This paper expounds on masculine tropes in Mary Shelley's Frankenstein in an attempt to identify a root cause for the various oppressions at work in the novel--the oppression of women, indigenous people, and animals. In analyzing these oppressions, readers can see that they begin and are perpetuated by the novel's masculine figures, namely Victor Frankenstein. I also argue that Mary Shelley was aware of the intersectional politics she wrote into her novel, as much of her political life has been erased by the dominant, mascuine literary tradition. Thus, this analysis of Romantic masculinity is not limited to its fictional representation, but also extends to its historical real-life counterparts.
The Legacies of Romanticism in the Tides of Modernity
American Comparative Literature Association Conference
Utrecht, Netherlands, July 6-9, 2017.
The Wenshan Review of Literature and Culture
ISSN 2077-1282 (Print); 2077-1290 (Online)
Vol. 11. No. 2 (June 2018)
CALL FOR PAPERS
Due on 30 June 2017
Transatlantic Literary and Cultural Relations, 1776 to the Present
Guest Editors: Dr Li-hsin Hsu (National Chengchi University, Taiwan) and Dr Andrew Taylor (University of Edinburgh, UK)
Deidre Shauna Lynch (Harvard) and Seamus Perry (Oxford)
CFP for panel at 2017 ASECS National Conference, March 30-April 2, Minneapolis
Amidst growing population and urban redevelopment, eighteenth-century cartographers turned to maps to structure the changing size and shape of cities. For example, topographical maps provided readers with details that visually enclosed and contained the increasing sprawl of a rebuilding London. Textual surveys, by such cartographers as William Stow, used narrative prose to expand the topographical view in order to show “where every Street, Lane, Court, Alley…or any other Place…is situated.” These maps and surveys flooded the market in the 1740s, the decade which also witnessed the intensifying growth of the novel.
In the eighteenth and early nineteenth centuries “science” meant certain and systematic knowledge, so that what we now think of as humanities (for example, aesthetics or philosophy) could be sciences, while sciences such as chemistry (according to Kant) might still be arts.
JANE AUSTEN & MEMORY
The Motto (from Mansfield Park):
Fanny: “If any one faculty of our nature may be called more wonderful than the rest, I do think it is memory. There seems something more speakingly incomprehensible in the powers, the failures, the inequalities of memory, than in any other of our intelligences. The memory is sometimes so retentive, so serviceable, so obedient – at others, so bewildered and so weak – and at others again, so tyrannic, so beyond controul! – We are to be sure a miracle every way – but our powers of recollecting and of forgetting, do seem peculiarly past finding out.”
his panel addresses the American romance in light of recent developments in early American studies. While many Britishists accepted the ascendancy of the anglophone novel, others challenged this teleology, and the transatlantic turn has invited us to consider whether the romance genre survived the New World. The existence of a colonial romance would challenge the “birth” of the American genre in the wake of Scott’s Ivanhoe (1819), and revising that literary history could in turn broaden American romance beyond a hoary pro-slavery ideology. Post-WWII critics arguing for an American romance tradition often cite Hawthorne’s own christening of his novels as “romances” as a key piece of evidence.