Percy and Mary Shelley, 1997
Compiled by Jonathan Gross, DePaul University
WORKS: COLLECTED, SELECTED, SINGLE , TRANSLATED
Adamson, Carlene A., ed. The Witch of Atlas Notebook: A Facsimile of Bodleian Ms. Shelley Adds. E.6. Vol. 5 of The Bodleian Shelley Manuscripts. New York: Garland, 1997.
"Including Early Drafts of The Witch of Atlas, 'Ode to Liberty'...Together with Other Poems, Prose, and Notes."
Barratt, Carol. Six "Songs" for Singing: Baritone and Piano. London: Boosey & Hawkes, 1997.
"Song: A Widow Bird Sate Mourning," words by Percy Shelley.
Crook, Nora, and Timothy Webb, eds. The Faust Draft Notebook: A Facsimile of Bodleian Ms. Shelley Adds. E.18: Including Drafts of Scenes from the Faust of Goethe, Ginevra, Scenes from the Magico Prodigioso of Calderón, Fragments of an Unfinished Drama, Lines--When the Lamp Is Shattered, From the Arabic, A Lament (O World! O Life! O Time), With a Guitar, To Jane, and Miscellaneous Fragments of Verse and Prose. Vol. 19 of The Bodleian Shelley Manuscripts. New York: Garland, 1997.
Grant, John, ed. Frankenstein. London: Usborne Publishing, Ltd., 1997.
Young adult fiction.
Reiman, Donald H., and Michael O'Neill, eds. Fair-Copy Manuscripts of Shelley's Poems in European and American Libraries: Including Percy Bysshe Shelley's Holographs and Copies in the Hand of Mary W. Shelley, located in the United States, England, Scotland, Ireland, and Switzerland, as well as the Holograph Draft of Keats's Robin Hood. Vol. 7 of The Manuscripts of the Younger Romantics. New York: Garland, 1997.
Shelley, Mary Wollstonecraft. Frankenstein. Classics Illustrated Study Guides Series. New York: Acclaim Books, 1997.
Shelley, Mary Wollstonecraft. Frankenstein. Ed. Robert Blaisdell. Mineola, NY: Dover Publications, 1997.
Shelley, Mary Wollstonecraft. Frankenstein. Ed. Steve Parker. Bonneuil-les-Eaux, France: Gamma, 1997.
Shelley, Mary Wollstonecraft. Frankenstein. Read by James Black. Audiocassette. Modern Library Audio, 1997.
Shelley, Mary Wollstonecraft. Frankenstein, ou Le Promethee Moderne. Ed. Jacques Bergier and Joe Curvorst. Paris: Librairie Générale Francaise, 1997.
Shelley, Mary Wollstonecraft. Lodore. Ed. Lisa Vargo. Peterborough, Ont.: Broadview P, 1997.
Shelley, Mary Wollstonecraft. Mary Shelley's "The Last Man," A Hypertext Edition of the Novel, ed. Steven E. Jones. <http://www.rc.umd.edu/editions/mws/lastman/>.
Shelley, Mary Wollstonecraft. Mary Shelley's "The Mortal Immortal," A Hypertext Edition of the Story. Ed. Michael Laplace-Sinatra. http://www.english.udel.edu/swilson/mws/links.html>.
Shelley, Mary Wollstonecraft. Valperga, or, The Life and Adventures of Castruccio, Prince of Luca. Ed. Stuart Curran. New York: Oxford UP, 1997.
Shelley, Mary Wollstonecraft. Valperga, ou, La Vie et les aventures de Castruccio Castracani Prince de Lucques. Ed. Nicole Berry. Lausanne: L'Age d'Homme, 1997.
Shelley, Percy Bysshe. Prometeo Slegato. Torino: G. Einaudi, 1997.
Includes C. Pavese's translations as facing text to the original.
Weinberg, Alan Mendel, and Donald H. Reiman, eds. A Facsimile & Full Transcript of Bodleian Mss. Shelley Adds. D.6: Including Fair Copies for A Philosophical View of Reform and Other Extant Writings; Pt. 2, A Facsimile and Full Transcript of Bodleian Ms. Shelley Adds. C.5, including . . . Chained, Dante's First Canzone from The Convivio, and Ypsilanti's Cry of War to the Greeks, Mary Shelley's Brief "Life of Shelley" and Other Writings. Vol. 22 of The Bodleian Shelley Manuscripts. New York: Garland Publishing, Inc., 1997.
