checksum: 8f12a8adc360ed2ee1449731d38aa2b3 (MD5)
Made available in DSpace on 2013-02-18T16:19:47Z (GMT). No. of bitstreams: 1 Marilia Mattos.pdf: 1383432 bytes, checksum: 8f12a8adc360ed2ee1449731d38aa2b3 (MD5)
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.
17
Kibaris, Anna-Maria. "Mary Shelley's monstrous patchwork : textual "grafting" and the novel." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23337.
Full textAbstract:
This thesis examines selected prose fiction works of Mary Wollstonecraft Shelley in an effort to establish a clearer understanding of the creative principles informing her writing, based on more evidence than her well-known novel Frankenstein provides. Overturning the hitherto dismissive and/or reductive critiques of her lesser-known works, this thesis challenges negative assessments by reinterpreting the structure of Shelley's fiction. Concentrating particularly on the early Frankenstein(1818), Mathilda (written in 1819), and The Last Man (1826), with a focus on the use of insistent embedded quotations, this thesis begins by exploring Shelley's belief in textuality as a form of "grafting." As scholars have suggested, Shelley's literary borrowings are a result of her materialist-based views of human reality. The persistent use of embedded quotations is one way in which Shelley's fiction represents texts as collations of materials. The core of the argument posits that citational "grafting" has distinctive and striking effects in each of the works examined. In Frankenstein, quotations underscore existential alienation by pointing to the need for texts to fill in the lacunae of human understanding; in Mathilda, the narrator uses citations to create a sense of personal identity; and in The Last Man, citational excerpts are used with the assumption that they are shared pockets of meaning belonging to a community of human readers. This reconceptualization of Shelley's writing contributes to the generic taxonomies that are now being used to retheorize "the novel" in more inclusive and specific ways.
18
Stewart, James C. "The ghost of Godwin intertextuality and embedded correspondence in the works of the Shelley circle /." Birmingham, Ala. : University of Alabama at Birmingham, 2008. https://www.mhsl.uab.edu/dt/2008m/stewart.pdf.
Full textAbstract:
Thesis (M.A.)--University of Alabama at Birmingham, 2008.Additional advisors: Randa Graves, Daniel Siegel, Samantha Webb. Description based on contents viewed Feb. 10, 2009; title from PDF t.p. Includes bibliographical references (p. 68-71).
19
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.
Full text
20
Ogawa, Kimiyo. "Eighteenth-century medical discourse and sensible bodies : sensibility and selfhood in the works of William Godwin, Mary Wollstonecraft and Mary Shelley." Thesis, University of Glasgow, 2004. http://theses.gla.ac.uk/3944/.
Full textAbstract:
In Eighteenth-Century Medical Discourse and Sensible Bodies: Sensibility and Selfhood in the Works of William Godwin, Mary Wollstonecraft and Mary Shelley, I examine how medical, philosophical and theological discourses on sensibility and on selfhood mutually informed one another in the historical moment of the late eighteenth and early nineteenth centuries in England. The key to unravelling the complex notion of sensibility principally lies in the medical discourse that investigated the source of motion, knowledge, and moral feelings. I focus on the medical tracts which can be seen as discursive responses to Locke’s epistemology. In addition, I read eighteenth-century philosophical texts and analysed some of the political debates on the French Revolution. The theory of associationism which is predicted on the study of nerves and sense-impressions throws some light on a particular aspect of sensibility which explores epistemological issues and character formation. I show how the nerve theory operated in gender specific ways, so exposing the gender bias of supposedly objective medical science. The specific writers I discuss, Godwin, Wollstonecraft and Shelley, all address the associations theory directly. A close examination of their appropriation of medical language reveals that the image of the sensible body was a constant source of inspiration, and that their literary production was a continual process of re-figuring such a medicalised body. My project attempts to make sense of the equivocal position of Godwin and Wollstonecraft, who, while upholding rationalism, avow sensibility in their literary and non-literary works. The underlying contradictions between the associationism and the authority of the individual’s mind run deep. Rather than illustrating feminine reticence in Shelley’s Frankenstein as a cultural reflection of a “proper lady,” I argue that her characterisation of the monster and of female characters must be read as complex articulations of her sentiments about the discourses on sensibility and the problem of human agency.
