Mary Shelley (1797-1851)
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Season Preview
Central Florida’s 2018-2019 Cultural Season Lights, camera, action … let the new cultural season begin. As the curtain rises you’ll find a plethora of tradi- tional favorites, new collaborations and grand productions that immerse you in the experience that is unfolding. You will also find new offerings that celebrate the diversity of our community and new partnerships that will make our art scene stronger. Museums and local galleries show- casing world-wide exhibitions and our homegrown talent are accessible to all. It’s a time to revel in new beginnings and salute the organizations that work tirelessly to create offerings that improve every year. We are stronger when we work together, and there is no better place to illustrate this excitement than the events and performances of the 2018-2019 Season Preview. Dance Film & Literature History Music Science & Nature Special Events Theatre Visual Arts P. 37-65 Season Preview 2018-2019.indd 37 8/10/18 12:58 PM Dance Carmen Jan. 26-27, Dr. Phillips Center for the Performing Arts March 24, Athens Theatre Flamenco Del Sol facebook.com/floridaflamencodelsol Carmen is an extraordinary production showcasing the iconic music of George Bizet layered over Prosper Mérimée’s quintessentially Spanish story line told through a rich blend of classical operatic and flamenco music, including live guitar, percussion and original compositions. A cast of more than 30 will entrance the audience with percussive footwork, snapping fans and thundering castanets, all clothed in majestic authentic costuming. Join us as we follow Carmen and Don José through this timeless, tragic love story. -
February 7–9, 14–16, 2020 Loft Stage at East Ridge High School MERRILL ARTS CENTER
MERRILL ARTS CENTER present a WCT production of Directed By Tom Reed February 7–9, 14–16, 2020 Loft Stage at East Ridge High School MERRILL ARTS CENTER a WCT production of WCT Production Staff Director Tom Reed so let chuck eckberg Music Director Jessie Rolfe help you find your Production Manager Leah Madsen Stage Manager MJ Luna Sound Designer Evangeline Lee dream castle! Props Designer Sarah Herman Scenic Designer Craig Steineck Costume Designer Bailey Remmers Lighting Designer Jacob Berg Even if the house isn’t in Transylvania, Choreographer Megan Torbert Chuck will electrify your journey and make sure you find MAC Administrative Staff “the happiest town” for you! Executive Director Barbe Marshall Hansen Managing Director Kajsa Jones SOS Director Kristin Fox Administrator Hannah Amidon See what a 14-time Super Real Estate AgentTM Accountant Irina Yaritz can do for you! Graphic Designer Galen Higgins Group Sales Director Alicia Wiesneth 604 Bielenberg Drive, Woodbury, MN 55125 651-246-6639 • [email protected] Publicists JAMU Enterprises www.chuckeckberg.com Director of Development Lori Nelson Digital Strategist Cromie Creative Consultants Box Office Managers Erika James, Jeriann Jones Lisa Winston MERRILL ARTS CENTER WANTED The Mission of Merrill Arts Center EMPLOYEE ENDORSEMENTS! is to champion the arts. PROGRAMS Do you work for one of these companies? Wells Fargo • Andersen Corporation • Otto Bremer Trust • Bremer Bank WCT McKnight Foundation • 3M • General Mills • Best Buy • Ecolab If yes, please let us know! AFFILIATES These companies, and many like them, have grant programs available to arts organizations like Merrill but we need an employee endorsement to apply. -
Representations of Love and Marriage in the Works of Mary Wollstonecraft Hels Ley and Percy Bysshe Shelley Jenna E
Student Publications Student Scholarship Spring 2016 “One Feeling in Such a Solitude”: Representations of Love and Marriage in the Works of Mary Wollstonecraft helS ley and Percy Bysshe Shelley Jenna E. Fleming Gettysburg College Follow this and additional works at: https://cupola.gettysburg.edu/student_scholarship Part of the Comparative Literature Commons, and the Literature in English, British Isles Commons Share feedback about the accessibility of this item. Fleming, Jenna E., "“One Feeling in Such a Solitude”: Representations of Love and Marriage in the Works of Mary Wollstonecraft Shelley and Percy Bysshe Shelley" (2016). Student Publications. 456. https://cupola.gettysburg.edu/student_scholarship/456 This is the author's version of the work. This publication appears in Gettysburg College's institutional repository by permission of the copyright owner for personal use, not for redistribution. Cupola permanent link: https://cupola.gettysburg.edu/student_scholarship/ 456 This open access student research paper is brought to you by The uC pola: Scholarship at Gettysburg College. It has been accepted for inclusion by an authorized administrator of The uC pola. For more information, please contact [email protected]. “One Feeling in Such a Solitude”: Representations of Love and Marriage in the Works of Mary Wollstonecraft helS ley and Percy Bysshe Shelley Abstract The ae rly nineteenth century was characterized by a dynamic literary discussion and debate over the nature and effects of human relationships. Mary Wollstonecraft heS lley and Percy Bysshe Shelley, two of the foremost writers of the period, experimented with and drew conclusions about differing images of marriage within their works. Making use of this public literary genre, the couple engaged in a conversation with one another as they explored and refined their views and judgments of relationships including their own. -
