A literatura romântica inglesa se constituiu basicamente de poesia, pois foi produzida em uma época em que ficção em prosa era vista como mero entretenimento. Alguns romancistas, excepcionalmente, são rotulados como “românticos”, mas Mary Shelley não aparece entre eles. Durante mais de um século, sua obra permaneceu restrita às sessões dos livros que tratam da exótica literatura gótica. A presente dissertação argumenta que a crítica literária não tem reconhecido a óbvia relação de Frankenstein com o romantismo inglês. Para evidenciar tal envolvimento, será apresentada uma análise do conjunto de imagens do romance que busque revelar os elementos românticos ali contidos. A análise se baseia, principalmente, nas idéias de Northrop Frye a respeito da natureza e função de imagens na literatura. O conceito de intertextualidade também será utilizado como ferramenta para a análise da inserção de imagens no romance e da inserção do romance no contexto do romantismo inglês. O trabalho é dividido em três partes. A primeira explora as relações de Frankenstein com a vida de Mary Shelley e com o romantismo inglês. A segunda expõe a base teórica em que esta dissertação se apóia. A última apresenta a minha leitura da teia de imagens do romance. Ao final, espero poder validar a tese proposta: que Frankenstein incorpora os valores estéticos e filosóficos do romantismo e merece, portanto, ser situado no seu devido lugar no cânone literário inglês como o representante legítimo do romantismo em prosa. / Romantic English literature – written at a time when prose fiction was predominantly a medium for sheer entertainment – is rooted in poetry. One or two novelists may exceptionally be granted the adjective “Romantic”, but Mary Shelley is not ranked among them. For centuries, her work has been restricted to that section in handbooks reserved for exotic Gothic literature. This thesis argues that literary criticism has failed to recognize Frankenstein’s obvious relation with the movement. The argument will be fostered by a brief look at such handbooks, and developed through the analysis of the imagery of the novel, so as to trace the Romantic elements there contained. The analysis relies mainly on the frame developed by Northrop Frye concerning the nature and function of imagery in literature. The concept of intertextuality will also be useful as a tool to account for the insertion of images in the novel, and for the novel’s insertion within the Romantic context. The work is divided into three parts. The first contextualizes the main issues set forth by Frankenstein, establishing connections with the life of the author and with the Romantic movement. The second exposes the theoretical basis on which the thesis is grounded. The last presents my reading of the novel’s web of images. In the end, I hope to validate the thesis proposed, that Frankenstein embodies the aesthetic and philosophical assessments of the English Romantic agenda, and therefore deserves to be situated in its due place in the English Literary canon as the legitimate representative of Romanticism in prose form.

