Childe Harold
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The Body Project: Anatomy, Relationships, and Representation an Interdisciplinary Graduate Student Conference University of Missouri Presented April 12, 2008
The Body Project: Anatomy, Relationships, and Representation An Interdisciplinary Graduate Student Conference University of Missouri Presented April 12, 2008 Erin Gore-Wilson MU Department of English Oral Presentation The Death of Maternity: Decaying Female Bodies in Mary Shelley’s Fiction In this paper, I examine the trope of the dying woman in Mary Shelley’s early works, including Frankenstein, Mathilda, and her short fiction. Critics are in general agreement that two of Frankenstein’s essential subjects are the trauma of creation and the dire consequences of child abandonment. Mary Shelley’s fiction is riddled with dead mothers and young women wasting away as a result of male action. Maternity is appropriated by patriarchy in Mary Shelley’s fiction; this usurpation of motherhood is always at the expense of the female body. Mary Shelley creates worlds in which procreation is male- centered and results in the destruction of otherwise fertile female bodies. The deaths of young women plagued Mary Shelley’s life. Her mother, Mary Wollstonecraft died within a month of giving birth as a result of an infection related to unsanitary obstetric conditions. In addition, she lived through the deaths of her niece Allegra, her half-sister Fanny Imlay, and her daughter Clara, all within the first two decades of her life. These painful losses are reflected in her writing, as young women are systematically killed off. In Frankenstein, the older mother, Caroline, is sacrificed to pave the way for the younger, more fertile Elizabeth. Once Victor has mastered male- centered creation, both Elizabeth and Justine can be eliminated. Victor’s phallocentric creation is grotesque and disturbing, not only because he animates dead flesh, but because he immediately abandons his “child.” Frankenstein’s use of the body ultimately serves as a metaphor for the destructive force of all male-dominated creation, including artistic creation. -
About the Authors
About the Authors Moira Ferguson was born in Glasgow, Scotland, and took a B.A. at the University of London and a Ph.D. at the University of Washing- ton. She is an associate professor of English at the University of Nebraska-Lincoln and former chairwoman of women's studies. She has been a fellow of the Henry E. Huntington Library and has received an American Council of Learned Societies Award and an American Association of University Women Founders Fellowship. Her scholarly articles and reviews have appeared in such journals as Philological Quarterly, Minnesota Review, Signs, English Language Notes, Romantic Movement, Wordsworth Circle, Victorian Studies^ and Women's Studies International Forum. She is the compiler and editor of First Feminists: British Women Writers 1578-1799 (1983). She is currently preparing a study of women's protest writings in the seventeenth and eighteenth centuries. Janet Todd, fellow of Sidney Sussex College, Cambridge, was born in Llandrindod-Wells, Wales. She took a B.A. at the University of Cambridge and a Ph.D. at the University of Florida. From 1964 to 1967 she taught in Ghana, mainly at the University of Cape Coast, and from 1972 to 1974 at the University of Puerto Rico. Since then, until 1983, she was professor of English at Rutgers University. She has been the recipient of NEH and ACLS awards and of a Guggen- heim Fellowship. Her books include In Adam's Garden: A Study of John Clare's Pre-Asylum Poetry (1973), A Wollstonecraft Anthology (1977), Women's Friendship in Literature (1980), and, with M. -
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C. Hunter Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction In the spring of 1787, King George III visited the Royal Academy of Arts at Somerset House on the Strand in London’s West End. The king had come to see the first series of the Seven Sacraments painted by Nicolas Poussin (1594–1665) for Roman patron Cassiano dal Pozzo in the later 1630s. It was Poussin’s Extreme Unction (ca. 1638–1640) (fig. 1) that won the king’s particular praise.1 Below a coffered ceiling, Poussin depicts two trains of mourners converging in a darkened interior as a priest administers last rites to the dying man recumbent on a low bed. Light enters from the left in the elongated taper borne by a barefoot acolyte in a flowing, scarlet robe. It filters in peristaltic motion along the back wall where a projecting, circular molding describes somber totality. Ritual fluids proceed from the right, passing in relay from the cerulean pitcher on the illuminated tripod table to a green-garbed youth then to the gold flagon for which the central bearded elder reaches, to be rubbed as oily film on the invalid’s eyelids. Secured for twenty-first century eyes through a spectacular fund-raising campaign in 2013 by Cambridge’s Fitzwilliam Museum, Poussin’s picture had been put before the king in the 1780s by no less spirited means. Working for Charles Manners, fourth Duke of Rutland, a Scottish antiquarian named James Byres had Poussin’s Joshua Reynolds, Sacraments exported from Rome and shipped to London where they Diana (Sackville), Viscountess Crosbie were cleaned and exhibited under the auspices of Royal Academy (detail, see fig. -
EJC Cover Page
Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. THE PROGRESSOP A PATH-FINDER BY EDITH WYATT Early in the last city springtime, I chanced to find in the Chicago Library a yellow-paged volume, rare and little known, composed in the able manner of a self-reliant traveler. The first record in our own tongue of many of the central regions of the United States, this book was the Topographic cal History of North America by Captain Gilbert Imlay. -
National Trauma and Romantic Illusions in Percy Shelley's the Cenci
humanities Article National Trauma and Romantic Illusions in Percy Shelley’s The Cenci Lisa Kasmer Department of English, Clark University, Worcester, MA 01610, USA; [email protected] Received: 18 March 2019; Accepted: 8 May 2019; Published: 14 May 2019 Abstract: Percy Shelley responded to the 1819 Peterloo Massacre by declaring the government’s response “a bloody murderous oppression.” As Shelley’s language suggests, this was a seminal event in the socially conscious life of the poet. Thereafter, Shelley devoted much of his writing to delineating the sociopolitical milieu of 1819 in political and confrontational works, including The Cenci, a verse drama that I argue portrays the coercive violence implicit in nationalism, or, as I term it, national trauma. In displaying the historical Roman Cenci family in starkly vituperous manner, that is, Shelley reveals his drive to speak to the historical moment, as he creates parallels between the tyranny that the Roman pater familias exhibits toward his family and the repression occurring during the time of emergent nationhood in Hanoverian England, which numerous scholars have addressed. While scholars have noted discrete acts of trauma in The Cenci and other Romantic works, there has been little sustained criticism from the theoretical point of view of trauma theory, which inhabits the intersections of history, cultural memory, and trauma, and which I explore as national trauma. Through The Cenci, Shelley implies that national trauma inheres within British nationhood in the multiple traumas of tyrannical rule, shored up by the nation’s cultural memory and history, instantiated in oppressive ancestral order and patrilineage. Viewing The Cenci from the perspective of national trauma, however, I conclude that Shelley’s revulsion at coercive governance and nationalism loses itself in the contemplation of the beautiful pathos of the effects of national trauma witnessed in Beatrice, as he instead turns to a more traditional national narrative. -
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Prints from the Collection of the Hon. Christopher Lennox-Boyd Arts 3801 [Little Fatima.] [Painted by Frederick, Lord Leighton.] Gerald 2566 Robinson Crusoe Reading the Bible to Robinson. London Published December 15th 1898 by his Man Friday. "During the long timer Arthur Lucas the Proprietor, 31 New Bond Street, W. Mezzotint, proof signed by the engraver, ltd to 275. that Friday had now been with me, and 310 x 490mm. £420 that he began to speak to me, and 'Little Fatima' has an added interest because of its understand me. I was not wanting to lay a Orientalism. Leighton first showed an Oriental subject, foundation of religious knowledge in his a `Reminiscence of Algiers' at the Society of British mind _ He listened with great attention." Artists in 1858. Ten years later, in 1868, he made a Painted by Alexr. Fraser. Engraved by Charles G. journey to Egypt and in the autumn of 1873 he worked Lewis. London, Published Octr. 15, 1836 by Henry in Damascus where he made many studies and where Graves & Co., Printsellers to the King, 6 Pall Mall. he probably gained the inspiration for the present work. vignette of a shipwreck in margin below image. Gerald Philip Robinson (printmaker; 1858 - Mixed-method, mezzotint with remarques showing the 1942)Mostly declared pirnts PSA. wreck of his ship. 640 x 515mm. Tears in bottom Printsellers:Vol.II: margins affecting the plate mark. -
Friendship and the Art of Listening: the Conversations of James Boswell and Samuel Johnson in William Hazlitt’S Essays
Friendship and the art of listening: the conversations of James Boswell and Samuel Johnson in William Hazlitt’s essays. It has been said that the art of conversation is one of 18th century’s major legacies. Such an art is at the centre of that refined form of sociability which has never in history been so fully developed, whether in cafés, clubs or salons; through which the meanest subjects were examined and put to test, whereas intricate ones were dipped in new, interesting and surprising colours, never leaden or tiresome. Through which, philosophy dressed the garb of literature; poetry and literary prose, philosophical lineaments. In a word, the esprit géometrique and the esprit de finesse have never been so inwardly intertwined. It was in the 18th century, for example, that the epistolary novel best flourished. And what is a letter but distance conversation in which intimacies are confided to the reader, as to an old friend, and any topic is quarrelled in a familiar tone? According to William Hazlitt, Lawrence Sterne’s The Life and Opinions of Tristram Shandy, one of the century’s most popular novels, “is the pure essence of English conversational style” (5, 110)1. While engaged in its reading, continues the critic, “you fancy that you hear people talking” (8, 36). After the king George II bestowed on Samuel Johnson a life pension for what he had done, The Dictionary of English Language, he committed himself to his most beloved art and one which few has ever practiced with equal freedom: conversation. Though hard-faced, good-humour is the tone to most of his “table-talks”2, and because Johnson was never blinded by stingy prejudices, he heartily welcomed the libertine Boswell. -
