Thèses sur le sujet « Shelley, mary , 1797-1851 »
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Varenne, Caroline. « Ordre et subversion : la vie et l'écriture de Mary Shelley ». Saint-Etienne, 2003. http://www.theses.fr/2003STET2079.
Texte intégralMary Shelley, born and later married to celebrated writers, constructed her identity around the activities of reading and writing. Three forms of subversion can be found in her work : 1°) the subversion of ideologies : Mary takes up the radical themes and theories developed by her family circle, theories which she often subverts discreetly ; 2°) the subversion of nature (immortality, monstrosity, incest) shows an anxiety of motherhood, a desire to destroy the oppressive institutions of patriarchal society, and a subversion of moral codes and religious doctrine, which are two instruments used by men to subordinate women ; 3°) the subversion of literary conventions, characteristic of many women's writing. Mary Shelley' novels, which often defy classification or do not respect norms, subvert the very notion of genre, even though her very literary style remains conventional. Her personal writings testify to her constant wish to define herself as an author
Kibaris, Anna-Maria. « Mary Shelley's monstrous patchwork : textual "grafting" and the novel ». Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=23337.
Texte intégralVan, Wyk Wihan. « Shelleyan monsters : the figure of Percy Shelley in Mary Shelley’s Frankenstein and Peter Ackroyd’s The Casebook of Victor Frankenstein ». University of the Western Cape, 2015. http://hdl.handle.net/11394/4860.
Texte intégralThis thesis will examine the representation of the figure of Percy Shelley in the text of Mary Shelley’s Frankenstein (1818). My hypothesis is that Percy Shelley represents to Mary Shelley a figure who embodies the contrasting and more startling aspects of both the Romantic Movement and the Enlightenment era. This I will demonstrate through a close examination of the text of Frankenstein and through an exploration of the figure of Percy Shelley as he is represented in the novel. The representation of Shelley is most marked in the figures of Victor and the Creature, but is not exclusively confined to them. The thesis will attempt to show that Victor and the Creature can be read as figures for the Enlightenment and the Romantic movements respectively. As several critics have noted, these fictional protagonists also represent the divergent elements of Percy Shelley’s own divided personality, as he was both a dedicated man of science and a radical Romantic poet. He is a figure who exemplifies the contrasting notions of the archetypal Enlightenment man, while simultaneously embodying the Romantic resistance to some aspects of that zeitgeist. Lately, there has been a resurgence of interest in the novel by contemporary authors, biographers and playwrights, who have responded to it in a range of literary forms. I will pay particular attention to Peter Ackroyd’s, The Casebook of Victor Frankenstein (2011), which shows that the questions Frankenstein poses to the reader are still with us today. I suggest that this is one of the main impulses behind this recent resurgence of interest in Mary Shelley’s novel. In particular, my thesis will explore the idea that the question of knowledge itself, and the scientific and moral limits which may apply to it, has a renewed urgency in early 21st century literature. In Frankenstein this is a central theme and is related to the figure of the “modern Prometheus”, which was the subtitle of Frankenstein, and which points to the ambitious figure who wishes to advance his own knowledge at all costs. I will consider this point by exploring the ways in which the tensions embodied by Percy Shelley and raised by the original novel are addressed in these contemporary texts. The renewed interest in these questions suggests that they remain pressing in our time, and continue to haunt us in our current society, not unlike the Creature in the novel.
Rouhette, Anne. « Présentation, traduction et annotation de The Fortunes of Perkin Warbeck, a romance de Mary Selley ». Paris 3, 2004. http://www.theses.fr/2004PA030076.
Texte intégralThis work aims at presenting and translating Mary Shelley's lesser-known historical novel, The Fortunes of Perkin Warbeck, A Romance, often considered as a mere potboiler, which, among other things, tackles the theme of imposture. A first part is devoted to its composition and publication. Then, thanks to its subtitle, "A Romance," are studied the links this implies with the Gothic novel and the medieval revival, as well as the place of this work in the evolution of the historical novel, with respect in particular to Sir Walter Scott. The last part deals with Mary Shelley's political and feminist opinions; expressed in an indirect, "veiled" way, they highlight the ambivalence of a woman many blame for her later-life conservatism
Albornoz, Ábrigo Pamela. « Madness as the necessary element for the process of creation in Mary Shelley's novel Frankenstein : a romantic perspective ». Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137792.
