William Godwin and Frankenstein: the Secularization of Calvinism in Godwin's
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4.1.2 Chronology of False Religions/Heresies of Satan (App.)
The Need for Teaching the Eschatological Gospel of Both Comings of Jesus Christ in the 21st Century . 4.1.2 Chronology of False Religions/Heresies of Satan 0(app. 4,000 BC) 0 (app.) -- The Fall (Original Sin) of Humanity in the Garden of Eden (Gen 3) 75 (app.) -- Cain murders Abel and is cursed (Gen 4:1-16) 475 (app.) -- Lamech (descendent of Cain) murders 2 men & from his two wives (1st polygamist) & 4 kids came “human knowledge” vs. godly knowledge (Gen 4:20-24) 1,000 (3,000 BC) 1500 (app.) -- Angels marry women and procreate giants (Gen 6:1-8) 1656 (2344 BC) -- Flood wipes out sinful man on earth (only Noah & Family survive--Gen 7-8) 1757 (app.) -- Nimrod/Tower of Babel (Gen 11)—Nimrod & wife, Semiramis (from Ham, cursed son of Noah), establish Babylonian Mysteries Cults, Witchcraft/Pantheism (app.) = approximate Chronology of False Religions/Heresies of Satan (cont.) 2000 (2000 BC) 2000 (app.) -- Babylonian Mysteries Cult False Religion begins to spread over the entire earth (Becomes Baal and Ishtar/Ashteroth worship in Canaan) 2600-4400 -- Persians, Indians, Greeks, and Romans worship the god Mithras (1400 BC-400 AD) 2980 (app.) -- Sun god (Ra) and animal worship in Egypt (Egypt descended from Ham) 3,000 (1,000 BC) 3000 (app.) -- Sun worship and Animism established in India/Humanism in China 3278 (722 BC) -- Israel (Samaria) exiled to Assyria (resettled by Assyrian Mysteries cult/Judaism mixed races and religion, became the Samaritans) 3395 (605 BC) -- Beginning of Judah to exile in Babylon 3412 (588 BC) -- Taoism in China/Zoroastrianism -
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. -
Our Debt to Mary Wollstonecraft, Moral and Intellectual Pioneer for Women
Our Debt to Mary Wollstonecraft, Moral and Intellectual Pioneer for Women By Susan Roberts I teach a course entitled Leadership in Writing at the United States Coast Guard Academy that includes both male and female Officer Candidates. The women in my class are strong and unafraid to accept challenges. They perform jobs often seen as men’s work, live by the Coast Guard’s Core Values of Honor, Respect and Devotion to Duty, and balance their time between being on active duty and being wife, mother, or both. In our classes, we focus on examples of leadership in the military and civilian world. To mark Women’s History Month in March, I asked each Officer Candidate (OC) to select a female who exemplifies leadership and to present a speech about her. Their choices included Hillary Rodham Clinton, Sarah Palin, Margaret Thatcher, Queen Boudicca, Cleopatra, Elizabeth I, Sally Ride, Amelia Earhart, Rosa Parks, Susan B. Anthony, Mother Teresa, and Marie Curie. I responded by noting, “I see no one has claimed Mary Wollstonecraft.” A few moments of silence were followed by a series of questions: “Who is she?” “Is she in politics?” “Is she a writer?” “Why did you expect us to know her name?” and “Did she have anything to do with the Coast Guard?” I responded, “She was an eighteenth century writer. Women today owe her a debt of gratitude for we are beneficiaries of her ideas, which were quite revolutionary for her times. She advocated moral and intellectual education for women in a world where a woman’s voice rarely counted.” One of the handful of female OCs in class was curious enough to claim Wollstonecraft as the figure for her leadership speech, and all of the students were introduced to the life of this woman, the social changes she called for over two hundred years ago, and the impact of her work on opportunities for women then and now. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804. -
CONSPIRACY THEORY in POLITICAL THOUGHT by Atheer A
CONSPIRACY THEORY IN POLITICAL THOUGHT by Atheer A. Shawai A Thesis Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Master of Arts Political Science Committee: _______________________________________ Matthew Scherer. Faculty, Chair _______________________________________ Char R. Miller. Faculty _______________________________________ Jesse Kirkpatrick. Faculty _______________________________________ Ming Wan, Program Director _______________________________________ Mark J. Rozell, Dean Date: __________________________________ Fall Semester 2017 George Mason University Fairfax, VA Conspiracy Theory in Political Thought A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art in Political Science at George Mason University By Atheer A. Shawai Bachelor of Arts George Mason University, 2015 Director: Matthew Scherer, Professor The Schar School of Policy and Government Fall Semester 2017 George Mason University Fairfax, VA Copyright 2017 Atheer A. Shawai All Rights Reserved ii ACKNOWLEDGEMENTS I would like to thank Professor Matthew Scherer, Professor Char R. Miller, Professor Jesse Kirkpatrick for participating in my thesis committee and their invaluable comments during the research process. Without their support, I would not have been able to write my study in this extend. I reserve special thanks for Professor Andrew Hughes Hallett for his insightful feedback and suggestions which sharpened my arguments and enhanced the logical -