Acosta, Ana Mercedes. "Revolutionary Visions: Between Genesis and Utopia (Mary Shelley, John Milton, Jean-Jacques Rousseau, Mary Wollstonecraft)." [Doctoral dissertation, Columbia U, 1997], DAI, Vol. 58-04A (1997): 1266.
This dissertation argues that the reading materials of Frankenstein's Monster--Paradise Lost; Rousseau's childhood favorite, Plutarch's Lives; and Werther--are "a primer of Enlightenment literature." Mary Shelley's novel offers "a sustained critique of the Enlightenment use of Genesis to legitimate secular goals." Milton's Paradise Lost converts Genesis into a national epic, and Rousseau's Discourse on Inequality also recasts Genesis. Acosta argues that "Frankenstein critiques the Enlightenment emphasis on instrumental thought and science as a way of coming to terms specifically with the problem of origin."
Actes du Colloque "Frankenstein" Litterature/Cinema. Liege, Belgium: Editions de Cefal, 1997.
Arditi, Neil. "Shelley's 'Adonais' and the Literary Canon." Rewritten 17 (1997): 121-39.
Discusses Shelley's response to the death of Keats, the Gospel of Luke, religion, suicide, and atheism, with an account of his definition of poetry in Defence of Poetry, and his appropriation of and response to Plato. "Keats had accused Shelley of promoting moral philosophy in the guise of a poet," Arditi argues. "The accusation is exaggerated but accurate enough" (136). Keats argued that Shelley, the outspoken atheist, is in fact too religious.
Artmann, Hans Carl. Gesammelte Prosa. Salzburg: Residenz Verlag, 1997.
Austin, Timothy R. "Narrative Transmission: Shifting Gears in Shelley's 'Ozymandias.'" In Dialogue and Critical Discourse: Language, Culture, Critical Theory, ed. Michael Macovski (New York: Oxford UP, 1997): 29-46.
Combines "discourse theory" with "some straightforward, sentence-level syntactic analysis and some Jakobsonian discussion of formal patterning" to read Shelley's sonnet in a new way.
Baldridge, Mary Humphrey. Genesis: The Mary Shelley Play. Toronto: Playwrights Canada P, 1997.
Bennett, Betty T. "Editing Mary Wollstonecraft Shelley: A Bicentenary Review." KSJ 46 (1997): 23-27.
Bennett, Betty T. "Newly Uncovered Letters and Poems by Mary Wollstonecraft Shelley ("It was my birthday and it pleased me to tell the people so---"). KSJ 46 (1997): 51-74.
Benoit, Madhu. "'Scatter My Words among Mankind.'" KSR 11 (1997): 53-82.
Explores how Shelley's Masque of Anarchy and his theory of spiritual regeneration influenced Mahatma Gandhi. Benoit challenges assumptions that Gandhi was not well-read in literature. "His general reading [in Yeravda prison at Poona] included Scott, Ben Jonson, William James' Varieties of Religious Experience, Wells' Outline of History, Kipling, and Goethe's Faust (67). Gandhi quoted from Prometheus Unbound during the first movement of India's civil disobedience (1921), and from The Masque of Anarchy to criticize China's armed resistance of Japanese invasions.
Bernheim, Cathy. Mary Shelley: La Jeune Fille et le Monstre: Biographie. Paris: Editions du Felin, 1997.
Berry, Nicole. Mary Shelley: Du Monstre au Sublime. Lausanne: L'Age d'Homme, 1997.
Bierbaum, Tom. "Promos Can't Bring Frankenstein to Life." Variety (Nov. 10, 1997): 24.
Binfield, Kevin. "Demonology, Ethos, and Community in Cobbett and Shelley." In Romanticism, Radicalism, and the Press, ed. Stephen C. Behrendt (Detroit: Wayne State UP, 1997): 157-69.
Binfield, Kevin. "'May They Be Divided Never': Ethics, History, and the Rhetorical Imagination in Shelley's 'The Coliseum.'" KSJ 46 (1997): 125-48.
Braunstein, Florence. Humain, Inhumain: Médée de Sénèque; "Frankenstein" de Mary Shelley; où le Souvenir d'Enfance de Georges Perec. Paris: A. Colin/Masson, 1997.
Brigham, Linda. "Rethinking the Early Shelley--A Response." In Early Shelley: Vulgarisms, Politics, and Fractals, ed. Neil Fraistat. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Bunnell, Charlene E. "Mathilda: Mary Shelley's Romantic Tragedy." KSJ 46 (1997): 75-96.
