Many critics of Percy Bysshe Shelley have construed Shelley’s “poetry” as a sort of transcendental, mental mechanism through which a more fundamental improvement of human life than immediate political reforms can b...Many critics of Percy Bysshe Shelley have construed Shelley’s “poetry” as a sort of transcendental, mental mechanism through which a more fundamental improvement of human life than immediate political reforms can be made possible. In this view of Shelley’s poetry, the values that poetry would bring about are condescendingly set up against the general public’s down-to-earth wish to improve their immediate life conditions, and therefore, the utopian vision implicit in Shelley’s poetic practice is founded on an exclusion of intellectually and economically unqualified readers. Given these critical assessments, this essay attempts to argue that Shelley’s poetic writings include significant elements that contradict the assumption implied in the view that intellectual elites take an absolute, exclusive position in giving rise to Shelley’s utopian publicity. In more detail, this essay will argue that Shelley’s utopian publicity proposed and embodied in his poetic writings is predicated on his ideal (and practical in many cases) aim toward a realization of a public sphere that espouses free circulations of various positions and embraces voices of people from all the classes.展开更多
In Shelley’s long poem“The Sensitive Plant”,the“modest creeds”at the end of this poem combines ambiguous contradiction of philosophical thoughts.It allows readers to peek into his resourceful philosophical opinio...In Shelley’s long poem“The Sensitive Plant”,the“modest creeds”at the end of this poem combines ambiguous contradiction of philosophical thoughts.It allows readers to peek into his resourceful philosophical opinions.Being a miniature of his complicated philosophy,the“modest creeds”are Janus-faced.They be decoded from the levels of religions,the socio-political situation and his political ambitions,which all ultimately are rooted in his philosophical ideas.It indicates that Shelley’s Janusfaced creeds may be his unique way of showing his incessant pursuit of freedom for people.展开更多
In the late 18th century and the beginning of 19th century,there appeared an important literary trend named Gothic as a part of Romanism.Mary Wollstonecraft Godwin Shelley(1797-1851) is a famous novelist of the Romant...In the late 18th century and the beginning of 19th century,there appeared an important literary trend named Gothic as a part of Romanism.Mary Wollstonecraft Godwin Shelley(1797-1851) is a famous novelist of the Romantic period.Her masterpiece,Franken stein,is considered one of the best Gothic novels as well as the first science fiction in the modern sense.My thesis is engaged in the study of this work from psychological perspectives:that is the fear of desolation and irrational human ambition.Frankenstein not only adopted the traditional Gothic elements but also modified and added new ones.Thus it yields a great influence on the successive literature.展开更多
The paper deals with the image of English, i.e., the way the English were represented, the country and the people, in translations of the poetry of major English Romantic poets into the Serbo-Croatian language, the of...The paper deals with the image of English, i.e., the way the English were represented, the country and the people, in translations of the poetry of major English Romantic poets into the Serbo-Croatian language, the official language of former Yugoslavia： Wordsworth, Coleridge, Byron and Shelley. The first translation of an English Romantic poem was published in 1831 at the time when Yugoslav peoples were split under foreign governments of Austro-Hungarian and Ottoman Empires and later, during the twentieth century, they were healing the wounds of the two world wars. The English were seen, or wanted to be seen as liberal, rebellious, ready to die for the just cause, through the verses of their major Romantic poets; in both centuries, some of them seemed apposite for translation while encouraging national liberation spirit and social justice, patriotism, and some were read in that key despite the original, thanks to translators＇ efforts to make it look that way. Translators were not solely guided by the assessment of the source culture readership and critics, but by the needs of the target culture too. As a result of such tendencies of adjusting Romantics to national purpose, Byron＇s satirical works remained completely neglected, Wordsworth was primarily seen as a poet of nature, and Coleridge＇s irrational visions were inappropriate for the 20th century dominant communist doctrine relying on rational, material rather than spiritual; Shelley＇s longer poems were not translated in its entirety, only its excerpts, explicitly emphasizing liberty and equality.展开更多
A multi-genre and interdisciplinary analysis that compares Sam Shepard＇s classic, Buried Child （1978）, to Mary Shelley＇s Gothic thriller, Frankenstein （2004）. This paper, using a comparative analysis of the tex...A multi-genre and interdisciplinary analysis that compares Sam Shepard＇s classic, Buried Child （1978）, to Mary Shelley＇s Gothic thriller, Frankenstein （2004）. This paper, using a comparative analysis of the texts （a play versus a novel）, argues that Shepard follows Shelley＇s theme and characters in order to frame and create his own even-more modern ＂Prometheus＂, a premise that Shelley borrows to center her novel and to establish the antagonistic origins of her monster-man. Shepard＇s splintered individuals all share a postmodern disillusionment, and as Shelley＇s novel establishes, it is a conflict brought on by an absent or emotionally-removed mother and a brutal father who denies or disavows the ＂child＂ he considers an abomination. Other themes that Shelley and Shepard＇s works have in common include infanticide, incest, a life built on lies, patricide, and an unnatural relationship with Nature.展开更多