Illuminati Conspiracy Part One: a Precise Exegesis on the Available Evidence
http://www.conspiracyarchive.com/NWO/Illuminati.htm Illuminati Conspiracy Part One: A Precise Exegesis on the Available Evidence - by Terry Melanson, Aug. 5th, 2005 Illuminati Conspiracy Part Two: Sniffing out Jesuits A Metaprogrammer at the Door of Chapel Perilous In the literature that concerns the Illuminati relentless speculation abounds. No other secret society in recent history - with the exception of Freemasonry - has generated as much legend, hysteria, and disinformation. I first became aware of the the Illuminati about 14 years ago. Shortly thereafter I read a book, written by Robert Anton Wilson, called Cosmic Trigger: Final Secret of the Illuminati. Wilson published it in 1977 but his opening remarks on the subject still ring true today: Briefly, the background of the Bavarian Illuminati puzzle is this. On May 1, 1776, in Bavaria, Dr. Adam Weishaupt, a professor of Canon Law at Ingolstadt University and a former Jesuit, formed a secret society called the Order of the Illuminati within the existing Masonic lodges of Germany. Since Masonry is itself a secret society, the Illuminati was a secret society within a secret society, a mystery inside a mystery, so to say. In 1785 the Illuminati were suppressed by the Bavarian government for allegedly plotting to overthrow all the kings in Europe and the Pope to boot. This much is generally agreed upon by all historians. 1 Everything else is a matter of heated, and sometimes fetid, controversy. It has been claimed that Dr. Weishaupt was an atheist, a Cabalistic magician, a rationalist, a mystic; a democrat, a socialist, an anarchist, a fascist; a Machiavellian amoralist, an alchemist, a totalitarian and an "enthusiastic philanthropist." (The last was the verdict of Thomas Jefferson, by the way.) The Illuminati have also been credited with managing the French and American revolutions behind the scenes, taking over the world, being the brains behind Communism, continuing underground up to the 1970s, secretly worshipping the Devil, and mopery with intent to gawk. -
Rebels with a Cause: Revolutionary Syndicalism, Anarchism, and Socialism in Fin-De-Siècle France
Rebels with a Cause: Revolutionary Syndicalism, Anarchism, and Socialism in Fin-De-Siècle France Andrew P. Miller History In his influential book, Revolutionary Syndicalism and French Labor, Peter Stearns presents the fin-de-siècle syndicalist movement in France as “a cause without rebels.” Stearns asserts that syndicalist leaders and intellectuals “produced distinctive and abundant rhetoric…yet they did not characterize French labor in their heyday and they did not set an enduring trend.”1 For Stearns, the revolutionary syndicalists failed to meet the workers’ material needs and paralyzed the unionist movement because they did not have a centralized leadership dedicated to pragmatic business and organizational practices. Bernard Moss comes to a similar conclusion, stating that the workers’ shift from “a cooperative strategy in alliance with the reformist middle class” to “a revolutionary strategy of class struggle” through loose federations and autonomous trade associations hampered the centralized discipline and political power of unions at the turn of the century.2 Stearns and Moss engage the French labor movement from very different perspectives, but in the end, both either discount or fail to recognize the specific ideals and moral tradition behind revolutionary syndicalism. Stearns’s concern with the importance of higher wages and job security conceals the fact that narrow, short-term gains were not the main objectives of the skilled labor force in the syndicalist movement. Moss, on the other hand, recognizes the ideological character of the movement, but fails to acknowledge that political socialism, as a path into twentieth-century industrial politics, eventually embedded the French syndicalists in the capitalist system they sought to overturn. -
1 the Radical Enlightenment Freemasonry Illuminati Adam Weishaupt