Carter, Bill. "X-Files Tries Frankenstein." New York Times (Nov. 19, 1997): B6.
Carter, Bill. "X-Files Vs. a Monster." New York Times (Nov. 5, 1997): B3.
Conger, Syndy M., Frederick S. Frank, and Gregory O'Dea, eds. Iconoclastic Departures: Mary Shelley after "Frankenstein": Essays in Honor of the Bicentenary of Mary Shelley's Birth. Madison, NJ: Fairleigh Dickinson UP, 1997.
Conner, Kim S. "The University of Victoria Beckett Festival." Theatre Journal 49.2 (1997): 240-43.
Cooper, Stephen R. The Diary of Victor Frankenstein. New York: DK Ink, 1997.
Costello, Julie Ann. "Romanticism and Maternity: Mothers 'On Trial' in the Late Eighteenth and Early Nineteenth Centuries." [Doctoral dissertation, U of Notre Dame, 1997], DAI, Vol. 58-05A (1997): 1718.
Discusses recent feminist and postcolonial approaches to Romanticism including the changing nature of the mother-child bond in the late eighteenth and early nineteenth centuries. Draws on German aesthetic theory and philosophy, Scottish political history, and Irish cultural history to discuss conflicts associated with motherhood and maternal sympathy as portrayed in works by Friedrich Schlegel, Percy Shelley, Maria Edgeworth, and Walter Scott. Mary Wollstonecraft, Mary Shelley, Joanna Baillie, Felicia Hemans, and Anna Letitia Barbauld "play important, though less central, roles in this study." Discussions of Percy and Mary Shelley.
Crisman, William. "'Now Misery Has Come Home': Sibling Rivalry in Mary Shelley's Frankenstein." SIR 36 (1997): 27-41.
Crook, Nora. "Editing Mary Shelley: The Pickering & Chatto Edition." KSJ 46 (1997): 28-35.
Curran, Stuart. "Frankenstein: The Pennsylvania Electronic Edition." KSJ 46 (1997): 44-50.
Donawerth, Jane. Frankenstein's Daughters: Women Writing Science Fiction. Syracuse: Syracuse UP, 1997.
Dretzka, Gary. "House That Frank Built." Chicago Tribune (Nov. 2, 1997): 11:5.
Edgecombe, Rodney Stenning. "'Creative Unbundling': Henry IV Parts I and II and Shelley's 'Ode to the West Wind.'" KSR 11 (1997): 133-40.
Discusses the relationship between between dramatic source and ode: "a memorable constellation of words, floating as a potentiality in the mind of the poet, has under pressure of a similar situation (the description of an imminent storm) been reconfigured and amplified."
Ethier, Marc. "First Reading Assignments for Freshmen Aim to Promote Tolerance and Critical Thinking." The Chronicle of Higher Education (Aug. 8, 1997): A41.
Feay, Suzi. "Shelley: The World Should Listen Now." New Statesman (Apr. 4, 1997): 45.
Florescu, Radu. In Search of Frankenstein: Exploring the Myths behind Mary Shelley's Monster. Jersey City: Parkwest Publications, 1997.
Fraistat, Neil. "Introduction: The Return of the 'Wild Boy'; or, Reading Early Shelley." In Early Shelley: Vulgarisms, Politics, and Fractals, ed. Neil Fraistat. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Fraistat, Neil, ed. Early Shelley: Vulgarisms, Politics, and Fractals. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Includes "Introduction: The Return of the 'Wild Boy'; or, Reading Early Shelley," by Neil Fraistat; "Shelley Comes of Age: His Early Poems as an Editorial Experience," by Donald H. Reiman; "Young Shelley," by William Keach; "Queen Mab as Topological Repertoire," by Timothy Morton; and "Rethinking the Early Shelley--A Response," by Linda Brigham. http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Fraser, Russell. "Remembering Shelley." Iowa Review 27 (1997): 120-25.
Fuller-Johnson, Edith Scott. "Cold Hearts and Glass Eyes: Machine Tropes in Nineteenth Century British Literature." [Doctoral dissertation, Georgia State U, 1997], DAI, Vol. 58-02A (1997): 463.
Focuses primarily on Victorian society: "people tended to emulate the machines that had so altered their social strata, finances, and politico-religious concerns." Discusses Newton's mechanistic world view and its influence on steam engines, cotton and textile mills, and locomotives as patterns for characters in Mary Shelley's Frankenstein, Jane Austen's Sense and Sensibility, Dickens' Bleak House and Hard Times, and Eliot's The Mill on the Floss.
