Journal articles: '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 "Thomas Jefferson Hogg to Mary Wollstonecraft Shelley: An Unpublished Holograph Letter."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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Hernando, César De Vicente. "El texto de terror en la novella Española del siglo XIX: espacios de circulación del poder*." Verba Hispanica 3, no. 1 (December 31, 1993): 103–15. http://dx.doi.org/10.4312/vh.3.1.103-115.

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Una cita de El paraíso perdido de Milton abre la obra de la escritora inglesa Mary Wollstonecraft Shelley Frankenstein (1818). lnglaterra prácticamente convertida en la primera potencia comercio-industrial en los incios de lo que se define como la "Revolución Industrial", traerá, como es sabido, ala escena social un modo de producción radicalmente distinto alde siglos pasados y, sobre todo, la construcción social de categorías nuevas y una quiebra-fractura en las mentalidades. En un pró1ogo para su novela, Mary Shelley explicaba qué cosa era su Frankenstein (lo que constituye la base de lo que malamente se ha llamado "gothic Tale"): Una historia que hablase a los miedos misterisos de nuestra naturaleza y despertase un horror estremecedor; una historia que hiciese· mirar en torno suyo al lector amedentrado, le helase la sangre y le acelerase los latidos. del corazón.

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Hunting, Penelope. "A birth and a death: Mary Shelley née Godwin (1797–1851) and Mary Wollstonecraft Godwin (1759–1797)." Journal of Medical Biography 15, no. 3 (August 2007): 165. http://dx.doi.org/10.1258/j.jmb.2007.06-68a.

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Harding, Anthony John. "Mary Wollstonecraft and Mary Shelley: Writing Lives ed. by Helen M. Buss, D. L. Macdonald, Anne McWhir." ESC: English Studies in Canada 29, no. 3-4 (2003): 265–69. http://dx.doi.org/10.1353/esc.2003.0046.

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Harding, Anthony John. "Mary Wollstonecraft and Mary Shelley: Writing Lives ed. by Helen M. Buss, D. L. Macdonald, Anne McWhir." ESC: English Studies in Canada 30, no. 2 (2004): 165–69. http://dx.doi.org/10.1353/esc.2004.0023.

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Chernaik, Judith. "The two marys. a dialogue between mary wollstonecraft (1759–97) and her daughter, mary shelley (1797–1851)." Women's Writing 6, no. 3 (October 1, 1999): 451–68. http://dx.doi.org/10.1080/09699089900200096.

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Spencer, J. "Mary Wollstonecraft Shelley, Selected Letters of Mary Wollstonecraft Shelley, ed. Betty T. Bennett. Pp. xlix + 391. Baltimore and London: The Johns Hopkins University Press, 1995. Hardbound 42.50; paperbound 16.50 (ISBN 0-8018-4886-5)." Notes and Queries 44, no. 4 (December 1, 1997): 563–64. http://dx.doi.org/10.1093/notesj/44.4.563.

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Langbauer, Laurie. "Mary Shelley: Her Life, Her Fiction, Her Monsters. Anne K. Mellor." Wordsworth Circle 20, no. 4 (September 1989): 210–12. http://dx.doi.org/10.1086/twc24042547.

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Pollak, Ellen, and Mary Poovey. "The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen." Eighteenth-Century Studies 21, no. 2 (1987): 260. http://dx.doi.org/10.2307/2739115.

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Brookhart, Mary Hughes, Mary Poovey, Mary Wollstonecraft, Mary Shelley, Jane Austen, Wendy Martin, and Judy Little. "The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley and Jane Austen." South Atlantic Review 51, no. 1 (January 1986): 133. http://dx.doi.org/10.2307/3199566.

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Madigan, Patrick. "Romantic Outlaws: The Extraordinary Lives of Mary Wollstonecraft & Mary Shelley. By CharlotteGordon. Pp. xx, 649, London: Windmill Books, 2015, £9.99." Heythrop Journal 61, no. 3 (April 24, 2020): 563–64. http://dx.doi.org/10.1111/heyj.13537.

