Standards Focus: Author Biography Mary Shelley
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The Necessity of Atheism Shelley, Percy Bysshe
The Necessity of Atheism Shelley, Percy Bysshe Published: 1811 Categorie(s): Non-Fiction, Religion Source: Wikisource http://en.wikisource.org/wiki/The_Neces- sity_of_Atheism_(Shelley) 1 About Shelley: Percy Bysshe Shelley (4 August 1792 – 8 July 1822) was one of the major English Romantic poets and is critically regarded as among the finest lyric poets in the English language. A rad- ical in his poetry and his political and social views, fame eluded him during his lifetime, but recognition grew steadily following his death. Shelley was a key member of a close circle of vision- ary poets and writers that included Lord Byron; Leigh Hunt; Thomas Love Peacock; and his own second wife, Mary Shelley, the author of Frankenstein. Shelley's early profession of athe- ism (in the tract "The Necessity of Atheism") led to his expul- sion from Oxford and branded him a radical agitator and thinker, setting an early pattern of marginalisation and ostra- cism from the intellectual and political circles of his time. His close circle of admirers, however, included some progressive thinkers of the day, including his future father-in-law, the philosopher William Godwin. Though Shelley's poetry and prose output remained steady throughout his life, most pub- lishers and journals declined to publish his work for fear of be- ing arrested themselves for blasphemy or sedition. Shelley did not live to see success and influence, although these reach down to the present day not only in literature, but in major movements in social and political thought. Shelley became an idol of the next three or four generations of poets, including important Victorian and Pre-Raphaelite poets such as Robert Browning, and Dante Gabriel Rosetti. -
Mary Shelley: Teaching and Learning Through Frankenstein Theresa M
Forum on Public Policy Mary Shelley: Teaching and Learning through Frankenstein Theresa M. Girard, Adjunct Professor, Central Michigan University Abstract In the writing of Frankenstein, Mary Shelley was able to change the course of women’s learning, forever. Her life started from an elite standpoint as the child of Mary Wollstonecraft and William Godwin. As such, she was destined to grow to be a major influence in the world. Mary Shelley’s formative years were spent with her father and his many learned friends. Her adult years were spent with her husband, Percy Bysshe Shelley, and their literary friends. It was on the occasion of the Shelleys’ visit to Lord Byron at his summer home that Mary Shelley was to begin her novel which changed the course of women’s ideas about safety and the home. No longer were women to view staying in the home as a means to staying safe and secure. While women always knew that men could be unreliable, Mary Shelley openly acknowledged that fact and provided a forum from which it could be discussed. Furthermore, women learned that they were vulnerable and that, in order to insure their own safety, they could not entirely depend upon men to rescue them; in fact, in some cases, women needed to save themselves from the men in their lives, often with no one to turn to except themselves and other women. There are many instances where this is shown throughout Frankenstein, such as: Justine’s prosecution and execution and Elizabeth’s murder. Mary Shelley educated women in the most fundamental of ways and continues to do so through every reading of Frankenstein. -
The Last Man"
W&M ScholarWorks Undergraduate Honors Theses Theses, Dissertations, & Master Projects 5-2016 Renegotiating the Apocalypse: Mary Shelley’s "The Last Man" Kathryn Joan Darling College of William and Mary Follow this and additional works at: https://scholarworks.wm.edu/honorstheses Part of the Literature in English, British Isles Commons Recommended Citation Darling, Kathryn Joan, "Renegotiating the Apocalypse: Mary Shelley’s "The Last Man"" (2016). Undergraduate Honors Theses. Paper 908. https://scholarworks.wm.edu/honorstheses/908 This Honors Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Undergraduate Honors Theses by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. 