Appendix A: Manuscript Essay: "A History of the Jews"
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The Skeptical Gothic in Mary Shelley's Frankenstein
ARTICLE https://doi.org/10.1057/s41599-020-0408-5 OPEN Anatomy of tragedy: the skeptical gothic in Mary Shelley’s Frankenstein ✉ Veronika Ruttkay 1 ABSTRACT Combining philosophical and literary perspectives, this paper argues that Mary Shelley’s Frankenstein is informed by a skeptical problematic that may be traced back to the work of the young David Hume. As the foundational text on romantic monstrosity, Fran- kenstein 1234567890():,; has been studied from various critical angles, including that of Humean skepticism by Sarah Tindal Kareem (Eighteenth-century fiction and the reinvention of wonder. Oxford University Press, Oxford, 2014) and Monique Morgan (Romant Net 44, doi:10.7202/ 013998ar, 2006). However, the striking connections with Hume’s Treatise have not been fully explored. The paper begins by comparing the three narrators of Frankenstein with three figures appearing in Hume’s Conclusion to Book I: the anatomist, the explorer, and the monster. It proceeds by looking at the hybrid “anatomies” offered by Hume and Shelley, suggesting that Frankenstein might be regarded as a tragic re-enactment and radicalization of Hume’s skeptical impasse. Whereas Hume alerted his readers to the dangers of a thor- oughgoing skepticism only to steer his argument in a new direction, Shelley shows those dangers realized in the “catastrophe” of the Monster’s birth. While Hume had called attention to the impossibility of conducting strictly scientific experiments on “moral subjects”, Shelley devises a counterfactual plot and a multi-layered narrative structure in order to explore that very impossibility. Interpreting Frankenstein as an instance of the “skeptical gothic”, I suggest that both the monster and the scientist (Victor) share some traits with Hume’s radically skeptical philosopher, including a tendency to give up responsibility for what Stanley Cavell (The Claim of Reason: Wittgenstein, skepticism, morality, and tragedy. -
Conversations with Bill Kristol
Conversations with Bill Kristol Guest: Paul Cantor Professor of English, University of Virginia Taped March 15, 2021 Table of Contents I. Comedy and Skepticism (0:15 – 13:05) II: Shakespeare's Comedy (13:05– 46:32) III: Love and Friendship (46:32 – 1:23:40) I. Comedy and Skepticism (0:15 – 13:05) KRISTOL: Hi, welcome back to CONVERSATIONS. I'm Bill Kristol, very pleased to be joined again by my friend Paul Cantor, Professor of Literature at the University of Virginia. He has been a guest on many conversations ranging in topics from Shakespeare to popular culture, to fiction, to Westerns in movies and novels. But today, we're going to talk about Shakespeare and comedy. Before we get into that, I should say that you can watch a whole series of lectures by Paul, excellent lectures on Shakespeare, at the Shakespeare and Politics page of Great Thinkers, www.thegreatthinkers.org. So, go to www.thegreatthinkers.org, click on Shakespeare and politics, and you'll get a very well curated page with Paul's lectures and actually, the earlier conversations we've had on Shakespeare, et cetera. But enough of the promotion, let's get to the topic, so Paul, thanks for being with me. CANTOR: Pleasure being here. I know it's virtual. KRISTOL: Yeah. I know, next time. Next time in — CANTOR: Yeah, I think so. KRISTOL: Next time in reality, but. So, Shakespeare and comedy. So you wanted to talk about comedy? With most people interested in Shakespeare, the tragedies come to mind first, and they're more serious and heavy and weighty and all that. -
Mary Shelley - Proserpine Midas: Invention, It Must Be Humbly Admitted, Does
FDD4LLCI00ZX » Book » Mary Shelley - Proserpine Midas: Invention, It Must Be Humbly Admitted, Does... Read Doc MARY SHELLEY - PROSERPINE MIDAS: INVENTION, IT MUST BE HUMBLY ADMITTED, DOES NOT CONSIST IN CREATING OUT OF VOID, BUT OUT OF CHAOS (PAPERBACK) Stage Door, 2017. Paperback. Condition: New. Language: English . Brand New Book ***** Print on Demand *****.Mary Shelley, nee Mary Wollstonecraft Godwin, was born on the 30th August 1797 in Somers Town, London, to Mary Wollstonecraft and William Godwin. This rich heritage from which she was born was immediately disturbed by her mothers death when she was only 10 days old. Her father remarried four years later and despite the family s impoverished circumstances, which led to home schooling by... Read PDF Mary Shelley - Proserpine Midas: Invention, It Must Be Humbly Admitted, Does Not Consist in Creating Out of Void, But Out of Chaos (Paperback) Authored by Mary Shelley Released at 2017 Filesize: 4.82 MB Reviews Completely essential study publication. Better then never, though i am quite late in start reading this one. I am very easily could get a delight of reading a composed publication. -- Marilyne Macejkovic I actually started out reading this article ebook. This is for those who statte that there had not been a worth reading. Its been developed in an extremely easy way and it is just after i finished reading this book in which in fact modified me, change the way i really believe. -- Antonetta Ritchie IV This composed publication is fantastic. I was able to comprehended everything using this composed e book. It is extremely difcult to leave it before concluding, once you begin to read the book. -