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Weekes, Ann Owens. "Mary Shelley: Her Life, Her Fiction, Her Monsters by Anne K. Mellor." Rocky Mountain Review 43, no. 1-2 (1989): 107–9. http://dx.doi.org/10.1353/rmr.1989.0020.

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Keach, William. "The Letters of Mary Wollstonecraft Shelley, vol. 3: "What years I have spent!". Betty T. Bennett, ed." Wordsworth Circle 20, no. 4 (September 1989): 208–9. http://dx.doi.org/10.1086/twc24042546.

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Walker, Leila. "Anna Mercer, The Collaborative Literary Relationship of Percy Bysshe Shelley and Mary Wollstonecraft Shelley. New York: Routledge, 2020. xxxiii+209 pp. US$155.00." Wordsworth Circle 51, no. 4 (September 1, 2020): 511–15. http://dx.doi.org/10.1086/710834.

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Payne, Mark. "Post-apocalyptic humanism in Hesiod, Mary Shelley, and Olaf Stapledon." Classical Receptions Journal 12, no. 1 (January 1, 2020): 91–108. http://dx.doi.org/10.1093/crj/clz022.

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Abstract This paper considers the role of anachronism in large scale narratives of speculative fiction. Mary Shelley's The Last Man and Olaf Stapledon's Last and First Men signal in their titles an ambition to deal with humankind totally and all inclusively. Both authors look to Hesiod as a model for their projects: the Greek poet's account of successive creations and destructions of humankind at the hands of the gods offers a way of narrating human being as both a local cosmic occurrence that has been and one day will be no longer, and as a life form that has persisted with distinctive orientations and commitments through its various local incarnations. The question of anachronism is thus given maximum scope. Rather than a question about accuracy in the representation of local historical details, anachronism emerges as an interrogation of what we recognize and acknowledge as ourselves in the horizon of deep time.

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Fitzgerald, Lauren. "Mary Wollstonecraft Shelley: An Introduction. Betty T. Bennett.Iconoclastic Departures: Mary Shelley after Frankenstein: Essays in Honor of the Bicentenary of Mary Shelley's Birth. Edited by Syndy M. Conger, Frederick S. Frank, and Gregory O'Dea." Wordsworth Circle 30, no. 4 (September 1999): 221–22. http://dx.doi.org/10.1086/twc24044166.

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Antal, Éva. "The Last Man and ‘The First Woman’: Unmanly Images of Unhuman Nature in Mary Shelley’s Ecocriticism." Perichoresis 18, no. 2 (June 1, 2020): 3–15. http://dx.doi.org/10.2478/perc-2020-0007.

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AbstractMary Shelley in her writings relies on the romanticised notions of nature: in addition to its beauties, the sublime quality is highlighted in its overwhelming greatness. In her ecological fiction, The Last Man (1826), the dystopian view of man results in the presentation of the declining civilization and the catastrophic destruction of infested mankind. In the novel, all of the characters are associated with forces of culture and history. On the one hand, Mary Shelley, focussing on different human bonds, warns against the sickening discord and dissonance, the lack of harmony in the world, while, on the other hand, she calls for the respect of nature and natural order. The prophetic caring female characters ‘foresee’ the events but cannot help the beloved men to control their building and destroying powers. Mary Shelley expresses her unmanly view of nature and the author’s utopian hope seems to lie in ‘unhuman’ nature. While the epidemic, having been unleashed by the pests of patriarchal society and being accelerated by global warming, sweeps away humanity, Mother Nature flourishes and gains back her original ‘dwelling place’.

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Wolfson, Susan J. "England's First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley. Julie A. Carlson. Baltimore: Johns Hopkins University Press, 2007. Pp. xii+328." Modern Philology 107, no. 4 (May 2010): E117—E120. http://dx.doi.org/10.1086/651287.

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Yi, Jae Eun. "How are Women Imagined in a Historic Docu-Fiction? : Helen Edmundson’s play Mary Shelley." Modern Studies in English Language & Literature 62, no. 2 (May 31, 2018): 167–87. http://dx.doi.org/10.17754/mesk.62.2.167.