1 The apocalypse has been written about as many times as it hasn’t taken place, and imagined ever since creation mythologies logically mandated destructive counterparts. Interest in the apocalypse never seems to fade, but what does change is what form that apocalypse is thought to take, and the ever-keen question of what comes after. The most classic Western version of the apocalypse, the millennial Judgement Day based on Revelation – an absolute event encompassing all of humankind – has given way in recent decades to speculation about political dystopias following catastrophic war or ecological disaster, and how the remnants of mankind claw tooth-and-nail for survival in the aftermath. Desolate landscapes populated by cannibals or supernatural creatures produce the awe that sublime imagery, like in the paintings of John Martin, once inspired. The Byronic hero reincarnates in an extreme version as the apocalyptic wanderer trapped in and traversing a ruined world, searching for some solace in the dust. -
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. -
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. -
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. -
Environmental Crisis and the Sublime in Mary Shelley's Frankenstein and Philip K
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2011 Aesthetics of the Brink: Environmental Crisis and the Sublime in Mary Shelley's Frankenstein and Philip K. Dick's Do Androids Dream of Electric Sheep? Aaron Francis Schneeberger The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Schneeberger, Aaron Francis, "Aesthetics of the Brink: Environmental Crisis and the Sublime in Mary Shelley's Frankenstein and Philip K. Dick's Do Androids Dream of Electric Sheep?" (2011). Graduate Student Theses, Dissertations, & Professional Papers. 105. https://scholarworks.umt.edu/etd/105 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. AESTHETICS OF THE BRINK: ENVIRONMENTAL CRISIS AND THE SUBLIME IN MARY SHELLEY‘S FRANKENSTEIN AND PHILIP K. DICK‘S DO ANDROIDS DREAM OF ELECTRIC SHEEP? By AARON FRANCIS SCHNEEBERGER Bachelor of Arts, University of Montana, Missoula, MT, 2008 Thesis presented in partial fulfillment of the requirement for the degree of Master of Arts in English, Literature The University of Montana Missoula, MT August 2011 Approved by: Louise Economides, Chair English Kathleen Kane English Deborah Slicer Philosophy Schneeberger II Schneeberger, Aaron, M.A., Aug 2011 English Aesthetics of the Brink: Environmental Crisis and the Sublime in Mary Shelley‘s Frankenstein and Philip K. -
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. -
Traditions: Humanities Readings Through the Ages
Traditions Spring 2011 TRADITIONS: HUMANITIES READINGS THROUGH THE AGES • An Introduction to the Work accompanies each selection and is optional. • Lengthy works (novels, plays, etc.) are available by individual sections (Chapters, Act, etc.). FIRST CIVILIZATIONS Lao Tzu, Tao Te Ching Babylon, Code of Hammurabi Ancient India, The Bhagavad-Gita Ancient Egypt, The Book of the Dead (excerpt) Mesopotamia, Epic of Gilgamesh (excerpt) Ancient Maya, Popul Vuh (excerpt) CLASSICISM: GREECE Aeschylus, Agamemnon Aristophanes, Lysistrata Aristotle, Nicomachean Ethics Euripides, Electra Euripides, Medea Euripides, Trojan Women Hesiod, Creation Story (Theogony) Homer, Iliad Plato, Crito Plato, The Republic Sophocles, Antigone Sophocles, Oedipus at Colonus Sophocles, Oedipus Rex BEYOND THE WEST: WORLD HISTORY, RELIGIONS AND PHILOSOPHIES Confucius, The Analects Hindu Tradition, The Upanishads THE AGE OF THE RENAISSANCE Giovanni Boccaccio, Decameron Geoffrey Chaucer, Canterbury Tales (Prologue: The Miller’s Tale) Niccolo Machiavelli, The Prince Christine Pisan, The Book of the City of Ladies (excerpt) selections REFORMATION John Calvin, Institutes of the Christian Religion (excerpt) William Shakespeare, Hamlet William Shakespeare, Sonnet 2: “When forty winters shall besiege thy brow,” William Shakespeare, Sonnet 12: “When I do count the clock that tell the time,” www.mcgrawhillcreate/traditions 1 Traditions Spring 2011 William Shakespeare, Sonnet 18: “Shall I compare thee to a summer’s day?” William Shakespeare, Sonnet 20: “A woman’s face with nature’s -
Mary Wollstonecraft Godwin Shelley and Frankenstein : a Chronology
