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“A gripping Gothic tale of grief and ambition, passion and intrigue.” — Jess Kidd, author of The Night Ship “An immersive blend of historical and science fiction brims with surprises and dark delights. . . . An incisive exploration of women’s rights within the field of science. . . . Readers will revel in Mary’s personal and scientific discoveries and root for her to succeed in an unfair world.” — Publishers Weekly (starred review) As featured in Lit Hub, Lambda Literary Review, Book Riot and CrimeReads It is not the monster you must fear, but the monster it makes of men . . . Mary is the great-niece of Victor Frankenstein. She knows her great uncle disappeared under mysterious circumstances in the Arctic, but she doesn’t know why or how. . . . The 1850s are a time of discovery, and London is ablaze with the latest scientific theories and debates, especially when a spectacular new exhibition of dinosaur sculptures opens at the Crystal Palace. Mary is keen to make her name in this world of science alongside her geologist husband, Henry—but despite her sharp mind and sharper tongue, without wealth and connections their options are limited. When Mary discovers some old family papers that allude to the shocking truth behind her great-uncle’s past, she thinks she may have found the key to securing her and Henry’s professional and financial future. Their quest takes them to the wilds of Scotland; to Henry’s intriguing but reclusive sister, Maisie; and to a deadly chase with a rival who is out to steal their secret. A queer, feminist masterpiece inspired by Mary Shelley’s classic, Our Hideous Progeny is a sumptuous tale of ambition and obsession, of forbidden love and sabotage and a twisty Gothic adventure that may forever change your view of human nature.
This book posits adaptations as 'hideous progeny,' Mary Shelley's term for her novel, Frankenstein . Like Shelley's novel and her fictional Creature, adaptations that may first be seen as monstrous in fact compel us to shift our perspective on known literary or film works and the cultures that gave rise to them.
"A brilliant, original, and powerful book. . . . This is the most skillful integration of feminism and Marxist literary criticism that I know of." So writes critic Stephen Greenblatt about The Proper Lady and the Woman Writer, Mary Poovey's study of the struggle of three prominent writers to accommodate the artist's genius to the late eighteenth- and early nineteenth-century ideal of the modest, self-effacing "proper lady." Interpreting novels, letters, journals, and political tracts in the context of cultural strictures, Poovey makes an important contribution to English social and literary history and to feminist theory. "The proper lady was a handy concept for a developing bourgeois patriarchy, since it deprived women of worldly power, relegating them to a sanctified domestic sphere that, in complex ways, nourished and sustained the harsh 'real' world of men. With care and subtle intelligence, Poovey examines this 'guardian and nemesis of the female self' through the ways it is implicated in the style and strategies of three very different writers."—Rachel M. Brownstein, The Nation "The Proper Lady and the Woman Writer is a model of . . . creative discovery, providing a well-researched, illuminating history of women writers at the turn of the nineteenth century. [Poovey] creates sociologically and psychologically persuasive accounts of the writers: Wollstonecraft, who could never fully transcend the ideology of propriety she attacked; Shelley, who gradually assumed a mask of feminine propriety in her social and literary styles; and Austen, who was neither as critical of propriety as Wollstonecraft nor as accepting as Shelley ultimately became."—Deborah Kaplan, Novel
Twisted bodies, deformed faces, aberrant behavior, and abnormal desires characterized the hideous creatures of classic Hollywood horror, which thrilled audiences with their sheer grotesqueness. Most critics have interpreted these traits as symptoms of sexual repression or as metaphors for other kinds of marginalized identities, yet Angela M. Smith conducts a richer investigation into the period's social and cultural preoccupations. She finds instead a fascination with eugenics and physical and cognitive debility in the narrative and spectacle of classic 1930s horror, heightened by the viewer's desire for visions of vulnerability and transformation. Reading such films as Dracula (1931), Frankenstein (1931), Dr. Jekyll and Mr. Hyde (1931), Freaks (1932), and Mad Love (1935) against early-twentieth-century disability discourse and propaganda on racial and biological purity, Smith showcases classic horror's dependence on the narratives of eugenics and physiognomics. She also notes the genre's conflicted and often contradictory visualizations. Smith ultimately locates an indictment of biological determinism in filmmakers' visceral treatments, which take the impossibility of racial improvement and bodily perfection to sensationalistic heights. Playing up the artifice and conventions of disabled monsters, filmmakers exploited the fears and yearnings of their audience, accentuating both the perversity of the medical and scientific gaze and the debilitating experience of watching horror. Classic horror films therefore encourage empathy with the disabled monster, offering captive viewers an unsettling encounter with their own impairment. Smith's work profoundly advances cinema and disability studies, in addition to general histories concerning the construction of social and political attitudes toward the Other.
