Shelley Frankenstein

Shelley Mary: Frankenstein, Penguin, 1994
geringe Spuren, Etikett(en) auf Umschlag, mit Namenseintrag

0140620303 TB, Knick hinten im Einband. Penguin Popular Classics.

[KW: Allgemeine Literatur, Fremdsprachig, Englisch]

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Preuß, Karin: The Question of Madness in the Works of E.T.A. Hoffmann and Mary Shelley. With Particular Reference to "Frankenstein" and "Der Sandmann". Frankfurt/M., Berlin, Bern, Bruxelles, New York, Oxford, Wien Peter Lang Vlg. 2003. ISBN: 978-3-631-50604-2
Mary Shelley's novel Frankenstein or the Modern Prometheus was first published in 1818. A year before Hoffmann's novella Der Sandmann was published in the first of the two volumes of his Nachtstücke. A major theme for Mary Shelley and E.T.A. Hoffmann and a hitherto neglected aspect of academic research is the question of madness, in Frankenstein and Der Sandmann. Both texts represent certain features shared by the Romantic movements in Germany and England, such as an ironic stance towards Romanticism itself, its Prometheanism, or its indulgence in the occult. At the same time both authors criticise the Enlightenment project more than they do celebrate the idea of progress. The first two chapters of this study stress the contrastive approaches of Hoffmann and Mary Shelley in their explorations of madness. The rest of this analysis emphasises the similarities of mythological, cultural and linguistic contexts within which Mary Shelley and Hoffmann settle their preoccupation with madness. This study aims at finding out whether insanity is an illness of the isolated individual, or whether society is sick itself. Is insanity related to the body or the mind? Is it an image for the crisis of representation in postrevolutionary Romanticism?

289 pp. Pb. *neuwertig*

[KW: Anglistik]

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THE KEEPSAKE for MDCCCXXIX. Edited by F. M. Reynolds. London, publ. for the proprietor by Horst and Chance,. 1829.
Mit Stahlstichen nach W. Turner (The Lago Maggiore u. The Lake of Albano), T. Stothard (The Garden of Boccaccio), E. Landseer u. a. sowie Textbeiträgen von "the author of Frankenstein" (d. i. Mary Wollstonecraft-Shelley : "The Sisters of Albano" und "Ferfinando Eboli"), P.B. Shelley, W. Scott, Th. Moore, W. Wordsworth, S. T. Coleridge u. a.

8, 360 S., 2 Bl. weiß. Mit 18 (statt 19) Stahlstichen. Ldrbd d. Zeit m. Rücken-, Deckelu. Stahlkantenverg., allseitiger Goldschnitt (Rücken m. Ausriß, Gelenke gepl., etwas bestoßen u. berieben, innen stellenw. stärker braunfl.).

[KW: 18th/19th century Almanacs; Almanache, Taschenbücher vor 1900]

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Kirkham, Melanie: Beyond Archangel - The Archangel Theme in Mary Shelley's Frankenstein, GRIN VERLAG; GRIN VERLAG, Oktober 2007, Besorgungstitel - vorauss. Lieferzeit 3-5 Tage. ISBN: 3638832368
Scholary Paper aus dem Jahr 2005 im Fachbereich Anglistik - Literatur, einseitig bedruckt, Note: A, Veranstaltung: Research and Bibliography, 15 Eintragungen im Literaturverzeichnis, Sprache: Englisch, Anmerkungen: I presented this paper at a literary conference Confutati at the University of Utah in January 2007. , Abstract: In my paper Beyond Archangel I take a semiotic and thematic approach to the theme of Archangel in the novel. In the novel the term Archangel shows up over and over again and many references are made to other themes relating to heaven and hell, such as Dante's Inferno. Geographically, the novel begins in a place beyond the city Archangel. It is an actual city in the Artic named after the archangel Michael. It is the Christian archangel Michael, but a whole tradition; Judaic, Greek... surrounds him. Therefore, in the text the word Archangel takes on multiple meanings as it refers to the physical place but also the spiritual place the three main characters are in. Victor, Walton and the Creature, all three of them are beyond Archangel, that means beyond the state of being in God's grace. They are closer to hell than to heaven. Victor, one of the characters has already fallen and there is no help for him. The Creature and Walton seem to be beyond all hope for salvation as well, but one of them will ultimately be saved. It is the Creature who takes on another archangel persona and through this selfless act manages to save Walton from his fast track to damnation. Through the Creature Walton manages to shake off Victor's spell over him, and return to the save haven of Archangel. Here again, the city takes on a meaning of being a place of God. The Creature never physically returns to Archangel, but he is redeemed through his actions. The three main characters therefore represent the three different spiritual states: Fallen, redeemed and saved by grace. I will look at religion and what the meaning of an archangel is. Mary Shelley herself was acquainted with different religions and her knowledge influenced her novel, of course. I want to be present the different religious traditions that are found in the text and explore what it means for Frankenstein.

NEUBUCH! 2007. 48 S. 210 mm 210 mm x 148 mm x 3 mm; Akademische Schriftenreihe, Bd. V78252

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