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. -
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. -
HERTOG SUMMER COURSES LITERATURE & POLITICS Week-By
HERTOG SUMMER COURSES LITERATURE & POLITICS Week-By-Week Schedule Literature & Politics Week 1 – Shakespeare’s Rome Sun., July 10 Mon., July 11 Tues., July 12 Wed., July 13 Thurs., July 14 Fri., July 15 Sat., July 16 Session 1 Session 2 Session 3 Session 4 Session 5 Cantor Cantor Cantor Cantor Cantor GW Rm 111 GW Rm 111 GW Rm 111 GW Rm 111 GW Rm 111 9 AM – Noon 9 AM – Noon 9 AM – Noon 9 AM – Noon 9 AM – Noon Free Time & Private Holocaust Museum Free Time & Private Weekly Group Lunch Study Tour Study Hertog HQ Summer Fellows Class 3 & 4 Arrive 2:00 PM – 4:00 PM 12:30 PM – 2:00 PM Free Time & Private Speaker: Study Reception with Walter Reich Dinner Gen. James Mattis Harvey Mansfield Hoover Institution Hertog HQ Hertog HQ (1399 New York Ave, Free Time & Private Ste. 500) Study 4 PM – 6 PM 6:00 PM – 8:00 PM 2:30 PM – 4:00 PM Free Time & Private Study Hertog Summer Courses – Summer 2016 1 Literature & Politics Week 2 – Lincoln as Statesman & Literary Artist Sun., July 17 Mon., July 18 Tues., July 19 Wed., July 20 Thurs., July 21 Fri., July 22 Sat., July 23 Session 2 Session 3 Session 4 Session 5 Schaub Schaub Schaub Schaub GW Rm 111 GW Rm 111 GW Rm 111 GW Rm 111 10:00 AM – 12:30 PM 9 AM – Noon 9 AM – Noon 9 AM – Noon Careers in Washington Reception Gettysburg Staff Ride Group Lunch Weekly Group Lunch Summer Fellows Max Eden, Kate Class 3 & 4 Depart Depart from GW Rm 11 Havard, Reagan Hertog HQ Before 11 am Hertog HQ Free Time & Private Thompson at 7:30 AM 12:30 PM – 1:30 PM Study 12:30 PM – 2:00 PM Hertog HQ 5:00 PM – 8:00 PM Speaker: Arthur Brooks AEI (1785 Free Time & Private Free Time & Private Massachusetts Study Study Avenue NW) 2:00 PM – 4:00 PM Hertog Summer Courses – Summer 2016 2 HERTOG 2016 SUMMER COURSES LITERATURE & POLITICS SYLLABUS Week 1 SHAKESPEARE’S ROME Paul Cantor, professor, University of Virginia Week 2 LINCOLN AS STATESMAN AND LITERARY ARTIST Diana Schaub, professor, Loyola University Location: This class will take place at George Washington University’s Elliott School: 1957 E Street NW, Room 111. -
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). -
Tennyson's Poems
Tennyson’s Poems New Textual Parallels R. H. WINNICK To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/944 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. TENNYSON’S POEMS: NEW TEXTUAL PARALLELS Tennyson’s Poems: New Textual Parallels R. H. Winnick https://www.openbookpublishers.com Copyright © 2019 by R. H. Winnick This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work provided that attribution is made to the author (but not in any way which suggests that the author endorses you or your use of the work). Attribution should include the following information: R. H. Winnick, Tennyson’s Poems: New Textual Parallels. Cambridge, UK: Open Book Publishers, 2019. https://doi.org/10.11647/OBP.0161 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/944#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/944#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. -
Percy Bysshe Shelley (1792–1822) Was an Extraordinary Poet, Playwright, and Essayist, Revolutionary Both in His Ideas and in His Artistic Theory and Practice
Cambridge University Press 978-0-521-82604-4 - The Cambridge Companion to Shelley Edited by Timothy Morton Frontmatter More information THE CAMBRIDGE COMPANION TO SHELLEY Percy Bysshe Shelley (1792–1822) was an extraordinary poet, playwright, and essayist, revolutionary both in his ideas and in his artistic theory and practice. This collection of original essays by an international group of specialists is a comprehensive survey of the life, works, and times of this radical Romantic writer. Three sections cover Shelley’s life and posthumous reception; the basics of his poetry, prose, and drama; and his immersion in the currents of philosophical and political thinking and practice. As well as providing a wide- ranging look at the state of existing scholarship, the Companion develops and enriches our understanding