This document provides information about the Romantic movement and Gothic genre, both of which influenced Mary Shelley's Frankenstein. It discusses key aspects of Romanticism, including emphasis on imagination over reason, intuition, idealism, inspiration, and individualism. Gothic literature is described as focusing on the grotesque and supernatural. The document also summarizes some common Gothic motifs like the Doppelgänger and mad scientist, and relates Jungian concepts like the shadow archetype to themes in Frankenstein. Overall, the document outlines literary contexts and devices relevant to analyzing Frankenstein.
This paper provides a brief summary ob the major literary movements from the 18th to the 20th century. I also highlights the major works of the prominent figures of each literary era.
Gothic Romanticism: Research Led Teaching PresentationTom Duggett
This slideshow gives a precis of the research behind the book, Gothic Romanticism (Palgrave 2010), and outlines its applications for teaching courses on Romanticism.
This paper provides a brief summary ob the major literary movements from the 18th to the 20th century. I also highlights the major works of the prominent figures of each literary era.
Gothic Romanticism: Research Led Teaching PresentationTom Duggett
This slideshow gives a precis of the research behind the book, Gothic Romanticism (Palgrave 2010), and outlines its applications for teaching courses on Romanticism.
What happened to the Millenial hopes of the victorian era? Will future historians view the new age that was supposed to follow the fall of the Berlin wall as a mirage? Perhaps M. Bakhtin had a point when proposing that the Romantic period set in train a division within the Western collective psyche comparable to schizophenia when it assails an individual's mind?
Origin
Key proponents
What is Mythology/ Archetype ?
Gallery of Archetype
Basic theoretical tenets
Jung and Freude
Strength and Objections
Basic questions
Key terms
Wrapping up
are incorporated in the following slide
Lecture Outline LECTURE 1 Frankenstein and Gothic .docxSHIVA101531
Lecture Outline
LECTURE 1: Frankenstein and Gothic literature
The problem of lecturing Frankenstein
The pervasiveness of the Frankenstein myth in 20th-century culture (especially in film; see
Terminator, The Incredible Hulk); the overwriting of the novel with its mythic refiguration.
Origins: the Jewish myth of the golem.
The appropriation of Mary Shelley by feminist criticism.
The social context
The historical context to the nineteenth century, as a time very aware of upheaval and change.
Important factors include:
- the French Revolution, and its effect on notions of class and identity;
- Darwinism and his effect on religious thought;
- the Industrial Revolution, with its ambivalence towards technology as both exciting and
dangerous, and its profound effect on social class with the possibility for acquired rather than
inherited wealth;
- Colonialism, and the British Empire's expanding wealth and influence;
- the influence of Romanticism as a unified intellectual movement.
Gothic literature and Romanticism
Neo-classicism and the Romantic reaction against social order and rationality.
Gothicism as a lunatic fringe version of Romanticism's celebration of the emotional (terror as the
most extreme form of emotion)
Common themes: Nature, the emotions, the exotic, medieval nostalgia, a celebration of the self.
The Gothic novel
The function of Gothic as a cult literature of the late 18th and early 19th century
A popular, romance form - stylised, non-realistic, idealised, with an adventure format
Gothic as an extreme form of romance - the imagination run wild.
The implications of Gothic as mostly a pulp genre, the equivalent of the modern horror movie.
Jane Austen's parody in Northanger Abbey of the titillation of the "horrid".
Some characteristics of Gothic
MELODRAMA - stereotype, moral polarisation, one-dimensionality, excess.
EXOTICISM - wild/remote locations, other cultures such as the Oriental.
TRANSGRESSION - fear of barbarism, of unleashing human passion beyond social constraings.
Gothic's operation as a literature of the unconscious, of transgressive desires.
ALIENATION - the genre's interest in identity and subjectivity, but of an alienated self, set apart
from society.
LECTURE 2: Frankenstein as a novel of identity
Romanticism and selfhood
Shelley's position firmly within the Romantic movement
The importance of the Romantic emphasis on the self as distinct from society
The exaggeration of Romance's sense of individuality into alienation in gothic.
Selfhood as a process of deliberate artistic construction.
The distinction between the physical and spiritual selves.
The family in Frankenstein
The family as a representation of society.
Physical and metaphorical orphans: the theme of alienation from the family.
Excessive reactions against alienation: the theme of incest.
The influence of Milton's Paradise Lost
...
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2. 1. Lecture on Romanticism,
gothic genre & the universal in
Frankenstein.
2. Writing articles.
3. ALZ group work producing
leaflets.
3. One essay of 1500 words.
The prose study requires you to write about
TWO texts, one chosen for detailed study
(Frankenstein) and one chosen for wider
reader. (Core and partner texts)
Essay goes in coursework folder with creative
writing & commentary.
4. Understand the significance and influence of
the contexts in which literary texts are written
and received.
You need to discuss major influences from
the time the novel was written.
You need to understand what we think about
those ideas when reading the book today.
5. Printed on each side of the page.
Have 2 columns per side.
Be well laid out and easy to read.
You may use graphics and layout to
illustrate your meaning, but the focus
should be on the written content of
your leaflets.
7. The era of Romanticism began in
the 1700s and lasted into the mid
nineteenth century.