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Franklin, Caroline. "JULIE A. CARLSON, England's First Family of Writers: Mary Wollstonecraft, William Godwin, Mary Shelley (Baltimore: The Johns Hopkins University Press, 2007), 328 pp. £33.50 hardback. 9780801886188." Romanticism 14, no. 3 (October 2008): 291–92. http://dx.doi.org/10.3366/e1354991x08000408.

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Gomes, Anderson Soares. "A ciência monstruosa em 'Frankenstein': aspectos do pós-humano." Gragoatá 23, no. 47 (December 29, 2018): 848. http://dx.doi.org/10.22409/gragoata.2018n47a1173.

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Este trabalho tem por objetivo investigar de que maneira as descobertas e o pensamento científico do final do século XVIII e início do século XIX (período conhecido como Segunda Revolução Científica) influenciaram a escrita do romance Frankenstein (1818), de Mary Shelley, assim como analisar como essa obra apresenta aspectos que contribuem para o estudo do pós-humano. Frankenstein foi escrito em meio a um contexto de profundas revoluções no pensamento filosófico-científico que informaram diversos elementos presentes no romance: as teorias sociais de William Godwin e Mary Wollstonecraft, as hipóteses sobre o princípio da vida de Erasmus Darwin, os experimentos com eletricidade de Luigi Galvani, entre outros. Por outro lado, em uma perspectiva contemporânea, Frankenstein é uma obra que inaugura vários aspectos que viriam a ser lidos pelo prisma do pós-humano. Ao descrever as possíveis (e terríveis) consequências da junção da esfera do humano com as do animal e do tecnológico, o romance problematiza a posição privilegiada do homem na natureza. Considerando as características físicas e biológicas do monstro, o desejo de Frankenstein em ultrapassar os limites da natureza, e a complexa relação de ambos os personagens no que se refere ao binômio desejo/liberdade, o romance pode ser lido como um dos grandes representantes do conceito de pós-humanidade na literatura.

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Gomes, Anderson Soares. "A ciência monstruosa em 'Frankenstein': aspectos do pós-humano." Gragoatá 23, no. 47 (December 29, 2018): 848–72. http://dx.doi.org/10.22409/gragoata.v23i47.33606.

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Este trabalho tem por objetivo investigar de que maneira as descobertas e o pensamento científico do final do século XVIII e início do século XIX (período conhecido como Segunda Revolução Científica) influenciaram a escrita do romance Frankenstein (1818), de Mary Shelley, assim como analisar como essa obra apresenta aspectos que contribuem para o estudo do pós-humano. Frankenstein foi escrito em meio a um contexto de profundas revoluções no pensamento filosófico-científico que informaram diversos elementos presentes no romance: as teorias sociais de William Godwin e Mary Wollstonecraft, as hipóteses sobre o princípio da vida de Erasmus Darwin, os experimentos com eletricidade de Luigi Galvani, entre outros. Por outro lado, em uma perspectiva contemporânea, Frankenstein é uma obra que inaugura vários aspectos que viriam a ser lidos pelo prisma do pós-humano. Ao descrever as possíveis (e terríveis) consequências da junção da esfera do humano com as do animal e do tecnológico, o romance problematiza a posição privilegiada do homem na natureza. Considerando as características físicas e biológicas do monstro, o desejo de Frankenstein em ultrapassar os limites da natureza, e a complexa relação de ambos os personagens no que se refere ao binômio desejo/liberdade, o romance pode ser lido como um dos grandes representantes do conceito de pós-humanidade na literatura. ---DOI: http://dx.doi.org/10.22409/gragoata.2018n47a1173

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Rohleder, Rebekka. "Martin Garrett. 2019. The Palgrave Literary Dictionary of Mary Wollstonecraft Shelley. Palgrave Literary Dictionaries. London: Palgrave Macmillan, 336 pp., € 117.96/£ 95.00/$ 58.00." Anglia 138, no. 4 (November 11, 2020): 722–25. http://dx.doi.org/10.1515/ang-2020-0060.

