CLCWeb: Comparative Literature & Culture: A WWWeb Journal. Sep2019, Vol. 21 Issue 5, p1-11. 11p.
Fiction -- History & criticism, Romantic love in literature, Despair in literature, and Sympathy in literature
Influenced by Enlightenment philosophes like Rousseau and Smith, Romantic writers, such as Coleridge and Percy Shelley, celebrate the sublime power of sympathetic love to merge the self and the other (be it human or inhuman) into a wondrous whole, thereby precluding the dangers of solitude and solipsism. Not all Romantic writers, however, share the same sanguine view of love. In Frankenstein, for instance, Mary Shelley offers an alternative to the optimistic perspective on the capacity of (mutual) sympathy. She shapes the novel into tales of bitter solitude, one caused by the lack of sympathetic understanding between Victor and nature, between the Monster and the De Laceys, and between the Monster and his father Victor. In these mutual relations, I argue, Shelley evokes elements of Enlightenment/Romantic love, only to revoke its sublime power and furthermore turn it into despair. Rather than the Romantic joy of transcendent plenitude, the novel is shrouded in Gothic despair, the outright negation of redemption. [ABSTRACT FROM AUTHOR]
High technology, Immortality of the body, Death, and Religion
In the article, the author discusses the relationship between technology and the efforts by humans to achieve immortality. He cites several works that forecast the effect of technology on immortality, including the book "The Advancement of Learning," Mary Shelley's "Frankenstein," and that of anthropologist Loren Eiseley. He also cites the death of their pet cat named Pixie to discuss the subject.
Technological innovations, Computer networks, and Internet of things
In 2018, much attention was paid to the 200th anniversary of the publication of one of the most popular novels in the English language, Mary Shelley's Frankenstein. Her achievement is the more remarkable in that it occurred when there were very few known English female authors. Indeed, when the book appeared it carried no author's name. Popular from the start, it went through several editions and revisions — the writer was revealed to the public in the second edition. She was the wife of the renowned poet Percy Bysshe Shelley and had started writing the book at age 18; it came out two years later. It's interesting that the first major science fiction novel was written by a woman and perhaps significant that it presents a dark vision of scientific experimentation. That M.I.T. has chosen to bring out a new heavily annotated edition at this moment in history is both appropriate and not surprising. We are in an age of hyper-sensitivity to issues of technological hubris as well as fear of the unintended consequences of technology. Who hasn't heard of "Frankenfood" — genetically modified nourishment, which in our more paranoid moments, we imagine having been created by mad scientists in industrial laboratories who are poisoning our bodies and environment. And our present concern over the possibility of "designer babies" has close parallels in the novel's plot. Virtually every other page of this edition carries footnotes, which were provided by a team of around 30 professors, grad students, sci-fi writers, and post docs. In addition, the book concludes with seven critical essays — some of them quite provocative — which will be an aid to any professor who chooses to assign this book designed for classroom study by undergraduates in STEM courses. Strange to say, despite its publisher and subject matter none of the contributors is from M.I.T. The three principal editors are at Arizona State University. There are now several other 200th anniversary editions in print, including one from Literary Folio that includes facsimiles of the 1818 and 1831 editions. [ABSTRACT FROM AUTHOR]
The article explores the enduring popularity of English authors Jane Austen and Mary Shelley and their works. The novels "Frankenstein," by Shelley, and "Northanger Abbey" and "Persuasion," by Austen, celebrate their 200th anniversary in 2018. Their continued popularity may be due to the universal themes of their works. Austen's novels focus on family conflict, courtship and marriage, female independence and social change, while "Frankenstein" deals with life and death and good and evil.
Word & Image. Apr-Jun2012, Vol. 28 Issue 2, p206-232. 27p.
20th century book illustration, Gay male erotic art, Woodcutting (Printmaking), Art & literature, and Gothic influences on art
American graphic artist Lynd Ward's detailed wood engravings for Mary Shelley's Frankenstein, allotted scant attention by critics, depart radically from other book illustrations of the novel. While these renderings borrow heavily from the cinema, Ward's woodcuts are Gothic in atmosphere and psychology and build on the nineteenth-century stage history of Frankenstein. In addition, Ward's illustrations constitute the earliest attempt in the medium to offer a sustained queer reading of the novel, anticipating like-minded critical investigations of Frankenstein by about sixty-five years. While Ward's interpretation lays the foundation for such theoretical readings, it also mediates Victor's homoeroticism through the illustrator's own socialist politics of the early 1930s and the visual narratives that constitute his two earlier graphic novels, Wild Pilgrimage (1932) and Prelude to a Million Years (1933). [ABSTRACT FROM AUTHOR]
Frankenstein, Victor (Fictitious character), Science fiction, and Bioethics
The article discusses how the novel "Frankenstein: Or the Modem Prometheus," by Mary Shelley, which was published in 1818, is valued as an early example of science fiction. Shelley called the character of Victor Frankenstein, the modern Prometheus, as he used new technology of the early 19th century to surpass the laws of nature and create human life from dead matter. The book is said to be the first study of the ethics of biomedical experimentation.
Technological innovations, Inventions, and Samsung Galaxy Note (Smartphone)
When a designer of smartphone cases made a Frankenstein Monster model for the Samsung Galaxy Note 7, the company eerily presaged the fate of what has become the most notorious digital device of the decade. Banned from airplanes and the source of sundry injuries because of a penchant for bursting into flames, the Galaxy 7 deserves to be studied by engineers for lessons about responsible practice. [ABSTRACT FROM PUBLISHER]