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Winner of the Prize for Independent Scholars from the Modern Language AssociationNotable Book of the Year from The New York Times Daughter of pioneer feminist Mary Wollstonecraft and radical philosopher William Godwin, lover and wife of Percy Bysshe Shelley, author of Frankenstein and creator of the science fiction genre, Mary Shelley has remained a figure both undervalued and enigmatic. In this authoritative, ground-breaking biography, she is finally restored to her rightful stature as one of the major figures in English literary history. Here for the first time is a full account of Mary Shelley's career, significant areas of which have never before been examined: her precocious childhood, her adolescent liaison with the radical poet Shelley, her creation of Frankenstein at the age of nineteen, her tempestuous but brilliant married years with Shelley, and, of particular note, the dramatic second half of her life, after Shelley's death. Emily Sunstein has also discovered previously unknown works written by Mary Shelley and traces the development of her unjustly clouded posthumous reputation.
"Iconoclastic Departures contributes to the ongoing reevaluation of Mary Shelley as a professional author in her own right with a lifelong commitment to the development of her craft. Many of its essays acknowledge the importance of her family to her work - the steady theme of much earlier scholarship - but for them the family has become an imperative socio-psychological context within which to better understand her innovations in the many literary forms she worked with during her career: journals, letters, travelogues, biographies, poems, dramas, tales, and novels." "The book's essays also convey the conviction that even if Mary Shelley, after Percy Shelley's death, gradually retired from public life as his relatives wished, she retained a resiliently resistant attitude toward many of the established orders of her day, easily recovered by a careful look beyond her "feelings" to the productions of her literary "imagination."" "The Mary Shelley who inhabits this three-part collection of portraits is a radical, even if a quiet radical. Part 1 focuses on various moments in her construction of her authorial identity; parts 2 and 3 anatomize the nature of her resistance and her innovation. She is presented as a writer who reappropriates authority for herself, who redesigns genres, who redefines gender, who rewrites history and biography, who revises her readers' aesthetic expectations, and who protests cultural imperialism at home and abroad. It seems significant to the contributors to this volume that this new, radical Mary Shelley was not invented by a pointed call for papers but emerged spontaneously from an open invitation to scholars working in various corners of the English-speaking world."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
These eight volumes contain the works of Mary Shelley and include introductions and prefatory notes to each volume. Included in this edition are "Frankenstein" (1818), "Matilda" ((1819), "Valperga" (1823), "The Last Man" (1826), "Perkin Warbeck" (1830) and "Lodore" (1835).
William Godwin has long been known for his literary connections as the husband of Mary Wollstonecraft, the father of Mary Shelley, the friend of Coleridge, Lamb, and Hazlitt, the mentor of the young Wordsworth, Southey, and Shelley, and the opponent of Malthus. Godwin has been recently recognized, however, as the most capable exponent of philosophical anarchism, an original moral thinker, a pioneer in socialist economics and progressive education, and a novelist of great skill. His long life straddled two centuries. Not only did he live at the center of radical and intellectual London during the French Revolution, he also commented on some of the most significant changes in British history. Shaped by the Enlightenment, he became a key figure in English Romanticism. Basing his work on extensive published and unpublished materials, Peter Marshall has written a comprehensive study of this flamboyant and fascinating figure. Marshall places Godwin firmly in his social, political, and historical context; he traces chronologically the origin and development of Godwin’s ideas and themes; and he offers a critical estimate of his works, recognizing the equal value of his philosophy and literature and their mutual illumination. The picture of Godwin that emerges is one of a complex man and a subtle and revolutionary thinker, one whose influence was far greater than is usually assumed. In the final analysis, Godwin stands forth not only as a rare example of a man who excelled in both philosophy and literature but as one of the great humanists in the Western tradition.