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Bernardo Pereira, Ismael. "A CONVERGENCE OF GENRES: GOTHIC AND SCIENCE FICTION IN FRANKENSTEIN." REVISTA DE LETRAS - JUÇARA 2, no. 1 (July 31, 2018): 153–67. http://dx.doi.org/10.18817/rlj.v2i1.1531.

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This article aims to analyze the novel Frankenstein, by Mary W. Shelley, from a perspective of literary genres. The work is believed to manifest both traits of the Gothic genre––due to its structure and common themes to the period it was published––and of what would in future be called the Science fiction genre. Those elements are here observed, in the novel as well as in the context of its creation. In this sense, there is a convergence of genres taking place, albeit one of them is in its nascent form: Shelley's novel antecipate a scientific interest that would be specified in later fiction, being derived from her legacy. Tzvetan Todorov's perspective is considered, inasmuch as he defends the presence of multiple genres inside a work of fiction, as well as the creation of new literary genres from other, pre-existent, ones. It is concluded that the novel manifests enough elements to comprise both the genres here discussed, with its common and different traits.

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Kramer, Kaley. "Women and Property in Late Eighteenth-Century Fiction: Gendered Property and Generic Belonging in Charlotte Smith and Mary Wollstonecraft." Literature Compass 6, no. 6 (November 2009): 1145–58. http://dx.doi.org/10.1111/j.1741-4113.2009.00658.x.

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Ramsey, Neil. "Mary Shelley and the Monstrosity of War: Frankenstein and the Post-Waterloo Politics of Life." Eighteenth-Century Life 44, no. 3 (September 1, 2020): 96–118. http://dx.doi.org/10.1215/00982601-8718677.

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Although Frankenstein has long been read in relation to revolutionary politics, there has been little specific discussion of the themes of suffering and the trauma of war in the novel, concerns that were central to much of Mary Shelley’s writing. Taking inspiration from Ahmed Saadawi’s acclaimed Frankenstein in Baghdad (2014), which explicitly rewrites Shelley’s novel as a war story, this article draws on recent rereadings of Romanticism that focus on the atmospherics and trauma of war, to examine how Frankenstein can be considered a postwar novel. In particular, it follows Carl Freedman’s discussion of Shelley’s novel as proto-science fiction that emerges in the same postwar historical matrix that informed historical novels such as Sir Walter Scott’s Waverley (1814). However, where the historical novel, in Georg Lukács’s reading, describes the wartime poetic awakening of the people in terms of the march of progress and development of the “inner life” of the nation, Frankenstein offers a different vision of awakening life by turning the novel, as Sara Guyer claims, toward biopolitical concerns with the organization of life and death. In Frankenstein, the wartime awakening of the people is entangled with estrangement, monstrosity. and suffering. The novel appeared in a postwar world of ruins, dismembered bodies, and revenants that formed around a newly heightened awareness of the living forces and traumas that compose war.

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Carson, James. "Women's Gothic from Clara Reeve to Mary Shelley, and: The History of Gothic Fiction (review)." Eighteenth-Century Fiction 15, no. 2 (2003): 307–9. http://dx.doi.org/10.1353/ecf.2003.0042.

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Rogers, Katharine M. "The Proper Lady and the Woman Writer: Ideology as Style in the Works of Mary Wollstonecraft, Mary Shelley, and Jane Austen. Mary PooveySex and Enlightenment: Women in Richardson and Diderot. Rita GoldbergFirst Feminists: British Women Writers, 1578-1799. Moira Ferguson." Signs: Journal of Women in Culture and Society 12, no. 3 (April 1987): 586–89. http://dx.doi.org/10.1086/494350.

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Womersley, D. "Mellor, A. K., Mary Shelley: Her Life, her Fiction, her Monsters. Pp. xx + 276. New York and London: Routledge, 1990. Paperbound, 8.99." Notes and Queries 38, no. 3 (September 1, 1991): 397–98. http://dx.doi.org/10.1093/notesj/38.3.397.