21
Square, Shoshannah Bryn Jones. "A complicated compassion : the paradox of sympathy in Mary Shelley's fiction." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:e230bd7c-7846-4fa8-8a1b-d275a7e2a9b2.
Full textAbstract:
This study explores the formation and evolution of Mary Shelley's philosophy of sympathy, one which she continued to revise and refine throughout her lifetime. Her novels, journals, and letters reveal a persistent desire to understand what she perceived to be a deeply fraught emotion, a moral sentiment grounded in paradox. Engaging with the Moral Sense philosophy of Anthony Ashley Cooper, the third earl of Shaftesbury (1671-1713), Francis Hutcheson (1694-1746), David Hume (1711-1776), and Adam Smith (1723-1790), Shelley insists that sympathy lies at the very heart of our ethical being, encouraging recognition of and respect for the other. Yet, as she demonstrates in her fiction-from Frankenstein; or, The Modern Prometheus (1818) to Falkner (1837)-when felt to excess, sympathy can mutate into an unnatural and harmful emotion capable of provoking antisocial, immoral, incestuous, and even suicidal behaviour. More than this, Shelley's investigation of sympathy exposes its serious limitations. Predicated on a similarity to self, sympathy, Shelley suggests, often fails when confronted with difference. Finally, through multiple perspectives, Shelley illustrates the complex and contradictory motivations behind sympathy, showing that it can arise from genuine benevolence, self-interest, or a combination of the two, an entangling of intentions that serves to further complicate this moral sentiment. Ultimately, Shelley's philosophy of sympathy acknowledges its shortcomings and potential dangers but nonetheless celebrates sympathy as a social virtue, as the locus of our moral selves.
22
Roy, Malini. "Shape-shifters : Romantic-era representations of the child in the Wollstonecraft-Godwin family circle." Thesis, University of Oxford, 2008. http://ora.ouls.ox.ac.uk/objects/uuid:59d59e07-eb4d-46b3-a7c972cd12102b2d.
Full text
23
Filas, Michael Joseph. "Cyborg subjectivity /." Thesis, Connect to this title online; UW restricted, 2001. http://hdl.handle.net/1773/9369.
Full text
24
Rouhette, Anne. "Présentation, traduction et annotation de The Fortunes of Perkin Warbeck, a romance de Mary Selley." Paris 3, 2004. http://www.theses.fr/2004PA030076.
Full textAbstract:
Ce travail a pour objet de présenter et de traduire un ouvrage méconnu de Mary Shelley, The Fortunes of Perkin Warbeck, A Romance, roman historique souvent considéré comme alimentaire, qui aborde notamment la question de l'imposture. Après avoir étudié les circonstances de rédaction et de publication, puis, à partir notamment de l'indication " A Romance, " les liens de cette œuvre avec le genre gothique et le renouveau médiéval, ainsi que sa place dans l'évolution du roman historique, surtout par rapport à Walter Scott, on s'intéressera aux opinions politiques de Mary Shelley, en particulier féministes ; exprimées de façon souvent voilée, elles permettront de mettre en lumière les ambivalences d'une femme que l'on soupçonne souvent de conservatismeThis work aims at presenting and translating Mary Shelley's lesser-known historical novel, The Fortunes of Perkin Warbeck, A Romance, often considered as a mere potboiler, which, among other things, tackles the theme of imposture. A first part is devoted to its composition and publication. Then, thanks to its subtitle, "A Romance," are studied the links this implies with the Gothic novel and the medieval revival, as well as the place of this work in the evolution of the historical novel, with respect in particular to Sir Walter Scott. The last part deals with Mary Shelley's political and feminist opinions; expressed in an indirect, "veiled" way, they highlight the ambivalence of a woman many blame for her later-life conservatism
25
Angel-Cann, Lauryn. "Stretched Out On Her Grave: The Evolution of a Perversion." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2586/.