Garbin, Lidia. "The Fortunes of Perkin Warbeck: Walter Scott in the Writings of Mary Shelley." RoN 6 (May 1997): <http://users.ox.ac.uk/~scat0385/articles.html>.
Gilbert, Matthew. "X-Files Meets Frankenstein." Boston Globe (Nov. 29, 1997): D26.
Gladden, Samuel Lyndon. "Cartographizing Seduction: Mapping the Political in Percy Shelley's Erotic Narratives." [Doctoral dissertation, Texas A&M U, 1997], DAI, Vol. 58-07A (1997): 2667.
Explores "political engagements within the seemingly apolitical reaches of the erotic narrative" in "Swellfoot the Tyrant," The Cenci, "Julian and Maddalo," Epipsychidion, Laon and Cythna, and Prometheus Unbound. Shelley and his inheritors stage the erotic as a device for renegotiating power and privilege, so that every context in which the erotic figures must be understood as a resolutely political one.
Glaister, Dan. "How Cinema Turned a Monster Hit into a Horror Story." Guardian (Sept. 13, 1997): 7.
Glickman, Steven Ross. "Forbidden Texts: The Ambivalence of Knowledge and Writing in Horror Fiction from Mary Shelley to Stephen King (H. P. Lovecraft)." [Doctoral dissertation, U of Colorado at Boulder, 1997], DAI, Vol. 58-07A (1997): 2647.
Defines a "forbidden text" as a work "whose perusal is subject to prohibitions." Discusses Shelley's Frankenstein, H. P. Lovecraft's "The Call of Cthulhu" and Stephen King's It. Focuses on the disappearance of Victor Frankenstein's diary, briefly referred to twice. Theoretical framework based on Sigmund Freud's Totem & Taboo, Bruce Kawin's The Mind of the Novel, and Mikhail Bakhtin's Rabelais and His World.
Goodman, Dickie. Greatest Fables. Compact disc. Hot Production, 1997.
Includes two songs: "Frankenstein of '59" and "Frankenstein Returns."
Gose, Ben. "A Class at Mount Holyoke College Uses Frankenstein as a Tool for Teaching Students Multimedia Techniques." The Chronicle of Higher Education (Apr. 18, 1997): A24.
Haddad, Emily Jane. "Orientalist Poetics: The Islamic Middle East in Nineteenth-Century English and French Poetry." [Doctoral dissertation, Harvard U, 1997], DAI, Vol. 58-05A, 1696.
This dissertation discusses "two long narrative poems--Percy Shelley's The Revolt of Islam and Robert Southey's Thalaba the Destroyer--which appear to follow the letter of the classical law but vigorously attack its spirit. Other poems, including Victor Hugo's Les Orientales and its parody, Alfred de Musset's dramatic poem Namouna, use the Orient to make a direct assault on representation itself."
Haines, Simon. Shelley's Poetry: The Divided Self. Basingstoke and New York: Macmillan/St. Martin's P, 1997.
This book is intended for a "general reader" and takes seriously Hazlitt's "adverse criticisms" of Shelley's work. It avoids a new historical approach to Shelley, treating him as a poet rather than as a "political radical, a cad, or a metaphysician." Chapter 1 discusses Shelley's reputation in England in the nineteenth and twentieth centuries; chapter 2 discusses Shelley's views of poetry; chapter 3 treats Queen Mab, Alastor, "Mont Blanc," and other poems; chapter 4 discusses "Julian and Maddalo" and "Ode to the West Wind"; and chapters 5 and 6 treat Prometheus Unbound, Epipsychidion, Adonais, and The Triumph of Life.
Hetherington, Naomi. "Creator and Created in Mary Shelley's Frankenstein." KSJ 11 (1997): 1-40.
Hetherington reads Shelley's novel allegorically, arguing that allegorical meanings "pervade Enlightenment and post-Enlightenment literature. The tradition feeds into the poetic narratives of Shelley, Byron and the Lake Poets, and the novels of Mary's father, William Godwin." Using the 1818 text, Hetherington explores the possibility that "Mary's story began as a narrative comment on the contemporary pubic debate regarding scientific materialism and the Christian concept of a pre-existent immortal soul" (4). Her novel is a short satire of John Abernathy's belief that the power which animates animals resists abstraction from matter (Abernathy, president of London's Royal College of Surgeons, was the teacher of William Lawrence, the Shelleys' physician and personal friend).
