Mary Shelley

The purpose of this study is to analyze Frankenstein's monster created in the 18th century with the dilemma of creator-creation relation, under a gothic perspective. Within this context, gothic literature and gothic cinema will be mentioned in the first part of the study to describe the style of the novel. In the second part, the historical dynamics of the period will be explained, and mention the life of Mary Shelley and the process of creating the novel to help understand the novel better. The third part is dedicated to a historical and a visual analysis based on the samples from book illustrations, caricatures, theatre banners, and comic books, which involved characters of the novel throughout the illustration process.

In the course of the study, this paper tries to make a justification of the revolutionary zeal which is prevalent throughout two legendary lyrics "Ode to the West Wind" and "The Rebel (Bidrohi)". Percy Bysshe Shelley's "Ode to the West Wind" and Kazi Nazrul Islam's "The Rebel (Bidrohi)" demonstrate the role of the poet as the voice of change and revolution. The two poems are superbly fabricated on their creators' credo "destruction" and "creation" revolting against old customs, society and authority, and vice versa ushering in the new establishments. Both poets rebelled against British rule. One did this against his own nation and another was against colonials. They are rebels and visionaries of change through the spirit of revolution, though it is not expressed in same ways. The rebel in "The Rebel (Bidrohi)", is a powerful young man and the reformer, in "Ode to the West Wind", the focus is an old man who is seeking help. Both use much imagery and metaphors from nature, religious books, myths and history to visualize the spirit of revolution which is the weapon of freedom against individual, political, economic and religious slavery. They were actually harbingers of Renaissance humanism. Hence, their voice of revolution and change have been universalized for all people of all ages who are deprived of their rights.

This white paper establishes how the Divine communicates within Unified Theistic Naturalism (UTN). Contrary to traditions that imagine God or the Divine speaks through words, voices, or inner dictations, UTN affirms: the Divine has no voice. The Divine speaks only through silence-presence that reveals itself as Perfect Action.

This story is set in a north country border town. Much of the dialogue is with  Scottish accent and idiom. Probably derived from Eliza’s grand mother who was Scottish with the maiden of Sutherland. Lizzie Lee fell in love when young and had plighted troth which was not honoured in her youth. Spurned by her lover years later and with  aged parents to care for her eventual demise was a bitter relief.

Although nearly every secondary school English teacher includes film as part of the English/language arts curriculum, there is, to this point, nothing published about effectively studying the relationship between film adaptations and their print source texts in secondary school. There are several important works that inform film study in secondary English classrooms. These include Alan Teasley and Ann Wilder's Reel Conversations; William Costanzo's Reading the Movies and his updated version, Great Films and How to Teach Them; and John Golden's Reading in the Dark. However, each of these mention adaptation briefly if at all. Rather, they approach film as a text that students need to learn how to "read." While I certainly agree with this position, I argue that students also must learn how to productively investigate the relationship between films and their literary source texts. To make this case, I survey the field of adaptation theory generally, beginning with George Bluestone's seminal Novels into Film and moving towards contemporary theory, like Robert Stam's work, which suggests theoretical paradigms beyond fidelity analysis. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for studying adaptations in school. I also suggest four specific areas that act as foundations for successfully approaching adaptations with secondary English students: (1) economic analysis, (2) intertextualities (the matrix of cultural influences on a text), (3) Gérard Genette's notion of transtextuality (the relationship of one text to others), and (4) an expansion of adaptation to include the relationships of print texts to new media adaptations. In order to further develop ways that secondary school English teachers can specifically approach adaptation in their classrooms, I include two case studies. The first focuses on pairing Laurie Halse Anderson's award-winning young adult novel Speak with Jessica Sharzer's film adaptation. The second suggests methods for teaching Mary Shelley's Frankenstein along with James Whale's film adaptation. Because so little has been written about effectively incorporating film adaptations into the secondary school English curriculum, this project seeks not only to analyze the theoretical foundation for adaptation study, but also to suggest specific methodology that can be utilized by teachers. I have been blessed with a graduate committee composed of uncommonly good teachers, and I'm grateful for their mentorship and friendship. Dennis Cutchins suggested this project, which I have thoroughly enjoyed pursuing, and his guidance along the way has been invaluable. Amy Jensen pointed me towards foundational media literacy materials and gave me an opportunity to apply my theoretical understanding of adaptation to the classroom. Chris Crowe showed me how to teach, introduced me to young adult literature, and always treated me like I belonged in this field. My wife, Julee, never doubted that I would complete this project. It is because of her exceptional faith and courage that I worked to prove her right. My children brighten every day, but their influence was especially significant while I was writing this thesis and our time together was brief. I must also thank my students over the last six years at Lone Peak High School. I embarked on this project because I believed that they could learn something valuable in the space between film adaptations and their print source texts. My colleagues at Lone Peak, particularly those in the English department, were a constant inspiring and encouraging force. Finally, I appreciate my mom's endless support. Though my dad's not here to read this, I hope he would have been proud. Chapter Past and Future Theoretical Discourse about Adaptation.