Full textAbstract:
The word "necrophilia" brings a particular definition readily to mind that of an act of sexual intercourse with a corpse, probably a female corpse at that. But the definition of the word did not always have this connotation; quite literally the word means "love of the dead," or "a morbid attraction to death." An examination of nineteenth-century literature reveals a gradual change in relationships between the living and the dead, culminating in the sexualized representation of corpses at the close of the century. The works examined for necrophilic content are: Mary Wollstonecrafts Mary, A Fiction, Mary Shelleys Frankenstein, Emily Brontës Wuthering Heights, and Bram Stokers Dracula and The Jewel of Seven Stars.
26
Souchet, Audrey. "La représentation du baiser dans les romans de Mary Shelley : pour une éthique du corps." Caen, 2013. http://www.theses.fr/2013CAEN1717.
Full textAbstract:
L’œuvre romanesque de Mary Shelley est surtout connue pour le roman qui en forme l’ouverture, Frankenstein ; or, the Modern Prometheus (1818), qui possède une force esthétique et fantasmatique indéniable. L’une des scènes marquantes de ce roman est le baiser que Victor Frankenstein donne à sa cousine et fiancée Elizabeth lors d’un cauchemar, car ce baiser tue la jeune femme pour lui donner ensuite l’apparence du cadavre de la propre mère de Victor. Le baiser amoureux ou érotique semble en fait être une figure de choix dans la construction de la personnalité littéraire en devenir qu’est alors Mary Shelley puisqu’il est présent dès les brouillons d’un manuscrit qui connut pourtant de nombreuses manipulations jusqu’à sa publication. Le projet de cette thèse consiste à étendre cette hypothèse esthétique pour la faire rayonner vers les six autres romans, encore aujourd’hui peu connus, que Mary Shelley produisit pendant une vingtaine d’années : la figure du baiser se présentera, alors, comme une métaphore du parcours de la femme écrivain. Que nous dira la représentation d’une figure qui appartient à la fois au domaine de l’esthétique et de l’érotisme au sujet des relations que l’écrivain féminin entretient avec les catégories de pensée de son temps ? En mettant au jour l’idée que l’esthétique et l’érotisme tels qu’ils sont conçues par la société moderne ne sont plus des modes de pensée productifs mais, surtout, en proposant de réinvestir le sens du baiser à travers une éthique du souci du corps de l’autre, c’est la pensée littéraire d’un auteur, une œuvre romanesque, une anthropologie, mais aussi la finalité de la littérature qui seront redécouvertsMary Shelley’s work as a novelist is best known for her first novel, Frankenstein; or, the Modern Prometheus (1818). This novel shows strong, graphic scenes which have had a deep impact on modern society’s imagination. One of the most striking scenes in Frankenstein is the moment when Victor gives a kiss to his cousin, who is also his fiancée, while having a nightmare, because this kiss kills Elizabeth and turns her into the corpse of Victor’s dead mother. It seems that the erotic kiss as a literary motif played a decisive role in the making of Mary Shelley as a novelist because it appears in the first drafts of Frankenstein, whose content, as we know, was heavily modified until the novel was published. The project underlying this study consists in displacing this aesthetic hypothesis and applying it to the other six novels which Mary Shelley wrote and which have been almost completely eclipsed by Frankenstein: the kiss as a literary motif will then be considered as a metaphor for the making of the woman writer. If the literary kiss can be considered as a motif belonging to the philosophical categories of aesthetics and eroticism, what can the kiss as it appears in the work of a female writer indicate about this writer’s relation to the conceptual categories of her time? As Mary Shelley’s novels suggest that aesthetics and eroticism as they are conceived by modern society are no longer productive, and as they reinvest the meaning of the literary kiss with an ethic of caring for the body of the other, bringing these novels together will help rediscover a writer’s vision of literature, her vision of Man, and most of all our own vision of what literature is about
27
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.