Hivet, Christine. Voix de Femmes: Roman Feminin et Condition Feminine de Mary Wollstonecraft à Mary Shelley. Paris: Presses de L'Ecole Normales Superieure, 1997.
Hopkins, Lisa. "Memory at the End of History: Mary Shelley's The Last Man. RoN 6 (May 1997): <http://users.ox.ac.uk/~scat0385/articles.html>.
Howard, John Sebastian. "Romantic Dialectic and the Politics of the Subject (Romanticism, Literary Theory, William Blake, Percy Bysshe Shelley)." [Doctoral dissertation, St. Louis U, 1997], DAI, Vol. 58-08A (1997): 3143.
Describes "a romantic subjectivity unfettered by the ideals of a guiding consciousness."
Jenkins, Mark. "Half Japanese." Washington Post (May 23, 1997): WW19.
Jones, Angela Dawn. "More than Pedestrian: Women Travelers, Self-Representation, and English Romantic Tourism." [Doctoral dissertation, U of Rochester, 1997], DAI, Vol. 58-04A (1997): 1292.
"This study examines how popular eighteenth and nineteenth century methods of depicting nature shaped women travelers' self-representations. Ann Radcliffe, Mary Shelley, Mary Wollstonecraft, and Dorothy Wordsworth traveled and recorded their experiences on the road as tourism was being more widely practiced and discussed by Britons than ever before. Travelogues offer valuable insight into the way post-romantic formulations of romantic self-representation have been largely based upon a model of identity unavailable to most women in the period."
Jones, Angela Dawn. "Romantic Women Travel Writers and the Representation of Everyday Experience." Women's Studies 26.5 (1997): 497-521. "Special Issue: Women and Travel."
Discusses Mary Wollstonecraft, Ann Radcliffe, and Mary Shelley and relates them to Burke's Philosophical Inquiry into the Origins of the Sublime and the Beautiful (1757); discusses Radcliffe's A Journey Made in the Summer of 1794.
Jones, Anne Hudson. See No. 510.
Briefly discusses Shelley's "Hymn of Apollo" for its insight into the relationship between medicine and poetry.
Joukovsky, Nicholas A. "Mary Shelley's Last Letter?" N&Q 44 (1997): 338.
This brief essay discusses Mary Shelley's correspondence with Thomas Love Peacock and his daughter Mary Ellen, the first wife of George Meredith. A previously unpublished letter to Mrs. Meredith is possibly the last letter Mary Shelley wrote prior to her death on February 1, 1851. The letter was written after the birth of Peacock's granddaughter, Rosa Collinson, on October 16, 1850.
Jowell, Sharon L. "Mary Shelley's Mothers: The Weak, the Absent, and the Silent in Lodore and Falkner." ERR 8 (1997): 298-322.
Kakutani, Michiko. "Why Do Americans Gorge on Gothic?" New York Times (Nov. 14, 1997): E54.
Kamihima, Kenkichi. "A Conclusion Disconcluded: The Paradox of Reading The Triumph of Life." In Corresponding Powers (Cambridge: D. S. Brewer, 1997): 53-61.
Written in English.
Keach, William. "Young Shelley." In Early Shelley: Vulgarisms, Politics, and Fractals, ed. Neil Fraistat. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Kerbrat, Marie-Claire. Leçon Litteraire sur "Frankenstein" de Mary Shelley. Paris: Presses Universitaires de France, 1997.
Ketterer, David. "Frankenstein's 'Conversion' from Natural Magic to Modern Science--and a Shifted (and Converted) Last Draft Insert." Science-Fiction Studies 24 (1997): 57-78.
Ketterer, David. "'Furnished . . . Materials': The Surgical Anatomy Context of Frankenstein." Science-Fiction Studies 24 (1997): 119-23.
Ketterer, David. "Mary Shelley's Hair?" Science-Fiction Studies 24 (1997): 183-84.
"Two hairs from Mary Shelley's head and one from Percy Shelley's have survived as features of the Last Draft of Mary Shelley's Frankenstein; the possibility of regeneration of the two from DNA in the hair is discussed."
Knowles, Sebastian D. G. "'O Lord, I Must Stretch Myself': Molly Bloom and Frankenstein." James Joyce Quarterly 34.3 (1997): 303-14.
Kramer, David. "The Limits of Community in Victorian Fiction." [Doctoral dissertation, City U of New York, 1997], DAI, Vol. 58-05A (1997): 1724.
