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Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
Glenn Jellenik

Creature. Shelley, upon seeing Presumption , noted the productive attention to the Creature’s body: ‘[The Creature] presents his unearthly and monstrous person on the stage … I was much amused, and it appeared to excite a breathless eagerness in the audience’ ( The Life and Letters 95). And, as with any change, the adaptation’s increased focus on the body refocuses its textual/cultural engagements. For its part, the novel offers a creation scene without a manic moment of triumph. ‘[M]y candle was nearly burnt out, when, by the glimmer of the

in Adapting Frankenstein
The Gothic, death, and modernity
Carol Margaret Davison

desires. In this objective, this pioneering scholarly volume aims to be suggestive rather than comprehensive or exhaustive, hoping to lay some necessary and valuable groundwork for future scholarship. While death is always, as Webster Goodwin and Bronfen rightly underscore, misrepresented, as it is ultimately unknowable ( 1993 : 19), cultural engagements with this complex and multifaceted subject that possesses aspects

in The Gothic and death
Andrew Smith

between these states raises questions about the scientific taxonomies of the time, an analysis of which enables a reconsideration of the cultural engagements of the Gothic and how it relates to the wider fin de siècle world. Theories of evolution are key here, but in a precise way. Darwin may seem to be the obvious figure but Virginia Richter has noted how Aristotle’s notion of a great chain of being influenced theories of species development from the eighteenth century. A central concern in such theories

in Interventions