The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein...The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.展开更多
Mary Shelley, a British famous female writer in the 19th century, wrote Frankenstein in 1818, which was regarded as a noted classic gothic fiction. The gothic style enriches the connotation of the novel and endows her...Mary Shelley, a British famous female writer in the 19th century, wrote Frankenstein in 1818, which was regarded as a noted classic gothic fiction. The gothic style enriches the connotation of the novel and endows her works with a mysterious sublimity in such a way as to carry gothic novels into a new stage of development. This article attempts to analyze the gothic sublime of Frankenstein commencing from sublime theories of Longinus, Burke and Kant and the definition of he father of gothic novels Horace Walpole＇s ＂gothic＂. The study finds that the gothic sublime of Frankenstein is mainly embodied in three aspects as ugliness, the production of the monster and the torture by an endless terror展开更多
Ode to the West Wind was accomplished by Percy Bysshe Shelley shortly after the failure of strikes and demonstrations of workers in the early 19th century when European people were in great horror under the control of...Ode to the West Wind was accomplished by Percy Bysshe Shelley shortly after the failure of strikes and demonstrations of workers in the early 19th century when European people were in great horror under the control of the Holy Alliance.Many people had lost faith in revolution and future.Poets started to demoralize themselves.But Shelley was full of confidence that old world must go and new climax of revolution would come and achieve its final victory.This essay aims to appreciate Ode to the West Wind by analyzing its contents,features and writing techniques.展开更多
Mont Blanc is one of the natural poems created by Percy Bysshe Shelley.It mainly examines the relationship between the human mind and the universe through the description of the natural world.In this poem,the natural ...Mont Blanc is one of the natural poems created by Percy Bysshe Shelley.It mainly examines the relationship between the human mind and the universe through the description of the natural world.In this poem,the natural consciousness,moral thoughts and artistic techniques with Shelley’s unique characteristics are well reflected.Based on this,this paper aims to analyze the ecolog?ical consciousness,moral consciousness and symbolistic consciousness inMont Blanc.When analyzing the poem,this paper will discuss the content ofMont Blanc with the basic theories of these three kinds of con?sciousnesses and explore the poem’s deep meanings so that this paper can enrich the study ofMont Blanc and readers can better understand this poem.展开更多
Frankenstein;or,The Modern Prometheus is Mary Shelley’s masterpiece published in 1818.Since the novel’s publica⁃tion,it has been adapted to produce a number of films which enjoyed great popularity.This article mainl...Frankenstein;or,The Modern Prometheus is Mary Shelley’s masterpiece published in 1818.Since the novel’s publica⁃tion,it has been adapted to produce a number of films which enjoyed great popularity.This article mainly focuses on the differenc⁃es between the book Frankenstein and the movie Victor Frankenstein in order to study the meaning and value of these changes in the movie.展开更多
Frankenstein is the representative work of Mary Shelley. In this work, there are three main characters: Victor Frankenstein, the Creature and Walton. This essay will explore the variety of meaning of the three main ch...Frankenstein is the representative work of Mary Shelley. In this work, there are three main characters: Victor Frankenstein, the Creature and Walton. This essay will explore the variety of meaning of the three main characters in this novel.展开更多
文摘Many critics of Percy Bysshe Shelley have construed Shelley’s “poetry” as a sort of transcendental, mental mechanism through which a more fundamental improvement of human life than immediate political reforms can be made possible. In this view of Shelley’s poetry, the values that poetry would bring about are condescendingly set up against the general public’s down-to-earth wish to improve their immediate life conditions, and therefore, the utopian vision implicit in Shelley’s poetic practice is founded on an exclusion of intellectually and economically unqualified readers. Given these critical assessments, this essay attempts to argue that Shelley’s poetic writings include significant elements that contradict the assumption implied in the view that intellectual elites take an absolute, exclusive position in giving rise to Shelley’s utopian publicity. In more detail, this essay will argue that Shelley’s utopian publicity proposed and embodied in his poetic writings is predicated on his ideal (and practical in many cases) aim toward a realization of a public sphere that espouses free circulations of various positions and embraces voices of people from all the classes.
文摘In Shelley’s long poem“The Sensitive Plant”,the“modest creeds”at the end of this poem combines ambiguous contradiction of philosophical thoughts.It allows readers to peek into his resourceful philosophical opinions.Being a miniature of his complicated philosophy,the“modest creeds”are Janus-faced.They be decoded from the levels of religions,the socio-political situation and his political ambitions,which all ultimately are rooted in his philosophical ideas.It indicates that Shelley’s Janusfaced creeds may be his unique way of showing his incessant pursuit of freedom for people.