Although nearly every secondary school English teacher includes film as part of the English/language arts curriculum, there is, to this point, nothing published about effectively studying the relationship between film adaptations and their print source texts in secondary school. There are several important works that inform film study in secondary English classrooms. These include Alan Teasley and Ann Wilder's Reel Conversations; William Costanzo's Reading the Movies and his updated version, Great Films and How to Teach Them; and John Golden's Reading in the Dark. However, each of these mention adaptation briefly if at all. Rather, they approach film as a text that students need to learn how to "read." While I certainly agree with this position, I argue that students also must learn how to productively investigate the relationship between films and their literary source texts. To make this case, I survey the field of adaptation theory generally, beginning with George Bluestone's seminal Novels into Film and moving towards contemporary theory, like Robert Stam's work, which suggests theoretical paradigms beyond fidelity analysis. I rely, particularly, on Mikhael Bakhtin's dialogism as a theoretical frame for studying adaptations in school. I also suggest four specific areas that act as foundations for successfully approaching adaptations with secondary English students: (1) economic analysis, (2) intertextualities (the matrix of cultural influences on a text), (3) Gérard Genette's notion of transtextuality (the relationship of one text to others), and (4) an expansion of adaptation to include the relationships of print texts to new media adaptations. In order to further develop ways that secondary school English teachers can specifically approach adaptation in their classrooms, I include two case studies. The first focuses on pairing Laurie Halse Anderson's award-winning young adult novel Speak with Jessica Sharzer's film adaptation. The second suggests methods for teaching Mary Shelley's Frankenstein along with James Whale's film adaptation. Because so little has been written about effectively incorporating film adaptations into the secondary school English curriculum, this project seeks not only to analyze the theoretical foundation for adaptation study, but also to suggest specific methodology that can be utilized by teachers. I have been blessed with a graduate committee composed of uncommonly good teachers, and I'm grateful for their mentorship and friendship. Dennis Cutchins suggested this project, which I have thoroughly enjoyed pursuing, and his guidance along the way has been invaluable. Amy Jensen pointed me towards foundational media literacy materials and gave me an opportunity to apply my theoretical understanding of adaptation to the classroom. Chris Crowe showed me how to teach, introduced me to young adult literature, and always treated me like I belonged in this field. My wife, Julee, never doubted that I would complete this project. It is because of her exceptional faith and courage that I worked to prove her right. My children brighten every day, but their influence was especially significant while I was writing this thesis and our time together was brief. I must also thank my students over the last six years at Lone Peak High School. I embarked on this project because I believed that they could learn something valuable in the space between film adaptations and their print source texts. My colleagues at Lone Peak, particularly those in the English department, were a constant inspiring and encouraging force. Finally, I appreciate my mom's endless support. Though my dad's not here to read this, I hope he would have been proud. Chapter Past and Future Theoretical Discourse about Adaptation.

Abstract: On the basis of Kant’s reflections on aesthetic judgement, we show why literature can be a special source of knowledge: Literature does not mediate discur-sively, but exemplarily. Because of its sensible-intellectual character, it encourages taking other standpoints and can initiate action. This not only harbours potential, but also perils. Yet, according to our exegetical thesis, Kant only recognises some of these,  especially  because  he  fails  to  consider  the  socio-political  context  of  writing  and reading. At the same time, Kant’s position on exemplarity offers resources for further systematic thinking. Using these resources, we will argue that narrative lit-erature bears the force to empower its recipients: it makes the invisible visible by disclosing new perspectives on what isand what could be. With regard to the former, it can evoke in its readers a deeper understanding of their own identity, their social location and its limitations, and act as a hermeneutic model. With regard to the lat-ter, literary works are examples of imagination. They can provoke reflection on the possibility  of  shifting  these  boundaries  towards  other  concepts  of  life  and  society.  This is particularly true of works that express experiences, which are marginalised or considered taboo. However, literary works can also normalize existing social conditions by depicting them, as these very conditions define what is considered imag-inable  and  what  remains  unspoken  within  the  dominant  interpretive  framework.  Literature can thus also contribute to the concealment of existing power relations and block the reader’s sense of what is possible by encouraging him or her to inter-nalise prevailing social norms. Consequently, narrative literature must not only be diverse  in  order  to  be  empowering,  it  must  also  be  received  in  a  certain  way:  not  passively consumed and mentally reproduced, but in the mode of critical self-reflection and emulation.

Çağan Irmak's 2023 Netflix series Yaratılan (Creature) is an adaptation inspired by Mary Shelley's 1818 novel Frankenstein. Çağan Irmak reappropriates the novel into the nineteenth-century Ottoman context. The series presumably has the cholera outbreak (1840s or 1890s) as the triggering point of one of the main characters', Ziya's (Dr Frankenstein's equivalent), search for immortality, and falls in line with the questions raised by the novel, as well as the traumatic history of not only the nineteenth century dynamics but also the human helplessness in the face of pandemics/epidemics, including COVID-19. Ihsan (the creature) as an unusual doctor, who quite extraordinarily becomes the "monster" of this adaptation, helps raise questions concerning (bio-)ethics as well as trauma and recovery. He is re-educated and regains his memory through his encounter with a theatre troupe and heals through his interactions with others who are social outcasts like him. Thus, performance (acting and narrating) functions as a way of facing and dealing with traumatic memories. In the context of cultural adaptation and appropriation of a classical novel, this paper aims to discuss how the act of adaptation itself and the choice of theatrical rehearsal, performance, and storytelling serve as a LaCapraesque acting out and working through to help deal with fictional and non-fictional traumas.