Texte intégralFontes, Janaina Gomes. « A voz materna : Mary Wollstonecraft e Michèle Roberts ». reponame:Repositório Institucional da UnB, 2008. http://repositorio.unb.br/handle/10482/2681.
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A experiência da maternidade tem suscitado complexos sentimentos desde os mitos existentes nas primeiras sociedades, que comparavam a capacidade reprodutiva das mulheres às forças da natureza. Durante os séculos, tal comparação foi distorcida pela sociedade patriarcal para satisfazer seus interesses, causando a opressão e o sofrimento de milhares de mulheres. Esse processo está presente também na literatura, que é capaz de refletir e perpetuar essas distorções ou desconstruí-las, contribuindo para novas visões dessa complexa experiência. Neste trabalho, analiso a representação da maternidade em romances de autoria feminina, mais precisamente, Maria, or the Wrongs of Woman e Mary, a Fiction, de Mary Wollstonecraft (escritora inglesa do século XVIII), e Fair Exchange, de Michèle Roberts (escritora inglesa contemporânea), auxiliada por exemplos em diversos textos teóricos de como o papel da mãe foi construído ao longo do tempo e pela contribuição dos estudos feministas para a desconstrução dos mitos patriarcais sobre a maternidade. _________________________________________________________________________________________ ABSTRACT
The experience of motherhood has roused complex feelings since the myths existing in the first societies, wich used to compare women’s reproductive capability to the forces of nature. Throughout the centuries, such comparison was distorted by the patriarchal society in order to satisfy its interests, causing the oppression and the suffering of thousands of women. This process is also present in literature, which is able to reflect and perpetuate these distortions or deconstruct them, contributing to new views on this complex experience. In this work I analyze the representation of motherhood in novels written by women, more precisely, Maria, or the Wrongs of Woman and Mary, a Fiction, by Mary Wollstonecraft (eighteenth-century English writer) and Fair Exchange, by Michèle Roberts (comtemporary English writer), assisted by examples in different texts of how the mother’s role has been constructed throughout time and by the contributions of the feminist studies for the deconstruction of patriarchal myths about motherhood.
Andrade, Arancibia Génesis. « Gazing at the creature, gazing at the monster : an insight into monstrosity in Mary Shelley's Frankenstein ; or, the modern prometheus ». Tesis, Universidad de Chile, 2015. http://repositorio.uchile.cl/handle/2250/137755.
Texte intégralisterna, Oyarzun Orlando. « The mythical imagery under the context of english romanticism in Mary Shelley's Frankestein or the Modern Prometheus : about the plasticity and authenticity of myths in the novel ». Tesis, Universidad de Chile, 2016. http://repositorio.uchile.cl/handle/2250/137776.
Texte intégralDonada, Jaqueline Bohn. « "Spontaneous overflow of powerful feelings" : romantic imagery in Mary Shelley's Frankenstein ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/7109.
Texte intégralRomantic 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.
Souchet, Audrey. « La représentation du baiser dans les romans de Mary Shelley : pour une éthique du corps ». Caen, 2013. http://www.theses.fr/2013CAEN1717.
Texte intégralMary Shelley’s work as a novelist is best known for her first novel, Frankenstein; or, the Modern Prometheus (1818). This novel shows strong, graphic scenes which have had a deep impact on modern society’s imagination. One of the most striking scenes in Frankenstein is the moment when Victor gives a kiss to his cousin, who is also his fiancée, while having a nightmare, because this kiss kills Elizabeth and turns her into the corpse of Victor’s dead mother. It seems that the erotic kiss as a literary motif played a decisive role in the making of Mary Shelley as a novelist because it appears in the first drafts of Frankenstein, whose content, as we know, was heavily modified until the novel was published. The project underlying this study consists in displacing this aesthetic hypothesis and applying it to the other six novels which Mary Shelley wrote and which have been almost completely eclipsed by Frankenstein: the kiss as a literary motif will then be considered as a metaphor for the making of the woman writer. If the literary kiss can be considered as a motif belonging to the philosophical categories of aesthetics and eroticism, what can the kiss as it appears in the work of a female writer indicate about this writer’s relation to the conceptual categories of her time? As Mary Shelley’s novels suggest that aesthetics and eroticism as they are conceived by modern society are no longer productive, and as they reinvest the meaning of the literary kiss with an ethic of caring for the body of the other, bringing these novels together will help rediscover a writer’s vision of literature, her vision of Man, and most of all our own vision of what literature is about
Walker, Tara. « "Each half a nothing, so disjoined" : Mary Shelley's vindication of relational identity ». Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21276.