of Shelley. Significant new contributions include fresh assessments of Shelley’s narratives, his view of philosophy, and his role in emerging views about ecology. With its chronology and guide to further reading, this lively and accessible Companion is an invaluable guide for students and scholars of Shelley and of Romanticism. © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82604-4 - The Cambridge Companion to Shelley Edited by Timothy Morton Frontmatter More information THE CAMBRIDGE COMPANION TO SHELLEY EDITED BY TIMOTHY MORTON University of California, Davis © Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-82604-4 - The Cambridge Companion to Shelley Edited by Timothy Morton Frontmatter More information cambridge university press Cambridge, New York, Melbourne, Madrid, Cape Town, Singapore, Sa˜o Paulo Cambridge University Press The Edinburgh Building, Cambridge cb2 2ru,UK Published in the United States of America by Cambridge University Press, New York www.cambridge.org Information on this title: www.cambridge.org/9780521533430 © Cambridge University Press 2006 This publication is in copyright. -
Double Issue
Volume 41 Issue 2 Volume 41 Issue 3 Double Issue 63 Note to Readers Fall 2014 65 Sophie Bourgault The Unbridled Tongue: Plato, Parrhesia, and Philosophy 91 Richard Burrow Fulfillment in As You Like It 123 Alexandru Racu Strauss’s Machiavelli and Dostoyevsky’s Grand Inquisitor Book Reviews: 163 Steven H. Frankel Leo Strauss and the Crisis of Rationalism: Another Reason, Another Enlightenment by Corine Pelluchon 171 Michael Harding Political Philosophy Cross-Examined: Perennial Challenges to the Philosophic Life by Thomas L. Pangle and J. Harvey Lomax 181 Will Morrisey Locke, Science, and Politics by Steven Forde Spring 2015 201 Jonathan Culp Happy City, Happy Citizens? The Common Good and the Private Good in Plato’s Republic 227 Aryeh Tepper The Problematic Power of Musical Instruments in the Bible 247 Julien Carriere & Ancients and Moderns under the Empire of Circe: 279 Steven Berg Machiavelli’s The Ass, Translation and Commentary 313 Erik S. Root Liberal Education Imperiled: Toward a Resurrection of Reason and Revelation in Higher Education Book Reviews: 349 Fred Baumann Leo Strauss on Moses Mendelssohn, translated and edited by Martin D. Yaffe 359 Gregory A. McBrayer On the God of the Christians (and on one or two others) by Rémi Brague 367 Rafael Major Shakespeare’s Political Wisdom by Timothy W. Burns ©2015 Interpretation, Inc. All rights reserved. No part of the contents may be reproduced in any form without written permission of the publisher. ISSN 0020-9635 Editor-in-Chief Hilail Gildin, Dept. of Philosophy, Queens College Associate Editor-in-Chief Timothy W. Burns, Baylor University Associate Editors Daniel Ian Mark • Geoffrey Sigalet General Editors Charles E. -
UNIT TEST STUDY GUIDE QUESTIONS Frankenstein, by Mary Shelley English III-1, Mrs
UNIT TEST STUDY GUIDE QUESTIONS Frankenstein, by Mary Shelley English III-1, Mrs. Edmonds and Mr. Oakley People (both fictional and real-life) you should know from Frankenstein: Victor Frankenstein: creator of the creature and protagonist of the story Henry Clerval: Frankenstein's best friend who is murdered by the creature Elizabeth Lavenza: lived with Frankenstein family; married Victor Robert Walton: explorer who met Frankenstein on the Arctic ice Margaret Saville: recipient of a series of letters from her brother, Robert Walton Justine Moritz: wrongly executed for the murder of young William Frankenstein Percy Shelley: famous real-life British poet and Frankenstein author’s husband Felix De Lacey: unknowingly taught the creature to read and write Alphonse Frankenstein: died of grief in his son's arms after learning that Elizabeth was dead Caroline Beaufort: Frankenstein family matriarch; Victor Frankenstein’s mother Mary Shelley: real-life author of the novel Frankenstein; she wrote the story while on vacation with Percy Shelley (her husband) and Lord Byron (her friend) while on vacation in Switzerland; both Percy Shelley and Lord Byron became world-famous British poets. William Frankenstein: a young boy who was the creature's first victim For the test, be prepared to write an essay to a question similar to the prompt below. We will discuss possible answers in class. Describe the original personality of Dr. Victor Frankenstein’s creature, and the changes that occurred to the creature’s personality over the course of the novel. In coming up with an answer, you might want to address the following questions: What was the creature like when he was first “born”? How did he change and why did he change? What was the creature like at the end of the novel? Be sure to mention the name of the novel and the name of the author somewhere in your answer.