Shelley's Hellas and the Mask of Anarchy Are Thematically, Linguistically
63 Percy Bysshe Shelley, the Newspapers of 1819 and the Language of Poetry Catherine Boyle This essay rediscovers the link between the expatriate newspaper Gali- gnani’s Messenger and Shelley’s 1819 political poetry, particularly The Mask of Anarchy and Song, To the Men of England. It is suggested that a reading of this newspaper helps us to understand Shelley’s response to the counter-revolutionary press of his day; previous accounts have tended to solely stress Shelley’s allegiance to Leigh Hunt’s politics. As well as being a contribution to book history, this essay highlights the future of the nine - teenth-century book by exploring the ways the ongoing digitization of nine - teenth-century texts can enable new readings of familiar texts. It also covers some theoretical issues raised by these readings, namely the development of the Digital Humanities and intertextual theory. I must trespass upon the forgiveness of my readers for the display of newspaper erudition to which I have been reduced. Percy Bysshe Shelley, Preface to Hellas, 1821 1 helley’s Hellas and The Mask of Anarchy are thematically, linguistically, and compositionally related , and these resemblances can lead into a close S reading of Shelley’s 1819 political poetry. Both feature revolutions: an actual Greek revolution that had already occurred, and the putative revolution after the events of the Peterloo Massacre in 1819. Both mythologize historical events. In Hellas , the figure of the Jew Ahasuerus, doomed to wander the earth eternally, appears amidst an account of historical events. In The Mask of Anarchy Shelley inserts an apocalyptic, ungendered Shape which enacts the downfall of Anarchy. -
England in 1819 by Percy Bysshe Shelley DDE Programme: B.A
England in 1819 By Percy Bysshe Shelley DDE Programme: B.A. General Class: B.A. Part-I MS. SANGEETA SETHI DIRECTORATE OF DISTANCE EDUCATION Subject: KURUKSHETRA UNIVERSITY, English KURUKSHETRA Paper No. A Lesson No. 2 Introduction This presentation illustrates Shelley’s sonnet ‘England in 1819’. The poem is a description of prevalent political and economic conditions of England. The year 1819, is a disgusting reminder of the Peterloo massacre. The sonnet is a political satire, it reflects the poet’s concern for liberty; his aversion to Monarchy and his belief in love and restoration of common man’s dignity. Contents 1. Introduction, 2. Objectives 3. Paraphrase, 4. Questions Objectives This presentation will enable you to: 1. Understand the text of the poem. 2. Study explanation contained in the lesson script No. 25, B.A. I English 3. Know the visionary and the idealist in Shelley who condemned the oppressive institution of Monarchy and passionately hoped that a new era of stability, equality and justice would restore human dignity. 4. Form your opinion about the age and the social order and its conflicts. 5. Equip yourself with skill to perform in examination situation. About the poet A leading poet of the Romantic Movement, a revolutionary, Percy Bysshe Shelley (1792- 1822) was born to Timothy Shelley, a member of Parliament and highly respectable Sussex squire. After his education at Syon House Academy and Eton, he went to Oxford University in 1810. He was expelled from Oxford for Publishing a pamphlet under the provocative title ‘The Necessity of Atheism’. Shelley’s literary and political spirit of rebellion is reflected in his poems. -
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. -
Conférence Théâtralisée
Le Cœur à Barbe Frankenstein, le Monstre et MARY SHELLEY Conférence théâtralisée Portrait de Mary Wollstonecraft Shelley, avec de gauche à droite et de haut en bas : Lac de Thoun (J. M. WilliamTurner, 1806) ; William Godwin (H. W. Pickersgil) ; Mary Wollstonecraft (J. Odie, 1897) ; Fanny Imlay (?), Claire Clairmont (Amelia Curran, 1819); Mary Wollstonecraft Shelley (R.Rothwell,1840); Villa Diodati (W. Purser); Prométhée (P. P. Rubens); William Shelley (A. Curran (1819); Percy Bysshe Shelley (A. Clint); la Créature (Boris karloff), La mer de glace, Chamonix (J. M. William Turner) ; John William Polidori (F.G. Gainsford); Lord Byron (R. Westall, 1813). https://lecoeurabarbe.org / 07 82 75 44 77 / [email protected] Conférence théâtralisée : Frankenstein, le monstre et Mary Shelley Sommaire I La conférence : Frankenstein, le monstre et Mary Shelley P1 Durée Thèmes abordés Distribution Dates de représentation Résidences P2 Extrait de la préface de 1831 de Frankenstein ou le Prométhée moderne de Mary Shelley P3 Intention de mise en scène P4 Le roman de Mary Shelley : un livre monstre Mary Shelley et le cinéma II Autour de l’œuvre de Mary Shelley : Frankenstein ou le Prométhée moderne P5 Frankenstein le nouveau Prométhée P6 Un mythe fondateur de notre société P7 La première édition du roman de Mary Shelley P8 Résumé du roman de Mary Shelley Frankenstein ou le Prométhée moderne P9 Les circonstances de l’écriture de l’œuvre de Mary Shelley P10 Biographie de Mary Shelley P11 Références bibliographiques III Équipe artistique : P12 C.V. de l’équipe artistique IV Présentation de la compagnie : P13 Présentation Le Coeur à Barbe https://lecoeurabarbe.org / 07 82 75 44 77 / [email protected] Conférence théâtralisée : Frankenstein, le monstre et Mary Shelley La conférence théâtralisée Durée 45 minutes Thèmes de la conférence La naissance d’ une œuvre. -
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.