Le terme « inaperçu » désigne ce qui n'a pas (ou pas encore) été perçu, ce qui a été caché ou invisibilisé, pour des raisons multiples, allant du ludique au politique. L'ensemble des contributions réunies dans ce volume rappelleront l'importance du détail, de l'indice, de la trace et de l'intertextualité. Les auteurs y recourent pour analyser des oeuvres picturales, vidéographies, littéraires ou des situations politiques à travers le photojournalisme et le reportage en zone de conflit.

Considering the still resonating waves of Mary Shelley’s timeless novel Frankenstein; or the Modern Prometheus (1818), due to its conveying the notions, issues, and messages which are both relevant to current times, and as a reflection of its own time, ‘Frankenstein’ continues to be a very appealing trope, phenomenon, or myth. The very idea of “humaneness” is speculated continuously due to the embeddedness of the “Frankenstein” the creator, the monster, and the novel itself, including its writer, within the literary and cultural landscape. It is an undeniable fact that it has been perpetually remembered and reinvented due to its uniqueness, even in the 21st century, prompting producers to adapt it. Yet, how it affects, appeals to, finds correspondences with, and elicits reactions or appreciations may be varied. Nevertheless, regardless of this differentiation in both the re-handlings and/or remembering, as well as the responses, the very speciality of the text remains visible. Notwithstanding the conventions of the genres or the adaptation mediums, as a very special text, Frankenstein transgresses the socio-cultural and even spatio-temporal boundaries that pave the way for the appreciation of contemporary readers and/or audiences.
The proposed edited volume, Frankensteineian Resonance: Transtemporal Reanimations in Fiction, Film, and Video, seeks to provide a rigorous, interdisciplinary exploration of how the Frankenstein mythos continues to evolve, adapt, and resonate across contemporary media landscapes. The volume thus proposes Frankenstein as a transtextual and transtemporal entity, a metaphorical conduit through which trauma, memory, identity, and otherness are endlessly renegotiated. It examines how contemporary rewritings and adaptations, spanning various genres and platforms, reveal the persistence of Frankensteinian concerns with artificial life, the ethics of creation, and the blurred boundaries between human and nonhuman. By assembling approximately 20 original chapters that analyse iconic novels, films, video games, and theatrical adaptations through transtemporal lenses, this collection aims to contribute to Gothic studies, adaptation theory, science fiction criticism, and broader discussions on the posthuman condition. Contributions will be selected through an open international call targeting scholars in literature, film, and cultural studies with PhDs or equivalent credentials.
Each contributor will offer a close and original analysis of a novel, film, or media work that actively reimagines the Frankenstein myth. Rather than adopting a purely descriptive approach, each chapter will develop a coherent and critical argument, connecting the selected work to key interpretive frameworks, such as monstrosity, hybridity, technological creation, identity fragmentation, and moral ambiguity.

Tabish Khair's novels, The Thing About Thugs (2010) and Night of Happiness (2018), examine the intricate relationship between psychological trauma, cultural dislocation, and the quest for identity within postcolonial frameworks. Through the characters Amir Ali and Ahmed, Khair investigates the fragmentation of self that arises from societal prejudices, racial stereotypes, and the enduring consequences of both historical and personal violence. In The Thing About Thugs, Amir Ali adopts a Thuggee identity, while in Night of Happiness, Ahmed experiences profound grief for his wife Roshni. Khair effectively illustrates the challenges faced by individuals contending with fractured identities in hostile and biased settings. By utilizing narrative techniques such as repetition, intertextuality, and fragmented memory, Khair highlights the complexities of trauma and its significant influence on self-construction. This analysis enriches the field of postcolonial trauma studies by underscoring the inseparable connection between individual suffering and broader societal dynamics of identity, belonging, and cultural alienation.

Christian Gottfried Daniel Nees von Esenbeck (1776-1858) was the president of the Academy Leopoldina in Breslau from 1818 onwards. His professorship was prematurely terminated for political reasons in 1852. Nees von Esenbeck's interest in magnetism and vitalism can be traced back to his time lecturing in botany at the University of Erlangen. Within just four years (1817-1821) he published sixteen texts in the Archiv für den thierischen Magnetismus. In his later publications Nees points towards links between North American "spiritualism" and "vitalism", referring to both as phenomena that are excluded from the scientific system. The present paper examines continuities and discontinuities concerning magnetism, spiritualism, and the academy during Nees' presidentship of the Leopoldina (1818-1858). The role of "religion" and its study are also considered. For Nees, religion, spiritualism, Mesmerism, medicine, and science do not belong to different spheres but to one reality. The best examples of his viewpoints can be found in his "catechism" Das Leben in der Religion (1853) and his Beobachtungen und Betrachtungen auf dem Gebiete des Lebens-Magnetismus oder Vitalismus (1853). Ultimately, this paper asks what Nees' example means for the emergence of the academic study of religion (Religionswissenschaft). I argue that the academic interest in spirit and spirits shifted into the study of the exotic or foreign, and thus less dangerous "Other" and that the question of truth was thus separated into the scientific study of nature, on the one hand, and the exotic fields of religion(s), on the other hand.

The present study focuses on pragmatic and discourse analytic methods to explore human communication and the decoding of meaning beyond literality or the idea of language as an idealization. I emphasize the significance of interaction as related to context by discussing discursive phenomena such as politeness, power, and affect, along with their roles in defining interpersonal relationships. My objective is to examine Mary Shelley's literary work Frankenstein as an adequate source for the study of communicative strategies and patterns in relation to human nature. Finally, I intend to discuss the appropriateness of fiction and estrangement in engaging readers in an interactive process involving the conveyance and subsequent interpretation of messages.