Full textAbstract:
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.
28
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.
Full textAbstract:
Magister Artium - MAThis 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.
29
Tuttle, Emily Marie. "Beloved sufferers and mad girls : idealized femininity and exemplary suffering in the fiction of Mary Shelley /." Available to subscribers only, 2008. http://proquest.umi.com/pqdweb?did=1559857651&sid=8&Fmt=2&clientId=1509&RQT=309&VName=PQD.
Full text
30
Johansson, Daniel. "Från Shelley till Asimov : Medvetandets filosofis utveckling i science fiction." Thesis, Uppsala universitet, Institutionen för idé- och lärdomshistoria, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-384365.
Full textAbstract:
Uppsatsen beskriver utveckling av medvetandets filosofi i science fiction mellan 1800-talet och mitten av 1900-talet. För analysen används Mary Shelleys Frankenstein och Isaac Asimovs the Bicentennial Man. Utvecklingen i science fiction går parallellt med utveckling inom filosofin. Utvecklingen går mot en fysikalisk lösning på kropp och medvetande problemet med argument från behaviorismen, identitetsteorin, samt funktionalismen.
31
Walker, Tara. ""Each half a nothing, so disjoined" : Mary Shelley's vindication of relational identity." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21276.
Full textAbstract:
The notion, which has persisted over many years, of Mary Shelley as the conservative daughter of a radical, proto-feminist mother can be traced to the views of Edward Trelawney, a contemporary and fair-weather friend of Shelley. This study, by exploring female identity, largely in terms of modern feminist psychoanalytic theory, in several of Shelley's lesser-known novels, attempts to contribute to the efforts of those who have challenged such notions and who have strived to render a more accurate portrait of Mary Shelley.Anne Mellor's discussion of female identity in Shelley's sentimental novels, Mathilda, Lodore and Falkner, (in her book Mary Shelley: Her Life, Her Fiction, Her Monsters) does much to dispel the notion of Shelley's apathy with regard to gender politics. Mellor convincingly argues that these novels celebrate what she terms the "relational" identity of their heroines, and thus "support a feminist position which argues that female culture is morally superior to male culture." She further maintains, however, that these novels simultaneously reveal the damage that such an identity can do to a woman's personal development.
My paper challenges Mellor's assertion that Lodore and Falkner Shelley's last novels, portray relational identity with ambivalence. (Abstract shortened by UMI.)
32
Rae, Angela Lynn. "The haunted bedroom: female sexual identity in Gothic literature, 1790-1820." Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002294.
Full textAbstract:
This thesis explores the relationship between the Female Gothic novel of the late eighteenth and early nineteenth century and the social context of women at that time. In the examination of the primary works of Ann Radcliffe, Mary Wollstonecraft and Mary Shelley, this study investigates how these female writers work within the Gothic genre to explore issues related to the role of women in their society, in particular those concerned with sexual identity. It is contended that the Gothic genre provides these authors with the ideal vehicle through which to critique the patriarchal definition of the female, a definition which confines and marginalizes women, denying the female any sexual autonomy. The Introduction defines the scope of the thesis by delineating the differences between the Female Gothic and the Male Gothic. Arguing that the Female Gothic shuns the voyeuristic victimisation of women which characterizes much of the Male Gothic, it is contended that the Female Gothic is defined by its interest in, and exploration of, issues which concern the status of women in a patriarchy. It is asserted that it is this concern with female gender roles that connects the overtly radical work of Mary Wollstonecraft with the oblique critique evident in her contemporary, Ann Radcliffe’s, novels. It is these concerns too, which haunt Mary Shelley’s texts, published two decades later. Chapter One outlines the status of women in the patriarchal society of the late eighteenth century, a period marked by political and social upheaval. This period saw the increasing division of men and women into the “separate spheres” of the public and domestic worlds, and the consequent birth of the ideal of “Angel in the House” which became entrenched in the nineteenth century. The chapter examines how women writers were influenced by this social context and what effect it had on the presentation of female characters in their work, in particular in terms of their depiction of