Journal article 1658 views
‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"'
Steven Vine
English, Volume: 55, Issue: 212, Pages: 141 - 156
Swansea University Author: Steven Vine
Abstract
Feminist readings of Mary Shelley have shown how her work critiques the values of ‘masculine’ Romanticism, in particular the transcendences of mind and the sovereignty of self. The essay examines how Shelley’s early fictions - 'Frankenstein' (1818), 'Matilda (1819) and 'The Last...
| Published in: | English |
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| Published: |
2006
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| URI: | https://cronfa.swan.ac.uk/Record/cronfa17984 |
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2014-05-15T17:20:42.6437181 v2 17984 2014-05-15 ‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' 8adad05ceecbaab7f4b2be512149b4d7 Steven Vine Steven Vine true false 2014-05-15 FGHSS Feminist readings of Mary Shelley have shown how her work critiques the values of ‘masculine’ Romanticism, in particular the transcendences of mind and the sovereignty of self. The essay examines how Shelley’s early fictions - 'Frankenstein' (1818), 'Matilda (1819) and 'The Last Man' (1826) - mount this critique on the privileged terrain of male Romantic transcendence: the ‘sublime’. It 'argues that Shelley does not reject the sublime, but appropriates it so as to disclose what the idealising masculine sublime - typified in Kant’s version - represses: woman and the body. The essay suggests that monstrosity in 'Frankenstein', melancholy in 'Matilda' and plague in 'The Last Man' construct a ‘feminist’ sublime that draws attention to what is ‘abjected’, in Julia Kristeva’s terms, from patriarchal Romanticism - to what, in Lyotardian manner, is ‘unpresentable’ within it. Mary Shelley’s ‘sublime bodies’ bear witness to the feminine repressed of patriarchal Romantic idealism. Journal Article English 55 212 141 156 29 8 2006 2006-08-29 COLLEGE NANME Humanities and Social Sciences - Faculty COLLEGE CODE FGHSS Swansea University 2014-05-15T17:20:42.6437181 2014-05-15T17:20:42.6437181 Faculty of Humanities and Social Sciences School of Culture and Communication - English Language, Tesol, Applied Linguistics Steven Vine 1 |
| title |
‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' |
| spellingShingle |
‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' Steven Vine |
| title_short |
‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' |
| title_full |
‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' |
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‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' |
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‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' |
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‘Mary Shelley’s Sublime Bodies: "Frankenstein", "Matilda", "The Last Man"' |
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8adad05ceecbaab7f4b2be512149b4d7_***_Steven Vine |
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Steven Vine |
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Steven Vine |
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English |
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55 |
| container_issue |
212 |
| container_start_page |
141 |
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2006 |
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Swansea University |
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Faculty of Humanities and Social Sciences |
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Feminist readings of Mary Shelley have shown how her work critiques the values of ‘masculine’ Romanticism, in particular the transcendences of mind and the sovereignty of self. The essay examines how Shelley’s early fictions - 'Frankenstein' (1818), 'Matilda (1819) and 'The Last Man' (1826) - mount this critique on the privileged terrain of male Romantic transcendence: the ‘sublime’. It 'argues that Shelley does not reject the sublime, but appropriates it so as to disclose what the idealising masculine sublime - typified in Kant’s version - represses: woman and the body. The essay suggests that monstrosity in 'Frankenstein', melancholy in 'Matilda' and plague in 'The Last Man' construct a ‘feminist’ sublime that draws attention to what is ‘abjected’, in Julia Kristeva’s terms, from patriarchal Romanticism - to what, in Lyotardian manner, is ‘unpresentable’ within it. Mary Shelley’s ‘sublime bodies’ bear witness to the feminine repressed of patriarchal Romantic idealism. |
| published_date |
2006-08-29T03:20:58Z |
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11.012678 |