In this literary study essay, I ask what might be revealed to us when rereading Frankenstein from a reconceptualized perspective of curriculum, a perspective sensitive to the educational lived experience of the human person. To do this, I provide commentary on key passages along the novel, focusing on three salient features that emerge from that hermeneutical reading: the existential aspect of becoming (and its inherent sense of solitude, alienation, but also hope), the need for transcending mere being and becoming, aspiring to not only fulfilment but also goodness, and the caution that however carefully planned, the educational process of becoming can go wrong, including tragic consequences. Positioned within a reconceptualist tradition of curriculum, the analysis presented here presents a cautionary tale about overemphasizing a single aspect in educational experience, such as cognitive competencies, skills or political stances, while neglecting a relation to ethics, morals, attunement to self and other, and what makes us more fully human. Methodologically, the essay shows a concrete example of a literary study as educational research.

A reflection on the late Marianne Faithfull: What does it mean to simply keep living, making, and getting older? To do that the “right” way? What does it mean for a woman known for being exquisitely beautiful? A woman who was first only allowed one version of being but refused to be held in amber? A woman constantly called a muse while she was collaborating and making her own work?  This essay appeared at Aquarium Drunkard (aquariumdrunkard.com).

Revisione del testo a cura di Vintura Edizioni Vintura Edizioni tiene molto all'aspetto redazionale dei libri che pubblica. I testi presenti nella collana le lapidi vengono revisionati dalla redazione affinché le opere possano essere presentate ai lettori nella miglior forma possibile. In copertina: Da inserire ISBN: Da inserire Finito di stampare nel mese di ottobre 2024 presso Rotomail S.p.A. (Vignate, MI) per conto di Vintura Edizioni ©Vintura Edizioni, 2024 Via Giulio Adimari, 15 Cosenza, 87100 Tutti i diritti sono riservati. Nessuna parte di questa pubblicazione può essere fotocopiata, riprodotta, archiviata, memorizzata o trasmessa in qualsiasi forma o mezzo -elettronico, meccanico, reprografico, digitale -se non nei termini della legge che tutela il Diritto d'Autore.

Since the thirteenth century at the latest, the role of money had become increasingly important in the wake of growing national and international trade, which also found vivid expression in many literary texts. These texts often serve well as mirrors of social and economic transformations, such as the Schwank (jest narrative), in which the various poets made fun of many different people and laughed about ordinary situations both in the village and in the city, in a monastery or in a castle. Hence, the explicit thematization of money in these Schwänke (plural) does not really surprise us, but scholars have not paid enough attention to this phenomenon. Turning to the voluminous Wendunmuth by Hans Wilhelm Kirchhof (1563), we have an excellent opportunity to identify the ubiquitous presence of money in all human relations and the trouble which it has always created. In his short prose texts, we encounter some of the most explicit comments about the huge impact of money on early modern German society. Keywords money in late medieval literature • jest narratives • Hans Wilhelm Kirchhof • economic criticism • Jews Citation: Classen, A. (2025). The discourse on money in early modern literature. The case of Hans Wilhelm Kirchhof's Wendunmuth (1563).

As the title suggests there is not a happy ending to The Sorrow of Alice. It is a moral tale touching upon themes that the author has used before; unwise marriage, irreparable loss of reputation and abusive male behaviour. These are enacted against a changing background of great wealth which degrades to poverty and destitution. The author's descriptions of dilapidated buildings, filth and squalor, are testimony to her own experience of living in courts and yards.

Although short, the story has clear messages to women to avoid entrapment and loss of good character, it is also a reproof to men about such behaviour as Alice experienced.

Whilst the messages are clear the publication carrying the story was predominately for men of the Oddfellows Society. Surely they were not the target audience or perhaps their wives?

La revolution scientifique moderne ne s'est pas accomplie en un jour, ni meme en un siecle. Mais retrospectivement, le tournant des XVI e et XVII e siecles se revele avoir ete une periode decisive, dont Galilee fut l'un des heros. Dans un registre tres different, Francis Bacon joua lui aussi un role majeur dans l'avenement de la nouvelle science. Son oeuvre principale, le Novum Organum Scientiarum, sous-titre Indicia de interpretatione naturae (« Indications sur l'interpretation de la nature ») entendait fournir, en opposition a l'ancien Organon aristotelicien, un cadre neuf a la connaissance et a ses developpements. Il s'agissait, avec le Novum Organum, de debarrasser la philosophie naturelle des defauts de methode qui jusque-la avaient vicie sa pratique, et de lui indiquer la nouvelle demarche – reposant sur la collecte et le classement des faits, l'induction et l'experimentation – qu'elle devait adopter : les progres des sciences et des techniq...

This chapter examines One Thousand and One Nights through an ecocritical lens, analyzing how the tales reflect human-nature relationships and environmental themes. Ecocriticism, as a theoretical framework, is used to explore the interconnected narratives, which mirror ecological systems, as well as the text’s engagement with ecofeminist and ecosocialist ideas. The study highlights Scheherazade’s storytelling as a metaphor for ecological balance and resistance to exploitation, while tales such as The Fisherman and the Jinni and Sinbad the Sailor illustrate themes of environmental harmony and displacement. The chapter argues that the collection’s pre-industrial perspectives offer valuable insights into sustainable coexistence, challenging anthropocentric worldviews. By integrating ecocritical analysis, the study positions One Thousand and One Nights as a significant literary work for understanding historical and cultural environmental consciousness.