A literatura romântica inglesa se constituiu basicamente de poesia, pois foi produzida em uma época em que ficção em prosa era vista como mero entretenimento. Alguns romancistas, excepcionalmente, são rotulados como “românticos”, mas Mary Shelley não aparece entre eles. Durante mais de um século, sua obra permaneceu restrita às sessões dos livros que tratam da exótica literatura gótica. A presente dissertação argumenta que a crítica literária não tem reconhecido a óbvia relação de Frankenstein com o romantismo inglês. Para evidenciar tal envolvimento, será apresentada uma análise do conjunto de imagens do romance que busque revelar os elementos românticos ali contidos. A análise se baseia, principalmente, nas idéias de Northrop Frye a respeito da natureza e função de imagens na literatura. O conceito de intertextualidade também será utilizado como ferramenta para a análise da inserção de imagens no romance e da inserção do romance no contexto do romantismo inglês. O trabalho é dividido em três partes. A primeira explora as relações de Frankenstein com a vida de Mary Shelley e com o romantismo inglês. A segunda expõe a base teórica em que esta dissertação se apóia. A última apresenta a minha leitura da teia de imagens do romance. Ao final, espero poder validar a tese proposta: que Frankenstein incorpora os valores estéticos e filosóficos do romantismo e merece, portanto, ser situado no seu devido lugar no cânone literário inglês como o representante legítimo do romantismo em prosa. / Romantic English literature – written at a time when prose fiction was predominantly a medium for sheer entertainment – is rooted in poetry. One or two novelists may exceptionally be granted the adjective “Romantic”, but Mary Shelley is not ranked among them. For centuries, her work has been restricted to that section in handbooks reserved for exotic Gothic literature. This thesis argues that literary criticism has failed to recognize Frankenstein’s obvious relation with the movement. The argument will be fostered by a brief look at such handbooks, and developed through the analysis of the imagery of the novel, so as to trace the Romantic elements there contained. The analysis relies mainly on the frame developed by Northrop Frye concerning the nature and function of imagery in literature. The concept of intertextuality will also be useful as a tool to account for the insertion of images in the novel, and for the novel’s insertion within the Romantic context. The work is divided into three parts. The first contextualizes the main issues set forth by Frankenstein, establishing connections with the life of the author and with the Romantic movement. The second exposes the theoretical basis on which the thesis is grounded. The last presents my reading of the novel’s web of images. In the end, I hope to validate the thesis proposed, that Frankenstein embodies the aesthetic and philosophical assessments of the English Romantic agenda, and therefore deserves to be situated in its due place in the English Literary canon as the legitimate representative of Romanticism in prose form.

I do not purport to give a definitive argument for or against the influences of the unconscious, for the necessary realm of expertise lies within other fields: psychiatry and psychology. However, the application of psychoanalytic literary theory of the unconscious to the lives, words, and characters of selected female authors in order to explore a richer, more meaningful purpose of their art will be the subject of this literary journey. Specifically, the intent will be an analysis of the relation between the manifest content of three classic works of literature to the unconscious intent relative to the author’s biographical perspective, or the psychology of literature.

This dissertation charts a lineage of nineteenth-century British literary interventions into the arena of science and philosophy jointly known as vitalism. Intended in part as a contribution to the history of science, Passive Life reconstructs the largely forgotten genealogy of a robust tradition of Victorian-era materialist vitalism, or vital materialism: the theory that a principle of life inheres in all physical matter. I connect this scientific trend to a concurrent surge of cultural engagement with the seventeenth-century philosophy of Baruch Spinoza, whose monist doctrine received renewed attention as experimental developments in biology, physics, physiology, and epidemiology increasingly supported a vital materialist account of the nature of life. Through readings of novels by Mary Shelley, Harriet Martineau, and George Eliot, I position these three women writers as key figures in vitalism’s cultural reception. By attending to the thematic resonances between their novels and materialist vitalism’s major principles and provocations, Passive Life traces the narrative arc of Victorian vitalism, deepening and expanding extant scholarly accounts of the rich interchange among literature and science in the nineteenth century. Moving beyond reception history, however, this dissertation argues that the novels of Shelley, Martineau, and Eliot worked to construct critical interpretations of vitalist theory with a shared emphasis on passivity as a fundamental feature of life. Through innovative techniques of description and characterization, their fiction locates the passivity of life at the level of the material body, in its inherent contingency, fluidity, and impressibility. The view of embodied subjectivity that thus emerges from these novels complicates the liberal humanist model that rose to predominance in Victorian culture and privileged an active, self-determining subject. Within the counter-tradition to which Shelley, Martineau, and Eliot belonged, the idea of “passive life” occasioned pressing ethical and political quandaries involving the relationships between self and other and between subject and environment. On the one hand, treating embodied life as passive pointed speculatively toward more liberated, open-ended, and mutually sustaining forms of communal being. On the other hand, “passive life” also suggested the vulnerability and precarity of bodies helplessly exposed to their material and affective surroundings, raising important questions regarding intention, obligation, and accountability. How do we live well in a world where so many other embodied lives impress upon our own? Can pain and harm be prevented in such a world? What habits of perception and practices of sociality might be evolved and adapted to the realities of passive life? In confronting these questions, nineteenth-century British fiction provides conceptual frameworks well suited to interrogating the political and ethical implications of the twenty-first-century new materialist turn.

