Percy Bysshe Shelley (1792–1822) Was an Extraordinary Poet, Playwright, and Essayist, Revolutionary Both in His Ideas and in His Artistic Theory and Practice
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Shelley's Heart and Pepys's Lobsters
© Copyright, Princeton University Press. No part of this book may be distributed, posted, or reproduced in any form by digital or mechanical means without prior written permission of the publisher. Chapter 1 Shelley’s Heart and Pepys’s Lobsters Biographies are full of verifiable facts, but they are also full of things that aren’t there: absences, gaps, missing evi- dence, knowledge or information that has been passed from person to person, losing credibility or shifting shape on the way. Biographies, like lives, are made up of con- tested objects—relics, testimonies, versions, correspon- dences, the unverifiable. What does biography do with the facts that can’t be fixed, the things that go missing, the body parts that have been turned into legends and myths? A few years ago, a popular biographer who had allowed doubts and gaps into the narrative of a historical subject was criticised for sounding dubious. “For ‘I think,’ read ‘I don’t know,’” said one of her critics crossly. But more recently, “biographical uncertainty” has become a re- spectable topic of discussion.1 Writers on this subject tend to quote Julian Barnes’s Flaubert’s Parrot: You can define a net in one of two ways, depending on your point of view. Normally, you would say that it is a meshed instrument designed to catch fish. But you could, with no great injury to logic, reverse the image and define a net as a jocular lexicographer once did: he called it a col- lection of holes tied together with string. For general queries, contact [email protected] © Copyright, Princeton University Press. -
The Shelleys and the Idea of Europe
Paul Stock The Shelleys and the idea of Europe Article (Accepted version) (Refereed) Original citation: Stock, Paul (2008) The Shelleys and the Idea of Europe. European romantic review, 19 (4). pp. 335-349. ISSN 1050-9585 DOI: 10.1080/10509580802405684 © 2009 Taylor and Francis This version available at: http://eprints.lse.ac.uk/29372/ Available in LSE Research Online: September 2012 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. Users may download and/or print one copy of any article(s) in LSE Research Online to facilitate their private study or for non-commercial research. You may not engage in further distribution of the material or use it for any profit-making activities or any commercial gain. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. This document is the author’s final manuscript accepted version of the journal article, incorporating any revisions agreed during the peer review process. Some differences between this version and the published version may remain. You are advised to consult the publisher’s version if you wish to cite from it. 1 Article for European Romantic Review The Shelleys and the Idea of “Europe” by Paul Stock Introduction This article explores how the Shelleys and their circle configure ideas of “Europe” between January 1817 and March 1818. In this period, Mary was finishing Frankenstein and Percy wrote, planned and published Laon and Cythna, two texts which, I will argue, are especially concerned with the meanings of “Europe” and “European”. -
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. -
Categorizing Humans, Animals, and Machines in Mary Shelley's Frankenstein
University of Rhode Island DigitalCommons@URI Senior Honors Projects Honors Program at the University of Rhode Island 2009 Categorizing Humans, Animals, and Machines in Mary Shelley’s Frankenstein Martha Bellows University of Rhode Island, [email protected] Follow this and additional works at: http://digitalcommons.uri.edu/srhonorsprog Part of the Arts and Humanities Commons Recommended Citation Bellows, Martha, "Categorizing Humans, Animals, and Machines in Mary Shelley’s Frankenstein" (2009). Senior Honors Projects. Paper 129. http://digitalcommons.uri.edu/srhonorsprog/129http://digitalcommons.uri.edu/srhonorsprog/129 This Article is brought to you for free and open access by the Honors Program at the University of Rhode Island at DigitalCommons@URI. It has been accepted for inclusion in Senior Honors Projects by an authorized administrator of DigitalCommons@URI. For more information, please contact [email protected]. Martha Bellows Major: English and Spanish Email: [email protected] Title of Project: Categorizing Humans, Animals, and Machines in Mary Shelley’s Frankenstein Faculty Sponsor: Dr. Galen Johnson Abstract From Plato to Descartes and Kant and now to modern day, there is a general idea that pervades Western society. This idea is about the uniqueness and superiority of the human being. We are rational and conscious beings that apparently stand alone in the world, separated intellectually from animals and biologically from machines. The relationship between humans, animals, and machines is a tumultuous one and it is not easily definable. For many classical philosophers, this relationship has always been a hierarchy. Humans are on the top and animals and machines fall somewhere below. These beliefs have created a distinct category for the three terms that leaves no room for overlap. -