This dissertation argues for "a close relation between the outcast figure of the Victorian realist novel and the alienated figure of the High Modernist. The search of Victorian writers for meaningful social connections led to the Modernist disbelief in traditional community. Socially marginalized protagonists, such as Jane Eyre, Lucy Snowe, Pip, Rhoda Nunn, Edward Reardon, Tess, and Jude "hold confused, even rebellious attitudes towards traditional structures." Great Expectations and Jude the Obscure subvert cultural assumptions. Discusses novels of Mary Shelley, Charlotte Brontë, Dickens, George Gissing, and Thomas Hardy.
Kumamoto, Kazumi. "Futatsu no Shizenkan no Yukue (Two Approaches to Nature: P. B. Shelley's Alastor; or, The Spirit of Solitude)." Bukkyo Daigaku Daigakuin Kiyo (Kyoto: Bukkyo Daigaku), 26 (1997).
Laplace-Sinatra, Michael. "Shelley's Editing Process in the Preface to Epipsychidion." KSR 11 (1997): 167-82.
A close analysis of the poem in manuscript form shows how Shelley "acted as his own censor" regarding autobiographical aspects of his poem before the work went to print (167).
Lee, Debbie. "Mapping the Interior: African Cartography and Shelley's The Witch of Atlas." ERR 8 (1997): 169-84.
Lee, Jae Seong. "Ethics and Transphenomenality: A Levinasian Literary Hermeneutics (Mary Shelley)." [Doctoral dissertation, State U of New York at Buffalo, 1997], DAI, Vol. 58-07A (1997): 2669.
Explores Levinas' "transphenomenal sensibility" as it applies to Mary Shelley's Frankenstein, a text "in which the monstrosity of the Creature appears as an allegory of the face of the Other of humanity. Kohutian self-psychology is employed for the Levinasian study of the character of Victor Frankenstein."
Leonard, Melissa Anne. "Reward and Punishment: Curiosity in the Gothic Novel, 1764-1818 (Horace Walpole, Clara Reeve, Ann Radcliffe, Matthew Lewis, Mary Shelley)." [Doctoral dissertation, New York U, 1997], DAI, Vol. 58-05A, (1997): 1724.
Leonard discusses six gothic novels in terms of "how curiosity is valued, who is rewarded for possessing it and who is punished." Leonard treats Walpole's The Castle of Otranto (1764), Clara Reeve's The Old English Baron (1777), Ann Radcliffe's The Romance of the Forest (1791) and The Mysteries of Udolpho (1794), Lewis' The Monk (1796), and Shelley's Frankenstein (1818).
Lokash, Jennifer. "Shelley's Organic Sympathy: Natural Communitarianism and the Example of Alastor." WC 28.3 (1997): 177-83.
Manguel, Alberto. Bride of Frankenstein. London: British Film Institute, 1997.
A book about the film and the Frankenstein character.
Markley, A. A. "'Laughing That I May Not Weep': Mary Shelley's Short Fiction and Her Novels." KSJ 46 (1997): 97-124.
Mazzeo, Tilar J. "'A Mixture of All the Styles': Colonialism, Nationalism, and Plagiarism in Shelley's Indian Circle." ERR 8 (1997): 155-68.
McLane, Maureen Noelle. "Poetry Bound: Romantic Writing and the Science of Man (William Wordsworth, Mary Shelley, Percy Bysshe Shelley)." [Doctoral dissertation, U of Chicago, 1997], DAI, Vol. 58-10A (1997): 3933.
Chapters address and allegorically re-enact particular discursive conjunctions and encounters: Wordsworth's with moral philosophy in the chapter "Do Rustics Think?"; Mary Shelley's with Godwin, Malthus, and "the human" in the chapter "Literate Species"; Percy Shelley's with Malthus and "calculations" in the chapter on Futurity; and in the final chapter both poets' and moral philosophers' reckonings with "immortality."
McManus, John. "Synergy's Screen Tester." Brandweek (Mar. 3, 1997): 26-29.
Miller, Stuart. "Frankenstein's Successor: A Purple Spider with a Mind of Its Own That Likes to Go Walkabout." Guardian (July 28, 1997): 1.
Morton, Timothy. "Queen Mab as Topological Repertoire." In Early Shelley: Vulgarisms, Politics, and Fractals, ed. Neil Fraistat. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Murray, Stephen T. "Cradled by Wrong: Shelley's Ethics of Writing and the Case of 'Julian and Maddalo.'" [Doctoral dissertation, Brown U, 1997], DAI, Vol. 58-07A (1997): 2671.
