Adaptive symbiosis and Peake’s Presumption, or the fate of Frankenstein
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/culturalengagements.
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
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), culturalengagements with this complex and
multifaceted subject that possesses aspects
between these states raises
questions about the scientific taxonomies of the time, an analysis of which enables a
reconsideration of the culturalengagements of the Gothic and how it relates to the wider
fin de siècle world.
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