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Илунина, Анна Александровна. "INTERTEXUAL CONNECTIONS OF JEANETTE WINTERSON’S “FRANKISSSTEIN” AND MARY SHELLEY’S “FRANKENSTEIN: OR THE MODERN PROMETHEUS”." Bulletin of the Chuvash State Pedagogical University named after I Y Yakovlev, no. 1(110) (March 30, 2021): 34–42. http://dx.doi.org/10.37972/chgpu.2021.110.1.005.

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Постмодернистский роман Дж. Уинтерсон “Frankissstein” балансирует между жанрами, являя собой причудливый сплав научной фантастики, сатирического памфлета, готического, любовного романа; психологического романа о трудностях взросления. В диалоге с претекстом, романом «Франкенштейн, или Современный Прометей» (1818) авторства Мэри Шелли, современная писательница размышляет о возможности и оправданности человеческого вмешательства в природу, в том числе половую, уже на новом витке развития цивилизации, в разгар очередной научно-технической революции. Действие романа “Frankissstein” разворачивается в двух временных и пространственных плоскостях, связанных системой героев-двойников. Первая отсылает к истории создания романа «Франкенштейн, или Современный Прометей» и биографии его автора Мэри Шелли. Второй пласт повествования рассказывает о мире, похожем на современный, где доктор Виктор Штейн задействован в долгосрочном научном проекте, связанном с сохранением в замороженном виде тел добровольцев, с целью их дальнейшего воскрешения силами науки, а также делает опыты по восстановлению, в автономии от тела, интеллекта умерших. Феминистская проблематика представлена в романе в оригинальном ключе. Протест против гендерной стереотипизации в романе соседствует с раздумьями о гендерной и сексуальной идентичности и сопряженной с ними дискриминации. The postmodernist novel “Frankissstein” by Jeanette Winterson balances between genres, presenting a fusion of science fiction, satirical pamphlet, gothic, romance novel; psychological novel about growing up, coupled with trauma. In a dialogue with the pretext, “Frankenstein, or Modern Prometheus” (1818) by Mary Shelley, Winterson reflects on the possibility and justification of human intervention in nature, including sexual, already at a new stage of development of civilization, in the midst of another scientific and technological revolution. The novel “Frankissstein” takes place in two temporal and spatial planes, connected by a system of double heroes. The first refers to the history of the creation of the novel “Frankenstein, or Modern Prometheus” and the biography of its author Mary Shelley. The second layer of the narrative tells about a world similar to the modern, where Dr. Victor Stein is involved in long-term research project related to preserving frozen bodies of volunteers, with a view to their future resurrection of the forces of science and doing experiments on the restoration of the autonomy of the body, the intellect of the dead. Feminist issues are presented in the novel in an original way. The protest against gender stereotyping in the novel is juxtaposed with reflections on gender and sexual identity and the discrimination associated with them.

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Markley, A. A. "'The Late But Lasting Award of Posterity'. Pamela Clemit, ed., Lives of the Great Romantics III - Volume I: Godwin. London: Pickering & Chatto, 1999. ISBN: 1 85196 5122. Price: £225 (for 3 vols. set, also including volumes on Mary Wollstonecraft and Mary Shelley)." Romanticism on the Net, no. 18 (2000): 0. http://dx.doi.org/10.7202/005910ar.

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Donovan, Jack. "Alan M. Weinberg, ed., The Bodleian Shelley Manuscripts Volume XXII: Percy Bysshe Shelley, Mary Wollstonecraft Shelley. Part One (Bodleian MS. Shelley adds. d. 6); Part Two (Bodleian Shelley adds. c. 5). New York and London: Garland Publishing, 1997. ISBN: 0815311575. Price: US$375. Donald H. Reiman and Michael O'Neill, eds., Fair-Copy Manuscripts of Shelley's Poems in European and American Libraries. The Manuscripts of the Younger Romantics: Percy Bysshe Shelley Volume VIII. New York and London: Garland Publishing, 1997. ISBN: 0815311516. Price: US$260." Romanticism on the Net, no. 22 (2001): 0. http://dx.doi.org/10.7202/005973ar.

