philosophical focus on Kantian notions of subject formation.
Thus she reads Mary Shelley’s Frankenstein as an example of oppositional
critique. This is articulated in the way it criticises Victor Frankenstein for
his substitution of theoretical for practical reason, and his attempt to
invent ‘a putative human subject out of natural philosophy alone’ (p. 275).
Jane Austen’s Mansfield Park, like Charlotte Brontë’s Jane Eyre, charts
the movement of a woman from social margins to centre. The centre in
this case is the country estate of Mansfield Park, which owes its maintenance
trend that can be traced historically to the ‘creature’ created by a scientist ‘Frankenstein’ in the gothic novel by the author Mary Shelley (Shelley, [ 1831 ] 1993 ). A precursor to a body that is created entirely by assembling different organs, the monster created by Mary Shelley’s ‘Frankenstein’ was a montage of materials from other human corporeal beings, but referred to as male nonetheless. In the introduction to the 1993 reprint, Jansson suggests:
For Mary Shelley, however, two of the most important aspects of science centre upon the essential ‘masculinity