Abstract: Mary Shelley's Frankenstein emerges out of a particular conjuncture of British class history. A text of nascent feminism, it remains cryptic, I think, simply because it does not speak the language of feminist individualism that we have come to hail as the language of high feminism within English literature. Barbara Johnson's brief study tries to rescue this recalcitrant text for the service of feminist autobiography.1 Alternatively, George Levine reads Frankenstein in the context of the creative imagination and the nature of the hero. He sees the novel as a book about its own writing and about writing itself, a Romantic allegory of reading.2 NotesKeywordsImpossible WorldCreative ImaginationDiscursive FormationParadise LostOriginal InhabitantThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.
Publication Year: 2003
Publication Date: 2003-01-01
Language: en
Type: book-chapter
Indexed In: ['crossref']
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Cited By Count: 1
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