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

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This article examines Peter Ackroyd’s popular Gothic novel The Casebook of Victor Frankenstein (2008), which is a reimagining of Mary Shelley’s famous Gothic novel Frankenstein, or, The Modern Prometheus ([1818] 2003). The basic premise of Ackroyd’s narrative seemingly resembles Shelley’s own, as Victor Frankenstein woefully reflects on the events that have brought about his mysterious downfall, and like the original text the voice of the Monster interrupts his creator to recount passages from his own afterlife. However, Ackroyd’s adaption is instead set within the historical context of the original story’s creation in the early nineteenth century. Ackroyd’s Frankenstein studies at Oxford, befriends radical Romantic poet Percy Bysshe Shelley, moves to London to conduct his reanimation experiments and even accompanies the Shelleys, Byron and Polidori on that fateful holiday when the original novel was conceived. This article explores how Ackroyd’s novel, as a form of the contemporary ‘popular’ Gothic, functions as an uncanny doppelgänger of Shelley’s Frankenstein. By blurring the boundaries between history and fiction, the original text and the context of its creation haunt Ackroyd’s adaptation in uncannily doubled and self-reflexive ways that speak to Frankenstein’s legacy for the Gothic in popular culture. The dénouement of Ackroyd’s narrative reveals that the Monster is Frankenstein’s psychological doppelgänger, a projection of insanity, and thus Frankenstein himself is the Monster. This article proposes that this final twist is an uncanny reflection of the narrative’s own ‘Frankenstein-ian’ monstrous metafictional construction, for it argues that Ackroyd’s story is a ‘strange case(book)’ haunted by the ghosts of its Gothic literary predecessors.

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Bleiler, E. F. ": The English Gothic: A Bibliographic Guide to Writers from Horace Walpole to Mary Shelley. . Robert Donald Spector . ; Victorian Science Fiction in the UK: The Discourses of Knowledge and of Power. . Darko Suvin ." Nineteenth-Century Fiction 40, no. 1 (June 1985): 101–5. http://dx.doi.org/10.1525/ncl.1985.40.1.99p0472o.

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Milerius, Nerijus. "UTOPIJOS IR ANTIUTOPIJOS VIZIJOS KINE. FILOSOFINĖS BANALAUS ŽANRO PRIELAIDOS." Problemos 79 (January 1, 2011): 81–89. http://dx.doi.org/10.15388/problemos.2011.0.1325.

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Straipsnyje tęsiami apokalipsės kino tyrinėjimai, pirmą kartą pristatyti praėjusiame „Problemų“ tome (78). Siekiant detalizuoti apokalipsės kino analizę, pasitelkiami nauji – utopijos ir antiutopijos – kinematografiniai aspektai. Apžvelgiamos utopinio diskurso mitologinės ir religinės prielaidos, parodoma, kaip utopinis diskursas išreiškiamas Platono idealios visuomenės projekte. Thomas More’o „Utopija“ apibrėžiama kaip jungiamoji grandis tarp klasikinių filosofinių ir religinių utopinių vizijų ir vėlesnių mokslinių technologinių pasaulio perkonstravimo modelių. Technologinis pasaulio perkonstravimas kaip moderniųjų utopijų pagrindas neišvengiamai susijęs su nekontroliuojamo pasaulio antiutopinėmis vizijomis. Mary Shelley „Frankenšteinas“ apibūdinamas kaip dažnas utopinių modelių fonas. Kaip utopinių ir antiutopinių motyvų sampynos kine pavyzdys analizuojamas Steveno Spielbergo „Dirbtinis intelektas“. Įrodoma, jog postapokaliptinė šio kino kūrinio aplinka konstruojama tam, kad būtų išryškintas pačios kasdienybės utopiškumas.Pagrindiniai žodžiai: kino filosofija, apokalipsės kinas, mokslinė fantastika, utopija, antiutopija.Visions of Utopia and Dystopia in Cinema. The Philosophical Presuppositions of the Banal GenreNerijus Milerius SummaryThe article continues researching the apocalypse film genre. The first results of such research were presented for the first time in the last volume of “Problemos”. In this article, aspects of utopia and dystopia are introduced into the analysis. Firstly, the mythological and religious presuppositions of utopian discourse are overviewed. Secondly, it is shown how utopian discourse is manifested in Plato’s project of ideal society. “Utopia” of Thomas More is considered as the medium between classical visions of utopia and subsequent models of technological transformation of the world.The technological transformation of the world is such basis of modern utopias, which is inevitably tied with the dystopian visions of uncontrollable reality. M. Shelley’s “Frankenstein” appears to be frequent background of utopian models. As the example of interconnection of utopian and dystopian motifs, S. Spielberg’s “The Artificial Intelligence” is presented. It is argued that the post-apocalyptic milieu of this film is constructed with the purpose of revealing the utopian character of the everyday itself.Keywords: film philosophy, apocalypse movie, science fiction, utopia, dystopia.