motherhood. Working from the premise that, in order to fully understand the portrayal of female sexuality in the texts, the depiction of the male must be examined, Chapter Two analyses the male characters in terms of their relationship to the heroines and/or the concept of the “feminine”. Although the male characters differ from text to text and author to author, it is argued that in their portrayal of “heroes and villains” the authors were providing a critique of the patriarchal system. While some of the texts depict male characters that challenge traditional stereotypes concerning masculinity, others outline the disastrous and sometimes fatal consequences for both men and women of the rigid gender divisions which disallow the male access to the emotional realm restricted by social prescriptions to the private, domestic world of the female. It is contended that, as such, all of the texts assert the necessity for male and female, masculine and feminine to be united on equal terms. Chapter Three interprets the heroine’s journey through sublime landscapes and mysterious buildings as a journey from childhood innocence to sexual maturity, illustrating the intrinsic link that exists between the settings of Gothic novels and female sexuality. The chapter first examines the authors’ use of the Burkean concept of the sublime and contends that the texts offer a significant revision of the concept. In contrast to Burke’s overtly masculinist definition of the sublime, the texts assert that the female can and does have access to it, and that this access can be used to overcome patriarchal oppression. Secondly, an analysis of the image of the castle and related structures reveals that they can symbolise both the patriarchy and the feminine body. Contending that the heroine’s experiences within these structures enable her to move from innocence to experience, it is asserted that the knowledge that she gains, during her journeys, of herself and of society allows her to assert her independence as a sexually adult woman.
33
Angel-Cann, Lauryn. "Stretched Out on Her Grave: Pathological Attitudes Toward Death in British Fiction 1788-1909." Thesis, University of North Texas, 2003. https://digital.library.unt.edu/ark:/67531/metadc4271/.
Full textAbstract:
Nineteenth-century British fiction is often dismissed as necrophillic or obsessed with death. While the label of necrophilia is an apt description of the fetishistic representations of dead women prevalent at the end of the century, it is too narrow to fit literature produced earlier in the century. This is not to say that abnormal attitudes toward death are only a feature of the late nineteenth century. In fact, pathological attitudes toward death abound in the literature, but the relationship between the deceased and the survivor is not always sexual in nature. Rather, there is a clear shift in attitudes, from the chaste death fantasy, or attraction to the idea of death, prevalent in Gothic works, to the destructive, stagnant mourning visible in mid-century texts, and culminating in the perverse sexualization of dead women at the turn of the century. This literary shift is most likely attributable to the concurrent changes in attitudes toward sex and death. As sex became more acceptable, more public, via the channels of scientific discourse, death became a less acceptable idea. This “denial of death” is a direct reaction to the religious uncertainties brought about by industrialization. As scientists and industrialists uncovered increasing evidence against a literal interpretation of the Bible, more people began to doubt the nature of God and the existence of an afterlife. If there was no God, then there was no heaven, which raised questions about what happened to the soul after death. With the certainty of an afterlife gone, death became mysterious, something to fear, and the passing of loved ones was doubly-mourned as their fate was now uncertain.
34
Dunne, Danny T. "The quest for a feminist unconscious : the covenant of maternal empowerment in Shelley, Barnes, and Hurston : theses." Scholarly Commons, 1993. https://scholarlycommons.pacific.edu/uop_etds/2252.
Full textAbstract:
I do not purport to give a definitive argument for or against the influences of the unconscious, for the necessary realm of expertise lies within other fields: psychiatry and psychology. However, the application of psychoanalytic literary theory of the unconscious to the lives, words, and characters of selected female authors in order to explore a richer, more meaningful purpose of their art will be the subject of this literary journey. Specifically, the intent will be an analysis of the relation between the manifest content of three classic works of literature to the unconscious intent relative to the author’s biographical perspective, or the psychology of literature.
