The Cambridge Companion To Mary Shelley

Half-title......Page 3
Title......Page 5
Copyright......Page 6
Dedication......Page 7
CONTENTS......Page 9
ILLUSTRATIONS......Page 11
NOTES ON CONTRIBUTORS......Page 12
ACKNOWLEDGMENTS......Page 16
CHRONOLOGY......Page 17
ABBREVIATIONS......Page 22
Introduction......Page 25
NOTES......Page 30
1 “THE AUTHOR OF FRANKENSTEIN”......Page 31
1 Making a “monster”: an introduction to Frankenstein......Page 33
Origins of the text......Page 34
“My hideous progeny”......Page 35
The texts of Frankenstein......Page 38
A feminist critique of science......Page 41
Problems of perception......Page 43
Doubling Frankenstein......Page 47
NOTES......Page 48
2 Frankenstein, Matilda, and the legacies of Godwin and Wollstonecraft......Page 50
NOTES......Page 65
3 Frankenstein, feminism, and literary theory......Page 69
Feminist readings: the 1970s and 1980s......Page 70
Recent views: cultural studies, queer theory, and disability studies......Page 78
NOTES......Page 84
4 Frankenstein and film......Page 87
From page to screen......Page 88
Moving fragments: from James Whale to Kenneth Branagh......Page 90
Parody and empathy......Page 99
NOTES......Page 106
The Creature’s descendants......Page 108
The replicant’s tears: Ridley Scott’s Blade Runner......Page 112
Shelley Jackson’s piecework: Patchwork Girl......Page 116
The robot child: Steven Spielberg’s A.I.......Page 118
NOTES......Page 122
2 FICTIONS AND MYTHS......Page 125
6 Valperga......Page 127
NOTES......Page 138
7 The Last Man......Page 140
“Love and ruin”: plague as will to power......Page 142
“The mysteries of our nature”: art as antidote......Page 149
NOTES......Page 157
Shelley and the Scottish magician......Page 159
Historical novels and national narratives......Page 161
Perkin Warbeck , the pretender hero, and the lost cause......Page 165
The resurrection of romance......Page 168
History-writing and hoaxing......Page 171
NOTES......Page 172
The trouble with “men as they are”......Page 175
Failed heroines......Page 177
The empowered Gothic heroine......Page 180
“Feminine fosterage” and men as they might be......Page 183
NOTES......Page 186
10 Stories for the Keepsake......Page 187
The annuals......Page 188
Exchange......Page 192
Expenditure......Page 194
Markets......Page 200
NOTES......Page 202
11 Proserpine and Midas......Page 204
Mary Shelley, aspiring playwright......Page 206
Mary Shelley, theatrical novelist......Page 212
NOTES......Page 214
3 PROFESSIONAL PERSONAE......Page 215
Readers “divided into two classes”......Page 217
Constructing “Shelley”......Page 220
Reconstructing “Shelley”......Page 224
Reconstructing “Mary Shelley”......Page 228
NOTES......Page 232
13 Mary Shelley’s letters: the public/private self......Page 235
Apprenticeship in the letter genre......Page 236
Reshaping the personal/professional letter......Page 240
NOTES......Page 247
14 Biographer......Page 250
Biography and women’s historical writing......Page 252
Shelley’s biography and the politics of interior history......Page 257
NOTES......Page 263
15 Travel writing......Page 266
Revolutionary tourism......Page 267
Rambles and Italian Nationalism......Page 271
Rambles as life writing and as pilgrimage......Page 275
NOTES......Page 280
16 Mary Shelley as cultural critic......Page 283
Mary Shelley’s cultural work......Page 284
Ideas of culture......Page 286
Ambience and the fantasy of contact......Page 288
Contact in Shelley’s essays......Page 289
NOTES......Page 295
Biographies......Page 298
Essay col lections......Page 299
Articles, chapters in books, books, hypertext......Page 300
SELECT FILMOGRAPHY......Page 307
INDEX......Page 308