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Urtasun, Marta. "Poéticas de la distancia en la literatura argentina: ficciones maternas en obras de Sylvia Molloy y de Reina Roffé." La Manzana de la Discordia 10, no. 1 (April 1, 2016): 29. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v10i1.1592.

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Resumen: En este trabajo, analizamos y valoramos laemergencia de ciertas “poéticas de la distancia” en textosliterarios que constituyen fábulas o ficciones maternas,que atraviesan la literatura argentina con operacionesdiscursivas sobre el género, el recuerdo y la memoriadesde una lengua- Madre. Llamamos “ficciones maternas”a aquellos relatos que cuestionan algunos discursosfundantes y canónicos como el de la maternidad y la sexualidad.En esas ficciones, la voz de los hijos construyeun discurso sobre el de las voces de las madres, en tantofigura arquetípica del sistema patriarcal. En ese marco,leeremos la nouvelle “La madre de Mary Shelley” (2011),de Reina Roffé y la novela El común olvido de la argentinaSilvia Molloy (2002/2011), ambas escritoras argentinas,como relatos en los que las madres son representadas enuna tensión entre la ausencia, la exclusión y el enigmamediadas por las narraciones de sus hijos. Esas vocesdesplegarán una lengua- Madre, entendida como prácticapolítica e ideológica, que no sólo es la que origina otraslenguas sino que, desde lo fragmentario y disperso, permitepensar “cómo se llega a tener madre, tener patria y tenerlengua”***. Por eso, las fábulas maternas nos permitenreflexionar qué ocurre con las operaciones discursivasque los escritores hacen con su propia lengua, cuandoescriben desde otros espacios simbólicos.Palabras clave: ficciones maternas, literatura argentina,Sylvia Molloy, Reina RofféPoetics of Distance in Argentinian Literature:Maternal Fictions in Works by Sylvia Molloy andReina RofféAbstract: This paper analyzes and values the emergenceof a certain “poetic distance” in literary texts thatconstitute maternal fables or fictions, sowing throughoutArgentinian literature discursive operations on gender,memory and a Mother- language. We call “maternalfictions” those stories that question some foundationaland canonical speeches like motherhood and sexuality. Inthis fiction, the voice of the child constructs a discourseon top of the voices of mothers as archetypal figures ofthe patriarchal system. In this context, we will read thenouvelle “Mary Shelley’s Mother” (2011), by Reina Roffé,and the novel The Common Neglect by Argentinian SilviaMolloy (2002/2011), both Argentinian writers, as stories inwhich mothers are represented in a tension interspersingabsence, exclusion and enigma in narratives by their children.Those voices deploy a Mother- language, defined asa political and ideological practice, which is not only theorigin of other languages but which, on the basis of fragmentationand sparseness, suggests “how you get to havea mother tongue, a homeland and a language.” Therefore,maternal fables allow us to reflect on what happens to thediscursive operations by writers with their own language,when writing from other symbolic spaces.Keywords: maternal fictions, Argentinian literature,Sylvia Molloy, Reina Roffé

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Aldama, Frederick Luis. "What Literature Tells Us about the Pandemic." Journal of Critical Studies in Language and Literature 2, no. 1 (December 26, 2020): 24–27. http://dx.doi.org/10.46809/jcsll.v2i1.50.