文摘In the late 18th century and the beginning of 19th century,there appeared an important literary trend named Gothic as a part of Romanism.Mary Wollstonecraft Godwin Shelley(1797-1851) is a famous novelist of the Romantic period.Her masterpiece,Franken stein,is considered one of the best Gothic novels as well as the first science fiction in the modern sense.My thesis is engaged in the study of this work from psychological perspectives:that is the fear of desolation and irrational human ambition.Frankenstein not only adopted the traditional Gothic elements but also modified and added new ones.Thus it yields a great influence on the successive literature.
文摘The paper deals with the image of English, i.e., the way the English were represented, the country and the people, in translations of the poetry of major English Romantic poets into the Serbo-Croatian language, the official language of former Yugoslavia： Wordsworth, Coleridge, Byron and Shelley. The first translation of an English Romantic poem was published in 1831 at the time when Yugoslav peoples were split under foreign governments of Austro-Hungarian and Ottoman Empires and later, during the twentieth century, they were healing the wounds of the two world wars. The English were seen, or wanted to be seen as liberal, rebellious, ready to die for the just cause, through the verses of their major Romantic poets; in both centuries, some of them seemed apposite for translation while encouraging national liberation spirit and social justice, patriotism, and some were read in that key despite the original, thanks to translators＇ efforts to make it look that way. Translators were not solely guided by the assessment of the source culture readership and critics, but by the needs of the target culture too. As a result of such tendencies of adjusting Romantics to national purpose, Byron＇s satirical works remained completely neglected, Wordsworth was primarily seen as a poet of nature, and Coleridge＇s irrational visions were inappropriate for the 20th century dominant communist doctrine relying on rational, material rather than spiritual; Shelley＇s longer poems were not translated in its entirety, only its excerpts, explicitly emphasizing liberty and equality.
文摘A multi-genre and interdisciplinary analysis that compares Sam Shepard＇s classic, Buried Child （1978）, to Mary Shelley＇s Gothic thriller, Frankenstein （2004）. This paper, using a comparative analysis of the texts （a play versus a novel）, argues that Shepard follows Shelley＇s theme and characters in order to frame and create his own even-more modern ＂Prometheus＂, a premise that Shelley borrows to center her novel and to establish the antagonistic origins of her monster-man. Shepard＇s splintered individuals all share a postmodern disillusionment, and as Shelley＇s novel establishes, it is a conflict brought on by an absent or emotionally-removed mother and a brutal father who denies or disavows the ＂child＂ he considers an abomination. Other themes that Shelley and Shepard＇s works have in common include infanticide, incest, a life built on lies, patricide, and an unnatural relationship with Nature.
文摘The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.
文摘Mary Shelley, a British famous female writer in the 19th century, wrote Frankenstein in 1818, which was regarded as a noted classic gothic fiction. The gothic style enriches the connotation of the novel and endows her works with a mysterious sublimity in such a way as to carry gothic novels into a new stage of development. This article attempts to analyze the gothic sublime of Frankenstein commencing from sublime theories of Longinus, Burke and Kant and the definition of he father of gothic novels Horace Walpole＇s ＂gothic＂. The study finds that the gothic sublime of Frankenstein is mainly embodied in three aspects as ugliness, the production of the monster and the torture by an endless terror
文摘Ode to the West Wind was accomplished by Percy Bysshe Shelley shortly after the failure of strikes and demonstrations of workers in the early 19th century when European people were in great horror under the control of the Holy Alliance.Many people had lost faith in revolution and future.Poets started to demoralize themselves.But Shelley was full of confidence that old world must go and new climax of revolution would come and achieve its final victory.This essay aims to appreciate Ode to the West Wind by analyzing its contents,features and writing techniques.
文摘Mont Blanc is one of the natural poems created by Percy Bysshe Shelley.It mainly examines the relationship between the human mind and the universe through the description of the natural world.In this poem,the natural consciousness,moral thoughts and artistic techniques with Shelley’s unique characteristics are well reflected.Based on this,this paper aims to analyze the ecolog?ical consciousness,moral consciousness and symbolistic consciousness inMont Blanc.When analyzing the poem,this paper will discuss the content ofMont Blanc with the basic theories of these three kinds of con?sciousnesses and explore the poem’s deep meanings so that this paper can enrich the study ofMont Blanc and readers can better understand this poem.
文摘Frankenstein;or,The Modern Prometheus is Mary Shelley’s masterpiece published in 1818.Since the novel’s publica⁃tion,it has been adapted to produce a number of films which enjoyed great popularity.This article mainly focuses on the differenc⁃es between the book Frankenstein and the movie Victor Frankenstein in order to study the meaning and value of these changes in the movie.
文摘Frankenstein is the representative work of Mary Shelley. In this work, there are three main characters: Victor Frankenstein, the Creature and Walton. This essay will explore the variety of meaning of the three main characters in this novel.