Dans Feminist Politics and Human Nature, publié en 1983, la philosophe américaine Alison Jaggar expose les idéologies des féminismes libéral, marxiste, radical, et socialiste, en fait l’épistémologie, et conclut que le féminisme socialiste est celui qui convient le mieux à la participation' de la femme au renouvellement social. Par ailleurs, les féministes de toutes les tendances proposent des transformations qui, pour la plupart, sont nettement révolutionnaires, d’où le titre de ce mémoire, «La révolution féministe», qui résume, dans les grandes lignes, les thèmes exploités par cette auteure.

After 1815's eruption of Mount Tambora, the following period was named the "Year without a Summer" and experienced irregularly cold weather, failed crops, rampant disease, and riots. In the summer of 1816, Lord Byron, Percy Bysshe Shelley, and Mary Wollstonecraft Shelley met in the Alps and wrote "Darkness," "Mont Blanc," and Frankenstein respectively. This thesis focuses on these works' depictions of nature in light of how these features may have been impacted by the climate. It argues in Chapter One that the volcanic eruption caused global climate changes that affected these writers. In Chapter Two, it illustrates differences in nature's representation between first generation and second generation Romantic works. The conclusion synthesizes the arguments made in Chapters One and Two, suggesting that 1816's climate affected these writers in such a way as to produce an environment from which science fiction could emerge in Frankenstein. / Includes bibliography. / Thesis (M.S.)--Florida Atlantic University, 2015. / FAU Electronic Theses and Dissertations Collection

A presente dissertação tem como objetivo estabelecer um diálogo entre três obras da literatura britânica do século XIX: o romance Frankenstein (1818), da autora Mary W. Shelley; a novela O Médico e o Monstro (1886), de autoria de Robert Louis Stevenson; e o romance A Ilha do Dr. Moreau (1896), de H. G. Wells. Tal comparação será feita com base nas convenções advindas dos gêneros Gótico e Ficção científica, presentes nas obras. Como principal alicerce teórico para a definição de gêneros entendem-se as considerações de Tzvetan Todorov, que defende que os gêneros são inevitáveis como horizonte de interpretação, além de serem entidades em constante mudança numa cadeia de influências através da qual novos gêneros são criados a partir de outros pré-existentes. O presente trabalho parte desse pressuposto para determinar de que maneira os gêneros Gótico e Ficção científica estão presentes nas obras, observando como os traços do Gótico, ao se adaptarem através do tempo, deram lugar a convenções ainda semelhantes, mas que já apontavam para o que posteriormente seria considerado um novo gênero literário. Primeiramente, são feitas considerações sobre conceitos de gênero textual/literário através do tempo, as quais mostram o quanto seu estudo permaneceu constante. A seguir são definidas certas convenções dos dois gêneros, assim como o modo como dialogam entre si. A segunda parte do trabalho analisa as duas primeiras obras em ordem cronológica, Frankenstein e O Médico e o Monstro, de maneira a perceber a predominância de convenções do Gótico – especialmente relacionadas ao conflito interior dos personagens, como o "duplo" – ao mesmo tempo que a emergência de temas da ciência, como os de criador/criatura e ambição científica. O último capítulo verifica como a primeira fase da Ficção científica de H. G. Wells em geral e A Ilha do Dr. Moreau em particular resgatam convenções dos dois gêneros supracitados, ao mesmo tempo servindo como consolidador das convenções do último. Conclui-se, portanto, que houve uma evolução que possibilitou a emergência de um novo gênero ligado ao contexto histórico das obras, o que legitima a consideração dos gêneros como entidades mais livres e não restritivas, que podem estar presentes em diversas obras ao mesmo tempo e ampliar seu horizonte de interpretação. / This thesis establishes a dialogue among three books from 19th century British literature: the novel Frankenstein (1818), by M. W. Shelley; the novella Strange Case of Dr. Jekyll and Mr. Hyde (1886), by Robert Louis Stevenson; and the novel The Island of Dr. Moreau (1896), by H. G. Wells. This comparison is made based on the specific Gothic and Science fiction conventions present in the books. The main theoretical support for the definition of genres employed here comes from Tzvetan Todorov. The author argues that genres are inevitable as horizons of interpretation, entities in constant change which tend to create new genres from pre-existent ones, in a chain of influences. This thesis considers this supposition to determine how Gothic and Science fiction make themselves present in the works analyzed, in a way that Gothic traits, being adapted through time, give way to similar but yet innovative conventions, which subsequently would be considered a new literary genre. Primarily, considerations concerning the concept of genres through history are made, all of which show how this study was kept constant. Hereafter, certain conventions regarding both genres are defined, as well as the manner they dialogue amongst themselves. The second part of the thesis is dedicated to the analysis of Frankenstein and Strange Case of Dr. Jekyll and Mr. Hyde, and establishes the predominance of Gothic conventions – especially the ones related to the inner conflict of the characters, such as the "double" –, while considering the emergence of scientific themes, such as the creator/creature relationship and scientific ambition. The last section verifies how the first cycle of H. G. Wells' Science fiction in a broad sense, and The Island of Dr. Moreau in a strict sense, reemploy conventions of both genres, serving to consolidate the latter. Therefore, it is concluded that there was an evolution which enabled the emergence of a new genre, considering the historical contexts and the books analyzed. This consideration justifies genres as wide-ranging, non-restrictive entities, which may be present in various works simultaneously and broaden their horizon of interpretation.