Frankenstein's Theatrical Doppelgänger
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies The Vault: Electronic Theses and Dissertations 2013-08-27 From Prometheus to Presumption: Frankenstein's Theatrical Doppelgänger Reid, Brittany Lee Alexandra Reid, B. L. (2013). From Prometheus to Presumption: Frankenstein's Theatrical Doppelgänger (Unpublished master's thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/26236 http://hdl.handle.net/11023/894 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 From Prometheus to Presumption: Frankenstein’s Theatrical Doppelgänger by Brittany Reid A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS DEPARTMENT OF ENGLISH CALGARY, ALBERTA AUGUST, 2013 © Brittany Reid 2013 ii Abstract This thesis examines the Doppelgänger relationship between Victor Frankenstein and the Creature, as it is characterized through both Frankenstein and its first theatrical adaptation. With a specific focus on Richard Brinsley Peake’s 1823 gothic melodrama, Presumption; or, The Fate of Frankenstein I unpack how the novel’s cross-medium adaptation leads to a changed conception of the relationship of its central characters. In Frankenstein, Victor is the focal figure and acts as the Creature’s dominant counterpart. However, the characters’ cross-medium adaptation from page to stage inverts this Doppelgänger relationship from Shelley’s initial conception in the novel. -
Natality, Care, Art: a Three-Fold Response to Posthumanism's
Natality, Care, Art: A Three-Fold Response to Posthumanism’s Figuration of the Political By Mirra-Margarita Ianeva Department of Art History and Communication Studies McGill University August 2020 A thesis submitted to McGill University in Partial fulfillment of the requirements of the degree of Master of Arts ©Copyright by Mirra-Margarita Ianeva Table of Contents Abstract 3 Resume 4 Acknowledgements 5 Introduction 6 The Parliamentary Scene 6 Reframing the Hard Question 10 Natality, Care, Art 13 Section I. The Natality Scene: An Arendtian Response to Latour 20 Beginning Anew 22 Subject or World 25 Foucault and the Practice of the Self 26 Arendt and Natality 30 An Undeveloped Concept of Care 36 Section II. Ecological Attunements: From Boredom to Care 38 Boredom or Plurality as Coexistence 40 Care or Plurality as Coevolution 46 Section III. Art of Care 52 Amie Siegel’s Provenance (2013): Work and Context 54 Beyond the Restorationist Model 57 Conclusion 60 Bibliography 62 2 Abstract This thesis reflects on the limits of the frame of communication, adopted by posthumanist thinkers like Bruno Latour and Jane Bennett, for addressing the challenge of a more-than- human politics. It explores how Hannah Arendt’s political thought, brought into dialogue with feminist and artistic meditations on care, can suggest a more productive approach to this question. While taking as its point of departure posthumanism’s intuition that ecology compels us to rethink the political itself, the thesis argues that to bring this promise to full fruition requires taking a deeper look at the human and the political as sites of transformative practice. -
Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities
BEGC -109 Mary Shelley: Life and Works British Romantic Indira Gandhi Literature National Open University School of Humanities Block 4 MARY SHELLEY: FRANKENSTEIN Unit 1 Mary Shelley: Life and Works 189 Unit 2 Frankenstein: A Gothic Novel 203 Unit 3 Frankenstein: Summary and Analysis 213 Unit 4 Frankenstein: Major Themes 229 187 Mary Shelley: Frankenstein BLOCK INTRODUCTION This Block will introduce you to one of the important After the completion of this block, you will be introduced toMary Shelley(1797-1851), also known as Mary Wollstonecraft Shelley, a British novelist. You will • get introduced to the gothic tradition. • be familiarised with the major influential factors on the Gothic with special reference to Mary Shelley. • comprehend her effects worldwide. • trace her impacts on the later generations. ACKNOWLEDGEMENT The material (pictures and passages) we have used is purely for educational purposes. Every effort has been made to trace the copyright holders of material reproduced in this book. Should any infringement have occurred, the publishers and editors apologize and will be pleased to make the necessary corrections in future editions of this book. 188 UNIT 1 Mary SHELLEY: LIFE AND WORKS Mary Shelley: Life and Works Structure 1.0 Objectives 1.1 Introduction 1.2 Infancy And Early Years 1.3 Challenge Preadolescence 1.4 Teenage 1.5 Mary's Relocation 1.6 Love Life 1.7 Mary's Journey To London 1.8 Mary and Her Personal Calamities 1.9 Mary's First Novel Frankenstein or The Modern Prometheus 1.10 Story of "Frankenstein or The Modern Prometheus 1.11 Other Works of Mary Shelley 1.12 Last Stage of Mary Shelley's Life 1.13 Let Us Sum Up 1.14 Questions and Answer Keys 1.15 Suggested Readings 1.0 OBJECTIVES It is evident that the life account of a famous novelist is a storehouse of facts and events which are essential to grasp the background of the author and the literary works. -
