Chaviva Levin Dissertation

Chaviva Levin Dissertation-88
Feldman and Diana Scott-Kilvert, make vivid Mary Shelley's development from her early days in the flamboyant Shelley circle through the years of struggle and achievement as she continued to write, judiciously edit and publish Percy Shelley's literary remains, and support and educate her surviving son.9 Emily Sunstein's prizewinning biography, Mary Shelley: Romance and Reality (1989), assimilates and interprets these letters and journals in a biography that at long last situates Mary Shelley in her own intellectual and historical context.10 Since the publication of Sunstein's biography, it has become redundant to observe how poorly Mary Shelley has been served by some three generations of biographers and historians of Romanticism.From even a brief sketch of Mary Shelley's life emerges the striking portrait of a woman of persistence, courage, generosity, and independence who overcame severe personal and financial hardships to achieve a full and productive life.This content was uploaded by our users and we assume good faith they have the permission to share this book. SCHOR New York Oxford OXFORD UNIVERSITY PRESS 1993 Oxford University Press Oxford New York Toronto Delhi Bombay Calcutta Madras Karachi Kuala Lumpur Singapore Hong Kong Tokyo Nairobi Dar es Salaam Cape Town Melbourne Auckland Madrid and associated companies in Berlin Ibadan Introduction: copyright © 1993 by Audrey A. Schor "Plaguing Politics: AIDS, Deconstruction, and The Last Man": copyright © 1993 by Audrey A. (xii-xiii) A novel may certainly tell more than its author, but can it "know" more than its author?

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This page intentionally left blank Contents Introduction 3 I ROMANTICISM AND RESISTANCE Mary Shelley's Sympathy and Irony: The Editor and Her Corpus, 17 MARY FAVRET Editorial Privilege: Mary Shelley and Percy Shelley's Audiences, 39 SUSAN J.

Walton Litz, who encouraged and assisted us at an early stage. The preparation of the manuscript was assisted by the research of Margit Dimenti, Richard Kaye and Sarah Zimmerman; in preparing the manuscript, we were funded in part by the Department of English of Princeton University under the auspices of the John E. We also wish to acknowledge the team at Oxford—Elizabeth Maguire, Susan Chang, Stanley George and Beth Hanlon—for the professionalism and patience with which they saw our manuscript into print.

LEW II CULTURE AND CRITICISM Swayed by Contraries: Mary Shelley and the Everyday, 185 LAURIE LANGBAUER Disfiguring Economies: Mary Shelley's Short Stories, 204 SONIA HOFKOSH Subversive Surfaces: The Limits of Domestic Affection in Mary Shelley's Later Fiction, 220 KATE FERGUSON ELLIS Mary Shelley in Transit, 235 ESTHER H.

PALEY Proserpine and Midas: Gender, Genre, and Mythic Revisionism in Mary Shelley's Dramas, 124 ALAN RICHARDSON Beatrice in Valperga: A New Cassandra, 140 BARBARA JANE O'SULLIVAN God's Sister: History and Ideology in Valperga, 159 JOSEPH w.

FISCH Contributors, 287 Index, 289 The Other Mary Shelley This page intentionally left blank Introduction In 1979, George Levine and U. Knoepflmacher's The Endurance of Frankenstein gave serious critical attention to the metaphorical and mythical meanings of Frankenstein. Knoepflmacher place the novel in the context of Mary Shelley's personal and intellectual experience, the essays on the whole remain oddly reticent, if not slightly embarrassed, by the matter of Mary Shelley's authorship.

SCHOR Contents x The Last Man, 258 BARBARA JOHNSON Plaguing Politics: AIDS, Deconstruction, and The Last Man, 267 AUDREY A.Furthermore, as a novel, Frankenstein licenses a critical examination of Shelleyan radicalism by embedding the anticommunitarian ambitions of its Shelleyan visionary within the frankly dysfunctional polity of Republican Geneva.Hence, Frankenstein has become a sturdy pedagogical tool for deconstructing the transcendental Romantic imagination; in the crudest terms, Frankenstein, by the monstrosity of the creature's body, signals the suppression of gender in the ethos of Romantic egotism.As a child, Mary Godwin received an enlightened education from her father and the illustrious company of Godwin's circle, but her adolescence was strained by friction between herself and her stepmother and by the consequences of many years of financial hardship for the Godwins. During her seven turbulent years with Percy Shelley, years of itinerancy, financial stress, and severe marital strains, Mary Shelley continued her writing career.She wrote a travel book based on the elopement journey, History of a Six Weeks' Tour (1817); two novels, Frankenstein (1818) and Valperga (1823), a historical romance set in fourteenth-century Italy; two mythological dramas, Proserpine and Midas (both written in 1820); and Mathilda (written in 1819), a novella of father-daughter incest, which was suppressed by Godwin. Wiley Online Library requires cookies for authentication and use of other site features; therefore, cookies must be enabled to browse the site.Detailed information on how Wiley uses cookies can be found in our Privacy Policy. Schor EHS This page intentionally left blank ACKNOWLEDGMENTS The editors gratefully acknowledge the generosity of A. PR5398.087 1993 823'.7—dc20 92-14568 135798462 Printed in the United States of America on acid-tree paper for my parents AAF for Ronald Mellor AKM for Joseph M.During this decade, feminists of widely differing 3 4 Introduction agendas used Frankenstein to advance critiques of masculinist bias in literary theory. simply because it does not speak the language of feminist individualism which we have come to hail as the language of high feminism within English literature."5 Margaret Homans's Lacanian reading of Frankenstein in Bearing the Word (1986) defines the psychosocial predicament underlying the novel as "the self-contradictory demand that daughters embody both the mother whose death makes language possible by making it necessary and the figurative substitutes for that mother who constitute the prototype of the signifying chain."6 According to Romans, however, Frankenstein allegorizes not the predicament of the Lacanian mother (or daughter) but of the Lacanian son, who "seeks figurations that will at once make restitution for the mother and confirm her death and absence by substituting for her figures that are under his control" (107).In Barbara Johnson's hands (1982), Frankenstein becomes a pre-text for feminist autobiography, an allegory of "autobiography as the attempt to neutralize the monstrosity of autobiography."4 For Gayatri Spivak (1985), it becomes a novel that resists "the axiomatics of imperialism," "a text of nascent feminism that remains cryptic . Frankenstein, for Homans, represents Lacan's elaboration of the oedipal crisis under the sign of romantic desire.


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