Texte intégralAnne Mellor's discussion of female identity in Shelley's sentimental novels, Mathilda, Lodore and Falkner, (in her book Mary Shelley: Her Life, Her Fiction, Her Monsters) does much to dispel the notion of Shelley's apathy with regard to gender politics. Mellor convincingly argues that these novels celebrate what she terms the "relational" identity of their heroines, and thus "support a feminist position which argues that female culture is morally superior to male culture." She further maintains, however, that these novels simultaneously reveal the damage that such an identity can do to a woman's personal development.
My paper challenges Mellor's assertion that Lodore and Falkner Shelley's last novels, portray relational identity with ambivalence. (Abstract shortened by UMI.)
Angel-Cann, Lauryn. « Stretched Out On Her Grave : The Evolution of a Perversion ». Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2586/.
Texte intégralDunne, Danny T. « The quest for a feminist unconscious : the covenant of maternal empowerment in Shelley, Barnes, and Hurston : theses ». Scholarly Commons, 1993. https://scholarlycommons.pacific.edu/uop_etds/2252.
Texte intégralRae, Angela Lynn. « The haunted bedroom : female sexual identity in Gothic literature, 1790-1820 ». Thesis, Rhodes University, 1999. http://hdl.handle.net/10962/d1002294.
Texte intégralAlegrette, Alessandro Yuri [UNESP]. « Frankenstein : uma releitura do mito de criação ». Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/91524.
Texte intégralCoordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
A dissertação de mestrado, “Frankenstein: uma releitura do mito de criação”, tem como principal objetivo demonstrar como a escritora inglesa Mary Wollstonecraft Shelley, por meio de seu romance Frankenstein, ou o moderno Prometeu (1818), conseguiu criar um novo mito, isto é, o mito de Frankenstein, contribuiu para a renovação do romance gótico e para a criação de uma nova modalidade literária - a ficção científica. No primeiro capítulo foi realizado um estudo sobre as origens, características e principais obras do romance gótico. No segundo capítulo é abordada a relação entre mito e literatura e são analisados quais mitos aparecem no enredo do romance de Mary Shelley, enfatizando-se a importância do relato mítico de Prometeu. No terceiro capítulo é estudada a construção do discurso narrativo mítico de Frankenstein e é demonstrada a intertextualidade dessa obra com outros textos, tais como poemas, romances e estudos filosóficos e científicos. No quarto e último capítulo é demonstrado a releitura do mito de criação feita por Mary Shelley, a conseqüente criação do mito de Frankenstein, e as diversas interpretações e releituras que o romance recebeu, terminando com Blade Runner (O caçador de andróides, 1982), filme do cineasta inglês Ridley Scott que, ao promover a atualização do mito de Frankenstein, deu uma contribuição significativa para sua permanência em nossa cultura
The main aim of this Master’s Thesis, “Frankenstein: a rewriting of the myth of creation, is demonstrate how the English writer Mary Shelley in her novel Frankenstein, or The Modern Prometheus (1818), created a new kind of myth, renewed the gothic novel and gave origin to a new literary genre - science fiction. The first chapter discusses – the origins, characteristics and main works of the Gothic literature. The second chapter explores the relationships between myth and literature, and analyses which myths are present in the plot of Mary Shelley’s novel, stressing the importance of the Promethean’s story. The third chapter is concerned with the construction of mythic narrative discourse and with the novel’s intertextuality with different kind texts, such as poems, another novels and philosophical and scientific studies. The fourth and last chapter concentrates on Mary Shelley’s rewriting of the myth of creation, on the different ways her novel was interpreted and read, and it finishes with study of the film by the English director Ridley Scott, Blade Runner (1982), that offered a major contribution to update and foster the permanence of the Frankenstein’s myth in our culture
Pereira, Ismael Bernardo. « Connections between the gothic and science fiction in Frankenstein, Strange case of Dr. Jekyll and Mr. Hyde and the island of Dr. Moreau ». reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2018. http://hdl.handle.net/10183/179441.
Texte intégralThis 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.