Made available in DSpace on 2018-07-27T17:13:53Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-28. Added 1 bitstream(s) on 2018-07-27T17:16:52Z : No. of bitstreams: 1 000901718.pdf: 1096974 bytes, checksum: 8120160a281138e459b3d4326f76f817 (MD5) / Esta tese tem por objetivo o estudo de duas obras literárias que têm como personagens cientistas criadores e suas criaturas artificiais. Trata-se das obras de Villiers de l'Isle-Adam (1838-1889) e de Mary Shelley (1797-1851), representadas pelos romances L'Ève future e Frankenstein, respectivamente. Para tanto, e em primeiro lugar, traçamos um histórico do desejo humano de criar uma criatura artificial perfeita desde a Antiguidade até os dias atuais. Em seguida, passamos à análise das referidas obras, caracterizando e comparando os criadores e suas respectivas criaturas, concluindo, ao final, o que ambas representam em termos metafóricos / This dissertation aims to study two literary works whose characters are creators scientists and their artificial creatures. The following novels are studied: L'Ève future by Villiers de l'Isle-Adam (1838-1889) and Frankenstein by Mary Shelley (1797-1851). Firstly, it was made a survey of the human desire to create a perfect artificial creature from Antiquity to nowadays. Secondly, we started to analyze such literary works, characterizing and comparing the creators and their creatures, and finally, getting the conclusion what both represent metaphorically

