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Mary Shelley’s Mathilda, the story of one woman’s existential struggle after learning of her father’s desire for her, has been identified as Shelley’s most important work after Frankenstein. The two texts share many characteristics, besides authorship and contemporaneity: both concern parental abandonment; both contribute to the Gothic form through themes of incest, insanity, suicidality, monstrosity, and isolation; and both are epistolary. However, Mathilda was not published until 1959, 140 years after Shelley wrote it—in part because Shelley’s father, William Godwin, suppressed it. This new edition encourages a critical reconsideration of a novella that has been critically stereotyped as biographical and explores its importance to the Romantic debate about suicide. Historical appendices trace the connections between Mathilda and other works by Shelley and by her mother, Mary Wollstonecraft, while also providing biographical documents, contemporary works on the theme of incest, and documents on suicide in the Romantic era. For Michelle Faubert’s transcription of Mathilda for the Shelley-Godwin Archive, click here.
Catherine M. (Hauk )Feldman was born February 17, 1916. She spent her early childhood in the sod house that her parents, Mike and Kate Hauk, built on the eastern Montana prairie. The house boasted of a shingled roof, glass window panes, and hardwood floors in the main room; initially, the bedroom had a dirt floor. Catherine worked outdoors beside her father until she left for college at age seventeen, giving her a feeling of equality between the sexes. She and her husband, William Feldman, have enjoyed six children and eight grandchildren. The Spring Tender is her forthcoming novel. Mathilda is available online at www.Amazon.com and at your favorite bookstore by special order. Front cover handcolored photograph by Tami Phelps, Prairie Home, can be ordered from: Creations By Tami, P.O. Box 242274, Anchorage, AK 99524-2274; or requested at [email protected].
David, Earl of Huntingdon, sighed quietly as he watched his teenage son slip out of the woods that surrounded Huntingdon castle. That particular sport, where Robert had emerged, was special. That had been where Mathilda had taken her son for long forest walks, where she’d told him stories, and played games. Sadly, when Robert was eight years old, the stories had ended. David realised, as each day passed, why his offspring behaved in the way he did. After all, Robert of Huntingdon was Mathilda’s son. He was her legacy. The moment couldn’t be put off any longer. It was time to tell his son the story of how the Earl had met Robert’s mother… This story is set pre-Series One, before ‘Robin Hood and the Sorcerer’.
Mathilda investigates her older sister's shattering death and learns perplexing truths when she accesses her sister's computer journals and reads about a secret underworld life.
On Hallowe’en night, Mathilda Honeycutt finds out she’s a SuperWitch. Not the modern, hippy kind… the real, wand-wielding, pixie dust kind. After a life devoted to retail and coffee drinks, Mathilda is thrown into the secret world of witches, warlocks, werewolves, vampires, faeries, headless horsemen, you name it, it exists… even whirling dervishes! As Mathilda discovers her magic, she also discovers she’s prophesied to save the world. Problem is, she’d rather spend her time on online auctions, bidding on cut-rate but fabulous designer shoes. Now, she’s got to save the world, run her coffee house, battle against her friend and co-worker in “The War of the Wooden Spoons” and figure out what’s going on with the silent, watchful (but yummy) Sebastian Wilding, a member of a centuries old Secret Society who has vowed to keep her safe and brainy, sweet (and hot) Dr. Aidan Seymour, a maverick member of The Royal Institute of Psychical Research. Making matters worse, her nemesis is a powerful witch who doesn’t mind fighting dirty. Will Mathilda be able to save the world while still being perfectly accessorized? And how is she going to pick between Luscious Sebastian and Dreamy Aidan? And will she be able to talk The Witches Council into updating their uniform? And, lastly, will she ever get the hang of riding around on a broom?
As British women writers in the late eighteenth and early nineteenth centuries sought to define how they experienced their era's social and economic upheaval, they helped popularize a new style of bourgeois female sensibility. Building on her earlier work in Romantic Androgyny, Diane Long Hoeveler now examines the Gothic novels of Charlotte Smith, Ann Radcliffe, Jane Austen, Charlotte Dacre Byrne, Mary Shelley, and the Bront&ës to show how these writers helped define femininity for women of the British middle class. Hoeveler argues that a female-created literary ideology, now known as &"victim feminism,&" arose as the Gothic novel helped create a new social role of professional victim for women adjusting to the new bourgeois order. These novels were thinly disguised efforts at propagandizing a new form of conduct for women, teaching that &"professional femininity&"&—a cultivated pose of wise passiveness and controlled emotions&—best prepared them for social survival. She examines how representations of both men and women in these novels moved from the purely psychosexual into social and political representations, and how these writers constructed a series of ideologies that would allow their female characters&—and readers&—fictitious mastery over an oppressive social and political system. Gothic Feminism takes a neo-feminist approach to these women's writings, treating them not as sacred texts but as thesis-driven works that attempted to instruct women in a series of strategic poses. It offers both a new understanding of the genre and a wholly new interpretation of feminism as a literary ideology.
The index to the Biographical Archive of the Middle Ages makes accessible about 130,000 biographical articles from nearly 200 volumes. The entries contain short biographical information on approx. 95,000 persons from Europe and the Middle East who shaped the cultural development and the religious life during one thousand years.
Never before has period drama offered viewers such an assortment of complex male characters, from transported felons and syphilitic detectives to shell shocked soldiers and gangland criminals. Neo-Victorian Gothic fictions like Penny Dreadful represent masculinity at its darkest, Poldark and Outlander have refashioned the romantic hero and anti-heritage series like Peaky Blinders portray masculinity in crisis, at moments when the patriarchy was being bombarded by forces like World War I, the rise of first wave feminism and the breakdown of Empire. Scholars of film, media, literature and history explore the very different types of maleness offered by contemporary television and show how the intersection of class, race, history and masculinity in period dramas has come to hold such broad appeal to twenty-first-century audiences.
Ion channels are membrane proteins that act as gated pathways for the movement of ions across cell membranes. They play essential roles in the physiology of all cells. In recent years, an ever-increasing number of human and animal diseases have been found to result from defects in ion channel function. Most of these diseases arise from mutations in the genes encoding ion channel proteins, and they are now referred to as the channelopathies. Ion Channels and Disease provides an informative and up-to-date account of our present understanding of ion channels and the molecular basis of ion channel diseases. It includes a basic introduction to the relevant aspects of molecular biology and biophysics and a brief description of the principal methods used to study channelopathies. For each channel, the relationship between its molecular structure and its functional properties is discussed and ways in which genetic mutations produce the disease phenotype are considered. This book is intended for research workers and clinicians, as well as graduates and advanced undergraduates. The text is clear and lively and assumes little knowledge, yet it takes the reader to frontiers of what is currently known about this most exciting and medically important area of physiology. Introduces the relevant aspects of molecular biology and biophysics Describes the principal methods used to study channelopathies Considers single classes of ion channels with summaries of the physiological role, subunit composition, molecular structure and chromosomal location, plus the relationship between channel structure and function Looks at those diseases associated with defective channel structures and regulation, including mutations affecting channel function and to what extent this change in channel function can account for the clinical phenotype