Mary Wollstonecraft Godwin Shelley and Frankenstein : A Chronology PETER DALE SCOTT 1797 August 30. Mary born to William and his wife, Mary Wollstonecraft Godwin, who dies from postpartum hemorrhage September 10. 1801 December 21. William Godwin remarries a widow, Mary Jane Clairmont, who brings to the Godwin family her children Charles, aged seven, and Jane (later known as Claire), aged four. 1812 November 11. Mary's first meeting with Percy Bysshe Shelley. Mary resides with Baxter family in Dundee, 1812-14. 1814 May 5. Renewed contact in London with Percy Bysshe Shelley. July 28. Percy Shelley elopes with Mary and Claire Clairmont from the Godwin household to France and Switzerland. August 27. Two days after renting a house for six months at Brun- nen, Lake of Lucerne, the Shelley ménage abruptly depart for England. September 13. Return to London. Percy beleaguered by creditors and bailiffs. November 30. Harriet, Percy's wife, gives birth to her second child, Charles. 1815 January. Erotic correspondence and involvement between Mary and T. J. Hogg. xvii A Chronology February 22. Mary gives birth to premature female child, which dies March 6. March 19. (Mary's Journal) "Dream that my little baby came to life again; that it had only been cold, and that we rubbed it before the fire, and it lived." August. Mary and Percy, without Claire, settle at Bishopsgate, Windsor. 1816 January 24. A son William is born to Mary and Percy. May 3. Percy and Mary, with Claire, leave for Switzerland, arriving ten days later at Geneva, where they meet up with Byron and Polidori. -
Academic Conference Launch of the Locative App Live Theatre Talks / Concerts Exhibitions / Film Street Pe
Marking 200 years since the first publication of Mary Shelley’s ‘Frankenstein’ ACADEMIC CONFERENCE LAUNCH OF ‘SHELLEY’S HEART’ THE LOCATIVE APP LIVE THEATRE TALKS / CONCERTS EXHIBITIONS / FILM FOR RESERVATIONSSTREET & UP TO DATE PERFORMERS PROGRAMME INFORMATION GO TO: WWW.SHELLEYFRANKFEST.ORG OR FOLLOW US ON: FACEBOOK.COM/SHELLEY/FRANKFEST TWITTER.COM/SHELLEYFESTIVAL Frankenstein Unbound: An Interdisciplinary Conference Exploring Mary Shelley and Gothic Legacies Wednesday 31 October and Thursday 1 November 2018 St Peter’s Church, BH1 2EE AUB and St Peter’s Church, in association with Bournemouth University, are teaming up to celebrate the bicentenary of Frankenstein. Influential around the world, the 1818 masterpiece, Frankenstein; or, the Modern Prometheus, is Mary Shelley’s most iconic work and continues to inspire new generations of fans. Part of the Shelly Frankenstein Festival, this academic conference is located in the unique and perhaps fitting venue of St Peter’s Church. This event will offer different perspectives on Mary Shelley, her writings, her family, and friend-circle, in addition to her most famous work. Frankenstein Unbound will also include eye-opening presentations from respected academics, Professor Nick Groom of Exeter University, and Professor Elaine Graham from the University of From 9.00 Registration 9.30-10.30 CeleBration of student work from Bournemouth University 9.45 Welcome & Arts University Bournemouth 10.00-11.20 Panels A and B 10.30-11.30 Tour of St Peter’s Church 11.20-11.40 Refreshment Break & the Shelley -
Shelley After Atheism
COLIN JAGER Shelley After Atheism But liberty, when men act in bodies, is power. -Edmund Burke' O F THE MAJOR ROMANTIC WRITERS, PERCY SHELLEY IS MOST READILY associated with atheism. The word was still an epithet in the early nineteenth century, yet Shelley courted it. The Necessity of Atheism, the 18i I pamphlet that got Shelley and Thomas Jefferson Hogg kicked out of Oxford, recapitulated familiar arguments from Locke and Hume; the title itself, however, had the desired effect. Five years later, when Shelley signed hinself in the hotel registers in Chamonix and Montanvert as "Democrat, 2 Philanthropist, and Atheist," it was the final word that caused the uproar. For in the history of early modern thought in the West "atheism" is an al- most magical word. This essay is about Shelley's poem Mont Blanc, though I will have little to say about the content of that poem. This is only in part because a great many intelligent things have already been said about it. It is also because in this poem content is not really the issue. Indeed, the best gloss on Shelley's poem is an oft-quoted passage from Fredric Jameson's The Political Uncon- scious: History is therefore the experience of Necessity, and it is this alone which can forestall its thematization or reification as a mere object of representation or as one master code among many others. Necessity is not ... a type of content, but rather the inexorable forn of events, ... Thanks to David Collings, William Galperin, and audiences in North Carolina ard Wiscon- sin for their responses to earlier versions of this essay.