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Literature can play an important role in shaping our responses to the COVID-19 pandemic. It can offer us significant insights into how individuals treated the trauma of pandemics in the past, and how to survive in a situation beyond our control. Considering the changes and challenges that the coronavirus might bring for us, we should know that the world we are living in today is shaped by the biological crisis of the past. This understanding can help us deal with the challenges in the current pandemic situation. Literature can show us how the crisis has affected the lives of infected individuals. By exploring the theme of disease and pandemic, which is consistent and well-established in literature (Cooke, 2009), we come across a number of literary works dealing with plagues, epidemics and other forms of biological crises. Among the prominent examples of pandemic literature is Albert Camus’s The Plague (1947), narrating the story of a plague sweeping the French Algerian city of Oran. The novel illustrates the powerlessness of individuals to affect their destinies. Jack London’s The Scarlet Plague (1912) is another story depicting the spread of the Red Death, an uncontrollable epidemic that depopulated and nearly destroyed the world. The book is considered as prophetic of the coronavirus pandemic, especially given London wrote it at a time when the world was not as quickly connected by travel as it is today (Matthews, 2020). Furthermore, Edgar Allan Poe’s The Masque of the Red Death (1842) is a short story on the metaphorical element of the plague. Through the personification of the plague, represented by a mysterious figure as a Red Death victim, the author contemplates on the inevitability of death; the issue is not that people die from the plague, but that people are plagued by death (Steel, 1981). Moreover, Mary Shelley’s The Last Man (1826) is another apocalyptic novel, depicting a future which is ravaged by a plague. Shelley illustrates the concept of immunization in this fiction showing her understanding about the nature of contagion. Pandemic is also depicted in medieval writings, such as Giovanni Boccaccio’s The Decameron and Geoffrey Chaucer’s The Canterbury Tales illustrating human behaviour: the fear of infection increased sins such as greed, lust and corruption, which paradoxically led to infection and consequently to both moral and physical death (Grigsby, 2008). In ancient literature, Homer’s Iliad opens with a plague visited upon the Greek camp at Troy to punish the Greeks for Agamemnon’s enslavement of Chryseis. Plague and epidemic were rather frequent catastrophes in ancient world. When plague spread, no medicine could help, and no one could stop it from striking; the only way to escape was to avoid contact with infected persons and contaminated objects (Tognotti. 2013). Certainly, COVID-19 has shaken up our economic systems and affected all aspects of our living. In this respect, literature can give us the opportunity to think through how similar crises were dealt with previously, and how we might structure our societies more equitably in their aftermath. Thus, in order to explore what literature tells us about the pandemic, the following interview is conducted with Frederick Aldama, a Distinguished Professor of English at the Ohio State University.

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"Mary Wollstonecraft Shelley: an introduction." Choice Reviews Online 36, no. 09 (May 1, 1999): 36–4922. http://dx.doi.org/10.5860/choice.36-4922.

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"Mary Wollstonecraft and Mary Shelley: writing lives." Choice Reviews Online 39, no. 05 (January 1, 2002): 39–2661. http://dx.doi.org/10.5860/choice.39-2661.

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"Critical essays on Mary Wollstonecraft Shelley." Choice Reviews Online 36, no. 01 (September 1, 1998): 36–0153. http://dx.doi.org/10.5860/choice.36-0153.

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"Women in romanticism: Mary Wollstonecraft, Dorothy Wordsworth and Mary Shelley." Choice Reviews Online 27, no. 11 (July 1, 1990): 27–6197. http://dx.doi.org/10.5860/choice.27-6197.

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

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