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The rise of the psychic detective
Neil Cornwell

, which combines (strikingly enough for its time) a strongly implicit lesbian sexuality with vampirism. Hesselius, as the author of ‘Essays on Metaphysical Medicine’ (ibid., 7), holds ideas deriving from German Romantic philosophy with traces of Swedenborg. He has been duly noticed as a ‘psychic doctor hero’ (Briggs, 1977, 38), or as ‘one of the first in a line of psychic doctors, or occult detectives’ (Cornwell, 1990, 91). While he may indeed, at least potentially, be seen as something of an amalgam of the questing Dr Frankenstein and the

in Odoevsky’s four pathways into modern fiction
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Women and body hair in contemporary art and advertising
Laura Scuriatti

Revolutionary Power of Women’s Laughter (London: Routledge, 1999), p. 60. 22 This is something which Leon Battista Alberti also formulated in terms of a grid-like visual construction. 23 Eakin’s painting interestingly also serves as an illustration for the 1994 £1 Penguin edition of Frankenstein. 24 Isaak, Feminism and Contemporary Art , p. 60. 25 Butler, ‘Subjects of sex/gender/desire’, p. 280. 26 As Hentschel’s study makes clear, this does not

in The last taboo
Alison Morgan

short story entitled The Vampyre was published, which achieved great popular success and is widely credited with beginning the genre. Written by Dr John Polidori, the MORGAN 9781784993122 PRINT.indd 115 23/04/2018 15:53 116 Ballads and songs of Peterloo story was begun at Villa Diodati on Lake Geneva in 1816 where Polidori was attending Lord Byron and his visitors, Percy and Mary Shelley and Mary’s half-sister, Claire Clairmont. Polidori began the story as part of a competition with the Shelleys and Byron, which also famously produced Frankenstein. 58 Paine

in Ballads and songs of Peterloo
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Brooklyn goes to space in Girl in Landscape
James Peacock

novel, there is simply ‘too much stuff’ in them for ‘a kind of persuasive internal architecture’ to emerge (Lethem, in ‘Hypergraphia’: 28). Lethem continues: ‘they’re a journal of impressions with the kind of electricity, in a Frankenstein sense, shot through them of causality or thematic unity that seems to make the pile stand up and wobble around and do a wonderful performance

in Jonathan Lethem
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An East End apocalypse
Brian Baker

of transgressive science with monstrous (i.e., non-biological) reproduction draws upon Frankenstein (1818, revised 1832), and is also a major motif in White Chappell . In Book 3 of Sinclair’s text, the historical figures of the ‘Elephant Man’ John Merrick, and his ‘saviour’ and doctor Frederick Treves, are appropriated. Treves is recast as an occultist, ‘breathing life’ into a Golem named Joseph who rampages around the East End. Merrick, himself a symbol of the human made ‘monstrous’, is identified with the Golem, a diabolic creation of the transgressive doctor

in Iain Sinclair
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His Fake Book (1989)
Helena Grice

Frankenstein. But I guess you’re not trying to attract my type. I can tell when somebody’s had her lids done. After she gets her stitches pulled and the puffiness goes down, she doesn’t have a fold exactly, it’s a scar line across each roundish lid. And her mien has been like lifted. Like she ate something too hot. The jalapeño look. She’ll have to meet new guys who will believe she was born like that. She’ll draw black lines on top of the scars, and date white guys, who don’t care one way or the other single-lid double-lid. ( TM , pp. 312

in Maxine Hong Kingston
Lucy Hutchinson and the classicisation of scripture
Edward Paleit

: Prefiguring Frankenstein, Palgrave Macmillan, Basingstoke, 2011, pp. 29–46. For scripturalist ones, see R. Wilcher, ‘“Adventurous song” or “presumptuous folly”: the problem of “utterance” in John Milton’s Paradise Lost and Lucy Hutchinson’s Order and Disorder’, Seventeenth Century, vol. 21 (2006), pp. 304–14; E. Scott-Baumann, ‘Lucy Hutchinson, the Bible and Order and Disorder’, in E. Scott-Baumann and J. Harris (eds), The Intellectual Culture of Puritan Women, 1558–1680, Palgrave Macmillan, Basingstoke, 2011, pp. 176–89. 18 O&D, pp. 3–4. 19 H. de Quehen (ed.), Lucy

in Early modern women and the poem
Generic experimentation in My Life as a Man, The Counterlife, The Facts, Deception and Operation Shylock
David Brauner

2005: 3). In his previous novel, Glamorama (1997), Ellis had satirised the contemporary obsession with celebrity; in Lunar Park he turns the spotlight on his own éclat, casting himself in the role of a Frankenstein whose monstrous creations become their author’s nemesis. Like the ‘Roth’ of Operation Shylock, the ‘Ellis’ of Lunar Park encounters a fellow writer – in this case, Jay McInerney – who in the unwritten world is a friend and rival of the real Ellis, and who in the novel functions as one of a number of doubles for ‘Ellis’, as Appelfeld does for ‘Roth’.32 Like

in Philip Roth
Catherine Maxwell

his conformities to Dante, the really imaginative vividness, namely, of his personifications – his hold upon them, or rather their hold upon him, with the force of a Frankenstein, when once they have taken life from him’ (Pater 1910, App 213, 208). 10 In his essay ‘Raphael’ (1892), Pater praises the artist’s ‘transmission to others of complex and difficult ideas’, explaining how ‘By him theoretic conceptions are addressed, so to speak, to the intelligence of the eye’, and commenting ‘Plato, as you know supposed a kind of visible loveliness about ideas’ (Pater

in Second sight
Robert Duggan

reading that is sometimes employed when dealing with novels that are deemed grotesque or fantastic. This economy of reading views the reader as someone who places an investment in the text from which they must recoup a suitable return, as Scott’s view of Mary Shelley’s Frankenstein attests: In such cases the admission of the marvellous expressly resembles a sort of extra-money paid at the door of a lecture-room, – it is a concession which must be made to the author, and for which the reader is to receive value in modern instruction. But the fantastic of which we are now

in The grotesque in contemporary British fiction