To Teach Every Principle of the Infidels and Republicans? William Godwin Through His Children's Books
To Teach Every Principle of the Infidels and Republicans? William Godwin Through His Children's Books John-Erik Hansson Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Florence, 23 November 2018 European University Institute Department of History and Civilization To Teach Every Principle of the Infidels and Republicans? William Godwin Through His Children's Books John-Erik Hansson Thesis submitted for assessment with a view to obtaining the degree of Doctor of History and Civilization of the European University Institute Examining Board Ann Thomson, EUI (Supervisor) Stéphane Van Damme, EUI Pamela Clemit, Queen Mary, University of London (External Advisor) Gregory Claeys, Royal Holloway, University of London © John-Erik Hansson, 2018 No part of this thesis may be copied, reproduced or transmitted without prior permission of the author Researcher declaration to accompany the submission of written work Department of History and Civilization - Doctoral Programme I John-Erik Hansson certify that I am the author of the work 'To Teach Every Principle of the Infidels and Republicans?' I have presented for examination for the Ph.D. at the European University Institute. I also certify that this is solely my own original work, other than where I have clearly indicated, in this declaration and in the thesis, that it is the work of others. I warrant that I have obtained all the permissions required for using any material from other copyrighted publications. I certify that this work complies with the Code of Ethics in Academic Research issued by the European University Institute (IUE 332/2/10 (CA 297). -
Of Gods and Monsters: Signification in Franz Waxman's Film Score Bride of Frankenstein
This is a repository copy of Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/118268/ Version: Accepted Version Article: McClelland, C (Cover date: 2014) Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein. Journal of Film Music, 7 (1). pp. 5-19. ISSN 1087-7142 https://doi.org/10.1558/jfm.27224 © Copyright the International Film Music Society, published by Equinox Publishing Ltd 2017, This is an author produced version of a paper published in the Journal of Film Music. Uploaded in accordance with the publisher's self-archiving policy. Reuse Items deposited in White Rose Research Online are protected by copyright, with all rights reserved unless indicated otherwise. They may be downloaded and/or printed for private study, or other acts as permitted by national copyright laws. The publisher or other rights holders may allow further reproduction and re-use of the full text version. This is indicated by the licence information on the White Rose Research Online record for the item. Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ Paper for the Journal of Film Music Of Gods and Monsters: Signification in Franz Waxman’s film score Bride of Frankenstein Universal’s horror classic Bride of Frankenstein (1935) directed by James Whale is iconic not just because of its enduring images and acting, but also because of the high quality of its score by Franz Waxman. -
The Horror Film Series
Ihe Museum of Modern Art No. 11 jest 53 Street, New York, N.Y. 10019 Circle 5-8900 Cable: Modernart Saturday, February 6, I965 FOR IMMEDIATE RELEASE The Museum of Modern Art Film Library will present THE HORROR FILM, a series of 20 films, from February 7 through April, 18. Selected by Arthur L. Mayer, the series is planned as a representative sampling, not a comprehensive survey, of the horror genre. The pictures range from the early German fantasies and legends, THE CABINET OF DR. CALIGARI (I9I9), NOSFERATU (1922), to the recent Roger Corman-Vincent Price British series of adaptations of Edgar Allan Poe, represented here by THE MASQUE OF THE RED DEATH (I96IO. Milestones of American horror films, the Universal series in the 1950s, include THE PHANTOM OF THE OPERA (1925), FRANKENSTEIN (1951), his BRIDE (l$55), his SON (1929), and THE MUMMY (1953). The resurgence of the horror film in the 1940s, as seen in a series produced by Val Lewton at RR0, is represented by THE CAT PEOPLE (19^), THE CURSE OF THE CAT PEOPLE (19^4), I WALKED WITH A ZOMBIE (19*£), and THE BODY SNAT0HER (19^5). Richard Griffith, Director of the Film Library, and Mr. Mayer, in their book, The Movies, state that "In true horror films, the archcriminal becomes the archfiend the first and greatest of whom was undoubtedly Lon Chaney. ...The year Lon Chaney died [1951], his director, Tod Browning,filmed DRACULA and therewith launched the full vogue of horror films. What made DRACULA a turning-point was that it did not attempt to explain away its tale of vampirism and supernatural horrors. -
