And while Macbeth is undeniably a dark play, the tone of Polanski's version is undoubtedly coloured by the death of his wife, Sharon Tate, and a group of friends, who were all murdered by members of the Manson Cult.
Duggett argues that the split between ‘Romantic’ and ‘Gothic’ was not simply accidental or a later critical imposition on the period. He argues that the first generation of Romantic poets (specifically William Wordsworth, Samuel Taylor Coleridge and Robert Southey) were actively instrumental in ‘the creation of a wider “Gothic culture” and “second Gothic poetry” that differentiated a ‘distinctive, purer Gothic’ literature over and above the Gothic novel for instance. Whereas Michael Gamer’s work, Romanticism and the Gothic (2000) shows the emergence of Romanticism out of the broader cultural umbrella of Gothic, Duggett argues that ‘the phenomenon known as Romanticism is a reform movement within [my emphasis] the Gothic —less a break-away reformation movement than a program for a counter-reformation.’ Gothic Romanticism looks at the discourses of architecture, politics and literary form in order to reappraise the works of these three key Romantic poets, especially Wordsworth.
I’ve been thinking about genre lately – about the boundaries of the Gothic genre as a whole and about the ongoing currency of definitions of the ‘female Gothic’ in particular. I have never been particularly worried about whether any given text met enough Gothic criteria to ‘count’ as a Gothic novel, but the question of generic definitions is one I’m used to answering. And I have always hated the category of the ‘female Gothic’, for all the usual reasons about its tendency to encourage ahistorical gender essentialism. Overall, I have a strong sense that over-reliance on generic demarcations is confining, but I remain curious as to whether this is countered by the usefulness of such classification.
We will each write a ghost story, said Lord Byron, and his proposition was acceded to.” So wrote Mary Shelley in the preface to her first novel, Frankenstein, published in 1831, 15 years after one of the most mythologised events in literary history. That was the famous night at the Villa Diodati, near Lake Geneva, in 1816, when Byron, Mary Godwin, Percy Shelley and John Polidori, Byron’s doctor, gathered by the fire to make up ghost stories. Two of the horror genre’s most enduring monsters were born: the vampire and Victor Frankenstein’s unnamed creation. But Mary also wrote herself into fiction by mythologising further a group of writers who have been the subject of both biography and fiction, ever since.
Mary Godwin Shelley's fantastically mad and flawed character, Victor Frankenstein, bears a striking similarity to Giovanni Aldini: both are scientists bent down a path of forbidden knowledge; both have a streak of showmanship about them; both, they say, begin their ordeals with benign intentions only to be overcome by boastful pride. Both try to restore the dead. One difference separates the two men: in Mary Shelley's account, the dead return, and Victor Frankenstein fatally pays for his actions.
Poking around old manuscripts and researching dusty archives helped Natasha Rebry unravel the mysteries of the Victorian era. She sought new insights by blending her study of Gothic literature with the history of modern psychology for her PhD dissertation.
“The Guardian Theatre's women of substance The Guardian ... Guardian, Wednesday 13 November 2013. Jump to comments (…) Kate Fleetwood as Lady Macbeth at Chichester Festival theatre. ... her mad, she's gone too far.”
This article explores the psychological underpinnings of Shakespeare’s “Macbeth” from a Jungian view. Carl Jung left a great deal of ambiguity surrounding his work. He understood, as long as there have been men and they have lived, they have all felt this tragic ambiguity and everybody must accept his or her ”Shadow” during the individuation process. Ambiguity between good an evil, and a failed individuation is the core theme in the tragedy Macbeth: “Fair is foul, and foul is fair” say the three witches in the beginning of the play and this paradox is touched again by Macbeth: “So foul and fair a day I have not seen”.
What makes a monster? What is it like living on the margins of society? Is technology inherently good or bad? These questions guided Mary Shelley 200 years ago as she wrote her classic novel Frankenstein — they remain just as relevant today. The second edition of Biblion explores the connections between Shelley’s time and our own, showing how the classics resonate throughout society and the breadth of NYPL’s offerings.
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