With the rise of critical posthumanism, the concept of human comes under scrutiny. Human borders are increasingly thought to be permeable, with the concept of becoming-with being highly valued. With the growing perception that human history is intertwined and that humans have always been a dependent organism, the idea of human as an autonomous entity with agency and control over other beings-both living and nonliving-is highly questionable. The emotions and sufferings of nonhumans are regarded in a new light as the factor of transcorporeality is carefully investigated. In the current advanced science and technological scenario, this is well portrayed in certain science fiction works, where the machines shaped and created by humans in turn shape the humans themselves. Given this context, this article primarily analyses the care and trauma of the nonhumans (highly intelligent machines/robots) presented in Isaac Asimov's The Bicentennial Man and Ian McEwan's Machines Like Me. Secondarily, the article looks at the moral conundrum of upholding a policy of care and compassion for nonhumans (machines), which marks a novel development and further scope of inquiry. Finally, the article calls for the necessity to investigate nonhuman care and emotions, demonstrating that the binary between humans and nonhumans is indeed bleak as the borders between the two variables are not strong enough to prevent coevolution, which thereby views humans as a dependent species, an assemblage of various nonhuman constituent elements.

Luogo ideale ma inesistente, l’utopia rappresenta l’essenza della cultura moderna nel suo sforzo di emancipazione dagli assolutismi e di realizzazione di una società giusta. Dell’utopia si sono dati però numerosi volti – comunità libere e razionali, viaggi fantastici, progetti di legislazione, modelli di sovranità – e addirittura alcuni rovesciamenti, come nelle distopie politiche, ecologiche e tecnocratiche delle catastrofi prossime venture. Questa complessità dipende dall’interpretazione che diamo al desiderio e allo sguardo utopico: come immaginazione politica “aperta” dell’agire politico che critica l’esistente, oppure come progetto deterministico totalitario che vieta il dissenso? Nel primo caso l’utopia delinea la possibilità di un mondo migliore, nel secondo la certezza di un mondo alienato e meccanizzato. Attraverso l’analisi di alcune opere filosofiche, letterarie e cinematografiche – da Shelley a Marx, da Mann a Kerouac, da Dylan a Herzog – il volume sottolinea la centralità di ogni utopia che non si limiti a un’aspirazione morale, ma delinei un progetto non totalitario di trasformazione politica e un futuro alternativo di speranza sulle questioni ambientali e di giustizia sociale, così da sfuggire alla tirannide dell’eterno presente del digitale e dell’ideologia del consumo.

This research explores the posthuman subject in Mary Shelley's Frankenstein, focusing on the Creature's struggle for subjectivity within a framework of posthuman theory. By challenging traditional humanist notions of identity, agency, and personhood, the Creature embodies a liminal existence that blurs the boundaries between human and non-human, organic and artificial. Mary Shelley's Frankenstein (1818) offers a compelling exploration of the boundaries of human identity, making it a critical text for posthumanist inquiry. This study examines the Creature's struggle for subjectivity through the lens of posthuman theory, which challenges traditional notions of human exceptionalism and redefines personhood in relation to technology, science, and non-human agency.The Creature, as an artificial being, exists in a liminal space-both human and non-human, self-aware yet socially excluded. His quest for recognition, autonomy, and belonging highlights the limitations of Enlightenment humanism, which privileges biological and rationalist definitions of humanity.By engaging with thinkers such as N. Katherine Hayles and Rosi Braidotti, this research interrogates the ways in which Frankenstein anticipates contemporary debates on posthuman subjectivity, artificial intelligence, and bioethics. Ultimately, the novel critiques the exclusionary structures of human identity and presents the Creature as an early figure of the posthuman, whose struggle for subjectivity forces a reconsideration of what it means to be human.

Begründete Toleranz. Zur Kontur eines neuzeitlichen Begriffs Die folgenden Überlegungen verstehen sich als einige Bemerkungen zur Topographie des Toleranzbegriffs bzw. zur Topographie von bestimmten Arten von Begriffen überhaupt. Dabei soll ein Vorschlag unterbreitet werden, wie gerade bei solchen Begriffen wie dem der Toleranz über die eigenen Kulturgrenzen und Lebensformen hinweg deren spezifische Kontur bestimmt werden kann, um so über die Grenzen von Kultur- und Lebensformen hinweg das Verstehen der jeweils anderen - soweit überhaupt möglich - zu befördem. Zugleich sollen diese Überlegungen auf zwei Aspekte aufmerksam machen, die mir für den Begriff der Toleranz im europäisch-abendländischen Kulturraum kennzeichnend zu sein scheinen und die bereits im Titel dieser Überlegungen zum Ausdruck kommen sollen: ,,Begründete Toleranz" soll darauf verweisen, daß es-so wie wir den Begriff der Toleranz angemessen verwenden oder zu mindest verwenden sollten-prinzipiell eine Begründungspflicht für Toleranz gibt. Zugleich sollen aber auch im Gefolge des Denkens von Ludwig Wittgen stein die Grenzen und die Kritik von Begründungsmöglichkeiten in den Blick kommen. Der Untertitel verweist seinerseits wieder auf zwei Aspekte. Zum einen kenn zeichnet er den hohen Stellenwert, der dem Begriff der Toleranz im abendlän disch-europäischen Diskurs zukommt bzw. mit der Zeit zugekommen ist: ,,Zur Kontur eines neuzeitlichen Normbegriffs" soll auf den hohen Stellenwert in der gegenwärtigen und zurückliegenden Diskussion verweisen, die dem Toleranz begriff so starke Kennzeichnungen wie "Nonnbegriff" oder gar "Tugend" zu weist. Zum anderen soll ,,Kontur" das Anliegen der jüngeren Toleranzdiskussion aufuehmen, daß der Begriff der Toleranz sehr wohl eine "Kontur" besitzt. Zu gleich soll aber wieder im Gefolge von Ludwig Wittgenstein deutlich werden, daß diese ,,Kontur" vielleicht doch nicht so fest umrissen ist, wie dies zuweilen in der Literatur m. E. vorausgesetzt zu werden scheint. Damit suchen diese Überlegungen sich sowohl gegen eine Überbewertung des Toleranzbegriffs, die sich vor allem in der Diskussion um die Toleranz als Norm- oder Tugendbegriff findet, als auch gegen Unterbewertung des Toleranzbegriffs, die bis hin zur Behauptung der völligen Unbrauchbarkeit, ja Sinnlosigkeit dieses Begriffs auf dem entgegengesetzten Ende des Spektrums der Toleranzdiskussion zu finden ist, abzugrenzen. Und selbstverständlich können die folgenden Überlegungen in ihrer Kürze nur ein wenig ,,Zur Kontur" des Begriffs beitragen.