The Radical Enlightenment Freemasonry Illuminati Adam Weishaupt (1748-1830) Thomas Paine (1737-1809) Common Sense (1776) The Treatise of the Three Impostors (1719) Julien Offray de la Mettrie (1709-1751) Baron d’Holbach (1723-1789) Today’s lecture concerns the “radical” Enlightenment—that is, that handful of philosophes and philosophies that were part of the Enlightenment but who existed on its more extreme or radical fringe. This includes Freemasons and their more politically-radical offshoot in Bavaria known as the Illuminati; proponents of republican goVernment as opposed to enlightened absolutism or eVen constitutional monarchy; and finally atheists and materialists. The Freemasons were an all-male secret fraternal organization that was dedicated to enlightenment, to ciVic Virtue, social charity, and equality among its members. Indeed, the Masons sought to make abstract Enlightenment ideals like reason, equality, self-goVernance, freedom of conscience, and religious toleration* concrete in their meetings, which were held in Masonic “lodges”. Theoretically, Masons did not discriminate on the bases of social or professional standing. All members were considered equal within the Masonic lodge: from the common man to the wealthy noble; but at the same time the lodges usually only admitted well-to-do artisans and merchants. Members were required to profess belief in a Supreme Being, but their specific theological beliefs were not considered important; that is, the Masons practiced religious toleration within the lodges. Masons were primarily concerned with the moral improVement of their members and of society. They also represent a space in which the Third Estate could participate in civil society. Indeed, through Masonry the bourgeoisie, or middle class, found a way that it could participate in the new enlightened political culture. -
DENOUNCING the ENLIGHTENMENT by MEANS of a CONSPIRACY THESIS Gochhausens Enthullung Der Weltburgerrepublik
Sisko Haikala DENOUNCING THE ENLIGHTENMENT BY MEANS OF A CONSPIRACY THESIS Gochhausens Enthullung der Weltburgerrepublik I rnst August Anton von Gochhausen's initially anonymous EEnthilllung der Weltburgerrepublik (Exposure of the Cosmopolitan Republic, 1786), with its theses on a "cosmopolitan conspiracy" which threatened the established political and religious order, is a notewor thy illustration of the rise of conspiracy thinking in the political cul ture of the late Enlightenment. Conspiracy theories generally emerge in times of crisis when scapegoats and monocausal explanations for problems and disasters at hand are searched for. They belong to irra tional elements in the history of thought and do not seem to fit into the picture of the 'Age of Reason'. However, signs of a crisis within the Enlightenment and illustrations of a growing awareness of the existence of such a crisis were visible in late eighteenth-century Eu rope well before the outbreak of the French Revolution. This crisis followed from conflicts between traditional and novel norms and 96 DENOUNCING THE ENLIGHTENMENT BY MEANS OF A CONSPIRACY THESIS from disappointment at progress in the Enlightenment which was sometimes seen as excessively slow, sometimes as excessively fast, sometimes as going astray. Divisions among the Enlighteners into various radical and moderate groups emerged, and a considerable rise in Counter-Enlightenment thought occurred. Such developments were reflections of accelerating processes of politicization. Unlike stereotypical interpretations of the German Enlightenment as an es sentially non-political movement suggest, an ideological polariza tion and a connected rivalry for dominance of public opinion was also taking place within German public discourse well before the beginning of the French Revolution. -
John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. -
Henry Fuseli's the Nightmare." Gazette Des Beaux Arts 126, No
HENRY FUSELI’S THE NIGHTMARE: AN EXAMINATION OF THE RECENT SCHOLARSHIP by MELANIE DAVISON (Under the Direction of Alisa Luxenberg) ABSTRACT During his lifetime, Henry Fuseli gained great fame for his painting The Nightmare; however, his art fell largely into obscurity during the nineteenth century. It wasn’t until the twentieth century when some critics perceived a kinship between Surrealist ideas and goals and Fuseli’s work that the artist reemerged into artistic discourse. From this point, artists and art historians examined Fuseli’s masterwork, The Nightmare, in order to understand how the artist and his painting fit with practices and perspectives of his contemporaries and what made him stand apart. This paper will examine the scholarship about Fuseli’s painting and how it has affected our interpretation of the work of art while also allowing us to see the perspectives and interests of the scholars themselves. INDEX WORDS: Henry Fuseli, The Nightmare, Scholarship, Review, Reception HENRY FUSELI’S THE NIGHTMARE: AN EXAMINATION OF THE RECENT SCHOLARSHIP by MELANIE DAVISON Bachelor of Arts, Southwestern University, Georgetown, TX, 2007 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2016 © 2016 Melanie Davison All Rights Reserved HENRY FUSELI’S THE NIGHTMARE: AN EXAMINATION OF THE RECENT SCHOLARSHIP by MELANIE DAVISON Major Professor: Alisa Luxenberg Committee: Janice Simon Nell Andrew Electronic Version Approval: Suzanne Barbour Dean of the Graduate School The University of Georgia May 2016 TABLE OF CONTENTS CHAPTER PAGE 1 An Introduction to Fuseli’s Legacy…………………………….