In "Julian and Maddalo," "Shelley's desire, sentiment, and pathos are not meant to be ironized as error or mystification--the irony, like his stoicism, protects those vulnerable feelings from hostility and rejection." Murray compares Shelley's "metaphysics of morals" with the ethics of deconstruction. "The key to interpreting Julian is the epigraph from Virgil, which establishes his relation to the madman (Virgil's Gallus), to Shelley (Virgil), and to the eclogue's alienated lover: Mary Shelley (Virgil's Lycoris)." Murray includes an analytical discussion of the poem's manuscripts and their dating (with a refutation of Matthews' findings), a review of current debates in textual studies, and a multiversion edition of the poem displaying its composition and transmission.
Neville, Lee. "It's Always Alive." US News & World Report (Apr. 28, 1997): 12.
O'Connor, Patrick. "Lady in the Dark." TLS (Mar. 28, 1997): 18-19.
Oliver, Mary. "Sister Turtle." The Ohio Review 56 (1997): 24-31.
"The writer recalls how she has watched turtles come from the sea to lay their eggs. She compares her eating habits with those of Shelley and describes how she ate the eggs laid by the turtles."
100 Years of Horror. Videocassettes. Simitar Entertainment, 1997.
Oost, Regina B. "Marketing Frankenstein: The Shelleys' Enigmatic Preface." ELN 35 (1997): 26-35.
Ptiluc. Relecture du Myth de "Frankenstein." Issy les Moulineaux: Vents d'Ouest, 1997.
Reiman, Donald H. "Shelley Comes of Age: His Early Poems as an Editorial Experience." In Early Shelley: Vulgarisms, Politics, and Fractals, ed. Neil Fraistat. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/earlyshelley/shelcover.html>.
Roberts, Hugh. Shelley and the Chaos of History: A New Politics of Poetry. University Park: Pennsylvania State UP, 1997.
This study is divided into three parts: the first includes close readings of Peter Bell the Third, The Revolt of Islam, and The Triumph of Life; the second discusses the Defence of Poetry, The Witch of Atlas, and The Triumph of Life; and the third discusses "Shelley's Lucretian Imagination." "Drawing on Michel Serres's reading of Lucretius, I use recent developments in what is popularly known as chaos theory to explore some of the more radical poetic and political implications of Shelley's Lucretianism. Using Martha Nussbaum's Fragility of Goodness, I argue that Shelley's acceptance of radical contingency in hermeneutical and political processes has profound ethical and political implications" (4).
Robinson, Charles E. "Editing and Contextualizing The Frankenstein Notebooks." KSJ 46 (1997): 36-43.
Sanguineti, Carla. Mary Shelley: Dialogo d'Amore. La Spezia: Giacche, 1997.
Schlueter, Kurt. "Shelley's 'To Night' and the Prayer Hymn of Classical Antiquity." SIR 36.2 (1997): 239-60.
Schwartz, Howard. "Jewish Legends in Picture Books Appealing Tales of Magical Spirits." St. Louis Post-Dispatch (Apr. 20, 1997): C5.
Schwartz, Robert M., and Jennifer Schwartz. Frankenstein Meets Multimedia: A Cultural History of Mary Shelley's Novel. R. Schwartz, instructor; J. Schwartz, project director. CD-ROM. Curriculum Support & Instructional Technology, Mount Holyoke College, 1997.
Shiraishi, Harue. "'Prince Athanase' Ron--Mary no Chukai wo Megutte (On 'Prince Athanase': With Special Reference to Mary Shelley's Note)." Essays in English Romanticism (Tokyo: Japan Association of English Romanticism), 21 (1997): 53-60.
Squires, Sally. "Myth of the Mad Scientist." Washington Post (Oct. 28, 1997): WH12.
Suzuki, Takako. "Alastor ni okeru 'a visionary poet' heno Michi (The Way to a Visionary Poet in Alastor." Horizon (Tokyo: Waseda Daigaku Eibeibungaku Kenkykai), 29 (1997): 28-38.
Swaminathan, S. R. Vendanta & Shelley. Salzburg: U of Salzburg, 1997.
Takashashi, Norikane. "Shelley no Feminism--Rosalind and Helen no Kafu (Shelley's Use of Feminism: With Special Reference to the Widows in Rosalind and Helen)." Kinjo Gakuin Daigaku Ronsyu (Nagoya: Kinjo Gakuin Daigaku), 38 (1997): 175-90.