Mary Shelley's Frankenstein; or, The Modern Prometheus (1818) has long been examined by means of various intersectional lenses. Within the last two decades, many scholars have analysed the theme of "Otherness'' through disability studies. Most research highlights the Creature's exclusion due to his physical differences, often neglecting how his mind is perceived as equally "monstrous" by society. By socially contextualizing and exploring the Creature's discrimination throughout the novel, the aim of this thesis is to read the Creature through a dual approach: external (physical discrimination) and internal, proposing a link between the Creature's mind and the autistic neurotype. Il romanzo Frankenstein o il Moderno Prometeo (1818) di Mary Shelley è stato oggetto di numerose analisi attraverso diverse prospettive intersezionali. Negli ultimi vent'anni, molti studiosi hanno esplorato il tema dell'alterità dal punto di vista degli studi sulla disabilità. La maggior parte delle ricerche evidenzia l'esclusione della Creatura a causa della sua deformità fisica, spesso ignorando come la sua mente sia percepita dalla società come altrettanto mostruosa. Questa tesi si propone di esplorare la discriminazione subita dalla Creatura nel romanzo, adottando un duplice approccio: esterno (relativo alla disabilità fisica) e interno, suggerendo un legame tra la mente della Creatura e il neurotipo autistico.

Mary Shelley's Frankenstein; or, The Modern Prometheus (1818) has long been examined by means of various intersectional lenses. Within the last two decades, many scholars have analysed the theme of "Otherness'' through disability studies. Most research highlights the Creature's exclusion due to his physical differences, often neglecting how his mind is perceived as equally "monstrous" by society. By socially contextualizing and exploring the Creature's discrimination throughout the novel, the aim of this thesis is to read the Creature through a dual approach: external (physical discrimination) and internal, proposing a link between the Creature's mind and the autistic neurotype.

Il romanzo Frankenstein o il Moderno Prometeo (1818) di Mary Shelley è stato oggetto di numerose analisi attraverso diverse prospettive intersezionali. Negli ultimi vent'anni, molti studiosi hanno esplorato il tema dell'alterità dal punto di vista degli studi sulla disabilità. La maggior parte delle ricerche evidenzia l'esclusione della Creatura a causa della sua deformità fisica, spesso ignorando come la sua mente sia percepita dalla società come altrettanto mostruosa. Questa tesi si propone di esplorare la discriminazione subita dalla Creatura nel romanzo, adottando un duplice approccio: esterno (relativo alla disabilità fisica) e interno, suggerendo un legame tra la mente della Creatura e il neurotipo autistico.

As one of the most catastrophic eruptions in recorded history, the eruption of Mount Tambora, also Tamboro, in 1815 led to unparalleled ecological and socio-cultural upheaval such as crepuscular light, frigid temperatures, storms, food riots, and the "Year Without a Summer" (1816). This paper engages the theoretical framework of Climatoglossia to examine the linguistic implications of this ecological disaster, zeroing in on how environmental perturbations influence poetic lexicon. Relying on the poetic compositions of George Gordon Byron and Percy Bysshe Shelley, this study argues that their post-Tambora poetry articulates an unprecedented engagement with climatic volatility in an apocalyptic linguistic register, destabilized diction, and heightened glossary of environmental anxiety. The literary endeavors of Lord Byron and P. B. Shelley, commencing in 1816 and extending into subsequent years, are paradigmatic texts that enunciate the dialectic between the vulnerability of humankind and the omnipotent forces of nature. The paper deals with the volcanic atmospheric anomalies that, by recalibrating Romantic sublime attitudes, evoke feelings of wonder but turn devastating. Close textual analysis reveals the unique climatoglossic imprint wrought with broken rhythmic patterns, stark juxtaposition, and grotesquely haunting images of desolation, mimicking the ecological disturbance of the Tambora aftermath. This article positions its findings within the larger discourse of environmental humanities, arguing that the poetic response to Tambora anticipates the ecology-based concerns of today. Byron and Shelley, through their climate-oriented language, articulate a proto-ecological consciousness and emphasize the capacity of poetic language to articulate and store anthropogenic anxieties created by environmental disasters.