The Endurance of the Frankenstein Myth:A History of Ideas
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2017 The Endurance of the Frankenstein Myth:A History of Ideas Prescod, Ronald Prescod, R. (2017). The Endurance of the Frankenstein Myth:A History of Ideas (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/28126 http://hdl.handle.net/11023/3650 master thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY The Endurance of the Frankenstein Myth: A History of Ideas by Ronald Prescod A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS GRADUATE PROGRAM IN COMMUNICATIONS STUDIES CALGARY, ALBERTA FEBRUARY, 2017 © Ronald Prescod 2017 Abstract The term “Frankenstein foods” is an interesting and unique phenomenon. The term represents ideas and themes transported over two hundred years from the novel Frankenstein (Shelley, 1818) to contemporary critical discourse about biotechnology. Most studies of Frankenstein’s endurance have focused on the novel’s intrinsic literary form, that is, its reception history, adaptations, interpretations, its publication, or its canonical status as a classic. However, this thesis is a history of ideas that offers a unique examination of Frankenstein’s endurance in mythical form as the Frankenstein myth. -
Young Frankenstein"
"YOUNG FRANKENSTEIN" SCREENPLAY by GENE WILDER FIRST DRAFT FADE IN: EXT. FRANKENSTEIN CASTLE A BOLT OF LIGHTNING! A CRACK OF THUNDER! On a distant, rainy hill, the old Frankenstein castle, as we knew and loved it, is illuminated by ANOTHER BOLT OF LIGHTNING. MUSIC: AN EERIE TRANSYLVANIAN LULLABY begins to PLAY in the b.g. as we MOVE SLOWLY CLOSER to the castle. It is completely dark, except for one room -- a study in the corner of the castle -- which is only lit by candles. Now we are just outside a rain-splattered window of the study. We LOOK IN and SEE: INT. STUDY - NIGHT An open coffin rests on a table we can not see it's contents. As the CAMERA SLOWLY CIRCLES the coffin for a BETTER VIEW... A CLOCK BEGINS TO CHIME: "ONE," "TWO," "THREE," "FOUR..." We are ALMOST FACING the front of the coffin. "FIVE," "SIX," "SEVEN," "EIGHT..." The CAMERA STOPS. Now it MOVES UP AND ABOVE the satin-lined coffin. "NINE," "TEN," "ELEVEN," "T W E L V E!" CUT TO: THE EMBALMED HEAD OF BEAUFORT FRANKENSTEIN Half of still clings to the waxen balm; the other half has decayed to skull. Below his head is a skeleton, whose bony fingers cling to a metal box. A HAND reaches in to grasp the metal box. It lifts the box halfway out of the coffin -- the skeleton's fingers rising, involuntarily, with the box. Then, as of by force of will, the skeleton's fingers grab the box back and place it where it was. Now the "Hand" -- using its other hand -- grabs the box back from the skeleton's fingers. -
Chapter 1 Chapter 2
Notes Chapter 1 1. Jeffrey Mirel, “The Traditional High School: Historical Debates over Its Nature and Function,” Education Next 6 (2006): 14–21. 2. US Census Bureau, “Education Summary––High School Gradu- ates, and College Enrollment and Degrees: 1900 to 2001,” His- torical Statistics Table HS-21, http://www.census.gov/statab/ hist/HS-21.pdf. 3. Andrew Monument, dir., Nightmares in Red, White, and Blue: The Evolution of American Horror Film (Lux Digital Pictures, 2009). 4. Monument, Nightmares in Red. Chapter 2 1. David J. Skal, Screams of Reason: Mad Science and Modern Cul- ture (New York: Norton, 1998), 18–19. For a discussion of this more complex image of the mad scientist within the context of postwar film science fiction comedies, see also Sevan Terzian and Andrew Grunzke, “Scrambled Eggheads: Ambivalent Represen- tations of Scientists in Six Hollywood Film Comedies from 1961 to 1965,” Public Understanding of Science 16 (October 2007): 407–419. 2. Esther Schor, “Frankenstein and Film,” in The Cambridge Com- panion to Mary Shelley (Cambridge: Cambridge University Press, 2003), 63; James A. W. Heffernan, “Looking at the Monster: Frankenstein and Film,” Critical Inquiry 24, no. 1 (Autumn 1997): 136. 3. Russell Jacoby, The Last Intellectuals: American Culture in the Age of Academe (New York: Basic Books, 1987). 4. Richard Hofstadter, Anti-Intellectualism and American Life (New York: Knopf, 1963); Craig Howley, Aimee Howley, and Edwine D. Pendarvis, Out of Our Minds: Anti-Intellectualism and Talent 178 Notes Development in American Schooling (New York: Teachers Col- lege Press: 1995); Merle Curti, “Intellectuals and Other People,” American Historical Review 60 (1955): 259–282. -
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof
Discussion Questions for Frankenstein Written by Hailey Toporcer, Hiram College Class of 2019 Edited by Prof. Kirsten Parkinson As you read Mary Shelley’s Frankenstein, either on your own or with a group, we invite you to use these questions to add layers to your discussion or thinking about the novel. The first section includes questions for each chapter of the novel; you will find questions reflecting on the book as a whole at the end. We have not included specific pages numbers as various editions have different page numbers, but the quotations are based on the 1831 edition of the novel. Discussion Questions for Each Chapter Letters I through IV 1. Frankenstein begins and ends with letters written by Robert Walton. Why do you think that Mary Shelley chose to have him frame the novel? How would your opinions of Victor Frankenstein and his creation differ if their story was told directly by Victor Frankenstein himself? What if the story was told solely by the creation? 2. Walton yearns for a friend, much like Victor Frankenstein’s creature does. What does this tell you about human nature? Is it in our nature to want companionship, someone to confide in, and someone to care for? 3. In Letter IV, Walton writes, “Yesterday the stranger said to me, “You may easily perceive, Captain Walton, that I have suffered great and unparalleled misfortunes. I had determined at one time that the memory of these evils should die with me, but you have won me to alter my determination. You seek for knowledge and wisdom, as I once did; and I ardently hope that the gratification of your wishes may not be a serpent to sting you, as mine has been. -
Frankenstein As Educational Thought on the Modern Problem of Terror
UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE MONSTROUS MISEDUCATION: FRANKENSTEIN AS EDUCATIONAL THOUGHT ON THE MODERN PROBLEM OF TERROR A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY By KRISTEN OGILVIE HOLZER Norman, Oklahoma 2016 MONSTROUS MISEDUCATION: FRANKENSTEIN AS EDUCATIONAL THOUGHT ON THE MODERN PROBLEM OF TERROR A DISSERTATION APPROVED FOR THE DEPARTMENT OF EDUCATIONAL LEADERSHIP AND POLICY STUDIES BY _____________________________ Dr. Susan Laird, Chair _____________________________ Dr. John Covaleskie _____________________________ Dr. Angela Urick _____________________________ Dr. Michele Eodice _____________________________ Dr. Robert Con Davis-Undiano © Copyright by KRISTEN OGILVIE HOLZER 2016 All Rights Reserved. DEDICATION I dedicate this work to the children among whom I have had the privilege of learning, including my two children, Keely Pate Holzer and Liam Reed Holzer. My fondest hopes lie in their future and the possibility that this scholarship might contribute in some small way toward the “cultural wealth” they will inherit. ACKNOWLEDGEMENTS I thank my mother, Marilyn Bailey Ogilvie, who has supported and encouraged me as a scholar, a mentor, and a friend. Words are inadequate to account for the debt of gratitude this work, and all of my work, owes my mother. By her example and courage, my sister, Martha Kay Ogilvie, has always pushed me to realize my potential. My brother, William Woodworth Ogilvie, has never stopped teasing or believing in me and I thank him for his humor and faith. I am grateful to my spouse, Michael Reed Holzer, for the pride he has always taken in my little victories. That pride made me believe I could finish what I started. -
Mary Shelley
Mary Shelley Early Life Mary Wollstonecraft Godwin Shelley was born on August 30, 1797, the daughter of two prominent radical thinkers of the Enlightenment. Her mother was the feminist Mary Wollstonecraft, author of A Vindication of the Rights of Woman, and her father was the political philosopher William Godwin, best known for An Inquiry Concerning Political Justice. Unfortunately, Wollstonecraft died just ten days after her daughter’s birth. Mary was raised by her father and stepmother Mary Jane Clairmont. When she was 16 years old, Mary fell in love with the Romantic poet Percy Bysshe Shelley, who visited her father’s house frequently. They eloped to France, as Shelley was already married. They eventually married after two years when Shelley’s wife Harriet committed suicide. The Writing of Frankenstein In the summer of 1816, the Shelleys rented a villa close to that of Lord Byron in Switzerland. The weather was bad (Mary Shelley described it as “wet, ungenial” in her 1831 introduction to Frankenstein), due to a 1815 eruption of a volcano in Indonesia that disrupted weather patterns around the world. Stuck inside much of the time, the company, including Byron, the Shelleys, Mary’s stepsister Claire Clairmont, and Byron’s personal physician John Polidori, entertained themselves with reading stories from Fantasmagoriana, a collection of German ghost stories. Inspired by the stories, the group challenged themselves to write their own ghost stories. The only two to complete their stories were Polidori, who published The Vampyre in 1819, and Mary Shelley, whose Frankenstein went on to become one of the most popular Gothic tales of all time.