Metaphysics Or Metaphors for the Anthropocene? Scientific Naturalism and the Agency of Things
Open Philosophy 2018; 1: 191–212 Patrick Gamez* Metaphysics or Metaphors for the Anthropocene? Scientific Naturalism and the Agency of Things https://doi.org/10.1515/opphil-2018-0014 Received June 17, 2018; accepted July 31, 2018 Abstract: In this paper, I provide the outlines of an alternative metaphilosophical orientation for Continental philosophy, namely, a form of scientific naturalism that has proximate roots in the work of Bachelard and Althusser. I describe this orientation as an “alternative” insofar as it provides a framework for doing justice to some of the motivations behind the recent revival of metaphysics in Continental philosophy, in particular its ecological-ethical motivations. In the second section of the paper, I demonstrate how ecological-ethical issues motivate new metaphysicians like Bruno Latour, Jane Bennett, Timothy Morton, Ian Bogost, and Graham Harman to impute to objects real features of agency. I also try to show how their commitments lead to deep ambiguities in their metaphysical projects. In the final section, I outline a type of scientific naturalism in Continental philosophy that parallels the sort of naturalism championed by Quine, both conceptually and historically, and suggest that it might serve our ecological-ethical purposes better. Keywords: speculative realism, vital materialism, environmental ethics, non-anthropocentrism, Bachelard, Althusser, Continental philosophy 1 Introduction 1.1 Overview The landscape of Continental philosophy has changed radically in the early 21st century. The last 15 years have seen a resurgence of speculative philosophy, rationalisms, and realisms of all stripes. We see this in the “new materialism” of Diana Coole and others, the Deleuzian realism of Manuel Delanda, the “object-oriented philosophy” of Graham Harman, and many others. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy. -
Shelley's Poetic Inspiration and Its Two Sources: the Ideals of Justice and Beauty
SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY. by Marie Guertin •IBtlOrHEQf*' * "^ «« 11 Ottawa ^RYMtt^ Thesis presented to the School of Graduate Studies of the University of Ottawa as partial fulfillment of the requirements for the degree of Master of Arts in English Literature Department of English Ottawa, Canada, 1977 , Ottawa, Canada, 1978 UMI Number: EC55769 INFORMATION TO USERS The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleed-through, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. UMI UMI Microform EC55769 Copyright 2011 by ProQuest LLC All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SHELLEY'S POETIC INSPIRATION AND ITS TWO SOURCES: THE IDEALS OF JUSTICE AND BEAUTY by Marie Guertin ABSTRACT The purpose of this dissertation is to show that most of Shelley's poetry can be better understood when it is related: (1) to each of the two ideals which constantly inspired Shelley in his life, thought and poetry; (2) to the increasing unity which bound these two ideals so closely together that they finally appeared, through most of his mature philosophical and poetical Works, as two aspects of the same Ideal. -
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(S): Bette London Source: PMLA, Vol
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(s): Bette London Source: PMLA, Vol. 108, No. 2 (Mar., 1993), pp. 253-267 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/462596 Accessed: 24-02-2018 15:52 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 158.135.1.176 on Sat, 24 Feb 2018 15:52:34 UTC All use subject to http://about.jstor.org/terms Bette London Mary Shelley, Frankenstein, and the Spectacle of Masculinity BETTE LONDON, associate IN A STRIKING MEMORIAL to the Shelleys-commis- professor of English at the sioned by their only surviving child, Sir Percy, and his wife, Lady Shelley-the couple is impressed in the image of Michelan- University of Rochester, is the gelo's Pietd (fig. 1). Mary Shelley kneels, breast exposed, in the author of The Appropriated traditional posture of a Madonna humilitatis, supporting the lifeless Voice: Narrative Authority in body of her drowned god and idol. Superimposing a Christian Conrad, Forster, and Woolf narrative onto a notorious Romantic "text"-a scandalous life story ( U of Michigan P, 1990).