S’appuyant sur la philosophie de la femme de Mary Wollstonecraft et sur celle de l’enfance de John Locke, ce mémoire examine « l’effet de l’éducation » (Austen 211) sur les relations filiales dans le roman Mansfield Park de Jane Austen. Austen, comme de nombreux romanciers et auteurs de livres de conduite de son époque, aborde l’état de l’éducation au début du XIXe siècle. Refusant les carcans genrés dans lesquels sont généralement cloîtrés les individus dès l’enfance, l’éducation, telle qu’elle est présentée par Austen, se concentre sur l’acquisition de la raison et de la vertu et implique, par conséquent, l’épanouissement de l’individu, le développement d’une conscience identitaire et un apprentissage qui se prolonge tout au long de la vie, ce qui amène l’individu à forger des liens interpersonnels forts avec autrui. Vivant au sein d’une société en mouvement, Austen observe également les implications de l’apprentissage social sur l’individu et ses relations. Le premier chapitre traite de l’éducation familiale et examine les façons dont divers types d’apprentissage contribuent à la formation de l’identité et en viennent à déterminer les relations interindividuelles. Ce chapitre compare et met également en contraste la conception de l’éducation d’Austen avec celle de Wollstonecraft et de Locke. Le deuxième chapitre s’intéresse à la relation interdépendante entre l’individu, la famille et la société, et présente dans quelle mesure les dynamiques de pouvoir à l’échelle individuelle et sociale déterminent les relations interpersonnelles. Ce chapitre se concentre sur l’inégalité et l’oppression inhérentes au colonialisme britannique, à l’esclavage et à l’assujettissement des femmes au début du XIXe siècle, qui entravent le développement de liens profonds entre les individus, comme le montre le roman. / Drawing on Mary Wollstonecraft’s and John Locke’s philosophies of female and childhood education, respectively, this thesis examines “the effect of education” (Austen 211) on kinship ties in Jane Austen’s Mansfield Park. Like many novelists and writers of conduct books during her lifetime, Austen addresses the state of education in the early nineteenth century. She proposes a more gender-neutral education that revolves around reason and virtue, like Locke and Wollstonecraft, and involves personal development and lifelong learning, which allows the individual to develop a sense of self and consequently form strong interpersonal bonds. Inhabiting a society undergoing rapid transformations, Austen also discusses the influence of social learning on the individual and their relationships. The first chapter addresses childhood education within the home and family and examines the ways various types of learning are instrumental to identity formation and determine relationships. This chapter also compares and contrasts Austen’s conception of education with Wollstonecraft’s and Locke’s. The second chapter considers the interdependent relationship between the individual, the family, and society and discusses in which respect power dynamics in home and country determine interpersonal relations. This chapter focuses on the inequality and oppression inherent in British colonialism, slavery, and female subjugation in the early nineteenth century, which hinder the development of profound attachments between individuals, as shown in the novel.

Romantic heroes are questers, according to Harold Bloom and Northrop Frye. Whether employing physical strength or relying on the power of the mind, the traditional Romantic hero invokes questing for some sense of self. Chapter 1 considers this hero-type, but is concerned with defining a non-questing British Romantic hero. The Romantic hero's identity is problematic and established through contrasting narrative versions of the hero. This paper's argument lies in the "inconclusiveness" of the Romantic experience perceived in writings throughout the Romantic period. Romantic inconclusiveness can be found not only in the structure and syntax of the works but in the person with whom the reader is meant to identify or sympathize, the hero(ine). Chapter 2 explores Byron's aesthetics of literature equivocation in The Giaour. This tale is a consciously imbricated text, and Byron's letters show a purposeful complication of the poet's authority concerning the origins of this Turkish Tale. The traditional "Byronic hero," a gloomy, guilt-ridden protagonist, is considered in Chapter 3. Byron's contemporary readers and reviewers were quick to pick up on this aspect of his verse tales, finding in the Giaour, Selim, Conrad, and Lara characteristics of Childe Harold. Yet, Byron's Turkish Tales also reveal a very different and more sentimental hero. Byron seems to play off the reader's expectations of the "Byronic hero" with an ambiguous hero whose character reflects the Romantic aesthetic of indeterminacy. Through the accretive structure of The Giaour, Byron creates a hero of competing component characteristics, a focus he also gives to his heroines. Chapters 4 and 5 address works that are traditionally considered eighteenth-century sentimental novels. Mathilda and Evelina, both epistolary works, present their heroines as worldly innocents who are beset by aggressive males. Yet their subtext suggests that these girls aggressively maneuver the men in their lives. Mathilda and Evelina create a tension between the expected and the radical to energize the reader's imagination.