35
Previde, Mauri Cruz [UNESP]. "À sua imagem e semelhança: um estudo de criadores e criaturas em A Eva futura de Villiers de l'Isle Adam e em Frankenstein de Mary Shelley no contexto do romance europeu do século XIX." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/154657.
Full textAbstract:
Made available in DSpace on 2018-07-27T17:13:53Z (GMT). No. of bitstreams: 0
Previous issue date: 2012-05-28. Added 1 bitstream(s) on 2018-07-27T17:16:52Z : No. of bitstreams: 1
000901718.pdf: 1096974 bytes, checksum: 8120160a281138e459b3d4326f76f817 (MD5)Esta tese tem por objetivo o estudo de duas obras literárias que têm como personagens cientistas criadores e suas criaturas artificiais. Trata-se das obras de Villiers de l'Isle-Adam (1838-1889) e de Mary Shelley (1797-1851), representadas pelos romances L'Ève future e Frankenstein, respectivamente. Para tanto, e em primeiro lugar, traçamos um histórico do desejo humano de criar uma criatura artificial perfeita desde a Antiguidade até os dias atuais. Em seguida, passamos à análise das referidas obras, caracterizando e comparando os criadores e suas respectivas criaturas, concluindo, ao final, o que ambas representam em termos metafóricos
This dissertation aims to study two literary works whose characters are creators scientists and their artificial creatures. The following novels are studied: L'Ève future by Villiers de l'Isle-Adam (1838-1889) and Frankenstein by Mary Shelley (1797-1851). Firstly, it was made a survey of the human desire to create a perfect artificial creature from Antiquity to nowadays. Secondly, we started to analyze such literary works, characterizing and comparing the creators and their creatures, and finally, getting the conclusion what both represent metaphorically
36
Conrad, Courtney A. "Tracing the Origins of the Eighteenth- and Nineteenth-Century Rake Character to Depictions of the Modern Monster." Cleveland State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=csu1560014785115022.
Full text
37
Ounoughi, Samia. "Le lecteur dans l'oeuvre : enjeux linguistiques et discursifs de la refondation du sujet dans quelques oeuvres de la littérature britannique du dix-neuvième siècle." Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10109.
Full textAbstract:
Cette étude concerne trois oeuvres britanniques du dix-neuvième siècle : Frankestein or the Modern Prometheus (M. Shelley : 1831), The Strange case of Dr. Jekill and Mr. Hyde (R. L. Stevenson : 1886) et The Picture of Dorian Gray (O. Wilde : 1891). Dans ces textes, le personnage éponyme se trouve très tôt ou déjà confronté à une projection de lui-même, une créature fantastique qu'il a appelée de ses voeux. Le lecteur est alors invité à suivre ce face-à-face à travers le regard d'un récepteur intradiégétique. Il s'agira de mettre en lumière le rôle-clé de ce personage (principal ou secondaire). Cheminant sur les traces de ce guide, nous analyserons la refondation du personnage éponyme comme phénomène et comme expérience pour montrer que le système de refondation du sujet prend racine dans la construction du discours narratif. A cette fin, les outils de la linguistique énonciative, de la narratologie et de la lexicologie seront employés. Par ailleurs, la réception et la refondation comme expériences seront mises en parallèle avec l'acte de lecture du public réel, d'une part, et avec l'autoréflexivité de la littérature, d'autre part
38
Brown, Kathleen Mary. "The autobiographical fiction of Mary Wollstonecraft the creation of a feminist self /." 1985. http://catalog.hathitrust.org/api/volumes/oclc/12229039.html.
Full textAbstract:
Thesis (M.A.)--University of Wisconsin--Madison, 1985.Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 167-171).
39
Blais, William P. "A hermeneutic exploration of the literature of technology Prometheus bound, Frankstein, and Battlestar Galactica /." 2009. http://digital.library.duq.edu/u?/etd,120428.