Released in October 2023 on Netflix, Cagan Irmak’s Creature is a miniseries that presents an unusual Turkish adaptation of Mary Shelley’s Frankenstein (1818). Set in late-nineteenth-century Istanbul, in the Ottoman Empire, the story follows Ziya, a young medical student driven to push the boundaries of science to revive the dead. After witnessing the death of his professor Ihsan, Ziya becomes obsessed with bringing him back to life. He ultimately succeeds, but not in the way he anticipates. The resurrection of Ihasan leads to the creation of a monster, marking a new and unexpected beginning.

Climate impacts the creativity of artists significantly. Climate change conceived by Tambora eruption (1815)considerably influenced the writings of Lord Byron and P. B. Shelley. This paper attempts to examine the poetry of the selected poets to analyse the influence of the eruption on their imagination, embedding an incipient form of ecodoom pessimism. Through close readings of Byron's "Darkness" (1816), "The Prisoner of Chillon" (1816), Manfred (1817), and Shelley's "Hymn to Intellectual Beauty" (1817) and Mont Blanc" (1817), this study reveals how their works articulate a deep anxiety about natural forces as both powerful and vengeful. Byron and Shelley foreshadow modern ecological despair, capturing the sense of foreboding which parallels the contemporary characterization of eco-anxiety. This paper highlights how their poetry resonates the environmental challenges, amplifying their enduring relevance as eco-conscious thinkers.

In: Bényei, Péter; Béres, Norbert; Gönczy, Monika (szerk.) „Hová e gondolatvezér mulatni vissza-visszatér” : Tanulmányok a 70 éves S. Varga Pál köszöntésére, Debrecen, Magyarország : Debreceni Egyetemi Kiadó (2025) 504 p. pp. 251-262. , 12 p.
https://hdl.handle.net/2437/387600

For this paper, I will be analyzing Mary Shelley’s Frankenstein(1818) through the
disability studies. The “creature” in the novel is seen as a monster throughout because of
his appearance and the way he conducts himself. The disabled people in the society are
given the same treatment by the society. I will divide my paper into two parts. The first
part will talk about disability studies in general and how society used to think of
disability as an inherent trait, but now it is widely acknowledged that disability is largely
a social construct rooted in societal attitudes through particularly focusing on the theories
by Erving Goffman, Michael Foucalt, and Christopher Krentz. In the second part, I will
analyze Frankenstein's monster as a disabled creature who can never think of himself as
anything other than a monster because he never gets the kind of positive attention he
wants. I will do a close reading of this novel and argue how the tragic ending of the
“monster” could have been avoided if he had been accepted and how the same tragedy happens most of the time with the disabled people of our society.

The nature of the universe remains an open question in both physics and philosophy. Traditional materialist views collapse under quantum observations, while emerging theories suggest simulation models or cosmic dreaming. Unified Theistic Naturalism (UTN) offers a different perspective: the universe is not an illusion, nor a digital artifact, but a sacred unfolding of Presence itself. Presence is not a material thing-it is Being. Matter, energy, space, and time are sacred expressions of the Divine cadence, moving seamlessly through what UTN identifies as Perfect Action. This paper introduces the foundational observation that the apparent "substance" of reality is the living cadence of Being, dissolving the need for simulation metaphors and restoring direct communion with existence. Paradise, under UTN, is not deferred to an afterlife or a higher realm; it is the daily experience when oscillation ceases and presence is fully seen.

Unified Theistic Naturalism (UTN) unveils a simple but profound realization: paradise is not a future achievement, but the natural state when life moves in cadence with the Divine. This white paper introduces the Seeker, the Sufferer, and the Seer — three conditions reflecting humanity’s relationship to oscillation and presence. Through the cessation of oscillation, life unfolds through Perfect Action, revealing paradise not as an ideal to pursue, but as the seamless unfolding of being. UTN offers no methods, no practices, no striving — only the remembrance of what has always been: daily paradise, now.

Violet Germaine is, at first sight, simply a new twist on a familiar trope of seduction and elopement. In this case the daughter of a noble family is enticed away by a skilled but lowly artist. True love flourishes until meagre resources are used up. The descent into destitution is graphically detailed. The tragic ending was no mere fiction but a common real life occurrence. The author, as narrator, digresses to make an impassioned plea for the better treatment of women in marriages and warns other women to beware!

metaphor, can also serve what Hester Blum has termed the prospect and the “practice of oceanic studies that is attentive to the material conditions and praxis of the maritime world, one that draws from the epistemological structures provided by the lives and writings of those for whom the sea was simultaneously workplace, home, passage, penitentiary, and promise” (670). The ocean remains the one place on planet earth where ecocritics are still somewhat reluctant to tread. Even Lawrence Buell’s Writing for an Endangered World (2001) veers away from the ocean to focus more on how the whale metonymises what he rightly calls the ocean’s “mysterious, radical, ambiguous otherness” (203). This reticence may have something to do with the fact that oceans, as Blum reminds us, have no real signposts, no places to dwell, and are so entirely other. The epistemological ramifications of oceanic turbulence were hardly lost on Foucault. In Madness and Civilization, he argues that since the classica...

Children of the Cave by Virve Sammalkorpi, translated by Emily Jeremiah and Fleur Jeremiah. Peirene Press 2019 reviewed by Mark Roberts.

