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Essay from the year 2016 in the subject English Language and Literature Studies - Literature, grade: 2,3, , course: Literature and Science, language: English, abstract: This essay deals with Mary Shelley’s "Frankenstein", written in 1818. In this time a highly controversial discussion started about living entities containing a kind of vital spirit or not and how it is related to electricity and chemistry. The two main positions are on the one hand the vitalists and on the other the materialists. Vitalism consists of the supposition that every living source owns a vital force which brings life into them. It is supposed that a soul was infused into the body by a power like God via electricity and the fact that they contain this sort of energy makes them different from non- living entities.
Frankenstein's Science contextualizes this widely taught novel in contemporary scientific and literary debates, providing new historical scholarship into areas of science and pseudo-science that generated fierce controversy in Mary Shelley's time: anatomy
Aesthetic Materialism: Electricity and American Romanticism focuses on American romantic writers' attempts to theorize aesthetic experience through the language of electricity. In response to scientific and technological developments, most notably the telegraph, eighteenth- and nineteenth-century electrical imagery reflected the mysterious workings of the physical mind as well as the uncertain, sometimes shocking connections between individuals. Writers such as Whitman, Melville, and Douglass drew on images of electricity and telegraphy to describe literature both as the product of specific economic and social conditions and as a means of transcending the individual determined by such conditions. Aesthetic Materialism moves between historical and cultural analysis and close textual reading, challenging readers to see American literature as at once formal and historical and as a product of both aesthetic and material experience.
This collection of essays expands critical consideration of Mary Shelley’s placement within the age we call “Romantic,” wherein her texts converse with those of her family, her circle, and her contemporaries. Several essays address particularly how her texts interact with those of her husband Percy Bysshe Shelley, revealing new depth and breadth to their literary partnership. Others investigate interdisciplinary perspectives, such as her pieces in The Liberal or the ways in which the figure of Scheherezade haunts her works, while several essays also consider Mary Shelley’s textual relationships with contemporaries such as Thomas Moore and John Polidori. Still others tackle topics such as geopolitical relationships and the growth of opera as an art form, considering Mary Shelley’s commentary upon such contemporary issues, while William Godwin’s textual relationship with his daughter is further investigated. This collection suggests Mary Shelley’s texts merit further investigation not only for what they reveal about their author and her oeuvre, but for the ways in which they illuminate our understanding of the contexts in which they were composed.
"In this new edition of Mary Shelley's Frankenstein, David Wootton's Introduction gives the reader both a clear and gripping account of the biographical circumstances that led to the novel’s writing and the most striking and original interpretations of its central themes and of the intellectual and cultural influences on them. Offering a new account of the complex history of its composition, and drawing upon his deep knowledge of eighteenth- and nineteenth-century scientific debates, Wootton reveals the ways in which the origins of Shelley’s novel are inextricably linked to conceptions of the origins of life itself. We have here a transformative reading of one of the world’s best-known stories." —Laura Marcus, Goldsmiths’ Professor of English Literature and Fellow of New College, University of Oxford
Pt. 1. Literatures and sciences -- pt. 2. Disciplinary and theoretical approaches -- pt. 3. Periods and cultures.
This edited collection explores the afterlife of Mary Shelley's Frankenstein in theatre and film, radio, literature and graphics novels, making a substantial contribution to the field of adaptation studies.
This collection provides new readings of Frankenstein from a myriad of established and burgeoning theoretical vantages including narrative theory, cognitive and affect theory, the new materialism, media theory, critical race theory, queer and gender studies, deconstruction, psychoanalysis, and others. Demonstrating how the literary power of Frankenstein rests on its ability to theorize questions of mind, self, language, matter, and the socio-historic that also drive these critical approaches, this volume illustrates the ongoing intellectual richness found both in Mary Shelley's work and contemporary ways of thinking about it.
In Thinking without Thinking in the Victorian Novel, Vanessa L. Ryan demonstrates how both the form and the experience of reading novels played an important role in ongoing debates about the nature of consciousness during the Victorian era. Revolutionary developments in science during the mid- and late nineteenth century—including the discoveries and writings of Herbert Spencer, William Carpenter, and George Henry Lewes—had a vital impact on fiction writers of the time. Wilkie Collins, George Eliot, George Meredith, and Henry James read contributions in what we now call cognitive science that asked, "what is the mind?" These Victorian fiction writers took a crucial step, asking how we experience our minds, how that experience relates to our behavior and questions of responsibility, how we can gain control over our mental reflexes, and finally how fiction plays a special role in understanding and training our minds. Victorian fiction writers focus not only on the question of how the mind works but also on how it seems to work and how we ought to make it work. Ryan shows how the novelistic emphasis on dynamic processes and functions—on the activity of the mind, rather than its structure or essence—can also be seen in some of the most exciting and comprehensive scientific revisions of the understanding of "thinking" in the Victorian period. This book studies the way in which the mind in the nineteenth-century view is embedded not just in the body but also in behavior, in social structures, and finally in fiction.
This book offers an important account of the relationship between science and culture in the eighteenth century. It examines the 'vitalist' turn in physiology and natural philosophy, and its presence and effect in the burgeoning of philosophical and scientific inquiry of the Scottish Enlightenment, and the radical politics and culture of the 1790s.