This book reads the Gothic corpus with a thoroughly postmodern critical apparatus, pointing out that the Gothic Sublime anticipates our own doomed desire to pass beyond the hyperreal. A highly sophisticated theoretical reading of key texts of the Gothic, this book allows the reader to re-live the Gothic, not simply as a nostalgic relic or a pre-romantic aberration, but as a living presence that has strong resonances with the postmodern condition.
The newest volume in the distinguished annual
This work offers a new perspective on Gothic fiction and reassesses its place in literary history. After defining his concept of "affective form" and summarizing the problematic assumptions behind recent critical approaches to the Gothic, George Haggerty introduces a startling theoretical discussion of the Gothic Tale, and he explains in what ways the tale, as a form with identifiable affective properties, is ideally suited to Gothic concerns. Having established a direct relation between this study and recent discussions of narratology and generic identity, Haggerty develops his argument as it applies to major Gothic works in both England and America, including works by Walpole, Radcliffe, Lewis, Maturin, Shelley, Bronte, Poe, Hawthorne, and James. He examines the Gothic Tale as a form that resolves the inconsistency and incoherence of many Gothic novels and offers even the best of them a center of focus and a way of achieving their fullest affective power. In this study, the Gothic Tale emerges as a means of heightening the emotional intelligibility of Gothic fiction and answering Walpole's confused desire to unite "two kinds of romance" in the Gothic. It is a form that can answer the ontological and epistemological, as well as the structural, challenge of the Gothic writers. From its first hints within the Gothic novel as an alternative literary mode offering the Gothicists various expressive advantages to its eerie success in a work such as James's "The Jolly Corner," the Gothic Tale offers insight into generic distinction and literary expression. This is a major statement about an important literary form.
A monster assembled by a scientist from parts of dead bodies develops a mind of his own as he learns to loathe himself and hate his creator, in an annotated edition that offers insights into Shelley's literary and social worlds.
Bringing together the most popular genres of the 21st century, this book argues that Americans have entered a new era of narrative dominated by the fear—and wish fulfillment—of the breakdown of authority and terror itself. Bringing together disparate and popular genres of the 21st century, American Popular Culture in the Era of Terror: Falling Skies, Dark Knights Rising, and Collapsing Cultures argues that popular culture has been preoccupied by fantasies and narratives dominated by the anxiety —and, strangely, the wish fulfillment—that comes from the breakdowns of morality, family, law and order, and storytelling itself. From aging superheroes to young adult dystopias, heroic killers to lustrous vampires, the figures of our fiction, film, and television again and again reveal and revel in the imagery of terror. Kavadlo's single-author, thesis-driven book makes the case that many of the novels and films about September 11, 2001, have been about much more than terrorism alone, while popular stories that may not seem related to September 11 are deeply connected to it. The book examines New York novels written in response to September 11 along with the anti-heroes of television and the resurgence of zombies and vampires in film and fiction to draw a correlation between Kavadlo's "Era of Terror" and the events of September 11, 2001. Geared toward college students, graduate students, and academics interested in popular culture, the book connects multiple topics to appeal to a wide audience.
Why our failure to consider the power of animals is to our deep detriment Animals are staging a revolution—they’re just not telling us. From radioactive boar invading towns to jellyfish disarming battleships, this book threads together news accounts and more in a powerful and timely work of creative, speculative nonfiction that imagines a revolution stirring and asks how humans can be a part of it. If the coronavirus pandemic has taught us anything, it is that we should pay attention to how we bump up against animal worlds and how animals will push back. Animal Revolution is a passionate, provocative, cogent call for us to do so. Ron Broglio reveals how fur and claw and feather and fin are jamming the gears of our social machine. We can try to frame such disruptions as environmental intervention or through the lens of philosophy or biopolitics, but regardless the animals persist beyond our comprehension in reminding us that we too are part of an animal world. Animals see our technologies and machines as invasive beings and, in a nonlinguistic but nonetheless intensive mode of communicating with us, resist our attempts to control them and diminish their habitats. In doing so, they expose the environmental injustices and vulnerabilities in our systems. A witty, informative, and captivating work—at the juncture of posthumanism, animal studies, phenomenology, and environmental studies—Broglio reminds us of our inadequacy as humans, not our exceptionalism.