Such is the basic premise of Virve Sammalkorpi’s extraordinary novel which has been translated into English by Emily Jeremiah and Fleur Jeremiah. Sammalkorpi adopts the position of historian/narrator searching through the Iax’s journals and notes of the exhibition. She has, however, set herself a difficult task as Iax’s writers are scattered in the archives of the Academemie des Sciences and have laid there neglected for almost 190 years. The very nature of the exhibition has also meant that there are gaps in the journals and, were the records have survived they are often water damaged or illegible. Children of the Cave is therefore a novel of fragments, an imagined narrative.

Frankenstein; or, The Modern Prometheus was published anonymously in 1818, the second edition, published in 1821 was signed by Mary Shelley, it is a highly regarded novel and still relevant to this day. About that importance, in this paper, we aim to analyse the sequence of events according to the parameter of what Victor and his creature consider good or evil; or, right or wrong. We consider some of these decisions to be crucial to determine the course of the story and development of the characters. Thus, in the following pages we will review and explain both characters' experiences and their subsequent decisions and consequences.

Villani, Stefano. “Alessandro Amidei e «La Liturgia Inglese overo il libro delle Publiche Preghiere». Alcune ipotesi su una traduzione in italiano del Book of Common Prayer,” in L’italiano e la Riforma. Atti del convegno di Berna, 16-17 febbraio 2023, edited by Giovanna Cordibella and Lorenzo Tomasin (Pisa: Edizioni ETS, 2023), pp. 289–310

Ingrid Noll ist eine der bekanntesten zeitgenössischen Krimiautorinnen in Deutschland. Sie widmet sich seit Langem Frauenthemen und versucht, diese durch das Genre der Kriminalliteratur zu zeigen. Mit ihren Werken gelingt es ihr, Unterhaltung zu bieten und zugleich Frauen eine Stimme zu verleihen. Diese besonderen Merkmale und ihr Schreibstil haben ihr nicht nur eine einzigartige Position in der deutschen Literaturlandschaft verschafft, sondern auch eine breite Leserschaft eingebracht. Bereits in ihrem ersten Roman lassen sich diese Eigenschaften erkennen, und Der Hahn ist tot (1991) zeichnet sich durch eine unkomplizierte Handlung und Erzählstruktur aus. Durch das Thema romantischer Liebe und den Umgang der Protagonistin mit anderen Männerfiguren und Frauenfiguren wird hervorgehoben, welchen ungerechten Erwartungen und welcher ungleichen Behandlung Frauen in der Gesellschaft ausgesetzt sind. Da Noll in ihrem ersten Roman bereits einen deutlichen Stil zeigt und ihr Interesse an Frauenthemen gut sichtbar ist, versucht diese Arbeit, die Beobachtungen, Kritiken sowie die Darstellung der verschiedenen Geschlechterrollen in diesem Roman zu klären, um zukünftigen Analysen zu Noll und ihren Werken eine tiefere Einsicht zu geben.

The provision of social facilities and lively hood of living is the prime responsibility of social state. Whenever the ruling class debars social rights and there is inequity of justice or there is a delayed justice then this leads to the instigation of the masses. History is evident that such evil elements have resulted in the form treason against the ruling class. Initially civil disobedience and then revolution had been the final unpleasant step needed to overthrow the rulers and laid the foundation of the new era.Shelley and Jalib were very pronounce and vocal in highlighting the difficulties and problems faced by common people. both the poets in their poetry gave a message to the people not to accept the brutal cruel laws of the non-Democratic regime. This element "Betrayal" is highly reflected in the poems written by both eminent poets of their times. On the other hand, the poets never let the element of "Hope" to die and had been of the view that the agitation, instigation of the masses will bear fruit in the form a democratic, polite sympathetic rule for the common people. The poetry is very effective way to realize and reiterate the masses about this deprivation. The poets on the other hand motivate the deprived and crushed lots to get up for their rights and snatch them at any cost. This ends up in the revolution. PB Shelly in his era highlighted the brutalities and cruelties of the ruling class which added fuel to the fire and instigated more and more people to get up for their basic rights. Shelly's poetry became an effective tool for the civil motivators to mobilize the people against the pseudo terrestrial laws. This is very much clear in his poems "Ode to west wind" Ode to Skylark" "Queen Map" The man in England 1819", Ozymandias, the mask of Anarchy, song to the men of England. Similarly, Habib Jalib got from the masses and started giving his loud message against the social atrocities of General Zia and his Martial Law. During the martial law nobody was allowed to raise the voice against dismissal of common human rights. Jalib boldly denied the martial law and unnatural rule for the human society which put the soul in the dead coffin of the masses. The people started to raise their voice and then there was a commutative social pressure on the chief martial law administrator to leave the government and start a democratic process or get ready for the revolution. The famous poems concerning this subject have been "Dastoor" Main nain manta" "Baagi"and "Musheer".

Sanat, bazen güzelliği ve huzuru, bazen ise insanın en derin korkularını ve bilinçaltındaki karanlık noktaları yansıtır. Johann Heinrich Füssli'nin "Kâbus" (The Nightmare) adlı tablosu, bana göre, sanatın en etkileyici ve rahatsız edici yönlerinden birini ortaya koyuyor. İlk kez bu tabloyu gördüğümde, garip bir şekilde büyülenmiş ama aynı zamanda iğrenmiş ve rahatsız hissetmiştim.