Laarman, Mathieu. « Fictions du naufrage, Naufragés de la fiction : poétiques du roman de l’échec : (Mary Shelley, Giovanni Verga, Thomas Hardy, Alain-Fournier, Louis Guilloux, Vitaliano Brancati) ». Thesis, Paris 10, 2010. http://www.theses.fr/2010PA100155/document.
Texte intégralThis study focuses upon a comparison of six works in French, English and Italian from the 19th and 20th centuries, in order to reflect upon the staging of failure in the novel form. Firstly, the study demonstrates how representations of failure are shaped both by the individual development of their authors, and by the social and political tensions of the period through which they lived (England after the French Revolution, and later at the height of the industrial revolution in the Victorian age; Sicily after the Risorgimento, and under Mussolini’s regime; France during the belle époque or the interwar years.)The second part of this thesis aims to highlight three principal aspects of the poetics of the ‘novel of failure’. This section focuses initially on the distribution of time – a temporality which oscillates between the linear and the cyclical, invoking the image of tidal ebbs and flows. Subsequently, the section emphasises the preponderance of weak-willed characters, who aim to decode their relationships to the world through the prism of their naïve and bookish illusions, in the manner of a Dostoyevskian or Flaubertian protagonist. Finally, this section seeks to illuminate the peculiar process that leads characters and objects of fiction to exchange their attributes and functions: while the former find themselves reduced to the level of useless or abandoned objects, the latter achieve an almost autonomous existence.The thesis concludes by engaging with the question of the subversive charge of the ‘novel of failure’. The novel form reveals itself to be endowed with an exceptional capacity for resistance to ideological discourses and mechanisms of socio-cultural control, whose detrimental aspirations it insidiously frustrates
Previde, Mauri Cruz [UNESP]. « À sua imagem e semelhança : um estudo de criadores e criaturas em A Eva futura de Villiers de l'Isle Adam e em Frankenstein de Mary Shelley no contexto do romance europeu do século XIX ». Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/154657.
Texte intégralEsta 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
Ounoughi, Samia. « Le lecteur dans l'oeuvre : enjeux linguistiques et discursifs de la refondation du sujet dans quelques oeuvres de la littérature britannique du dix-neuvième siècle ». Aix-Marseille 1, 2009. http://www.theses.fr/2009AIX10109.
Texte intégralPoston, Craig A. (Craig Alan). « The Problematic British Romantic Hero(ine) : the Giaour, Mathilda, and Evelina ». Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278684/.
Texte intégralRomero, Holly-Mary. « The doppelganger in select nineteenth-century British fiction : Frankenstein, Strange case of Dr Jekyll and Mr Hyde, and Dracula ». Thesis, Université Laval, 2013. http://www.theses.ulaval.ca/2013/29381/29381.pdf.
Texte intégralThis thesis investigates the representations of the doppelganger figure in three nineteenth-century British Gothic novels: Mary Shelley’s Frankenstein, Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde, and Bram Stoker’s Dracula. Using Charles Darwin’s The Origin of Species and The Descent of Man, and Sigmund Freud’s The Uncanny, I argue that the doppelganger symbolizes social conventions and anxieties of British men in the 1800s. By examining the physical and metaphorical representations of duality and the doppelganger figure in literature, I demonstrate that duplicity was commonplace in nineteenth-century London. I conclude that the doppelgangers are physical Gothic manifestations of terror that epitomize nineteenth-century struggles with propriety, repression of desires, and fears of atavism, descent, and the unknown.
Maduro, Daniela Côrtes. « Uma criatura feita de bits : ilusão e materialidade na hiperficção Patchwork Girl de Shelley Jackson ». Master's thesis, 2009. http://hdl.handle.net/10316/13363.
Texte intégralGastaldi, Sandra M. M. « Brave new creatures : a comparative study of Mary Shelley's Frankenstein and the creatures of the new millenium ». Master's thesis, 2015. http://hdl.handle.net/11086/4175.
Texte intégralDelaney, EA. « Of marriageable age : rethinking approaches to father-daughter incest narratives in the long eighteenth century ». Thesis, 2005. https://eprints.utas.edu.au/19845/1/whole_DelaneyElizabethAnn2007_thesis.pdf.
Texte intégralBell, Vivienne Ann. « William Godwin and Frankenstein : the secularization of Calvinism in Godwin's philosophy and the sub-Godwinian Gothic novel ; with some remarks on the relationship of the Gothic to Romanticism ». Thesis, 1993. http://hdl.handle.net/2440/110456.
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