31 juil 2012 · Here, her disguise of authorship at first and her focus on male characters rather than female interprets Mary Shelley as endorsing the male literary
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[PDF] An analysis of Mary Shelleys Frankenstein, or, the Modern
31 juil 2012 · Here, her disguise of authorship at first and her focus on male characters rather than female interprets Mary Shelley as endorsing the male literary
[PDF] An analysis of the theme of alienation in Mary Shelleys Frankenstein
Mary Shelley died in 1851 at the age of fifty three Frankenstein is, like Mary herself, rebellious towards society's inequality and industrialisation The monster
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Frankenstein by Mary Shelley Summary \u0026 Analysis√ Critical Analysis of Frankenstein Mary Shelly English Video SparkNotes: Mary Shelley's
[PDF] AN ANALYSIS OF MARY SHELLEYS FRANKENSTEIN - METU
It is apparent that Frankenstein is not just a traditional Gothic fiction, but also the representation of human nature with its psychological connotations For that reason, Lacanian elements of desire, alienation and sexuality can be uncovered with a thorough analysis of the work
[PDF] Frankenstein Mary Shelley Analysis - Tandem
Frankenstein is a novel by Mary Shelley that was first published in 1818 Summary Read a Plot Overview of the entire book or a chapter by chapter Summary and
[PDF] Discussion Questions for Frankenstein - Hiram College
As you read Mary Shelley's Frankenstein, either on your own or with a group, we invite having two main characters in this field tell you about 1800s Europe?
[PDF] Mary Shelley Frankenstein Analysis - Unhaggle
Frankenstein is a novel by Mary Shelley that was first published in 1818 Summary Read a Plot Overview of the entire book or a chapter by chapter Summary and
Frankenstein - Cambridge University Press
each point they make about Mary Shelley's life ask them to create a link with the novel This could take the form of: • a comparison with one of the characters and/
[PDF] Mary Shelley and Frankenstein - USD 475 Geary County Schools
Shelley said the core idea for Frankenstein came to her then, in a dream Visiting or leaving Geneva has powerful consequences for the characters in the novel
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Reading Between the Lines:
Frankenstein, or, the Modern Prometheus, using
The Castle of Otranto as an example of male discourse about womenLouise Othello Knudsen
English Almen, 10th semester
31-07-2012
1Tabel of Contents
Abstract ................................................................................................................................................ 3
Introduction .......................................................................................................................................... 5
Historical Context .............................................................................................................................. 10
The View on Women and Their Expected Roles in the late 18th and 19th Century ....................... 11
- Mary Shelley disowns herself .................................................................................................. 11
- .................................................................................................... 12
Frankenstein ..................................................................................................... 13
Frankenstein ........................................................................................................... 13
- Women in Society and Women as Writers .................................................................................. 15
- The Status of Women .................................................................................................................. 18
Gothic Novels Exclude Women from the Social Order ................................................................. 20
Good and Bad Science ................................................................................................................... 20
- Monstrous Births ......................................................................................................................... 21
Anxiety of authorship..................................................................................................................... 22
- Percy Bysshe Shelley as the Editor of Mary Shelley .................................................................. 23
- Percy as the Author of Frankenstein ........................................................................................... 24
Analysis of Frankenstein or the Modern Prometheus ........................................................................ 26
A summary of Frankenstein .......................................................................................................... 27
Narrative......................................................................................................................................... 28
The male characters in Frankenstein ............................................................................................. 30
- Robert Walton .............................................................................................................................. 31
- The dangers of ambition .............................................................................................................. 32
- Aspirations of Glory: Victor and Walton .................................................................................... 33
- Personal Relationships: Walton and Margaret ............................................................................ 35
Introducing Victor Frankenstein .................................................................................................... 35
- Egotism ........................................................................................................................................ 37
- Victor and His Creature ............................................................................................................... 38
- .................................................................................................... 40
- Victor, Clerval, and Elizabeth ..................................................................................................... 41
The Creature ................................................................................................................................... 44
- The Creature and the de Lacey family ......................................................................................... 46
2- Human Nature .............................................................................................................................. 46
The (non)-representation of Women in Frankenstein.................................................................... 48
Margaret Saville ............................................................................................................................. 49
- ......................................................................................................................... 49
Caroline Beaufort ........................................................................................................................... 50
Elizabeth Lavenza .......................................................................................................................... 51
- .......................................................................................................................... 51
- ......................................................................................................................... 52
- E ......................................................................................................................... 53
Justine Moritz ................................................................................................................................. 53
Safie, the Arabian ........................................................................................................................... 54
The Science in Frankenstein .......................................................................................................... 56
- Warning against Ambition ........................................................................................................... 56
- Rhetoric........................................................................................................................................ 57
- Monstrous Births in Frankenstein ............................................................................................... 57
- The Different Sciences ................................................................................................................ 58
The Castle of Otranto .......................................... 59Elements of Gothic......................................................................................................................... 60
The Castle of Otranto ..................................................................................................................... 61
The Women in Otranto .................................................................................................................. 62
Hippolita......................................................................................................................................... 63
- The Curse of the Obedient Wife .................................................................................................. 64
- ............................................................................................................................ 65
Matilda ........................................................................................................................................... 66
- ............................................................................. 67- .................................................................................................................. 68
Isabella ........................................................................................................................................... 68
Bianca............................................................................................................................................. 69
Killing the Aesthetic Ideal ............................................................................................................. 70
Conclusion ..................................................................................................................................... 72
Bibliography....................................................................................................................................... 75
3