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The best-selling student edition on the market, now available in a Second Edition. Almost two centuries after its publication, Frankenstein remains an indisputably classic text and Mary Shelley’s finest work. This extensively revised Norton Critical Edition includes new texts and illustrative materials that convey the enduring global conversation about Frankenstein and its author. The text is that of the 1818 first edition, published in three volumes by Lackington, Hughes, Harding, Mavor, and Jones. It is accompanied by an expansive new preface, explanatory annotations, a map of Geneva and its environs, and seven illustrations, five of them new to the Second Edition. Context is provided in three supporting sections: “Circumstance, Influence, Composition, Revision,” “Reception, Impact, Adaptation,” and “Sources, Influences, Analogues.” Among the Second Edition’s new inclusions are historical-cultural studies by Susan Tyler Hitchcock, William St. Clair, and Elizabeth Young; Chris Baldrick on the novel’s reception; and David Pirie on the novel’s many film adaptations. Related excerpts from the Bible and from John Milton’s Paradise Lost are now included, as is Charles Lamb’s poem “The Old Familiar Faces.” “Criticism” collects sixteen major interpretations of Frankenstein, nine of them new to the Second Edition. The new contributors are Peter Brooks, Bette London, Garrett Stewart, James. A. W. Heffernan, Patrick Brantlinger, Jonathan Bate, Anne Mellor, Jane Goodall, and Christa Knellwolf. A Chronology and Selected Bibliography are also included.
"The Brontës' gifted biographer provides us with another superlative Norton Critical Edition of Charlotte Brontë's classic novel. For the classroom and for the general reader, there's no better way to experience the context in which Jane Eyre was written, illuminating modern commentary, and the novel itself in an authoritative text."—Fred Kaplan, Queens College and The Graduate Center, City University of New York This Norton Critical Edition includes: -The third-edition text (1848), the last corrected by Charlotte Brontë, accompanied by revised and expanded explanatory footnotes. -"Contexts," highlighting Jane Eyre as a bildungsroman through diary entries and letters by the author about her experiences as a student, teacher, and governess as well as her feelings about friendship, love, and writing. -Five major critical interpretations by Virginia Woolf, Sandra M. Gilbert and Susan Gubar, Susan Meyer, Carla Kaplan, and Kelly A. Marsh. -A Chronology and a Selected Bibliography
"Because I'm teaching an intro-level course in comparative literature, this edition was extremely helpful in showing the variety of critical approaches that they can take toward a single text. The article on radical science also helped me compare Frankenstein to Alasdair Gray's Poor Things. I highly recommend this edition of Frankenstein and will use it in the future." -Joshua Beall, Rutgers University
The world’s population is now 7.4 billion people, placing ever greater demands on our natural resources. As we stand witness to a possible reversal of modernity’s positive trends, Malthus’s pessimism is worth full reconsideration. This Norton Critical Edition includes: · An introduction and explanatory annotations by Joyce E. Chaplin. · Malthus’s Essay in its first published version (1798) along with selections from the expanded version (1803), which he considered definitive, as well as his Appendix (1806). · An unusually rich selection of supporting materials thematically arranged to promote classroom discussion. Topics include “Influences on Malthus,” “Economics, Population, and Ethics after Malthus,” “Malthus and Global Challenges,” and “Malthusianism in Fiction.” · A Chronology and a Selected Bibliography.
The Norton Critical Edition of Pride and Prejudice has been revised to reflect the most current scholarly approaches to Austen’s most widely read novel. The text is that of the 1813 first edition, accompanied by revised and expanded explanatory annotations. This Norton Critical Edition also includes: · Biographical portraits of Austen by members of her family and, new to the Fourth Edition, those by Jon Spence (Becoming Jane Austen) and Paula Byrne (The Real Jane Austen: A Life in Small Things). · Fourteen critical essays, eleven of them new to the Fourth Edition, reflecting the finest current scholarship. Contributors include Janet Todd, Andrew Elfenbein, Felicia Bonaparte, and Tiffany Potter, among others. · “Writers on Austen”—a new section of brief comments by Mark Twain, Virginia Woolf, Henry James, and others. · A Chronology and revised and expanded Selected Bibliography.
A collection of short stories from around the world including such authors as Valentin Rasputin, Yasunari Kawabata, and Toni Cade Bambara.
This handbook provides a comprehensive overview of research on the Gothic Revival. The Gothic Revival was based on emotion rather than reason and when Horace Walpole created Strawberry Hill House, a gleaming white castle on the banks of the Thames, he had to create new words to describe the experience of gothic lifestyle. Nevertheless, Walpole’s house produced nightmares and his book The Castle of Otranto was the first truly gothic novel, with supernatural, sensational and Shakespearean elements challenging the emergent fiction of social relationships. The novel’s themes of violence, tragedy, death, imprisonment, castle battlements, dungeons, fair maidens, secrets, ghosts and prophecies led to a new genre encompassing prose, theatre, poetry and painting, whilst opening up a whole world of imagination for entrepreneurial female writers such as Mary Shelley, Joanna Baillie and Ann Radcliffe, whose immensely popular books led to the intense inner landscapes of the Bronte sisters. Matthew Lewis’s The Monk created a new gothic: atheistic, decadent, perverse, necrophilic and hellish. The social upheaval of the French Revolution and the emergence of the Romantic movement with its more intense (and often) atheistic self-absorption led the gothic into darker corners of human experience with a greater emphasis on the inner life, hallucination, delusion, drug addiction, mental instability, perversion and death and the emerging science of psychology. The intensity of the German experience led to an emphasis on doubles and schizophrenic behaviour, ghosts, spirits, mesmerism, the occult and hell. This volume charts the origins of this major shift in social perceptions and completes a trilogy of Palgrave Handbooks on the Gothic—combined they provide an exhaustive survey of current research in Gothic studies, a go-to for students and researchers alike.
Mary Shelley's deceptively simple story of Victor Frankenstein and the creature he brings to life, first published in 1818, is now more widely read—and more widely discussed by scholars—than any other work of the Romantic period. From the creature's creation to his wild lament over the dead body of his creator in the Arctic wastes, the story retains its narrative hold on the reader even as it spins off ideas in rich profusion. Macdonald and Scherf's edition of Frankenstein has been widely acclaimed as an outstanding edition of the novel—for the general reader and the student as much as for the scholar. The editors use as their copy-text the original 1818 version, and detail in an appendix all of Shelley's later revisions. They also include a range of contemporary documents that shed light on the historical context from which this unique masterpiece emerged. Macdonald and Scherf have now revised and updated their introduction, notes and bibliography, and have added new documents (including a review of Frankenstein by Percy Shelley).
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Critical Theory Today is the essential introduction to contemporary criticial theory. It provides clear, simple explanations and concrete examples of complex concepts, making a wide variety of commonly used critical theories accessible to novices without sacrificing any theoretical rigor or thoroughness. This new edition provides in-depth coverage of the most common approaches to literary analysis today: feminism, psychoanalysis, Marxism, reader-response theory, new criticism, structuralism and semiotics, deconstruction, new historicism, cultural criticism, lesbian/gay/queer theory, African American criticism, and postcolonial criticism. The chapters provide an extended explanation of each theory, using examples from everyday life, popular culture, and literary texts; a list of specific questions critics who use that theory ask about literary texts; an interpretation of F. Scott Fitzgerald's The Great Gatsby through the lens of each theory; a list of questions for further practice to guide readers in applying each theory to different literary works; and a bibliography of primary and secondary works for further reading.