Can be viewed as a backlash
against the classical (or Neo-
classical) period.
9. Romanticism refers to a movement in art, literature, and music
during the 19th century.
Romanticism is characterized by the 5 “I”s
1. Imagination - Imagination was emphasised over ‘reason’.
2. Intuition - Romantics placed value on feeling, emotion and
instincts.
3. Idealism: the concept that we can make the world a better
place.
4. Inspiration: the Romantic artist, musician, or writer, is an
‘inspired creator’ rather than a ‘technical’ master’.
5. Individuality: during this time period, Women’s Rights and
Abolitionism were taking root as major movements.
10.
11. 1. Imagination - Imagination was emphasised over ‘reason’.
2. Intuition - Romantics placed value on feeling, emotion and
instincts.
3. Idealism: the concept that we can make the world a better
place.
4. Inspiration: the Romantic artist, musician, or writer, is an
‘inspired creator’ rather than a ‘technical’ master’.
5. Individuality: during this time period, Women’s Rights and
Abolitionism were taking root as major movements.
12. 5 ‘i’s and relevance (or not) to
Frankenstein.
13.
14. A02: demonstrate detailed critical understanding
in analysing the ways in which structure, form
and language shape meaning in literary texts.
16. Gothic is related to the name
Goth, a Germanic tribe. The
word Gothic, was first recorded
in 1611 in a reference to the
language of the Goths. It’s
meaning extended to
"Germanic," "medieval, not
classical," "barbarous," and
also an architectural style that
was not Greek or Roman.
Novels filled with scenes of terror
and gloom in a medieval
setting acquired the subgenre
name gothic.
17. Picasso, Pablo. Woman Playing the Mandolin (1909) State Museum of New Western Art, Moscow, 1931.
18. There is a sense of the division between
our physical existence and the forces of
the infinite.
And a wish to transcend earthly human
limitations and reach the divine.
19. Gothic cathedrals reach
to the sky as if the
builders were trying to
touch the heavens.
Carvings depict
humanity in conflict
with supernatural
forces—demons,
angels, gargoyles, and
monsters.
20. Gothic literature focuses on the grotesque and
the unknown aspects of the infinite universe and
within the human soul.
Horror is created by portraying human
individuals in conflict between opposing forces
in the world and in themselves.
The gothic theme of the struggle between good
and evil in the human soul is a prominent theme
in Frankenstein.
22. Supernatural/Gothic Literary Terminology
A motif is a repeated theme, image, or literary device.
Pathetic fallacy, when the weather/outside events
shadow/mimic the character’s life and feelings.
Foreshadowing, when a hint of forthcoming events is
given.
24. A01: creative, informed and relevant response to literary
texts, using appropriate terminology and concepts
and coherent, accurate written expression.
26. heimlich, first definition = I, a: belonging to
the house; friendly; familiar; I, b: tame (as in
animals); I, c: intimate, comfortable; i.e:
secure, dometic(ated), hospitable.
heimlich, second definition = concealed,
secret, withheld from sight and from others;
secretive, deceitful = private.
When the familiar becomes frightening.
30. In Jungian psychology, the shadow is a part of the
unconscious mind consisting of repressed
weaknesses, shortcomings, and instincts.
Mostly we deny it in ourselves and project it onto
others.
It can also have a life of its own, as the Other.
Our shadow may appear in dreams, hallucinations
and musings, often as something or someone who
is bad, fearsome or despicable in some way.
It may also take over direct physical action when
the person is confused, dazed or drugged.
31. Family archetypes
◦ The father: Stern, powerful, controlling
◦ The mother: Feeding, nurturing, soothing
Story archetypes
◦ The hero: Rescuer, champion
◦ The maiden: Purity, desire
◦ The wise old man: Knowledge, guidance
◦ The magician: Mysterious, powerful
◦ The earth mother: Nature
◦ The witch or sorceress: Dangerous
◦ The trickster: Deceiving, hidden
36. A second self or alternate
identity, sometimes, but
not always, a physical
twin. The Doppelganger
can be in demonic form
or be a second
personality within.
Gothic doppelgangers
often haunt and threaten
the rational psyche of the
victim to whom they
become attached.
37. The double motif involves characters
who represent opposing forces in
human nature.
For example, Dr. Jekyll and his evil
double Mr. Hyde represent the battle
between the rational, intellectual self
(Jekyll) and the irrational, bestial self
(Hyde).
Double characters are often paired in
common relationships, such as twins,
siblings, husband/wife, parent/child,
hero/villain, creator/creature, etc.
39. The search for forbidden knowledge or power
leads the protagonist to a fall:
Eve
Prometheus
Dorian Gray
Darth Vader
Jurassic Park
Faust
The protagonist is isolated from others by the
fall and either becomes a monster or
confronts a monster who is the shadow self.
JUNG
40. The Mad Scientist Motif
Forbidden knowledge/power is often the Gothic
protagonist’s goal.
The gothic "hero" questions the universe’s
ambiguous nature and tries to comprehend and
control supernatural powers.
He tries to overcome human limitations and make
himself into a "god."
41. Does the theme of the search for forbidden
knowledge apply to Frankenstein?
How does that relate to Romanticism?
42.
43. Identify archetypal themes within
Frankenstein and discuss modern
representations of those themes.