Full text
40
Wen-ying, Chang, and 張雯瑛. "Freud's “Uncanny”and Kristeva's “Abjection” in the Gothic Fiction of Mary Shelley, Edgar Allan Poe and Robert Block." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/15284390800859685904.
Full textAbstract:
碩士中國文化大學
英國語文學系
98
Abstract In the English world, horror novels have played a prominent role in popular literature since the19th century. While Steven King is considered the modern king of the horror, he follows after Edgar Allan Poe, the father of American Gothic. Undoubtedly, both 19th and 20th century readers are attracted by horror and terror. What is horror and terror to human beings? Sigmund Freund notes that it includes the “uncanny” and later on psychoanalyst, Julia Kristeva extends another view point “abjection.” I would like to apply their views to the writings of Edgar Allan Poe, Mary Shelley’s Frankenstein and Robert Block’s Psycho. In this way, I hope to provide readers with a fuller, clearer and more vivid picture of horror and terror as seen in a writing of Gothic presentations.
41
Lewis, Stephanie E. ""Congeries of pleasing horrors" : Fantasmagoriana and the writings of the Diodati Group /." 1995. http://collections.mun.ca/u?/theses,29862.
Full text
42
Ashley, Adele Bruni. "With an Eye to its Movement': Revitalizing Literature through Remix and Performance." Thesis, 2016. https://doi.org/10.7916/D8FX797W.
Full textAbstract:
This narrative inquiry documents the inaugural Performance at the Center summer institute, a professional development program in which teachers worked alongside students to generate an original multimodal performance piece inspired by Mary Shelley’s Frankenstein. Specifically, the study examines text-inspired creation: how readers identify and then create out of the gaps and spaces in a given text through remix and performance. This researcher employs qualitative methods to address the following questions: (1) How do Performance at the Center facilitators set up the conditions for text-inspired creation? (2) How do teacher and student players describe what effect, if any, Performance at the Center has on their reading of Frankenstein? and (3) How do select teacher players describe what effect, if any, Performance at the Center has had on their design and implementation of curriculum? Examining her data through the lens of “the gift” (Marcel Mauss and Lewis Hyde), this researcher finds that facilitators set up the conditions for text-inspired creation by stepping into the role of muse—offering both tangible and intangible “gifts” to prompt production. Teachers and students describe the ways in which Performance at the Center invites sensory entry into Shelley’s text, enabling readers to compose meanings potentially inaccessible through words alone. Select teachers describe the ways in which Performance at the Center catalyzes a reconceptualization of what it means to teach literature, underscoring as it does the profound distinction between dissecting a text and experiencing a text. This investigation suggests that positioning the study of literature within a gift culture—receiving literature as a living gift to be passed on through student text-inspired creation—has the potential revitalize texts, teachers and the classroom itself.
43
Kasting, Gretchen Marie. "Without contraries there is no progression : scientific speculation and absence in Frankenstein, Strange case of Dr Jekyll and Mr Hyde, and “The colour out of space”." 2013. http://hdl.handle.net/2152/22740.
Full textAbstract:
Due to their inclusion of characters or objects that are the result of scientific investigation or subject to scientific scrutiny, Frankenstein, Strange Case of Dr Jekyll and Mr Hyde, and “The Colour Out of Space” are works that may be classified as science fiction. However, despite these narratives’ engagement with scientific practice, at crucial moments when scientific description would be expected, it is prominently absent. This report investigates the effects of these absences within the narratives and suggests that such absences do not appear due to the author’s unfamiliarity with the science of her or his era, but rather serve the positive purpose of creating the effect of the sublime through horror, which is most effective when the reader is forced to confront the unknown or unreadable. To corroborate this hypothesis, this report also examines the treatment of certain hybrids within the three stories and the way that the terror they inspire seems to rely on the ways in which they mingle the known with the unknown and resist coherent description. Overall, this report seeks to illuminate the complex interaction of the known and the not yet known that has enabled a fruitful interaction between science fiction and horror as genres since the inception of science fiction as a definable genre.text