Underwood, Ted. "The Science in Shelley's Theory of Poetry." MLQ 58 (1997): 299-321.
Shelley's "Hymn of Apollo" and Epipsychidion develop figures subsequently used in Defence of Poetry and demonstrate how his theory of poetry was developed out of natural philosophy "in a way that makes it impossible to say where scientific reasoning ends and poetic reasoning begins." Shelley relied on "scientific ideas about sunlight to develop a figural logic that represents poetry neither simply as mimesis nor simply as inspiration, but as a light that pervades all things and reveals them by reproducing them within itself" (302).
Urakabe, Hisako. "Shelley no Alastor ni okeru Agape to Eros (Agape and Eros in Shelley's Alastor)." Kenkyu Hokoku-syu (Osaka: Osaka Shiritsu Daigaku Kyokai), 34 (1997): 56-62.
Verrua, Gianfranco. Mostruosamente: Dracula, Frankenstein e l'Enigma del Femminile: Immagini del Rimosso o Simboli di un Percoso della Coscienza. Torino: IDM, 1997.
Wallace, Jennifer. Shelley and Greece: Rethinking Romantic Hellenism. Basingstoke and New York: Macmillan/St. Martin's P, 1997.
"Romantic hellenism has tended to be associated either with Keats or with Byron. Keatsian hellenism is predominantly aesthetic" (3), while Byron's hellenism is "a mood as well as a physical landscape described in his poetry" (4). For Shelley, Greece evoked an intellectual response. "Shelley spent his life reading Greek, ranging widely through the corpus of ancient literature, philosophy, and history" (4). The first chapter discusses classical education in schools, which provided Shelley's exposure to Greek culture and prompted Shelley's Queen Mab and Alastor. The next two chapters discuss the political significance of Greece with a focus on "Cyclops," "Swellfoot the Tyrant," and Adonais. Wallace also offers close readings of Epipsychidion, which shows tensions between "an orientalist and occidentalist representation of Greece" (18); Prometheus Unbound, which shows the anxious feelings of inferiority that accompanied Shelley's acceptance of Greek culture and art as supreme; and Hellas, which "dramatises the tensions behind the philhellenic rhetoric which determiend the course of the war" (18).
Yoshioka, Motonobu. "Prometheus Unbound ni okeru Jikan (Time in Prometheus Unbound)." Eibei Gengo Bunka Kenkyu (Osaka: Osaka Furitsu Daigaku Eibei Gengo Bunka Kenkyukai), 45 (1997): 87-99.
Weiner, Deborah. "Islands of Possibility: Gendered Workings of Power in the Lives and Texts of Shelley, Alcott, Woolf, Rhys, Laurie Anderson, Carter, and Atwood (Mary Shelley, Louisa May Alcott, Virginia Woolf, Jean Rhys, Dominica, Angela Carter, Margaret Atwood)." [Doctoral dissertation, U of Rochester, 1997], DAI, Vol. 58-09A (1997): 3520.
Explores how these writers share certain "subject positions, including gender" and asks, "How did these women manage to write despite many gender-specific obstacles?" Includes an examination of Shelley's Frankenstein, Rhys' Wide Sargasso Sea, Alcott's Hospital Sketches, Woolf's "A Sketch of the Past," Laurie Anderson's song "Ramon," Carter's "Impressions: The Wrightsman Magdalene," and Atwood's Cat's Eye. Explores how these writers were both blocked and enabled by their unusual family backgrounds and "important relationships with crucial supporters."
Wheatley, Kim. "Paranoid Politics: Shelley and the Quarterly Review." In Romanticism and Conspiracy, ed. Orrin N. C. Wang. A Romantic Circles electronic edition (Aug. 1997): <http://www.rc.umd.edu/praxis/conspiracy/concover.html>.
White, Daniel E. "'The God Undeified': Mary Shelley's Valperga, Italy, and the Aesthetic of Desire." RoN 6 (May 1997): <http://users.ox.ac.uk/~scat0385/articles.html>.
Wilson, Deborah S., and Christine Moneera Laennec, eds. Bodily Discursions: Genders, Representations, Technologies. Albany: SUNY P, 1997.
Woof, Robert, Pamela Woof, Stephen Hebron, and Claire Tomalin, eds. Hyenas in Petticoats: Mary Wollstonecraft & Mary Shelley. Grasmere: Wordsworth Trust, 1997. Bi-centenary exhibition catalogue.
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